Not sure about the UK, but over here in North America, TVs were inundated with iPad commercials featuring the now famous piano-disco riff from Chilly Gonzales’ ‘Never Stop’. Gonzales is a Canadian born, France based pianist who has released a variety of albums including piano performances, rap records and remixes (not to mention collaborations with Feist and other notable performers). The Unspeakable Chilly Gonzales returns to his rap infused tunes, but with an orchestral twist. His catchy piano is seldom present, and is replaced by an auditorium of instruments that generate a score from a movie while he raps over top.

His opener, ‘Supervillain Music’, could be a musical cousin to the ‘The Emperor’s March’ from Star Wars; the track immediately establishes the foundation of the album. Gonzales’ lyrical style lies somewhere between a sedated Eminmen and an intelligent “Wierd Al” Yankovic; true to their forms, there is confusion whether to take The Unspeakable Chilly Gonzales seriously or if the album is intended as a farce of sorts. Gonzales definitely does not replicate the overly aggressive tones of hip-hop culture made famous in th US, though songs like ‘Party In My Mind’ features a rhythm and flow reminiscent of the genre even if his vocals refuse to match the intensity. Here lies a conundrum. The Unspeakable Chilly Gonzales is an orchestral hip-hop record which even pokes fun at the emptiness of the genre in ‘Rap Race’ only to follow it up with ‘Beans’. The opening lines set the stage for a comedic affair with “I count Beans / with a calculator / I’m busy now / can I call you later” over top an angelic like choral choir, yet Chilly elects to drop a few f bombs perhaps to maintain ties with the hip-hop world. The album as a whole induces the urge to both laugh or break stuff.

While you can debate the tone, there is no question this a genre busting attempt. Choral arias, plucked strings, harps, french horns, timpani, and an absence of beats or pounding bass-lines of any sort are juxtaposed with the demon child of lyrical rap. Chilly even questions his own art in ‘Who Wants to Hear This?’ recognizing that he is uncertain where this record would be played. Well, you can’t dance to any of this stuff so a club is out. Not sure a pop radio station would fit the bill as the album is sprinkled with references to female genitalia (and the act of unifying with it) and, for musical reasons, hard core hip-hop enthusiasts may find this a step beyond their comfort zone.

The Unspeakable Chilly Gonzales represents a shake up of the status quo in hip-hop culture. The record is sure to test the boundaries of an age old music system that requires radio airplay and traditional promotional methods for success. Given the changing shape of self promotion via an interconnected world, Chilly is certain to find his niche audience with his latest effort.