In case you haven’t heard, Scarface has announced his retirement. Artists make these proclamations in the sand; Chinese Democracy owns that title, but Emeritus truly deserves your praise and respect. At the other end of the tunnel, Oddisee released the album I was hoping for like a fresh pair of Air Jordans.
Scarface is one of a few reigning champions from mafia era in Hip-Hop. While LA and NYC will always be remembered as the dominant forces, Scarface is half 2Pac, half Nas, all south-side Houston, TX. He never was huge on the Billboard charts or a poster-turnstile-god; but he owns respect in the neighborhood he rose from while his lyrics mastered the trials and brought “the code to the game” for nearly two decades. One lyrical grail that I think is often passed over is the Christian imagery that bleeds its way onto thug-scripture with every Scarface release. On "Can't Get Right (ft. Bilal)," Scarface ryhmes "America the Beautiful / there's a funeral on every day of the month / tryin to get our knees up / what we want / is another chance under these circumstances / My people ain't advancin, but if we pray / Maybe we'll get to live our lives in the sun 'stead of livin on the blocks dyin young." While the relationship between sin and survival isn’t new, there are few who own a reputation as real as their poetic skill. Emeritus is raw-cut Scarface, criminal confessions burning up in the Texas heat. Do your homework and educate yourself on one of the greatest MC’s still around today.
Oddisee declares on “iRap,” “Wayne say he the greatest rapper alive / Guess that make me the greatest rapper/producer alive/ Dilla rest in peace.” I was sold. Lil’ Wayne and Kanye West are the new era right? What about the great new releases by Ice-Cube and Q-Tip? Don’t they deserve the same respect? Class, take your seats, this is Oddisee 101.
Most criticism in recent memory has tried to divide Hip-Hop, including yours truly, into configuring an economic direction during an era of inflation. 101 voices a challenge to the machine from the inside out, flawlessly aware of his place and responsibility. His sly delivery matches the production skills, a definitive statement that he isn't confined to being just another producer who dabbles being the mic. Oddisee has learned to rhyme for the K.O, take a breath, and let his opponents suck for wind during the hook.
On 101 he takes his time, laying out his conflicts with presicion and insight. Delving into Black vs. Black vs. Brown conflict in a America vs. Islam world on “Camera,” a path to the top on his own terms on “A Song for That,” respect for the sex he loves on “Delusional (ft. Little Brother)” , and adding Flying Lotus to create some dream-funk on “The Perch (feat. Phonte, Tor);” Oddisee is challenging convention with nuclear purpose.
This is the album I have been waiting on, and am still waiting to get it in hardcopy. One of my 08' favorites.
Saturday, December 27, 2008
Monday, December 8, 2008
In Broken Light Shades
This might be my favorite album of 08’.
Paavoharju’s Laulu Laakson Kukista sounds like a Sigur Rós album shipwrecked on a secret island, grasped by wild vines, and venturing into the mist . Every track on this album is coming from the same environment, the same spell, which is why Laulu has wound me up. This years "top" picks will be labored over scrawl spaces in the coming days and weeks, but I am sure that every time I listen to this album, it will remain both familiar and enchanting.
Paavoharju are from Finland, the Netherlands, and other places where godly carpenters of sound are birthed. The opener, "Pimeänkarkelo” is nothing surprising to an ambient music fiend prepared for the long haul, but the next track “Kevätrumpu,” rolls through like an electronica-dance-kicker. The whole body of work is wound tightly enough that severing a single reaching limb would be a fatal loss. This is Laulu Laakson Kukista’s strength, it’s weakness, it’s story; and there are plenty limbs to choose from if you’re counting. “Kirkonväki” is a haunting martial procession; "Uskallan" a well of Beirut-style-levity, and “Tyttö Tanssii” an acoustic lullaby that brings the magic to a quilted decent. The album doesn't loose pace with bridges like "Alania" and "Salainen Huone," serving a greater purpose. So what’s to hate?
In the end, my biggest complaint is that the album is too short at barely over thirty-five minutes long. Next time I would like to see Paavoharju stretch to greater lengths, but until then, I'm addicted. The year is drawing to a close, and Laulu Laakson Kukista is one to remember.
Paavoharju’s Laulu Laakson Kukista sounds like a Sigur Rós album shipwrecked on a secret island, grasped by wild vines, and venturing into the mist . Every track on this album is coming from the same environment, the same spell, which is why Laulu has wound me up. This years "top" picks will be labored over scrawl spaces in the coming days and weeks, but I am sure that every time I listen to this album, it will remain both familiar and enchanting.
