When they first stepped out in the mid-90s, The Roots were regarded by many as an interesting but quaint novelty act. Although other hip-hop groups had used live instrumentation, The Roots were the first well-publicized, full-fledged hip-hop band, thus providing fans with a comeback when our culturally obtuse friends or relatives would say "rap isn't music." The Roots were also one of the first acts to speak out against the hip-hop tendency toward hyper-capitalism, a criticism which reached its zenith in the hilarious video for "What They Do". But, to paraphrase Biggie, things done changed in the hip-hop game. Now live musical accompaniment is becoming increasingly prevalent-- The Neptunes donned a backing band for N*E*R*D-- and while political consciousness is still an important component of hip-hop, it's hardly unique, and no longer en vogue in an increasingly conservative cultural climate.

So what are the pioneers to do when they find that their style has been played to the extreme by half-assed imitators? What any true artists would: Submerge themselves in the lab for three years and come out with a new, airtight sound, awash with challenging-- but not too challenging-- deviations from their formula. For Phrenology, The Roots supplement their trademark loose and light jazz palate with harder, more aggressive tones, eschewing their "organic" sound and using the studio as an instrument. On "Rock You", The Roots open with a snarl, as a jagged and spare arrangement backs Black Thought's aggressive flow. As with many songs on Phrenology, "Rock You" is accented by decidedly inorganic electro flourishes, with a noticeable absence of the smooth jazz keys that made hippie hip-hop headz cream their collective jeans back in the mid-to-late-90s. Unfortunately, the track contains album's weakest hook, with Black Thought screaming, "We will rock you/ Rock You!/ ROCK YOU!" Which is exactly what they do on the acerbic, 24-second Bad Brains knock-off "!!!!!!", a straight-up, raw-as-fuck punk track which I respect for its sheer boldness, even if that it had me covering my ears.

In sharp contrast, "Water" clocks in at well over ten minutes, and is perhaps the first clear cut example of mainstream prog-hop. For hip-hop purists, it's easy to dismiss this song-- which deals with former band member Malik B's struggle with addiction-- as needlessly bloated, but given its personal subject matter, it's understandable why ?uest and crew indulged themselves in a dark, expressionistic foray into the mindset of a drug addict. We can only hope that Malik gets the message.

But despite these two extremes, Phrenology can't be boiled down simply to superfluous experimentalism or a complete abjuration of their previous work. It manages to incorporate all the elements that have characterized The Roots' sound; they revisit the old-skool hip-hop template on the "apache"-laced "Thought @ Work", where Black Thought approximates the rapid-fire cadence of Kool G. Rap (one of many examples on Phrenology that have Thought switching up his flow to compensate for the loss of Malik B). For "WAOK (Ay) Rollcall", The Roots once again enlist Ursula Rucker to give a brief spoken word piece, in which she namechecks the architects of hip-hop culture. However, there's also the overtly political number, "Pussy Galore", which may be one of the most vapid, boring examples of political consciousness ever recorded by a major hip-hop group, and the weakest spot on the album by a long shot. Hopefully, it won't become another source of ammunition in Coca-Cola's campaign to represent/co-opt "real" hip-hop.

Structurally, there's the now-expected spoken word bit at the end (this time performed by the esteemed and controversial poet Amiri Baraka), and a hidden track featuring Talib Kweli. It's preceded by two red herrings, twenty-second-long tracks of silence, and followed by a brief techno burn that's sure to have fans scratching their heads. Like "What They Do" from Illadelph Halflife and "You Got Me" from Things Fall Apart, the current single, "Break You Off", is an obligatory three-word R&B; crossover number, replete with guest vocalist Musiq's nu-soul crooning, four cellists, a noir concept video, and a $300,000 budget. Despite the obvious radio pandering, it's a beautifully smooth and melodic song, featuring some of their warmest production ever.

To The Roots' credit, they utilize their guest appearances better than on any of their other previous efforts. "Seed (2.0)", a cover of a track from L.A. crooner Cody Chesnutt's recent Headphone Masterpiece, is the most immediately satisfying track on the album-- which is surprising, since it's an orgiastic garage funk number with a blazing guitar riff that feels lifted from Sticky Fingers-era Stones.

Regardless of how you feel about The Roots' aesthetic-- I tend to gravitate toward the traditional two turntables and a microphone hip-hop paradigm-- you have to give these guys credit for making an album that so successfully combines ambition and experimentation with accessibility. Phrenology completely realizes The Roots' talents and potential, maintaining its cohesiveness despite its many disparate elements. It's a stark rebuke to those who say hip-hop artists can't turn out solid full-lengths: For its few negligible missteps, Phrenology has more than enough momentum to sustain an uninterrupted listen.

-Sam Chennault, January 29th, 2003