Though the RZA has never been the best or most charismatic rapper
in the Wu-Tang Clan, I have always found his abstract and off beat style intriguing. His verses take on the characteristics of
urgent stream of consciousness rants, almost as if he can’t control his own
thoughts. Every now and then, this
approach has yielded moments of inspired genius. Still, he can be just as effective when applying
a stricter discipline to his delivery.
His latest offering, “Gone”, is a mournful dedication to the
memory of fallen Wu-Tang Swordsman Old Dirty Bastard. He enlists a considerable amount of backup by
way of vocalist Justin Nozuka, rapper Kobra Khan and guitarist James Black. The song proves to be exactly the sum of its
parts, with each participant pulling his musical weight and crafting a song
that is sparse yet very effective.
As the song begins, the lonely strums of an acoustic guitar
are all that can be heard. Electronic drums
come in, typing out an equally lonely battlefield march. Justin Nozuka solidifies the sadness with
strained, mournful vocals. As the drums
and strings rise like yeast over the horizon of the track, a ghostly, cavernous
whistle undercuts Justin’s singing.
Before RZA speaks a single word, the song puts the listener in a sad and
desolate mood, making them spiritual pallbearers for the soul of dead
friend.
RZA is relatively sedate this time out, his vocal tone
sounding like it was manipulated on the pitch control of an old fashioned
turntable. His lyrics are straight
forward and descriptive, using pronounced Islamic symbolism. James Black stitches the track with electric
guitar stabs that echo off into the distance.
It at once overpowers RZA vocals and gives them a sturdy foundation. RZA speaks of bringing forth offspring as a
form of metaphorical resurrection and eternal life. He begins to take on a ghostly presence as
the track proceeds.
Kobra Khan offers nothing earth shattering, but his verse
rings out with clarity of purpose and theme.
He speaks of a lost love, and his vocal tone is comfortably in keeping
with the other elements of the song. An
extended solo from Justin closes the song out as it proceeds to the metaphorical
burial site.
David F. Mewa channels the sad energy of the track into his
nearly five minute clip. As the lonely
guitar strains begin, sparks are shown cascading down like rain drops as a ceiling
fixture sways in the background. It looks
like a factory setting bathed in sepia tones.
The slow motion photography sets the sad tone. A pair of legs is shown
standing in the rain, the sparks seemingly having morphed in rain
droplets. The camera zooms in on a
hooded figure cupping his hands beggar style.
The figure is reviled to be Justin.
Things constantly go in and out of focus. The setting switches between a lonely hallway
and an indoor cemetery with skeletal looking dead trees. The frame seems to shake in unison with the
pulse of the beat. RZA stands in front
of a pile of old TV sets and confers with a hologram projection of ODB and the video
maintains a consistent visual motif of arms crossed in an embrace.
“Gone” isn’t particularly pleasant to listen to or look at,
but funerals are rarely pleasant occasions.
“Gone” wallows in sonic despair and sadness. The pain it expresses will never be eased or
erased. The RZA speaks of eternal life
and existence, yet the instrumentation offers the listener no respite from shadow
of death. “Gone” won’t be making any
radio or ipod Playlists, but it undoubtedly succeeds as a work of art.
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