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"M.D.M.," which we're told at the end of the first verse stands for Modern Day Media (don't feel dumb; it's not an abbreviation in common parlance) is a topical stance against news and social media outlets pushing false narratives. Rather than calling out names, it makes both the more general and nuanced point that the risk isn't just the obvious danger of believing and acting on obviously fake news, but how the proliferation of disingenuous takes can subtly shift the Overton Window to mislead even the savvier among us. Or perhaps worse, it'll still reach the strongest holdouts through the society we share:
"False media, welcome to reality, a gallery of flattery based on big salaries ... Liberal views are extinguished invisibly. Newspaper editors, now trained predators, brainwash a nation with lies and sedatives. Alternative truths through arguments reduce. Experts arrested while the rest are seduced ... Soon public policy plops from the sky like astronomy."
This song has D venturing a little further than usual into Public Enemy territory, and that's definitely not a bad thing. D's delivery is a little more aggressive, and Djar One's loud, fast-paced guitar loop and horn stabs definitely feels like a blend of the lusher musicality we're used to from B-Line family (although technically, this 7" is being released by AE Productions) and the sort of thing Terminator X used to cook up. I mean, it's an obvious connection to make, since the hook literally features Specifik cutting up some classic "Don't Believe the Hype" vocal samples, so no points for me there. But the connections definitely run deeper.
If I had a complaint, and I guess I do, it's that the busy instrumental competes with the vocals making it hard to follow the lyrics. Like, if I were to attempt to transcribe the whole song, I'd have several "[??]"s, which would be less of an issue with a simpler or more cliched song where we can fill in the predictable blanks even when we miss a syllable here and there. But when it's fast paced and complicated, any little hiccup can make you lose the thread. And this is a compelling topic where you absolutely want to get every detail, so it can be a little frustrating. On the other hand, I don't think I'd want them to lessen the impact of the instrumental, so maybe I'm just saying an acapella track or even a lyrics sheet would've been nice. You know, you only need to be told once that Erick Sermon's saying "Samurai Suzuki" to hear it right in your head for the rest of your life, but until that day, it's like a little jolt of static constantly disrupting the message.
Anyway, the B-side, "Time Waits For No Man," is Djar One's take on a six year-old track, originally produced by Phil Wilks. In fact, it was D's first 7" single (as opposed to his previous 12"s), which I wrote about here. It's a fitting companion to "M.D.M." as its themes feel more timely than ever. Sonically, Djar One swings in the opposite direction, giving this one a calmer, more mellow vibe than the original, with slower drums and a dominant funk guitar loop. Specifik's cuts seem to be the same ones from the original version, where they may've felt a little more at home, but they still work just fine here. Pushed to choose, I do prefer the original, but this one's different enough to stand on its own. And again, paired specifically with "M.D.M," it does form a cohesive whole that's somehow more than the sum of its halves.
If you're only in the market for escapism during this lockdown, this may not be the record for you. This is for audiences who want their art to stand up and look them in the eye. And like I said, the physical record's an attractive product in its own right, with a stylish picture cover. It's a small hole 45 and as you can see above, also comes with a sticker. If you've been collecting Whirlwind D records all along, this definitely isn't the one you're going to want to miss out on. And if you haven't been checking for him yet, you might want to give this one a cursory check just for its immediate cultural relevance.
