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The new release from Immortal Technique, hip-hop’s most implacable class warrior, thoroughly links local and global struggles. Tom Jennings nods his head enthusiastically Globalising Ghettocentricity. Music review – Tom Jennings Harlem-raised after his family fled Peruvian civil war, Immortal Technique’s misspent youth included incarceration for violent offences, wherein he honed his hip-hop flow before redirecting rage onto rivals, winning open-mic contests across New York and further afield. So far, so classic ‘boy from the ’hood done good’ – except for the parallel awakening of revolutionary class-consciousness translated into the most explicitly political rap recordings yet. From the get-go favouring precarious autonomy over commercial straitjackets – McJobs paying for studio time, handling distribution personally – Revolutionary, Vol.

1 (2001) heralded his agenda in the ‘Poverty of Philosophy’: “My revolution is born out of love for my people, not hatred for others. As different as we have been taught to look at each other by colonial society, we are in the same struggle and until we realize that, we’ll be fighting for scraps from the table of a system that has kept us subservient. I have more in common with most working and middle-class white people than I do with most rich black and Latino people.

As much as racism bleeds America, we need to understand that classism is the real issue. Many of us are in the same boat and it’s sinking, while these bougie motherfuckers ride on a luxury liner, and as long as we keep fighting over kicking people out of the little boat we’re all in, we’re gonna miss an opportunity to gain a better standard of living as a whole. You cannot change the past but you can make the future.” The debut’s burgeoning buzz prompted distro collaboration with independent labels for 2003’s Revolutionary, Vol.

Also far exceeding sales expectations, this was swiftly followed by Viper Records’ establishment to regain self-control. Apart from legendary single ‘Bin Laden’ (with refrain: “Bush knocked down the towers.”), Immortal Technique concentrated on consolidating talent like producer Southpaw and MC Akir, whose Legacy is the best hip-hop album in years.* At long last, then, a new album – The 3rd World, produced in mixtape fashion by Green Lantern (formerly house DJ for Eminem’s Shady Records) – continues Tech’s maturation, adding contemporary hip-hop styles to raucous minimalism. His vocals too have greater texture and engaging thoughtfulness than prior default tenors juggling psychotically omnipotent bragging and sneering hectoring when dropping political science. Both doubtless suit MC-battling but can become soporifically monotonous – militating against appreciating his prodigious lyrical dexterity astutely condensing contrasting levels of analysis into each theme with ferocious wit and insurrectionary wisdom. The 3rd World’s concept relates “the streets here in the US to those around the world”. Moreover, in terms of cultural production, “the struggles of developing countries. Are mirrored within the rap industry.