The world of hip-hop has come to a dangerous crossroads. Driven by the idea of a message, hip-hop looked like it could do no wrong. We had Grandmaster Flash, Public Enemy, Run-DMC and most recently and Dr. Dre. These guys had something to say, something to prove and everything to lose. There was an element of danger, urgency and innovation in their music. Most importantly, there was a purpose. Consequently, in a post-September 11th world, hip-hop should be one of our saving graces.

Unfortunately, hip-hop is failing us. As the world has regrouped and stepped forward in the wake of the terrorist attacks, the rap world has taken the easy road.

Rather than liberating us with perceptions regarding the tragic events and thoughtful anecdotes to cheer us up, the majority of rappers have decided to bombard us with mindless party anthems. And while it does serve as a release, there needs to be some poignancy alongside the lunacy.

There are some exceptions. The most perfect is Outkast, who combines innovation with brilliance, churning out one funk-rap masterpiece after another. Listen to “The Whole World,” a reaction to September 11th, and try not to bob your head.

Outkast leads a class of rappers who give the bleak world of rap glimmering hope. Included in this list are the Roots, Jurassic 5 and, most recently, Slum Village.

Their latest, Trinity, is a theatrically themed collection of mature dance-floor anthems. Wearing Timbaland’s heart on its sleeve and a sense of pretension noticeably absent in rap, Slum Village leads us through 23 tracks of bloated beats and universal truths.

Though too long and often monotonous, Slum Village has crafted a soulful album, with each track referencing the past, present and history of the Detroit three-piece. At worst, they are a middle of the road Tribe Called Quest, but songs like “Hoes” and “Insane” point towards the future of this promising group.

Slum Village is mildly inspiring stuff, considering the genre’s current climate.