By the year 2000, Outkast had very little left to prove to any but themselves. While their commercial peak would come with the 2003 release of their risky yet widely successful double album, Speakerboxxx/The Love Below, the duo of Big Boi and André 3000 had already covered plenty of ground creatively. Outkast had transformed into aliens for their futuristic sophomore, a jarring change of pace from the nimble Hip-hop of their debut, and went on to prove themselves as forward-thinking songwriters on the narrative-fueled Aquemini. All the while, the duo played a significant role in pushing this Southern sound into mainstream Hip-hop, proving that New York and Los Angeles aren’t the only two cities with a bubbling, colorful music community.
“The south got something to say” were the words belted out by 3000, a heartfelt statement that doubled as a warning shot to the genre Outkast holds near and dear to their hearts. This statement, and their undeniable music, solidified Outkast as forces of nature, both creatively and commercially, so when the millennium changed, the duo was truly only up against themselves. The only place to push their singular sound is deeper into its individuality, and that’s precisely what happened on Stankonia, their fourth studio album. Released on October 31, 2000, the monstrous, experimental effort began to hint at the duo’s hit-making tendencies, properly introduced André 3000’s melodic flows, highlighted Big Boi’s timeless lyrical ability, and proved that this duo is wholeheartedly unconcerned with anything but their own limitations.
The recording of Stankonia began in 1999 at Stankonia Recording Tree Sound Studios, a studio Outkast purchased in 1998. Is having this open space to call home and work in the cause of the sprawling, 24-song, psychedelic effort, or had Outkast simply grown bored with what they had achieved sonically? Stankonia is an album of questions, a collection of musical raised eyebrows at space-aged sonics with bewilderment yet intrigue. While Outkast had always dabbled in the experimental, these two dozen tunes redefine reckless abandon, as the duo throws caution to the wind and approaches their fourth LP with a defined prowess and an open mind.
Stankonia was released to wide critical acclaim, a rare moment where fans and critics unite over one album. The album received a 9.5/10 from Pitchfork, 4.5 stars from NME, and perfect scores from USA Today, The Guardian, and the Los Angeles Times. It debuted at number 2 on the Billboard 200 charts, certified 5x platinum in the U.S., and won two Grammys for Best Rap Album and Best Rap Performance by a Duo or Group for “Ms. Jackson.”
From the opening, searing guitars and rawness of “Gasoline Dreams,” to the nearly seven-minute psych-funk outro and title track, Stankonia is a wonderfully wild ride to the many corners of Outkast’s tireless creativity. With André 3000’s left-field melodics and Big Boi’s off-kilter idea of funk, the duo toed the line between radio aspirations and their own lofty visions. Sure, this tracklist features smashes like the unforgettable and still very much relevant “Ms. Jackson,” the fiery explosion of “B.O.B.,” and the sleek “So Fresh, So Clean,” three of Outkast’s most recognizable records. Still, the hits only tell a fraction of the story.
Deep-fried pieces of Southern Hip-hop like “Spaghetti Junction” and the Killer Mike-assisted “Snappin’ & Trappin’” prove that Outkast never forgot their roots, even through the acclaim and bright lights of stardom. “Red Velvet” is a slice of futuristic funk, while “Humble Mumble” is beautifully executed, innovative Hip-hop. Outkast did more than continue the momentum built by their first three albums here; they pushed the boundaries of Hip-hop into the new millennium and defined their range as boundless.
Stankonia, 25 years later, has proven to be timeless. Even in the midst of major genre shifts, constant battles for chart dominance, and shorter attention spans, Outkast’s fourth studio album is still as daring, refreshing, immersive, and infectious as the first time any of these 24 songs graced your ears.
