Jigmastas
Infectious

Between the late nineties and the early new millennium, rap was undergoing a moment of profound transformation: the interest of television and major record labels led to a softening of the genre's sounds, aiming to make them more accessible and market-friendly. This phenomenon, besides provoking the indignation of the so-called "purists," favored the development of a significant underground scene, which from the East to the West Coast reacted in various ways to big cars, gold chains, and the various stereotypes associated with the commercialization of black music. The result of this polarization was predictable: on one side, rap spread among the youth and began to influence the new generations, on the other, it is also true that it was the mainstream artists who succeeded, who with few exceptions (Jurassic 5 or Blackalicious) ended up overshadowing or completely obliterating the less illustrious productions.

This premise is necessary to understand the fate of an album like Infectious by the Jigmastas, released in 2001, right in the midst of the change we have tried to describe. The Jigmastas are none other than Kriminul and DJ Spinna, an MC and a beatmaker from Brooklyn who decided to join forces back in 1996, the year they made the 12" Beyond Real/Dead Man's Walk. The tracks immediately reveal the duo's recipe, a concentrate of rhymes, scratches, and beats characterized by strange and sophisticated grooves (in “Beyond Real” they sample “The Hall of Mirrors”, one of the most peculiar tracks in Kraftwerk's discography). In 2000, the EP Grass Roots “Lyrical Fluctuation” was released, born as a single and developed into a broader project, which thanks also to some collaborations (Pharoahe Monch, Mos Def, Talib Kweli, to name the most famous) positioned the Jigmastas among the brightest realities of the period.

After leaving Rawkus Records, Kriminul and DJ Spinna moved to Landspeed and released Infectious, an album that among the numerous musical releases of the time ended up almost unnoticed. The meager column dedicated by The Source, one of the most famous overseas hip-hop magazines, not only highlights the cruelty of certain advertising logics but makes us understand how quantity was taking over that quality which, between the late eighties and the mid-nineties, marked the era of the “golden age.” Ironically, most of the commercial rap of that time (Ruff Ryders primarily) sounds terribly dated, while albums like Infectious shine with a particular light even many years later.

So what is the secret of the Jigmastas and why can their debut album still be considered relevant? The answer is simple: on one hand, Infectious brings to definitive maturity the insights of recent past and on the other, while allowing itself some experimental moments, it has the merit of keeping its feet on the ground, reconnecting to the more classic sounds of the genre (those of the “boom bap” to be understood, made of effective samples, powerful drums, and stylish and no-frills rhymes).

To be fair, even on this occasion, the lead role is taken by DJ Spinna. The Brooklyn producer manages to combine concreteness and musical research, digging through the grooves of obscure vinyl and arranging on the beat sounds that range from psychedelic rock to jazz, passing through funk, electronics, and incredible vocal samples (wherever did he find this stuff?). The examples are countless: in “Til the Day” we are hypnotized by a bass line that would make the walls of your house crumble and everything is punctuated by echoes and subliminal electronic inserts; “Don’t Get It Twisted” is distinguished by an unusual intertwining of handclap, female voices, and guitars, while Kriminul reminds us who's number one (“Niggaz know when we swing, It'll be that underground hit/No matter what you clowns spit/How many rounds in your clip/X-man and Kriminal, you've never sound as good as this”, with a reference to the feature of Sadat X of Brand Nubian); “Cliché” is one of the best tracks on the album, built on a loop reminiscent of the heart-pounding minimalism of Philip Glass, perfectly matched with fat drums, penetrating bass, and the usual sonic kaleidoscope made up of synthesizers, Hammond organs, and distant voices.

DJ Spinna's excellent work risks overshadowing his partner Kriminul, who, although not having great technical skills or a memorable voice, almost always makes a good impression, adapting his flow to the partner's bizarre musical arrangements and proving effective not only in terms of style but also in writing ("I'm noted for that hardcore rap/Non-fiction and pure fact/For that neck-breaking bounce like you're travelling on horseback" can be considered an excellent calling card).

Also noteworthy are the pleasant melodic openings, which soften the sound of Infectious and make it palatable to those who don't have a taste for bread and hip-hop. “Elevate” reiterates how the goal of rap should be to send profound messages, not limited to the material aspect ("Kick the truth to the young black youth": are the words of Inspectah Deck scratched by Spinna, while Angela Johnson lends her voice to the refrain). In “Hollar”, Kriminul recounts the thoughts of an African American man unjustly arrested, anticipating the reflections of the “Black Lives Matter” movement (remembering the presence of guitarist Vernon Reid and the chorus sung by vocalist James Ramsey). And the nocturnal atmospheres of “Nocturnal Jam” deserve a special mention, with Spinna risking once again to steal the scene thanks to an incredible beat where finger snaps, vibraphones, synthesizers, and Fender Rhodes fit perfectly on a syncopated rhythm (the chorus sung by Lorenda Robinson is excellent).

If we add the presence of the already mentioned Sadat X, the trusty companion in adventures Joc Max (who also produces a track), and a handful of "underground heroes" like Apani B. Fly and Truth Enola, the picture can be considered complete. Not to forget the bonus disc of the deluxe edition, containing “Beyond Real”, the remix of “Lyrical Fluctuation” and some tracks produced by DJ Spinna like “3ree6ix5ive” by Old World Disorder, which is famous not only for featuring a young Eminem but also for being selected by DJ Krush in the splendid DJ-set of Code 4109.

Of course, an album like Infectious would undoubtedly have deserved greater visibility, yet it has remained and remains relegated to a niche audience. A real shame, considering that the debut of the Jigmastas has a lot to teach contemporary rappers and trappers, both in terms of content and sound. Hopefully, the recent Resurgence, released in 2016 for the English label BBE Music, has awakened attention for the 2001 album and pushed more attentive listeners to rediscover a gem that all lovers of good music, regardless of genres and labels, should possess in their collection.

Rating: 4.5/5