Yasiin Bey's The Ecstatic is a powerful return from digital exile, a testament to the enduring nature of art and its ability to transcend the confines of the digital realm. This album, released a decade after its initial release, showcases Bey's unwavering commitment to his artistic vision and his refusal to compromise with the exploitative economics of the music industry.
What makes The Ecstatic truly remarkable is its global reach and its disregard for musical borders. The album is a well-traveled passport on wax, bearing stamps from every corner of the world. Turkish psych-rock, Lebanese fusion, Bollywood playback, Brazilian funk, and classic American soul are all woven together by some of hip-hop's most inventive beatmakers.
The album's political undertones are evident throughout, with references to Malcolm X, Fela Kuti, and the Iraq War. Bey's lyrics are a call to action, a rallying cry for change and a rejection of the status quo. The album's impulse for thrifting isn't confined to sound; its red-washed cover image of a boy leaping between rooftops was lifted from Charles Burnett's 1977 film Killer of Sheep, a portrait of Black working-class life in Watts.
The Ecstatic is a testament to the enduring nature of art and its ability to transcend the confines of the digital realm. It is a powerful statement about the importance of artistic integrity and the refusal to compromise with the exploitative economics of the music industry. As Bey himself said, 'I, for one, will join in with anyone — don’t care what color you are — as long as you want to change this miserable condition that exists on this Earth.'
In my opinion, The Ecstatic is a masterpiece, a testament to the power of art and its ability to transcend the confines of the digital realm. It is a must-listen for anyone who values artistic integrity and the refusal to compromise with the exploitative economics of the music industry.
