RJD2’s “The Colossus” Puts the Listener on an Unenjoyable Ride

Ramble John Krohn, the producer and melodic beat maker known as RJD2, is a phenomenon that could only be possible in the 21^st century. His music is heavily reliant on popping bass drumbeats and snares in coordination with a variety of electric synthesizer sounds, as well as samples from other songs, old movies, 1970’s TV shows and even random bits of Spanish. In other words, there’s no transcendent Bob Dylan songwriting or complicated musical composition to be found here.

However, RJD2 has always had a knack for creating his futuristic beats in a way that’s more mysterious and thoughtful than many DJ/Producers (see his eerie 2002 hit, “Ghostwriter”). With his new album, “The Colossus,” he has stayed true to that same spooky style, but there are just aren’t enough songs of substance. While there are a few tracks with enough of a jolt to keep a listener riveted, parts of the album merely drone along with the feel of a dance club at three a.m. after everyone has left. Ultimately, “The Colossus” is somewhat like the cheap electric rollercoaster from the county fair, as there are at least a few fun parts, but the problem is that it doesn’t move very fast and tends to break down mid ride.

In fact, the coaster doesn’t really pick up any speed until the sixth track, “A Spaceship for Now.” A couple of the album’s earliest songs, “Let There be Horns” and “Games You Can Win,” are decent for about the first minute before the sheer repetitiveness of them sets in. “Spaceship,” however, begins with menacingly stacked minor tones that lead into what can only be described as an orgy of metallic drum noises. The song continues with more mechanical sounds reminiscent of a spaceship door opening to snatch up some unsuspecting earthlings. This all culminates with a soaring high note, which to me meant that the spaceship had launched to take the aliens back home.

Sadly, aside from “A Spaceship for Now,” there were only two other songs on the album that I’d truly classify as more than just filler tracks. Since RJD2’s music is so beat heavy, I found myself wishing throughout the album that he would feature some talented rappers or singers to complement his sound. While his songs are similar in structure to electronic groups like Daft Punk and The Avalanches, many of his beats have an extra bump that’s more hip hop than electronic, and would lend itself well to rap. “The Colossus” does have a guest appearance from a couple of relatively unknown rappers, but only for one song, and their rhymes sound grating and unimaginative.

I also noticed that RJD2 has a tendency to close out his songs in creative ways, but these endings often feel like a loop-de-loop thrown onto the end of “The Logger’s Revenge.” An example of this is the last track, “Games You Can Win (Nicolay Remix),” which ends with a fluent combination of a real piano and several voices singing in harmonious, cathedral-like tones. It’s a shame, because the average listener would probably skip to the next song before reaching the hidden gem about four minutes in.

The other two songs worth listening to on “The Colossus,” “The Shining Path” and “Crumbs off the Table,” shine through with the perfect blend of RJD2’s computerized sound and real instruments. “The Shining Path” swings along to a triplet waltz on the drums, almost like a Kansas City shuffle, along with a thudding bass line and lyrics sung by RJD2 himself. His vocals sound a bit like CeeLo of Goodie Mob and Gnarls Barkley, especially on top of the electric beat.

“Crumbs off the Table” is undoubtedly the most expressive and varied song on “The Colossus,” featuring trumpets, saxophone and electric guitar. Unlike the rest of the songs on the album, it includes funky solos from these instruments, along with an electric keyboard. But unfortunately, as I mentioned earlier, these solos don’t show up until the last minute of the song.

Overall, “The Colossus” is a solid, constantly rhythmic album that any fan of electronic music will be able to pull tracks from and enjoy. But as a cohesive and complete album, there’s just a few too many short circuits and interfering signals for the coaster to stay on track.