Earl Sweatshirt has had quite the year in his own rite, even if, by the sounds of his latest album, it’s been a lonely one. Plucked from 2015’s I Don’t Like Shit, I Don’t Go Outside, “Off Top” is a somber ballad set to uneasy and fuzzy production where Earl is probably the most transparent we’ve ever seen him. The California emcee drops bar after telling bar outlining the changes that his life has seen, in terms of his music, family life, and fame. My personal favorite, and what perhaps sums up Earl’s feelings the best, is near the end of the track when he tackles the hype that is stapled to any music he releases: “I’m only happy when there’s static in the air ’cause the fair weather fake to me.”
Enjoy Earl’s Beavis and Butthead/Schoolhouse Rock-esque visuals below.
Over the past couple of years Adult Swim has prevailed as a surprisingly dependable and competent source for nice-ass Hip hop music. Just last year we were gifted gems such as “Coupe” from Future and “Oh My Darling (Don’t Cry)” from Run The Jewels, but we are real lucky to be getting the tracks that we are this summer. In the coming months we can prepare for joints from Shabazz Palaces, DOOMSTARKS, Flying Lotus, and another from Run The Jewels, but today we have the track I was perhaps most excited for: “Worth It”, brought to us by the collaborative efforts of Detroit rapper Danny Brown and producer extraordinaire Clams Casino. The two combine in a strange yet cohesive way to make “Worth It” the track to send a jolt of energy through your slow Monday. Peep their track below and let us all be thankful for Adult Swim‘s benevolence and altruism.
LBC emcee Vince Staples returns two weeks after the release of his studio full-length debut with a music video for one of our favorite tracks, “Norf Norf”. The track, produced by the one and only Clams Casino, paints a vivid picture of his hometown of Northside Long Beach. We’ve grown to love Vince for his haymaker bars that are as artistically poignant as they are ruthlessly blunt, but this track off of Summertime ’06 brought it to a different level. As I wrote in my review for the project as a whole (which you can peep here), this track combines an excellently murky, almost sinister and foreboding instrumental with Vince’s staple stoic lyricism. The song as a whole is great, but what punctuates it is a bar that summarizes what this song is about, the unending and uncaring need to persevere in a hostile and problematic environment: “folks need Porsches, hoes need abortions, I just need y’all out of my business.”
Compton hype-rapper YG sent a shockwave of anticipation through the Hip Hop head community when he posted this picture on Instagram with the caption “#STILLKRAZY “ALBUM KOMING SOON””. Last year YG released his debut album entitled My Krazy Life, which surprised just about everyone whose ears it crossed. Personally, I really didn’t expect a rapper like YG to rally to put together an album that was as carefully-constructed and seemingly timeless as it was — I will still throw on the project once a week, if not more often. Here, premiered by FADER, we have “Twist My Fingaz”, our first single to MKL‘s quickly approaching follow-up. Instrumentally, the record harkens back to Compton classics with its Funk-centric keys and modulated background vocals which blends into an eclectic mix for YG to hop onto. Our emcee, still braggadocious and red-blooded (pun unintentional), stays putting Bompton on Rap fans’ radars and we are excited to see if Still Krazy will be as monstrously successful as its predecessor.
Listen to the fresh single below, and get ready for the full-length that is to follow. Enjoy.
Plucked from their rapidly approaching full-length Evermore – The Art of Duality, the Beast Coast duo of Issa Gold and AK the Savior release a solid single to hold-over those hungry for more Underachiever raps. We already know that these two can swap verses like no one else can right now, so the fact that this track flows well between them is nothing too shocking. What I do think is of note in this song is how hungry both of these dudes sound. They aren’t unfamiliar with a little bit of ferocity in their flow, but “Take Your Place” exhibits something more. They are really hitting these bars hard, which pairs well with a flashy, thumping beat. Props to UA: I wasn’t too big of a fan of their last release, but this single tells me that they have moved forward into a place that I can really dig.
There is a lot to say about this album, and to entice you to read further I can say it’s the realest competition that Kendrick has gotten this year opposing To Pimp A Butterfly in the album of the year race. Before going into the project, some light can be shed from what Vince posted along with the album art, and it serves as a powerful and sobering preface for the album itself:
Love will tear us apart. Nov 30th, 2005 was the beginning of the loss. The following summer multiplied it. Beaten paths, crowded with the hopeless. Same song every day, listening to the words of a dead man destroyed by his own mind and body. Why? Because at the end of the day we’re all dead anyway. At least where I come from. Love tore us all apart. Love for self, love for separation, love for the little we all had, love for each other, where we came from. Jabari, Chris, Shard, Tom, Richy, Tyson, Tony, Shelly, Phil, Marcel, Brandon, Steve, Jaron, Tay. Too many to name, too much to forget. Some lost to prison, some lost to Forest Lawn, some turned snitch. Some still here but it will never be the same. Bandanas, Stealing Levis and Nike Sb’s. Derringers and Sidekicks. Its crazy how little you notice and how greatly those things impact. Summer of 2006, the beginning of the end of everything I though I knew. Youth was stolen from my city that Summer and Im left alone to tell the story. This might not make sense but that’s because none of it does, we’re stuck. Love tore us all apart. Summertime ’06, June 30th.
