DMX Krew

On We Are DMX, DMX Krew (a.k.a. Ed DMX) continues in the vein of satirical old-school electro-pop where the less ironic Mantronix and Newcleus left off. Though it's a bit more organic than his previous release, 1998's Nu Romantix, the Krew's themes still revolve around the ever-so-indulgent 1980s. In fact, the touchiest area that DMX Krew enters is gay club culture, illustrated so perfectly by the Moroder-esque "Street Boys" (an obvious homage to Depeche Mode's "Wild Boys") where "the only things that matter are love, sex, crime." This track is then butted up against "Konnichi Wa!," their attempt at criticizing the '80s obsession with Asian culture. Judging by the low-tech electronic gadgetry employed on the album, it wasn't just '80s America that was obsessed with Japan. He is also an adoring fan of the beginnings of American hip-hop as evidenced by his mildly misogynistic yet totally hilarious lyrics on "Good Time Girl" and "Twenty Minute Affair." His lame, over-the-top MC posturing also contributes to his faux shtick. As well, he has a knack for tying in hip-hop with British synth pop culture, and the finding a fine balance between the two. It doesn't stop there. DMX Krew also indulges in the cheapest and cheesiest of '80s electro wankery with female-voiced tracks, á la Stacy Q, Vanity 6, or Klymaxx, on songs like "Release My Dub." This record is quite a humorous survey of the embarrassing shortcomings of electronic pop music. DMX Krew's beats are contrived but extremely alive, even though executed with archaic electronic gear. Even the worst tracks on this disc will get you moving. Invigoratingly, DMX Krew actually has soul and makes intense and playful funk out of gray, plastic machines. Never before has tongue-in-cheek music sounded so real or so good. ~ Ken Taylor, All Music Guide