Public Enemy
How You Sell Soul To A Soulless People Who Sold Their Soul!???

Twenty years of career spent in the hip hop hemisphere have a special flavor, not only for the Public Enemy reaching this milestone, but for the whole scene, which during this period first reached its peak of absolute relevance and then saw the dispersion and diffusion of rap germs in different contexts, observing its extreme commercialization on one side and the birth of avant-garde and alternative movements on the other.
The Public Enemy - within such a framework - have always positioned themselves on a different, higher level, as one might say, since the contribution provided by Chuck D and company has been that of those who set the rules, showed the way, knew how to change, gave a decisive contribution to the theoretical development and practical implementation of crossover, had a cultural impact equal to the sonic one and, despite experiencing less brilliant moments (in the latter part of their discography), wrote the history of music (and not just the specific genre). The event is celebrated with the release of a new work accompanied by a DVD packed with content and without price increase, within which you will find videos, concerts, life on the road, interviews, photographs, and more. The celebrations are thus the means to further spread the word. And "How You Sell Soul To A Soulless People Who Sold Their Soul!???" is the manifestation of that cross-sectional soul mentioned earlier, indeed it could be pointed out as the (tenth) most contaminated album released by the group so far, as well as being able to showcase a considerable number of totally competitive songs: "Harder Than You Think" (practically the summation of their best turned into a funky key), "Black Is Back" (where we find heavy-hitting guitars), "Sex, Drugs & Violence" (with KRS-One on the mic), "Amerikan Gangster" (translated into a gothic/urban context), "Flavor Man" (source of happiness in notes), "Escapism" (where liquid seductions and downtempo meet a soul feeling), "Frankenstar" (electro-rap-metal), "Long And Whining Road" (emo-hip hop?) and "Eve Of Destruction" (a cyber-dark reworking of Barry McGuire's 1965 namesake piece). And then there are imaginative and combative beats, horns, guitars, rhymes that cut with intelligence, a use of voices that reveals a creativity rich in solutions, and a stratospheric production that enhances the tracks in the best possible way.

The masters show that hip hop is not the buffoonery that the mainstream channels continue to offer us and that they would deserve much wider exposure, even if they are no longer under contract with a major (by choice and consistency) and even if someone would have you believe they are no longer "hype." A final note for those who have pushed hip hop towards other shores (independent and avant-garde, to be clear, or "intellectual" if you prefer); it's okay to look to the future and evolutionary hypotheses, but never forget the Artists who have brought the sound to unreplicable levels and who still have the capacity to break. This is the power of music!