Onto the review for Vince Staples’ debut album Summertime ’06.
I should start this by saying that I’m a big fan of Vince. His body of work has continuously impressed me, caught my attention, and become some of favorite Rap music. I’ve reviewed a couple of his projects in the past and if I can say anything it’s that he’s been one of the most consistently solid emcees in today’s rap game. And I don’t to stand too proudly on my soap box, but I really think he hasn’t been getting enough credit for it. His career properly started with Shyne Coldchain Vol. 1 which exhibited a Vince Staples showing his potential on short-and-sweet tracks like “Progressive”, “Trigga Witta Heart”, “Versace Rap”, and “Hostile”. Following that in 2012 landed Winter In Prague, which, in retrospect, is the only real misstep for Vince in his career. Moving on from that we had Stolen Youth in 2013. This was a mixtape entirely produced by Mac Miller under his pseudonym Larry Fisherman, and this was a collaboration that gave the project a well flesh-out sound. This was also a growth period for Vince where he really started rapping like he meant it while simultaneously showing his reach by assembling an impressive cast of features to fill out the release. Vince’s lyricism also came into focus on this mixtape, being bookended by the bars “live from Delusion, die on the street or reside in the ruins” and “swinging like T Wood tryna earn my stripes, yeah that uppercut will fuck him up so say goodnight”. It was an impressive outing; admittedly less personal than Shyne Coldchain but very impressive nonetheless. Then came 2014 where Vince started gaining some mainstream traction by staying on his grind and continuing to work out any kinks from his sound. That year we got the sequel to Shyne Coldchain and later his major label debut in Hell Can Wait, which was released via Def Jam. I mentioned this in the year end wrap-up post but the EP that Vince put together in Hell Can Wait bubbled up to the surface and solidified as my personal favorite project of 2014. Shyne Coldchain Vol. 2 was great and “Truck Rattle” may be one of the literal best songs I’ve ever heard but there was something very universal about Hell Can Wait. It may be the beats, the album art, or the stark, macabre, yet relatable lyricism — probably a combination of the three — but everyone I showed the EP to loved it and wanted to know more. Luckily there was more to show them, being that to this point Vince has only released one subpar project with the rest of his career being just as impressive as this. So, with plenty of build-up, both hyped-wise and in thematic terms with Hell Can Wait‘s story arch, we have Vince Staples’ debut full-length album, Summertime ’06.
I had a really strong feeling that this album would be great, but I could never have predicted that Vince would drop an album that is this special. From the first time I gave the album a spin and the woozy knocking of “Ramona Park Legend Pt. 1″ filled my headphones and it was punctuated by the full-stop of a gun shot at the end of the record it was clear we were in for something more than just good. Stylistically, this album is a black sheep of sorts in today’s Hip hop landscape. Vince started this trend by releasing Hell Can Wait and finding his perfect combination of influences and talents and added an element of intoxication on this album. This pairs very well with his versatile loose-cannon rap style which he has been sharpening to this point. To start with his rapping, though, being that it still prevails past the great beats and solid atmosphere of this album as its shining feature, we really need to talk about Vince’s lyricism.
As the name of the album itself suggests, Vince is rapping from the perspective of himself during the summer of 2006. If you haven’t been keeping up with Vince in his interviews, let me tell you why that means so much and packs every single haymaker bar with even more emotional weight. Vince’s previous project Hell Can Wait was about the previous summer, before 9th grade, and continues up until his friend was murdered. The time is significant; this was a very different attitude than what we have heard from Vince thus far. As Vince has recalled himself, the rapping on the EP was from the perspective of a scrawny kid who was going into high school with a backpack that was too big and a mindset that was too high-risk. He was a young kid who was hanging out with the wrong group of dudes and was growing up in the wrong neighborhood. The perspective of a teenager is a good one for art, being that it’s such a tragically and necessarily flawed time of life. Vince used it well and the point-of-view rapping was executed incredibly with stories of drug-dealing fathers, police corruption, being entrenched in the gang lifestyle, and young love that wasn’t quite ready to blossom properly. It was also the first time that we heard a Vince Staples project with a sort of narrative thread, which noticeably improved his already stellar artistry. This is something that continued onto Summertime ’06, which we now see serves as a grand, fleshed-out coming-of-age story that Hell Can Wait was merely a prologue to. This, my music-appreciating friend, is where the gross majority of Summertime ’06‘s successes lie, its message. This album’s narrative starts almost right where the EP left off, beginning with a moment that changed Vince’s life.
A lot of people are pointing this out, but it’s important: Vince is playing the villain that you cannot help but root for on this album, and he does it really fucking well. This is a Vince who doesn’t live to impress his circle of friends or prove that he’s mature by acting older than he is anymore; this is a young man who is scraping as ferociously as he can towards survival. Vince’s nuance as an emcee goes deeper than that, however. This is an album that lyrically reflects the stresses, coping mechanisms, and escapes of a teenager who was forced into maturity past his years. Now, let’s address some of the specifics. There are three tracks I’d like to focus on here: “Norf Norf”, “Señorita”, and “3230”.
