Everyone in the known universe that's ever listened to music has heard at least one (but more likely three-to-ninety) Beastie Boys song. They've connected with nearly ever corner of the music industry, inspired by and passing on the torch to musicians in hip-hop, rock, punk, dance, funk, jazz, soul, garage, indie, and electronica. So where does the band that's done literally everything go for new cuts after a 25-year career? Back to the basics.
The Mix-Up is the Beastie's first record since 2004's Golden-Age throwback To the 5 Boroughs, and the trio decided it had been too long since they'd picked up their own instruments "" you'd have to go back nearly a decade to Hello Nasty. However, not only did Mike D, Ad-Rock, and MCA not use any drum machines or samples, but the trio ditched vocals altogether. Hells yeah. So if you couldn't ever seem to get enough of the funky instrumental interludes found on Ill Communication and Check Your Head "" like me "" then The Mix-Up is the best news a Beastie Boys fan could ask for.
Sure, The In Sound from Way Out! was a strong compilation of funky beats, but a majority of it could already be found on Ill Communication and Check Your Head. The Mix-Up, however, is completely fresh material, drawing from new, unique influences. While funk and soul act as the musical backbone on The Mix-Up, Mike D referred to the album as "post-punk instrumental" and "inspired by, everything from post-punk to Afrobeat to hip-hop to whatever," in an interview with Pitchfork. Subtle, some of these influences are, but they're significant in the final product, making The Mix-Up the Beastie Boys most subdued, relaxed album.
Lead track "B for My Name" accurately showcases what's in store for the rest of the album. In fact, the description I'm about to give can be said for practically every song on the twelve-track album: MCA's thick bass line carries the track, with support from Ad-Rock's juvenile guitar parts, and Mike D's basic but efficient drumming; the Beasties also add various toots, dings, and buzzes from long-time collaborator Money Mark and percussionist Alfredo Ortiz. But that's not to imply that the album is boring or repetitive by any means.
Motown, soul, and funk are the most dominant and common forces at work throughout, but each track has its own extra ingredient for variety. Latin influences surround "Suco de Tangerina" with background conga beats keeping the rhythm spicy. Post-rock and electronic flavors can be found on "The Gala Event," one of the album's most creative tracks, especially when remembering that it's from the same guys that recorded "Brass Monkey." Similarly, "Dramastically Different" is just what the title implies: a thick, meaty track featuring a sitar. "The Rat Cage" is lead by a bass line that initially might recall an early Beastie's punk song, but it's slowed down to a groovier tempo with sly drumming and mustache curling guitar licks that could and should be the theme song for a new detective movie starring Will Ferrell.
Lead single "Off the Grid" is appropriately the album's catchiest tune thanks to solid and equal contributions from every member including Money Mark and Ortiz. Its ass-wiggling, four-minute jam once again expands into more atmospheric realms than the Beastie Boys have ever gone before, while maintaining its pop sensibilities.
Although most of the tracks on The Mix-Up are dangerously similar, the album never gets stale, as the Beastie Boys were wise to keep every track between the three-to-four minute range. While this album is good, possibly really good, it still lacks a certain extra kick to take it into overdrive. But maybe that was the group's intention; we've seen the Beastie Boys "kick it" and go nuts for two decades, and now we can finally see a version of the band that'd be more suitable for a dark, smoky, hipster, jazz-lounge than a frat. After that much balls-to-the-wall party music, it was indeed time to mix it up with an album that induces more hookah-smoking than beer-bonging.
