If Fugazi is for the bearded used-to-be punx, and Wu-Tang is for the children, then Wugazi is for the children of the bearded used-to-be punx. #logic
If there ever was a quintessential D.C. band, it was Fugazi. D.I.Y to the core and ever evolving in sound, Fugazi breached the gap between unpolished, angst-filled punk and art. If ever there was a band to lay the beats to a Wu-Tang Clan album, Fugazi would also be my ÛÒ and assumedly many other’s ÛÒ last thought. But, after a few lists to 13 Chambers, this summer’s hyped mashup album from Minneapolis musicians Cecil Otter and Swiss Any, Fugazi seemed like a perfect match.
When you think mashup records, Girl Talk and DJ Danger Mouse’s career-launching The Grey Album come to mind. Combining the work of two artists with contrasting styles is what mashups are all about ÛÒ it makes them somewhat of a novelty, something not to be taken to seriously unless its good enough to take seriously. I think that’s what gave The Grey Album such relevance and staying power, but Wugazi? I was skeptical.
Not unlike Dangermouse’s pairing of the Beatles and Jay-Z, Wugazi and 13 Chambers is an ironic pairing ÛÒ two bands with much overlay in recording and touring history ÛÒ unlike the latter ÛÒ but you’d never see them on the same concert bill.
Fugazi and Wu-Tang seem even further removed, at least ideologically, when you consider the differences between the Fab Four and Hova. Fugazi’s frontman Ian MacKaye is famous for his coining of the term straightedge. Method Man ÛÒ his stage name, a reference to marijuana ÛÒ and the rest of the Clan notably tout their love for life’s indulgences and (often) illegal activities. There could be stranger pairings, I guess. Someday there might be a Kanye West and Taylor Swift record. I’m making the prediction it’ll be titled Eighth Grade Dropout.
Anyways, back to WugaziÛ_.
13 Chambers has a number of standout tracks from beginning to end. “Sleep Rules Everything Around Me,” the record’s opening song and initial teaser track that surfaced on the Internet, is easy flowing mix of the Clan’s classic “C.R.E.A.M.” layered over the somewhat obscure Fugazi track “I’m So Tired,” a somber piano ballad from Instrument Soundtrack. This seems to be the formula for most of 13 Chambers’s musical pairings: Wu-Tang singles and “famousÛ-ish verses with low-key Fugazi instrumentals, many from Instrument Soundtrack or later records in their discography. “Nowhere to Wait,” is another notable song. RZA’s harsh vocals from the Gravediggaz’s 90s banga “Nowhere to Run, Nowhere to Hide” blends really well with Fugazi’s classic “Waiting Room.Û
This brings up another interesting part of the record: Otter and Andy’s use a wide variety of Wu-Tang lines, often from its member’s solo records and side projects. Why did no Minor Threat, or Evens, or Rites of Spring tracks make the cut? I guess Minor Tang just doesn’t sound as good as Wugazi.
So, what is MacKaye and the rest of Fugazi’s opinion on their pairing with Wu-Tang Clan? I don’t really know. As artists that have seemingly always supported one’s individual license for creativity in art, I think they’d support the effort, not necessarily the music. MacKaye has presented a contradicting view on hip-hop ÛÒ calling it a descendent of punk rock, while also stating distate the more hardened hip-hopers that glorifying the gansta lifestyle. I’m guessing he’s probably not a Wu-Tang fan. Still, check out 13 Chambers. It’s a fun listen. Seriously.