“Norf Norf”: Set to a heavy, murky instrumental constructed by the beat-virtuoso that is Clams Casino, Vince paints an image of the grisly gang lifestyle he is surrounded by that is so beautiful you’d think the young emcee has an art degree. Vince is prideful of his soil, which sets him apart from the artists like Kendrick Lamar who justifiably point out what the hood hasn’t done for them far before what it has done. I would compare Vince here to a YG or a DMX, those being rappers who have made careers embellishing and romanticizing the gang-banging lifestyle (see “Bompton” and “Ruff Ryders’ Anthem” respectively), but Vince isn’t so heedless. He tells it like it is exclusively — as I’ve put it before, Vince has a certain eloquent bluntness to his raps — and this stoicism gives this portrait of the LBC on “Norf Norf” a lot of depth. Vince’s lyricism obviously shines here, but what punctuates it is a bar that summarizes what this song is about, the unending and uncaring need to persevere in a hostile and problematic environment: “folks need Porsches, hoes need abortions, I just need y’all out of my business.”
“Señorita”: Fitting into the cross section of its survivalist tone and younger, some would say juvenile perspective rapped from on this album, Vince does a whole lot of chest-puffing and muscle flexing on Summertime ’06. What separates Vince from the herd of other rappers who abide by the “I wish someone would try me” mentality is that he is a very believable antagonist. To add to this he’s also scarily confrontational, which plays out well in the first verse of “Señorita”: “fuck ya dead homies, run ya bread homie / got some lead for me, I’m on Artesia, parked in my Bimmer bumping my own shit”. To explain it in different terms: if you’re so brazen to want to run up on Vince, he’s courteous enough to tell you his exact location, which in this case is parked on Artesian Boulevard in his expensive car listening to his own music (which is an image that is too robust to even go into). With a beat whose bass knocks will send shivers down your spine and a sampled Future hook in tow, this served as a single that really gave an appropriate taste of this album’s tone and character. Vince has already proven himself to be on that real shit in his past releases — you’ll never catch Vince pump-faking — but this track takes his unshrinking menacing presence to a new level. “Señorita” will serve as Vince’s “Parental Advisory” or “Thuggin'”; or, in other words, the reminder to the opposition that Vince is not to be tested.
“3230”: Though this song also touches on the album’s motifs of intimidation tactics and being part of a very real human food chain, this record focuses more on the idea of being baseless (somewhat literally). Vince has gone into his home life in the past on tracks like “Screen Door” where he detailed dope-fiends knocking on his house’s screen door looking for his father, who was a supplier. Through his discography and even on other tracks on this album these hard-to-swallow images have been delivered from a detached place, maintaining the unbothered persona that is so important to the point-of-view Vince is rapping from. To juxtapose that while making Vince a bit more human, on “3230” we hear a bit more of how an eviction notice makes him feel. He doesn’t flat out tell us that it makes him sad like a less formidable emcee would, but the inflection he uses while spitting his bars is incredibly telling. He raps hard and he certainly sounds hungry but it has a layer of sorrow that conveys that there is more going on and this thuggish young Vince may be feeling more than he leads us to believe. This level of nuance is what’s brought consistently throughout Summertime ’06, which contributes to how much it deserves this commendatory review.
What adds to this and pushes the album to being Vince’s inarguable best work and one of the best albums of 2015 is its consistency. I talked about three tracks that managed to strike an excellent balance with great instrumentals and insanely sobering yet confusingly hype-inducing rapping while providing a vast amount of incite to Vince’s character and attitude in this album. But, with those three tracks thoroughly explained, I should let you know that almost every single track on this album is done to that level. There are plenty of things to talk about that are happening in tracks like “Lemme Know”, “Jump off the Roof”, and “Street Punks”, but I thought I’d leave some things for the listener to discover.
To summarize my thoughts into a concise TL;DR given that this review ended up on the longer side, I’d have to say that I’m excited for this album to be released on vinyl later this year so I can have it to listen to for the rest of my days. I am maintaining all objectivity when I say that Vince Staples released one of if not arguably the best album of this year so far. It’s honest, macabre, intense, stark, poignant, hard-knocking, game-shaking, and worth all of the immense hype that built in anticipation of its release. Vince Staples’ career has been stellar thus far, but Summertime ’06 is something quantifiably different: it’s a magnum opus.
I went on a rant via Twitter to tell y’all this but I’ll say it here again: go cop Summertime ’06 and support the sharp and intelligent emcee responsible for it.
