Album Review: Run the Jewels > Watch the Throne

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Thrones inherently have a limited view. Intentionally cloistered from the pedestrian world outside of the palace, thrones are characterized by seclusion and exclusion. Accordingly, when Jay-Z and Kanye West released Watch the Throne, the result was distancing. In fact, distance seemed to be its point: as indicated by their excessively lavish lines and expensive samples, Jay-Z and Kanye wanted us to know that they were on a “whole ‘nother level,” one occupied only by the elite, the royalty: The Throne. Unlike “The Throne,” Run the Jewels (composed of Killer Mike and El-P) sends a different message, one that is much less condescending and much more engaging.

The half-hour project starts with the title track, which begins with a windy echo that grows more menacing as it is quickly joined by coin-like jingles and looped ad-libs. Once the dystopian bass drops, the tone of the project is clear: the throne is in danger. El-P then growls out a frantic verse and is followed by Mike, who threatens poodle owners and pearl clutchers. The chorus is bare yet effective: Killer Mike simply snarls “Run the jewels” while an organ lets out a death moan. After some more fierce lyrical acrobatics and a repeat of the hook, the track concludes with some loopy digital wobbles and a telling soundbite: “The goblins have been awakened.”

“Banana Clipper” maintains the dystopian ambiance, but Mike and El-P switch things up by trading alliterative and multi-syllabic bars. Big Boi brings up the rear delivering an off-kilter verse in which he interestingly brags about his “obese” bank account. Such a boast should be out of place in Mike and El-P‘s refreshingly non-materialistic world, but somehow it fits right in, probably because he pairs it with proud boasts about actually owning his belongings and some criticism of radio stations (which largely overlooked his somewhat experimental last album).

The dystopian theme peaks with “DDFH,” which stands for “Do Dope Fuck Hope.” Both Mike and El-P deliver, balancing braggadocio with thoughts on serious social matters. Two moments on the song stand out. Despite the nihilistic title and chorus, at one point El-P reveals a glimmer of hope by saying, “Even a satellite sees at one angle.” Given the increased paranoia in response to the ongoing NSA scandal, it’s a thoughtful line that suggests that mass surveillance isn’t as crippling as it seems. Mike‘s standout line comes during a discussion of police hostility toward black males: “If you’re not Jigga of Puff, you’re doing time/ And even then, you might get ten: Word To Shyne.” In one bar, Mike demonstrates more political awareness than Kanye does throughout Yeezus. Whereas Kanye overwhelmingly ignores class when discussing race (ex. “Black Skinhead“), Mike acknowledges class and notes how race can trump class.

Why is this important? Let’s go back to Kanye‘s line from “Gorgeous:” “Face it, Jerome gets more time than Brandon.” It’s a clever line, but where does Kanye himself fit into that? By calling attention to Puffy and Jay-Z, Mike forces us to think about how money and privilege factor into racialized encounters. In other words, Mike is saying, “Face it Jerome gets more time than Brandon, but less time than Kanye (if Kanye gets time at all).”

If this comparison between Run the Jewels and Watch the Throne seems forced, it isn’t coming from this writer. On the bawdy track “Sea Legs,” Mike encourages it saying, “There will be no respect for thrones” and “Niggas will perish in Paris.” El-P does some similar encouragement on “Job Well Done.” Detailing how the world will respond to Run the Jewels, he mentions worker ants killing their queen and emperors feeling compelled to acknowledge their hidden vices. These guys are clearly interested in questioning royalty in all realms, even the animal kingdom.

But beyond this refreshing spirit of peasant rebelliousness, the real appeal of the pair is their earnestness. Even when they’re discussing bizarre topics like fucking in church shoes (“Twin Hype Back“) or psychedelic lapdances (“Never Come Down“), the lines never feel lazy in delivery or conception. With the exception of its excellent production, Magna Carta Holy Grail as a whole is characterized by laziness. El-P and Killer Mike are certainly paid, but their net worth doesn’t seem to be the point of the music: the music itself feels like the point.

In the end, despite this review’s emphasis on how Run the Jewels trumps Watch the Throne, RtJ is is great beyond such comparisons. Driven by two dedicated emcees and one very talented and focused producer, the album is both progressive and preservative. In name and execution it nods to the past (“Run the jewels” is an old LL Cool J line), but it is focused on the future, especially production-wise. Jay-Z may have referenced Oceans 11 on “Oceans,” but El-P and Killer Mike seem to have actually watched it, crucially noting how a thief, even a rich one, is always more compelling than a businessman.

Download the project here.