OutKast - Aquemini

Big Boi and André 3000 are two of the most revered MCs in hip-hop, and when they were in tandem during the 90s and early 00s, they soared to legendary status with a run of albums that shook the genre down and rebuilt it in their image. The success of OutKast lies in the way they led hip hop listeners into new territories, sonically and thematically, and their exceptional lyrical ability allowed them to experiment with ease, knowing that hip hop heads would still be tuning in. What are hugely impactful records now were seen as risks upon release, such as the smoky, outlandish production on their previous record ATLiens, or André’s bold breakaway on Speakerboxx/The Love Below; the roots of Drake’s and Kid Cudi’s prosperities are stemmed in part from this album, as it set a precedent for male rappers singing and utilising pop music in hip hop. Aquemini, however, is the group’s third studio album, and captures them during the process of refining their sound while the rest of the world adjusts.

Aquemini features some of the best of OutKast’s timeless production that, through years of percolation from the Dungeon Family, would evolve into the high-flying Southern trap renaissance storming the world today. The South was struggling to make any dent or have sway in the conversation in the mid-90s - it was the West Coast, East Coast and everyone in between. But the collective quickly solidified Southern rap on the map, with a seemingly ageless binding of hip-hop, funk and R&B. This sound is brought to its most intoxicating extreme on the smooth funk jam of “SpottieOttieDopaliscious”, swirling together a narcotic beat with opiate percussion that shoot out like contraband fireworks. OutKast builds what feels like a musical institution in the 7 minutes they give themselves, fronted by an iconic and infectious trumpet hook, backed by André and Big’s hushed narrations of young men and women enjoying life’s indulgences and stealing time to the nightclubs in Atlanta.

OutKast further the concept of duality on this project, providing deep insight into two parallel artists that intertwine to bring out the best of their distinct traits. This idea is fully realised in the album’s title, itself a combination of Aquarius and Gemini, Big & Dré’s respective Zodiac signs. The swinging beat of the title track odes to this duality, encapsulating the laid-back style of Big Boi, through the milky, reggae-infused bassline, and the experimentalism of André, via the sly, airy guitar riff. Forwarding to the hook, it hammers the initially pessimistic message that “nothing is for certain, nothing lasts forever”, however, from this springs motivation in that life should be used wisely, since it is a limited-time offer. Elsewhere, the duo touch on an assortment of points and themes: religion, perspective, financial gain and character, the track is a complete example of how OutKast littered a song with seemingly individual pockets of wisdom that all add up to a central prophecy, a wholly unique method of lyricism.

As much as OutKast are beloved and eulogised for their rich storytelling, the strength of their storytelling and lyrical ability is salient. “Da Art Of Storytellin’” is a harrowing album centerpiece split into two halves, the first following their soul-infused formula of a well-nurtured beat and falsettoed hook, whereas the second stridently repents from this to maximise the emotional weight of the tale. Dré’s voice is twisted to a piercing degree, upping its intensity to level with an equally cutting subject matter. Every element is crafted to assist what the duo are spitting about: a woman who tragically succumbs to abusive situations, feeding into a wider analogy of how humans have damaged Mother Earth the same way. Tracks like these demonstrate the knack OutKast have for broadcasting issues in a personal light, and then zooming out to accumulate everyone into scope. With this ability and everything else that sums Aquemini up as an essential piece of hip-hop, it makes André 3000’s statement at the 1995 Source Awards all the more poignant -

The South got something to say, that’s all I gotta say.