“Lift Me Up” / “Norf Norf” / “Lemme Know” / “Jump off the Roof” / “Señorita” / “3230” / “Street Punks”
Chance: the Acid Rapper, the soccer hacky sacker, the cocky khaki jacket jacker. Do allow me to recall his tale. Chancelor Bennett was merely a normal participant of the Chicago youth who happened to get a ten-day suspension from school. He then turned that into an overwhelming positive with 10 Day, the mixtape that earned him respect among the Chicago music camps and jump-started his musical career. After recording a couple less notable projects, Chance got a verse on Childish Gambino’s Royalty mixtape. He then opened for Bino in his 2012 US tour which won him some much-deserved recognition. Then in 2013 lands Acid Rap, a classic contemporary Hip hop mixtape from “Good Ass Intro” to “Good Ass Outro”. The mixtape is eclectic in influence and in execution. When it was released it gained huge mainstream appeal and got a lot of spins on the radio. You may be thinking, “praising Hip hop that was on the radio? In this dull and oversaturated Rap game?” Heresy, I know. What made me love this project and what made those radio spins so integral to that revolves around Acid Rap being great Hip hop. And, for great Hip hop, something that generally falls by the commercial wayside, this had incredible reach and longevity. Go to any dumb college frat party and 70% of the time Acid Rap will be in the crap DJ’s rotation. I’d rather have the success, both in terms of recognition and dollar amounts, that reach like that breeds benefitting an artist making great music rather than the sometimes shallow, artistically one-dimensional artists who traditionally get the radioplay. But, as everyone has been quickly reminding you, this isn’t a Chance the Rapper project, rather one by Donnie Trumpet & The Social Experiment. So, be ready for me to recycle this intro when Chance drops some solo new new.
Surf is an album I was hotly anticipating for 2015, and that anticipation was only fed by each of its singles, which all impressed me in an unexpected and distinct way. I remember over a year ago now when a still very hot Chance dropped a song called “I Am Very Very Lonely” on his Soundcloud featuring production from this rag-tag group called the Social Experiment, which was then comprised of Peter Cottontale, Nate Fox, and Donnie Trumpet. I initially loved how different this track was. The production was busy but obviously had a lot of attention paid to it. The instrumental had a welcome shift into something more than just a Hip hop beat – much more “Good Ass Intro” than “Smoke Again” to clarify further. The vocals, both in a literal sonic sense and in its execution, were unfamiliar for Chance. But, if you listen for yourself, I think you’ll agree with me when I say that it was done well. Next came “No Better Blues”, another song I loved from my very first listen. Chance proved that he was a voice no one should be missing with Acid Rap but with this track he proved his versatility as a vocalist as opposed to strictly a rapper. This song’s structure is all internal rhymes which are damn entertaining and engaging musically; I will listen to that song just for that “I hate my hands, handshakes, pancakes, child-resistant locks on the pill case” bar. There was also the song “Lady Friend”, which again showcased Chano’s range again as a singer, most notably with a killer falsetto. And, lastly, and probably the best came in the form of “Sunday Candy”, which really did have it all: soaring and sunny production, bright and shining vocals, and thoughtful and effective songwriting. But, to get into Surf itself, much to its detriment, the album was absent of all but one of these tracks. Now, not having the songs that I like is one thing, but replacing them with lukewarm pop music that doesn’t work well together is another.
Unfortunately, this review will short because of just that. Surf, despite having overwhelming potential and showing that they can capitalize on that potential together with its singles, isn’t that enjoyable as a whole. This just could have been such a knock out of the park. Chance is a commercial and critical explosion hiding in the shell of this young performer with a truly one-of-a-kind voice who has great friends with past-proven talent. There isn’t a good reason why this is so underwhelming. The album was framed by journalists and anyone who talked to Chance as a collaboration among friends who lift each other to an upper-echelon to make the music they all want to make. Why I got so excited was because the singles sounded just like that. I mean, they recorded a version of the Arthur theme song which was really fun in addition to felling heartfelt and genuinely carefree. That’s what made me so excited, the stars seemed to be alining and this album promised to be bright, colorful, off-beat, and universal. What we got, though it may be some of those complimentary adjectives, felt very off-balance and didn’t commit to any of the feelings that felt worthy of more attention.
Okay, so I recognize that I must sound like a massive asshole, especially after lashing an album that explores sound and emotion in a timeless way such as this. This album is nice, just shockingly unimpressive. Honestly, there were only two times my jaw dropped due to them doing something I was totally not expecting: 1.) the inclusion of “Familiar” — which Genius.com so eloquently summarized as “the Social Experiment’s ode to basic bitches” — and it benefitting in an odd way from both a King Louie and Quavo verse (those being two individuals who have a wealth of experience with this breed), and 2.) the final track, “Pass the Vibes”, in its blissful entirety. Surf did have its moments, and that’s part of the reason why this album is such a tremendous missed opportunity. This may be me being a pessimist who is connecting the dots backwards when a piece is already complete, but its emotional through-line could have been better fleshed out. Okay, so the main thing this album explores is feels, eventually landing on gratitude, generosity, love, and optimism with its final two songs. This ending is great, and those final two songs are two of the best on the album because of it, but I wish I had more positives to mention past that. That optimistic happy-climax at the end of this project could have been heightened further if the journey through the album that led to it was more personal, focused, and treacherous, for lack of a better term. I don’t mean to return to this again, but if we had even two more of the singles for this album, “No Better Blues” and “I’m Very Very Lonely” for example, I think I’d be able to give Surf a lot more praise. If those two songs were integrated into this album where they would fit thematically, we would have a more filling experience. In the state that it is at after its release, I can’t call it more than a good idea that I wish had its potential fully realized.
