When Jay-Z released an a cappella version of his Black Album, remix projects were to be expected; but at this point there’s a whole color spectrum of HOV remixes ranging from Kevin Brown’s Brown Album to Danger Mouse’s Grey Album, a unique blend of The Black Album and the Beatles’ classic White Album. Perhaps the most impressive color yet on the Jay-Z remix rainbow is The White Albulum, spelled like the southern slang pronunciation of "album," produced by Kno of ‘southernunderground’ hip-hoppers CunninLynguists.

While every new beat on the album works well with the original vocals, clearly some work better than others. Kno decided to change the track listing around for The White Albulum, a move that makes each track compliment the last. Kno’s intro with trumpets and saxophones sets the vibe for the album and gives the listener and idea of what is to come: a jazzy remix, focusing on various classic instruments to support Jay-Z’s lyrics.

Kno manages to revive even the most played-out tracks, giving them a fresh new sound. "Dirt Off Your Shoulders," is the perfect example, cutting out Timbaland’s catchy but overplayed beat and replacing it with something that sounds almost as if the Funky Meters sat in with HOV to create the perfect backup with high pitched trumpets throughout the track. Midway through the album, Kno takes a stab at Rick Rubin’s "99 Problems," giving it a Latin style in what is arguably the best track on the album. The Neptunes and Jay-Z is a combination that has never seemed to work well, even on The Black Album, but Kno has the solution: replacing your typical Neptunes beat with his own, Kno gives us a Jay-Z album that we can actually listen to straight through. It’s obvious that Kno has mastered this remix thing; it actually sounds like Kno and Jay-Z were working together on The White Albulum. While drastically different from the original production, each track sounds as if it was meant to be that way.

With so many respected producers throwing their hats in the Black Album remix ring, it may seem audacious to tackle a project like this, but Kno clearly proves himself up to the challenge, having fashioned an exciting remix project that is worthy of your dough and attention. CunninLynguists fans, on the other hand, may find themselves wishing these beats were used for their next album, as Kno’s production is at a higher level here.

-Greg Fischman

Stereolab 

Margerine Eclipse

After the sudden death of keyboardist, singer, and founding member Mary Hansen two years ago in a bicycle accident, I thought that Stereolab would probably have to hang it up, ending a long, prolific and unique career. Although I thought Hansen’s untimely demise tragic, the prospect of a Stereolab breakup didn’t bother me much; lately, Stereolab has been boring the crap out of me, putting out a series of dull, meandering albums full of pointlessly tedious mathematical exercises. It has seemed, at least to me, that the continental new wavers have been going through the motions for some time now, despite the staunch devotion of fans who, grasping for anything original and challenging, tend to cling to a band when they find it. To be honest, I thought that individual members might be able to produce fresher, more interesting sounds, unfettered by the expectations and and limitations of long-worn associates (we all know how that can be).

When I heard that they were sticking together and putting out a new release, I was actually a little afraid to hear it, fearing an embarrassing dip in quality a la post-Waters Pink Floyd. The last thing I wanted to hear was a space-disco version of A Momentary Lapse of Reason, all substance and no heart, to mar an otherwise respectable body of work. However, I’m happily baffled to report that Margerine Eclipse is the best album I’ve heard from this band since 1997’s incredible Dots and Loops. Ironically, Stereolab seems strangely rejuvenated, now two and a half years after their tragic loss. They’re not really breaking new ground here; it’s still the same cosmopolitan eurolounge with Farfisa organs and odd time signatures, but they seem to have rediscovered the joy of solid rhythms and the pop song format. Stereolab are finally turning back and viewing their collective works in retrospect, reincorporating older, discarded elements. Some of the songs even remind me of the early guitar-driven drone-pop days of Peng and Transient Random Noise Bursts With Announcements.

Maybe the most remarkable thing about this record is that it sounds just like Stereolab, with no major detectable changes from the loss of Hansen, aside from the fact that Laetitia Sadier now has to back up her own froggy, Edith Piaf-style vocals.

Of course, this music isn’t for everyone. Stereolab sometimes overindulges in "doobeedoo" vocals and pointless key-changes, and often extends songs past the point of irritation for a listener who’s not in love with their retro-modern style.

If you’ve never heard Stereolab, go buy Emperor Tomato Ketchup; it’s probably their catchiest album ever, even funky at points. Or if taut, organized grooves are more your speed, check out Dots and Loops. But if you’re an old fan like me, and the last few records have disappointed you, give the "groop" another try; Margerine Eclipse is a lot like butter, and it’s worth taking for a spin.

--Mitchell Bonk