Hope in Dirt City

Upper Class Recordings
Release date
29 May 2012
Running length
11 tracks
Running time



    Track     Duration Listeners
1 Cadence Weapon - Get On Down 2:00 1,933
2 Cadence Weapon - Conditioning 3:00 3,700
3 Cadence Weapon - Jukebox 2:52 1,709
4 Cadence Weapon - Cheval 2:27 1,704
5 Cadence Weapon (feat. Buck 65) - (You Can't Stop) The Machine 3:19 4
6 Cadence Weapon - No More Names (Aditi) 3:37 1,353
7 Cadence Weapon - Small Deaths 2:54 1,327
8 Cadence Weapon - Hype Man 3:55 1,317
9 Cadence Weapon - There We Go 5:29 1,115
10 Cadence Weapon - Crash Course for the Ravers 4:22 1,175
11 Cadence Weapon - Hope in Dirt City 4:24 1,188

About this album

Cadence Weapon continues to firmly establish his legacy as a sonic pioneer while constantly pushing the rap and electronic music envelope. Following his critically-acclaimed, Polaris Music Prize nominated albums Breaking Kayfabe and Afterparty Babies and a two year term as Edmonton’s Poet Laureate, he returns with a brand new album, Hope In Dirt City out on Upper Class Recordings on May 29th.

Deemed by Dazed and Confused as “hip hop’s savior”, Cadence Weapon is changing the game. Hope In Dirt City is a clearly defined and emotionally mature statement of intent that represents the culmination of these experiences. Pemberton applies an interesting approach to production using samples as a foundation for writing the album, then working with live instrumentalists to reconfigure his original compositions. Pemberton then turned the band-recorded tracks into samples for the album to “achieve a listenable, honest approach to integrating a live band into his setup”. “I wanted to have a live feel, but I didn’t want to sound like the Arsenio Hall band,” Pemberton told Paste. “I wanted to make it ambiguous between where the sample ends and the live band begins.” Referencing his album’s first single “Conditioning” Pemberton goes on to say, “Originally it was a drum machine demo, I wanted it to be a Bo Diddley song. I basically have a band play it as a rock song, then when I took it home, I switched it into half time and turned it into a hybrid-blues track.”

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