That is just my opinion, though. Go listen for yourself. The album has some really cool stuff going for it. As of this reviews release, the album is still up on iTunes for free, so you do not have an excuse not to listen.
“Miracle” / “Windows” / “Sunday Candy”
And a much needed shout out to “Pass the Vibes” for being its own in a spectacular way.
Lord Pretty Flocko – otherwise known as A$AP Mob’s ringleader A$AP Rocky – is a different type of rapper for today’s evolving Hip hop landscape. In fact, many could attribute some of that progression to his confidently distinct style. Meterosexual not be the most apt comparison, but it’s been a while since we’ve had a rapper who cares more about his outfit getting into Vogue than getting the cover of Complex, or who shouts out the French high fashion brands he is wearing more than the gangs he does or doesn’t affiliate with. He isn’t an artist who is going directly against the grain, but he certainly isn’t cookie-cutter, and his own unique blend of influence has been boding quite well for the Harlem emcee.
Rocky has an outstanding, albeit brief discography in this new New York sound renaissance we have seen with the emerging Beast Coast movement. In my opinion, his two previous releases were classics of this era of Rap with his blend of solid, witty, punchline-heavy spitting and grand production that has clearly had much attention paid to it. In the spirit of being upfront, however, I’d like to say that I wasn’t too big on Rocky at the beginning. Live.Love was really cool but I didn’t find myself returning to it much. When Long.Live dropped, I enjoyed it, but it took until just recently for me to finally get in-sync with it and start genuinely loving it as a substantial and admirable debut album.
This album, titled At.Long.Last.A$AP, comes at a very important part of Rocky’s career. He has had as classic a trajectory as there is. He had his debut single that exploded, a nice debut mixtape with a remix of said song, and a killer freshman album with strong features from big commercial and underground artists that helped push the album along the tightrope between mainstream and underground recognition and respect. Now comes the highly-hyped sophomore album, which is a part of the ideal career when many artists trip up, eventually popularizing the sophomore slump terminology. But, from what I’ve heard, Rocky went into the recording process of this album with high spirits and good intentions. He really was doing everything right, but then came a very large and devastating monkey wrench. The man who was at the ground level of the A$AP Mob, the one who got the original video for “Purple Swag” popping on Tumblr, the marketing mind who made the A$AP Mob into the most influential New York team, A$AP Yams passed away suddenly, bringing any momentum or flow with the album to a screeching and unavoidable halt.
So, after a couple understandable delays we have this album that comes in the wake of personal tragedy. Music can be very cathartic, and Rocky himself described this album very openly as the healing component in the grieving process for Yams. So, with this being his sophomore album and it happening at a significant time in his life, the craze for this album was pretty ridiculous. From that, as people do, people were calling it a real contender for album of the year straight out of the gates. To begin, give it some time to sink in. That’s the reason why these reviews come out a week after release. Something obviously sticks after one’s first listen, but not close to the album’s full potential. This is all to say that the album is egregiously overhyped. It’s pretty easy to see why people got so excited about an album like this; struggle does breed some of the best art, after all. I never mean to sound patronizing nor above any other music listener, because I’m just another one of them, but strive does not an album of the year make. I think this is a solidly great album for different reasons, but it doesn’t do much past perhaps adding to the weight of the album.
If I could give this album one compliment – though I intend to give it many more – it’s that it’s quite the launch forward in terms of Rocky’s maturity as an artist. Long.Live was a great album but it lacked complete focus. It went from its sharp, thumping intro to “Pussy, money, weed is all a buddy need” to radio pandering, a Skrillex produced dubstep song, a quintessential posse track, a song with a two-and-a-half-minute long intro sequence, to character playing, to telling the story of a drug kingpin, to end on a track featuring the Florence sans the Machine. It was all over the place. Very good and undeniably impressive, but very much all over the place. Whether it be as a result from the death of A$AP Yams or otherwise, this album was nice and exploratory and had more honest and poignant emotional lows – lows we haven’t gotten from Rocky this openly in the past. These combined for a release more evenly-centered and satisfying. Though a pleasant one, this came as a real surprise to me. I was expecting Rocky to continue the successful trend of improving on the winning formula he had going with his short but impressive discography. A$AP Rocky didn’t do this; he stuck his next out and treaded some new creative ground. Ultimately, this is what helped make this into one of the best releases we’ve gotten in 2015.
My thoughts on the album proper took quite the while to come to. I didn’t quite know what to think after my first full listen. I could have been in the wrong mood or due to the fact that it was so contrary to my feeble assumptions, but that’s why we listen to an album more than once, no? To start with the worst of it, I do have a couple outlying complaints with the project: firstly, the strength of Rocky’s rapping is his smooth and fiery bars that pack incredible punch. For me, aside from five or six of the joints on this album, I was left wanting far more from a vocal standpoint. The songs that hit well hit it really hard, with “Max B” being particularly noteworthy with Rocky slugging it with the “buccaneers of rugged gear” opener. Overall the track that went in most ferociously was “Lord Pretty Flocko Jodye 2” but, unfortunately, it was the second shortest track on the album at two minutes and ten seconds. It’s little things like that that contribute to this album lacking some always-appreciated oomph and spice. The project just goes numb at points. Sometimes it’s the tempo that kills it, other times it’s a lack of substance overall. “L$D” is particularly noteworthy to me because to me it seemed like a pretty bad judge of versatility and range that came in the form of a single. Along with that this track just never really amounts to anything, and besides small pulses of life integrated into the instrumental at 2:00 and 2:30 or so the song is fairly barren and frankly a bit boring. Other tracks that disappointed in much the same way were “Westside Highway” and, surprisingly, “Fine Whine”, which is most generously a seven (out of ten) despite the noble effort of both an M.I.A. and Future verse.
