DE LA SOUL

and the Anonymous Nobody…

A spectrum of guest stars appear on De La Soul’s latest LP, and the Anonymous Nobody…, each from a disparate genre — grimy underground rap courtesy of Roc Marciano, mainstream G-funk-inspired hip-hop from Snoop Dogg, new wave via David Byrne, neo-soul from Jill Scott, alt-rock bestowed by Blur’s Damon Albarn and much, much more. That’s a testament to the veteran hip-hop trio’s popularity and, above all, their influence. But impressive as that range might be, some of the LP’s best tracks feature founding members Posdnous, Dave and Maseo all on their own. Prime example: “CBGBs,” a lean minute-and-a-half-long track with punchy percussion and to-the-point lyricism from the longstanding trio that reminds us all why De La are one of hip-hop’s top acts. Then there’s the latter-side track “Sexy Bitch,” which features thwacking percussion and brilliantly succinct one-liners about your heart being left “all tattered up.”

While they surpass expectations on these non-assisted tracks, De La Soul more than hold their own against superstar guests, bringing out the best in collaborators such as David Byrne on “Snoopies,” where the legendary Talking Heads frontman sounds as swaggering as “Thin White Duke”-era Bowie, heartily belting out a decadent chorus over a funky bass line and the De La members’ gruff spitting. Equally impressive is De La’s work with a more contemporary star, Usher, on “Greyhounds.” The R&B star’s sentimental singing isn’t overwrought, and works as an ideal counterpoint to the darkly toned song’s melancholy 808s and forlorn rapping. It’s clear, from the way De La push themselves to the way they buoy their more famous guest contributors, that the trio continue to defy the album’s title — even 25 years into their career, De La Soul are anything but nobodies. (A.O.I., delasoul.merchdirect.com/discography) KYLE MULLIN the main dynamic is the contrast between the crushing low-end chugs and the screeching high-pitched panic chords. The speed is, for the most part, consistent — consistently fast, that is, accentuating the anxious energy that feels like it’s about to derail at any moment. Instead, the songs barrel through brick walls, through crunching breakdowns toward the destination. Innate flows incredibly well, with multiple songs continuing over the track changes. “Seasons and Trials” is an extension of “Forfeit,” itself the continuation of “Open Vein.” That latter song provides the album’s sole tender moment before a sudden swell and scream end the song to jarring, powerful effect. With albums like this coming from young bands, the idea that metalcore stopped being good at the turn of the millennium can be put to rest. (Blood and Ink, bloodandinkrecords.com) BRADLEY ZORGDRAGER