By Malice Intended

Method Man, Ghostface Killah, and Raekwon have splintered off from their larger family to bring us Wu Massacre.  The album functions much the same as any other Wu Project, albeit with a reduced lineup.  The conservative approach of the LP is reflected not only in the smaller number of participants, but in the length of its songs and the number of tracks.  No bloat or extraneous material here, just a concentrated shot of Shaolin soul. 

Abbot RZA delivers a track that would probably be better suited to a Ghostface solo album with “Our Dreams”.  A serene sample, complete with a twinkling triangle and nasal vocals provides the backbone.  It sounds as though RZA was satisfied with the drum sounds contained in the sample itself and didn’t bother to add any extra bottom.  It’s effective though surprisingly indistinct when compared to RZA’s post Wu-Tang Forever output.

Almost any Wu-Tang affiliated project contains at least one song built on a minute sample looped to dizzying repetition.  Producer Digem Tracks provides just that with “Gunshowers.”  The sped up vocals repeat over and over until they dig a trench in the subconscious; allowing the lyrics to penetrate.  Inspectah Deck delivers the stand out verse.  The stripped down approach to the production is most evident with “Dangerous,” which uses a soulful guitar and vocal stabs to compliment a basic drum track.  Raekwon shines and Ghost delivers his trademark mix of humorously exaggerated emotion.

The album switches into Blaxploitation mode with “Pimpin Chip,” produced by E Meal.  The wah-wah feedback from the guitars and the desperate horns create an impenetrable cloud of funk.  Picture a chase scene from a 1970’s cop show and you get the idea.  Ghost attacks the track with such ferocity that it almost isn’t necessary to actually follow the story in order to feel the rush.  Mathematics returns with “Miranda.”  An elegant piano roll chopped up with basic drums perfectly matches the pace and cadence of Rae’s flow.  The beat gives these explicit tales of sexual exploits an immediacy. 

We are again blessed with earthy soul courtesy of producer Scram Jones on the crime caper “Youngstown Heist.”  The organs and singing create mournful funeral procession grandeur.  The irrepressible Sheek Louch offers his enthusiastic yet stylized brand of thuggery and he fits well with Rae and Ghost.  “It’s That Wu Shit” finds Scram Jones switching gears, using keyboards that illuminate the track like sunlight piercing through dark clouds.  The faux TJ Swan style singing fits in with the spacey vibe.  This is a wholly different sound for Wu. 

The album nearly stumbles out of the gate with two competent but unnecessary sequels.  “Criminology 2.5”, produced by BT, is basically a better-mixed version of the original.  “Mef Vs. Chef 2” does not live up to the grit and adrenaline rush of the original.  The dragging horn sample prevents it from building to a palpable momentum.  Both songs reveal a desire to relive past success and remind fans of more glorious days.  It doesn’t quite read as laziness but gives a premature impression that the Clan is resting too much on its laurels.  Nothing wrong with sticking to the script as long as sequelizing does not give way to recycling.  The 2 skits, while entertaining in their own right, stick out like relics of a past era.  When your album only consists of 12 tracks, why bother with the filler?

Wu-Massacre does not reconfigure the Wu battle plan to suit new terrain.  Meth, Rae and Ghost stick to the original manifesto of the clan: Abstract verses which interpolate 70’s soul, Kung-Fu movie imagery, five percent teachings and detailed crime narratives.  The Clan have long since refined their technique into a consistent and dependable formula.  While Wu-Massacre does nothing to evolve that formula, the trio’s skills have thankfully not atrophied.  Another chamber completed.    

 out of 5

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