Now, I do not hate the album as that paragraph may have led you to believe. To move along to the production, we have an eclectic twist to Rocky’s style of grand and sleek production. I get a lot more of a Madlib-type vibe out of this project, that being one that has more color and breaths in and out of its inspirations seamlessly. It’s a great sound for Rocky, who has proven to be a fairly versatile rapper in the past. Sonically, the production is less explosive, admittedly, but it makes it more thoughtful and widens the sound. This positive a caveat with the record, however. A$AP Rocky’s two albums — this and Long.Live.A$AP — satisfy two different tastes. There is definitely a sizable cross section of that ven diagram, but they are quantifiably different. There are moments where Rocky is at his most somber and sobering, and this is good because we haven’t heard these low emotions much from him in the past but he shows some inexperience in those moments that is absent from the rest of the album. This album lacks the heartbeat of raw hype that made his past releases so stunningly enjoyable. I think he makes up for it with other positives, but it’s something to know going in. On of those saving gracing for me is his obvious growth. The dude has done it a few times in the back but he nails intrinsic lyricism. Even if it’s the first track, I think he impressed me the most with this on “Holy Ghost”, and it became one of my personal favorites because of it. In fact, my initial experience with that song helps explain my overall opinion of At.Long.Last.
There I am, A.L.L.A. just dropped and I’m getting a text from a buddy who I write with saying “dude, this is a contender.” So, I peeped, obviously, and the sample of “Holy Ghost” started up and in came this really nice, moody, and smooth instrumental. After that comes the main attraction, our emcee A$AP Rocky, spitting conscious raps with the exciting, effortless flow he’s proven he has so impressively in the past. I was pretty psyched; the Rocky I had enjoyed in the past being more intrinsic than ever before, showing some maturity on a track with a nice instrumental with some beautiful vocals to close out the track? Brilliant. I’m way into this. As the album unfolded after “Holy Ghost” and, though it has its lows that break its momentum, it builds and builds into a complete and fulfilling experience. You can hear all of Rocky’s emotions on this album, even if sometimes they didn’t make for the greatest Hip hop tracks. Overall, this may be a much less punchy and explosive experience compared to his previous album, but it performs much better under the classic definition of an album, that being a well-crafted musical experience front to back. A.L.L.A. is well-made, but you should know going in that it may not scratch the itch that his previous releases have. Progression is good, and this is a marked progression and a solid step forward for the reigning king of new New York Hip hop.
Despite any opinion one could have of this album, At.Long.Last.A$AP is undeniably complex. If you aren’t listening to it yet, here’s an iTunes link. It’s a Hip hop release you don’t want to miss this year.
The music of up-and-coming Scottish experimental genre-splicing trio Young Fathers is tough to explain. Since 2013’s Tape One they have been making charming, accessible, inventive music that combines influences from almost every corner of music. The typical Young Fathers fare — or at least where they began — blends the beat and tempos of African drum circles with industrial, sometimes lo-fi production to create a soundscape that I feel is really compelling, especially when you factor in their very approachable poetic lyricism which is carefully laid over top. So, this is all to say that their music has the potential to enchant you as it has myself for a while now. Their career has been starting to gain some good traction and they have found solid creative footing. On White Men Are Black Men Too, the group continues thriving in their own domain artistically. Also, in addition, they venture deeper into their musical influences, blending that inspiration well into what they are working with.
Even if at times it may be hidden over layers of stylistic sheen, the group has been steadily progressing with their sound since Tape One. One area where I think this is blaringly observable is in their production. They dress their music with small production embellishments, adding heart and character to their sound. Tape One had the initial experimentation with the drums and buzzing synths over soulful spoken word while Tape Two delved into some vocal effects, giving tracks like “Mr. Martyr” and “I Heard” a very cloudy, sexy vibe just as is accomplished in most of the Weeknd’s music. On DEAD, the group’s 2014 full-length, the tone got dimmer and a bit bleaker while incorporating a jagged edge to their production with more layers of smut. Now for this, the group’s sophomore album, released via Big Dada Recordings, which I feel is their most exploratory release yet while simultaneously being their most telling of the aim of their music.
