The Black Star show scheduled for Thursday May 16th at the Fox Theater in Oakland has been postponed. The rescheduled show date is Friday, May 24th. All tickets purchased for May 16th will be honored at the door for the new date. We apologize for any inconvenience!
$49.50 – General Admission Floor
$69.50 – Reserved Seating
$49.50 – Reserved Balcony
*plus applicable service fees
For an additional $50.00, you can opt in to upgrade your experience to include access to the exclusive Telegraph Room before, during and after the show!
Join us at The Den one hour before doors for food & drinks!
All doors & show times subject to change.
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Black Star
Black Star is an American Hip Hop duo, formed in 1997, from Brooklyn, New York. The duo is composed of artists, yasiin bey and Talib Kweli.
Black Star arose from the underground Hip Hop movement of the late 1990s, which was in large part due to Rawkus Records, an independent record label stationed in New York City. They released one album, Mos Def & Talib Kweli Are Black Star on August 26, 1998. The record received critical acclaim, but only moderate commercial success. Black Star (and other members of the Native Tongues Posse) helped shape underground alternative rap, bringing it into the mainstream. Both Mos Def and Talib Kweli’s solo careers have continued with both commercial and critical success.
Black Star’s content is deeply rooted in social consciousness and political issues. The project was released in the wake of the deaths of both The Notorious B.I.G. and Tupac Shakur, during which an adolescent Hip Hop culture suffered in the vacuum of iconic leadership provided by Smalls and Shakur. Black Star attempted to reconcile these tensions in their songs “Definition” and “Re: Definition” which share the same lyrics: “I said one, two, three / It’s kinda dangerous to be an emcee / They shot Tupac and Biggie / Too much violence in hip-hop, why-ooo”
Knife Knights
Knife Knights were born of the love of mystery.
A decade ago, Ishmael Butler—the architect of the groundbreaking but long-disbanded hip-hop group Digable Planets—was preparing at last to emerge from years of near-complete silence. He unveiled his new outlet, Shabazz Palaces, in the summer of 2009 through a pair of self-released EPs, surrounding his hyperlinked verses with webs of psychedelic textures and refracted rhythms. From the start, confidentiality seemed essential: Butler wanted Shabazz Palaces to stand on its own strength, not his outsized reputation, so he adopted a nom de plume for himself.
As the project’s network expanded, though, he needed new monikers for his partnerships. Knife Knights is the name he gave to his work with Seattle engineer, producer, songwriter, and film composer Erik Blood, a vital force in the Shabazz Palaces universe. Now, after more than a decade of collaboration and the development into of a rich friendship, Butler and Blood have made a proper full-length record together as Knife Knights: 1 Time Mirage, an eleven-track odyssey that finds the pair and a cast of their friends weaving together a singular world of soul and shoegaze, hip-hop and lush noise, bass and bedlam. 1 Time Mirage represents a playground for Butler and Blood, a free space for unfettered exploration, and a radically adventurous start to something much more than a mere production duo or side project.
Butler and Blood met in 2003 at a Spiritualized show in Seattle, introduced by a mutual friend who was soon set to record Butler in his studio. A Digable Planets zealot, Blood was floored, passing a bootleg copy of Blowout Comb to his friend for an autograph (which Butler dutifully provided). For the next few years, they’d run into one another by chance and sometimes make small talk about working together. When Butler finally sent him a few tunes to mix, the kinship seemed obvious and immediate. Though Butler had grown up as a hip-hop student, he’d started absorbing shoegaze rock and ambient soundscapes, too. Blood, meanwhile, was an ardent hip-hop fan who had always been an inclusive listener. On every Shabazz Palaces album, Butler and Blood have delighted at that artistic intersection, constantly indoctrinating hip-hop in new worlds of sound. “He takes my ideas and clarifies and pronounces them, helps me realize them,” explains Butler. “He helps me get to the essence.”
Recorded in three fertile sessions interrupted by Shabazz Palaces tours and Blood’s recording projects, 1 Time Mirage is a profound fulfilment of that partnership, realized at the crossroads of Butler’s and Blood’s mutual enthusiasms. Their shared interests have been split into pieces and fused together with enviable imagination. Take “Give You Game,” where Butler and Blood weave their distant voices through a landscape of synthesizers and drums that bubble up sporadically, like geysers. Marquetta Miller and THEESatisfaction’s Stasia Irons soon join, their round tones lacing around those sounds and giving them shape. It is an abstract anthem to astral love.
“Low Key” suggests a radiant daydream, with kaleidoscopic synthesizers and faded harmonies pirouetting over puzzle pieces of dizzying percussion and understated funk. “Can’t Draw the Line” rushes headlong like some narcotized disco fantasy, with its four planted firmly on the floor but Butler’s breathy voice and an armada of synthesizers stretching skyward. They splice doo-wop harmonies to scattered dub rhythms during “Light Up Ahead (Time Mirage),” hard-edged verses to industrial din during “ Mr. President.” Colossal drums puncture walls of labyrinthine noise sculpted from deranged synthesizers and mutated guitars during “Seven Wheel Motion,” an absolute powerhouse. Butler seems to rap in dialogue with himself, detailing a threatening streetscape and shaping the experience into personal realizations. “Smooth landings, queens in tandems, cash in grand sums,” he declares at one point. “Life is random/I roll the dice and bet on me.”
In the decade since Butler launched Shabazz Palaces and first christened his partnership with Blood as Knife Knights, much of that project’s external mystery has, of course, fallen away. And 1 Time Mirage is a very public step forward for the pair. That early sense of secrecy has given way to a spirit of friendship and creative candor, to the doors of experimentation being thrown open by old pals thrilled by the prospect of testing new ideas.
Still, these eleven songs retain a core of intrigue and, indeed, mystery; each listen reveals yet another connection between infinite and interlocking pieces. To wit, Robert Beatty’s brilliant cover for 1 Time Mirage depicts a futuristic vehicle, being coolly steered with one hand into some great, mildly ominous unknown. That’s how these songs feel, too—confident conquests of the dark that unlock sounds and spaces you have yet to imagine.
