The Sweet Smell of Stankonia

Throughout the history of recorded music, it's been normal for musicians to become artistically stagnant or incapable of embracing innovation after a few albums. In the ultra-breakneck evolution of hip-hop, there's a strong trend toward safety and an apprehensiveness to push boundaries that quickly turns former rap dignitaries into has-beens and can turn today's most heralded superstar into tomorrow's most forgotten relic.

Well, Outkast have never had any problems with innovation. In fact, they have virtually reinvented themselves at every turn. The next chapter in their ever-evolving eclecticism is the forthcoming Stankonia, a near-brilliant assertion of creativity and expressive freedom.

The single, "B.O.B." (Bombs Over Baghdad), is the complete antithesis of a radio-friendly single. This frenetically paced techno/metal/jungle/hip-hop hybrid is the absolute last thing you'd expect to hear from an established group, but it's still a guaranteed smash hit. This is the recurring theme throughout Stankonia-strikingly bold musical experiments that are actually pulled off.

Unlike Outkast's three previous efforts, there is no single overriding sound to Stankonia. Yet, shockingly, the album's sound still seems cohesive. From the neo-electro vibe of "Red Velvet" to the wailing guitars of "Gasoline Dreams" and the Prince inspired "Ms. Jackson," the only aural similarity between each of these tunes is the listener's eventual sonic satisfaction. Furthermore, all the songs are produced with live instrumentation, raising the bar for future hip-hop competitors.

Outkast get political on this album, too. Addressing the failure of hope in America, the chorus to the track "Gasoline Dreams" rants, "Don't everybody like the smell of gasoline?/ Well burn motherf-----, burn American dreams / The highway up to heaven got a truck on the tow / You full of fire and got nowhere go."

Despite the many successes on Stankonia, a handful of tunes restrict the album from reaching the classic status of its predecessor, Aquemini. "Call Before I Come" sounds more like the corny score to a Game Boy cartridge than a viable hip-hop track. It's simply the worst song Outkast has ever created. The boring "Snappin & Trappin" has absolutely no place on an album this artistically powerful. On an album with only 12 songs, even such sparse mistakes detract from the whole.

Despite the minor setbacks, Stankonia is an innovative, inspiring success that will have other artists rethinking their approach to hip-hop music. Now isn't that what artistic expression is really about?