Young Fathers’ music is dense by nature and WMABMT continues this trend. Their releases haven’t been over 40 minutes or so – this album being no different with tracklist of 12 which hangs right under 40 minutes – but it’s never a quick process for one to absorb their music. This album took quite some time for me to chew and digest. There’s a lot going on in here, and their continuation of experimenting with different oddball production quirks furthers this immensely. To be fair to the sound, though, it also makes it a lot more enjoyable. There are the twangy strings on “Old Rock N Roll”, the Indie-Rock-Of-Monsters-and-Men-ish whistling on “John Doe”, the scratchy synths on “Get Started”, and “27” with its Donkey Kong Country sounding bass-kicks. Again, these little quirks help to both solidify the profile of the music as well as bringing out its character and personality. This isn’t the first time first time we’ve heard this in their music, with, among others, a very notable jaw harp appearance on DEAD’s “JUST ANOTHER BULLET”, but it’s continuing to be something I obviously very much dig. The Young Fathers are really capitalizing and refining the unique groove in music they have so dutifully carved for themselves.
When I reviewed DEAD, I came across a Soundcloud comment that summed up Young Fathers with a level of brevity that I couldn’t even hope to achieve. TTK92 described their music as “endlessly inventive”, and those are words I associate with this endearingly alternative band to this day. With each of their releases they are doing something new while still maintaining the key through-line of making music that is both loud and sometimes confusing but still very well-organized. Their music is paradoxical in that way, and while we are on that topic I’d like to point out another achievement. I don’t think anyone could argue that this music doesn’t fall under the ever-growing experimental music label. However, one of the things we knew about the direction of this album was that it was Young Fathers’ “interpretation of what a Pop album should be.” There aren’t many genres that are farther apart, but they somehow nailed both. This is interesting for me to dig into and get my hands dirty with, but I could very easily see the contemporary ear accepting it. I can’t understand how they did that, but that’s probably why I don’t make music, I just advocate for it.
To begin, Death Grips is perhaps the act in music I am most thankful for. I’ve been listening since The Money Store and it had been the best ride I’ve ever taken in my young music listening lifetime. They created a discography that is nothing short of essential to any critical music listener while creating a foundation for any band who strives to push the envelop of what’s accepted to the masses’ collective ear. Since this is supposedly their last album, and in lieu of being wholly objective and consequently boring as hell, let me tell you about my journey through the phenomenon that is Death Grips.
The trio of MC Ride, Flatlander, and Zach Hill formed a band whose mystique is so strong and engulfing that their music’s heft is multiplied by it. One of the big things that has built that aura of the unexpected was the manner in which Death Grips releases their music, that being out of god damn no where. I discovered Death Grips when I got put onto this crazy ass project called The Money Store by a good friend and became entranced by it. After getting connected on all social medias, I remember being between classes junior year of high school and checking my phone to discover No Love Deep Web by its tile floor and its erect dick and my brain melted. I had never seen anything like that so that so it was really so cool to me. Later on, I remember sitting in a psychology class when Government Plates dropped, again, out of no where. The first half of The Powers That B came unexpectedly the night before a long trip, so I was thankful to have the album to grip me during that. And then finally Jenny Death on the 19th while I was in a Geography exam. This whole out-of-the-blue thing gives me extreme anxiety as someone who tries to be timely with his reviews, but herein lines a key difference of Jenny Death. The anticipatory fervor of Jenny Death, with it being the second half of The Powers That B, a double album that is said to be the end of Death Grips discography being that the group broke up, has made it the most predictable release from the group yet. I preordered the vinyl, I had some notes ready for the review, and I was able to give myself a couple listen-throughs of their previous albums in preparation; the only thing that I wasn’t expecting was to be able to do those things. I’m not going to go around saying that it ruined it for me, I just think it’s important to note as something that was noticeably different with this album.
One of the main strengths of the Death Grips body of work is its unpredictability (yeah, again with the unpredictability). Each album, from Exmilitary (and their Death Grips EP, for that matter) to the second half of The Powers That B and each and every album in-between is quantifiably different than the last. With this, and it possibly being my last chance to do so, let me give one to two sentences that summarizes my feelings on each Death Grips release (I’ll also embed my favorite track if it’s available):
Death Grips: Man, this noisey ass psuedo-Hip hop group is super Punk and kind of wild beyond belief. Could you imagine if this grew into one of if not the most important experimental acts in music?
[Missing link to “Face Melter (How to do impossible things)”]
Exmilitary: Jarring sample-based bliss that is rough-around-the-edges in the name of aesthetic. Also, I’m super pissed I can’t get it on vinyl.
The Money Store: Front to back – “Get Got” to “Hacker” – The Money Store is absolutely essential. It’s surprisingly accessible, which is nice.
No Love Deep Web: As much as I love The Money Store, if we are speaking on the concept of Death Grips, No Love Deep Web is the trio’s peak.
Government Plates: Different from NLDW and that didn’t rub people very well. Though I think its new electronic sound was still very “Death Grips” while also giving the record a low barrier of entry to new listeners.
Niggas On The Moon: I’ll cheat and throw a link to my extended review here. In short, it’s not as bad as people originally thought.
Fashion Week: Someone could reasonably twerk to “Runway Y” and “Runway D” sounds like Death Grips was commissioned to make the intro song to a PBS special on the rain forest. That shit’s so bananas.
