The cracked flowerpot on the cover of De La Soul Is Dead wasn’t a mere visual; it was a rupture. The vibrant, swirling psychedelia of 3 Feet High and Rising shattered, replaced by this muted image of wilting daisies in a broken pot. Released in 1991, De La Soul’s second album arrived burdened by expectation, and their response wasn’t replication, but examination, interrogation, and a decisive move forward.

The opening “Intro” is a stage setting. A thread is introduced, a storyline of characters discovering a discarded copy of De La Soul Is Dead. This device allows the group to comment on their own public perception, the shifting currents of Hip Hop, and the very act of listening. It’s a playful, almost self-aware approach, as though anticipating the questions and criticisms that would inevitably arise. This sets up a framework that, while conceptually interesting, occasionally disrupts the album’s pacing.

Then comes “Oodles of O’s.” No grand entrance here, but a simple, almost hypnotic bassline emerges. It’s a groove that settles deep, allowing the rhymes to take center stage. Posdnuos, Trugoy, and Maseo deliver their verses with a precise, conversational flow. The words address the growing commercialization of Hip Hop, a shadow that hangs over the entire album. It’s not a furious condemnation, but a wry observation, a commentary on the pressures and allure of the industry.

“Talkin’ Bout Hey Love” brings a change in atmosphere. A sample of Stevie Wonder’s classic provides the bedrock, but it’s not a simple copy. The instrumental arrangement is intricate, with layers of sound that weave in and out. The track becomes a dialogue, a verbal exchange between Posdnuos and a female voice, exploring the complexities of relationships. There’s a touch of melancholy, a sense of searching for connection in a world that often feels disconnected.

“Pease Porridge” arrives with a distinct, almost antique quality. The sample evokes a sense of old-timey charm, creating a sonic texture that’s both familiar and surprising. The rhythm has a playful bounce, an energy that contrasts with the serious undertones of the lyrics. Here, De La directly addresses their public image, their “daisy age” persona, and the misunderstandings that surrounded them. They affirm their commitment to peace, but also make it clear they won’t be taken advantage of.

The skits return, short interludes that advance the story of the found album. While these moments contribute to the album’s overall concept, they also become a point of contention. Some are clever and humorous, others feel like interruptions, breaking the momentum built by the music. The sheer volume of these interludes, along with other short bits, contributes to the album’s substantial length, which, at nearly 80 minutes, can feel taxing.

“Johnny’s Dead AKA Vincent Mason (Live From the BK Lounge)” takes a sharp turn into the unexpected. The recording quality is deliberately rough, like a worn-out cassette tape. The track presents itself as a live performance, complete with background chatter and stage ambiance. The song itself is a dark tale, dealing with violence and its aftermath. It’s delivered with a darkly comedic tone, but the underlying message is unsettling.

Then, a jolt of pure energy: “A Roller Skating Jam Named ‘Saturdays’.” This track provides a necessary dose of levity. The instrumental is pure funk, with a driving rhythm and an irresistible groove. It’s a celebration of weekend release, a reminder of simpler pleasures. The energy is contagious, making it one of the album’s most immediately appealing moments.

“Bitties in the BK Lounge” uses a sample from Lou Donaldson, creating a smooth, jazzy backdrop. The lyrics take the form of a humorous exchange between a fast-food worker and a customer, offering a lighthearted observation of social interactions. It’s a welcome breather after the darker tones of previous tracks.

“My Brother’s a Basehead” directly confronts a painful reality: drug addiction. The instrumental is stripped down, placing full focus on Posdnuos’s words. His delivery is direct and honest, conveying the pain and frustration of watching a loved one succumb to addiction. It’s a raw and emotional portrayal that avoids easy answers. “Let, Let Me In” takes a more playful approach, exploring themes of desire and attraction. The instrumental has a driving rhythm, creating a sense of urgency. The track is lighthearted, yet contains a subtle undercurrent of tension. “Afro Connections At A Hi 5 (In The Eyes of the Hoodlum)” continues the exploration of different sonic textures, blending funk and jazz influences. The lyrics touch on themes of identity and cultural heritage.

“Millie Pulled a Pistol on Santa” is a stark and disturbing piece. The subject matter, child abuse, is handled with a raw intensity that’s both difficult and necessary. The instrumental is stark and unsettling, creating a sense of unease. It’s a track that leaves a lasting impact. “Who Do U Worship?” contrasts sharply, with an abrasive and chaotic instrumental. The lyrics, delivered from a disturbed perspective, explore themes of violence and nihilism. It’s a challenging listen, intended to provoke and unsettle.

The album continues with “Kicked Out the House,” incorporating elements of house music. “Pass the Plugs” offers a moment of reflection, with a melancholic instrumental. “Ring Ring Ring (Ha Ha Hey)” addresses the frustrations of dealing with unsolicited demos, with a catchy and upbeat instrumental. “Shwingalokate” explores more experimental territory, with unusual sound effects and a disjointed structure. “Fanatic of the B Word” features guest appearances, adding another layer to the sound. “Keepin’ the Faith” takes a more traditional Hip Hop approach.

The album concludes with a final skit, closing the storyline. The characters discard the album, deeming it lacking in the elements they associate with Hip Hop. This ending serves as a final commentary on the album’s themes, questioning the very definition of the genre.

De La Soul Is Dead is a complex and ambitious work. It retains De La Soul’s signature creativity and wordplay while venturing into darker territory and a more challenging musical landscape. The album’s structure, with its recurring skits and diverse musical styles, creates a rich and engaging experience, but the sheer number of interludes and the album’s length can hinder a smooth and continuous listen. While conceptually strong, the constant interruptions can disrupt the flow of the music.

Following the passing of Trugoy the Dove in February 2023, the album takes on a new layer of poignancy. With its complex themes and innovative approach, De La Soul Is Dead remains a significant part of his legacy, a reminder of his artistry and his impact on music. It is a work that continues to resonate, not only as a snapshot of a particular moment in Hip Hop history, but as an exploration of artistic growth, the pressures of expectation, and the ever-shifting landscape of music itself. It is a complex, layered, and ultimately rewarding experience.