And finally… Jenny Death when? Right now, and what a day it is. Since this is long already I’m going to make this as to-the-point as it can be. Jenny Death, the second half of The Powers That B and the “final” Death Grips album is just as monumental as it should be. It may not be the most disturbing release we’ve heard the group, nor the most dynamic or unpredictable, but overall I’m not disappointed at all. And I say this like my opinion matters (it doesn’t), but on my list of favorite Death Grips albums, it tied at a solid third with Exmilitary behind the, if I’m going to be honest, untouchable Money Store and No Love Deep Web. That is a lot higher than I thought it would land on my retrospective favorites list. I say this because I wasn’t too genuinely impressed by “Inanimate Sensation” when we heard it in 2014, the wait was becoming drawn out and dangerously hyped, and, though great, I didn’t see “On GP” saving it from said hype.
It turns out the delays just made me overly cynical. Forget “On GP”, the rest of the album has it covered. But, also, don’t forget about “On GP” because that song is one of the best on the album. Along with being that, “On GP” is integral to understanding Death Grips as humans who formed a band rather than immortal musical beings who were so benevolent to bless this world. This song, with the entire discography apparently behind us, and if not entire than certainly one of considerable size, is one of the darkest, most honest, and least sugarcoated single songs out of the bunch. And, also to their credit, it was a very smart lead-in single to the release of the album. At its core “On GP” is about suicide, which admittedly isn’t the most unheard of subject matter in their music, but there were always aggressive and deviant sexual acts and instances of getting heavily #noided surrounding mentions of suicide, so I, along with most Death Grips listeners, never really took it as reality. However, this song is distinctly personal and very clearly based on real events. The song first verse ends with “Last night, 3:30 in the morning, Death on my front porch, can feel him itching to take me with him, hail death, fuck you waiting for / Like a question no one mentioned, he turns around, hands me his weapon, he slurs, ‘use at your discretion, it’s been a pleasure, Stefan.’” The moment is only amplified by the full-stop of realizing that that was the only time their music has referenced MC Ride’s real name. This song doesn’t seem to have been written with the aforementioned “Death Grips” mysticism in mind, which made the song scarily real and made that line a kick to the fucking gut for someone who has learned from and enjoyed this man’s music so deeply for years now. But, as I said before, Jenny Death didn’t need to be saved by this song.
The two albums that make up The Powers That B, though contrasted by one another in other ways to an excellent effect, are exercises of the maximal. It’s done tastefully, but not necessarily even-handedly. There are moments when your enjoyment would depend on if you’re listening to Death Grips purely for its shock factor, unheard of, and avant garde nature of their music or to witness the feat of great music achieved in a way you hadn’t heard before. For example, the first half of The Powers That B was the most tangled we had heard Death Grips yet. I said this in my review of the album, but there were moments where I was broken from my listener’s trance and really took notice of this crazy spectacle. “Up My Sleeves”, the opening track of the LP, sounded like I was standing in the middle of a twister with MC Ride yelling at me while there was a broken record whipping around my head. This is praise, don’t be mistaken, but this everything-and-the-kitchen-sink mentality in Death Grips’ production was a change that wasn’t the easiest to roll with as a listener. On Jenny Death, however, I feel this style was accomplished with a bit more finesse, which is quite the triumph being that they added guitar to the mix.
The music that is on Jenny Death is what I’d think people imagine when I tell them about Death Grips, that being the unorderly mingling of sinisterness and thrashiness. That’s what the music is like, though it may not be as unfurled as one could assume. Jenny Death isn’t completely free of moments of over doing it, with “Beyond Alive” feeling a bit like throwing every sound into it for effect. Though, I could very well hold that opinion because I didn’t like that song as much as the rest of the record. At any rate, it seems that their announced break up, whether it be real or not, allowed Death Grips to create their most undistilled product since Exmilitary. But it’s not only that, Jenny Death is also the amalgamation of every one of the respective traits that made each Death Grips project stand out from the rest. It’s got some of the stomach-churning lyricism of No Love Deep Web, the harsh electronic beats of Government Plates, the grit and unsanded feel of Exmilitary, and even the pseudo-mainstream accessibility of The Money Store.
If the break up is a reality, Jenny Death will serve as a great end to their discography, but it also could be used as a great starting point. If you haven’t listened to much Death Grips, 1.) good on you for getting this deep into the review, but more importantly 2.) use this album as your starting point. If you find yourself latching onto any of the points of interest that I listed above, give the corresponding album a listen. Each one of their albums have peaks that will stand this test of time both in the experimental music sphere as well as contemporary music as a whole. This message could be rendered premature if this break up doesn’t hold up (which would be so like Death Grips, wouldn’t it?), but thank you Death Grips. You touched music like no one else ever has. The music community could never thank you enough. So, with all the love and gratitude I can muster: Death Grips, please stay legend. We love you.
You can buy Jenny Death as the second half of The Powers That B here. Please do, if this indeed their last album, they should make enough money to buy a throne in which to get #noided on.
“Pss Pss” / “The Powers That B” / “Centuries Of Damn” / “On GP”
“Inanimate Sensation” (It works for a lot of people, just not my cup of tea.)