Paavoharju are from Finland, the Netherlands, and other places where godly carpenters of sound are birthed. The opener, "Pimeänkarkelo” is nothing surprising to an ambient music fiend prepared for the long haul, but the next track “Kevätrumpu,” rolls through like an electronica-dance-kicker. The whole body of work is wound tightly enough that severing a single reaching limb would be a fatal loss. This is Laulu Laakson Kukista’s strength, it’s weakness, it’s story; and there are plenty limbs to choose from if you’re counting. “Kirkonväki” is a haunting martial procession; "Uskallan" a well of Beirut-style-levity, and “Tyttö Tanssii” an acoustic lullaby that brings the magic to a quilted decent. The album doesn't loose pace with bridges like "Alania" and "Salainen Huone," serving a greater purpose. So what’s to hate?
In the end, my biggest complaint is that the album is too short at barely over thirty-five minutes long. Next time I would like to see Paavoharju stretch to greater lengths, but until then, I'm addicted. The year is drawing to a close, and Laulu Laakson Kukista is one to remember.
Friday, November 21, 2008
Skin Deep
I am sautéing up onions for lunch when I get the urge to write this…
Jens Lekman has a cover of Boyz II Men’s “Water Runs Dry” on stereogum that is absolutely amazing. I have a soft spot for the Boyz from Philly and the world that surrounded that era, but that is a different story. There is another great cover that I ran across, that isn’t getting the same kind of notice, so I will suspend my date with an electirc-coil love, and get this in writing.
Miracle Fortress has done a masterful job of covering Daft Punk’s “Digital Love.” The track is almost spot on, but when the track really picks up, the band throws a wood-block into the mix. The cover song has a whole new life to it while still retaining Daft Punk’s energy. Mmm..Mmm...Love it.
Jens Lekman has a cover of Boyz II Men’s “Water Runs Dry” on stereogum that is absolutely amazing. I have a soft spot for the Boyz from Philly and the world that surrounded that era, but that is a different story. There is another great cover that I ran across, that isn’t getting the same kind of notice, so I will suspend my date with an electirc-coil love, and get this in writing.
Miracle Fortress has done a masterful job of covering Daft Punk’s “Digital Love.” The track is almost spot on, but when the track really picks up, the band throws a wood-block into the mix. The cover song has a whole new life to it while still retaining Daft Punk’s energy. Mmm..Mmm...Love it.
Saturday, November 15, 2008
Lets Make A Baby
Lloyd’s new album Lessons in Love, has one of the biggest singles this year with “Girls Around the World” ft. Lil’ Wayne. His brand of music isn’t asking for my attention, or much less a vote of confidence, but this album has captured my curiosity into what unseen conversation could bridge the gap.
I remember back in the nineties when Hip-Hops persuasion had shifted R&B acts to adopt a similar sound an image. Were Boyz to Men the first to own the "not too hard, not too soft" title? Today Usher Raymond and Justin Timberlake claim headlining roles, sell millions with blockbusters like My Way and Justified, dominate Pop airwaves, and publicly endorse presidential candidates.* This being said, today it seems that they gets as much smack as praise, which I believe is more to do with criticism over iconography than it does over musical work. So was the music ever really that good?
The jaded music critic might call for a public hanging, but what gets looked over are the aspirations of artists like Usher and Lloyd, that transcend their failures. They still speak to the conflicts between the sexes and culture that are just as relevant today as any other topic in music, for better or worse.
Lloyd boasts on "Treat U Good," how he wants to “Keep it hood/ Just a lil'' which pretty sums up his Pop appeal and his newest album. Through the eyes of a younger audience Lloyd's ethos is one of blissful salvation, and while gettin' nasty on top of the washing mahine might be a hard sell for older Pop critics, Lesson's success will say other wise.
The hating to go around on Lessons in Love is for good reason. There are many things to appreciate about Pop music, but a lack of emotional depth shouldn’t be one of them. Still, I have to admit that “Girls All…” is a hot single, I'm digging the vocal play and lyrical triples play on “I’m Wit It,” and his falsetto reminds a little me of an early Michael Jackson.
This is the High School party where the parents leave, everyone gets drunk on bad drinks made with good liquor, and Lloyd hopefully croons you to third base by the end of the night. Like those before him, he is a musical/sexual identity searching for confidence while maturing into adulthood . Lessons in Love is another youthful attempt for unrequited love, while keepin' it hood, just a lil.'
* Both endorsed Obama for president, but I remember reading some where that John McCain proclaimed that Usher was his favorite musical artist. Pandering, or true maverick?
I remember back in the nineties when Hip-Hops persuasion had shifted R&B acts to adopt a similar sound an image. Were Boyz to Men the first to own the "not too hard, not too soft" title? Today Usher Raymond and Justin Timberlake claim headlining roles, sell millions with blockbusters like My Way and Justified, dominate Pop airwaves, and publicly endorse presidential candidates.* This being said, today it seems that they gets as much smack as praise, which I believe is more to do with criticism over iconography than it does over musical work. So was the music ever really that good?
The jaded music critic might call for a public hanging, but what gets looked over are the aspirations of artists like Usher and Lloyd, that transcend their failures. They still speak to the conflicts between the sexes and culture that are just as relevant today as any other topic in music, for better or worse.
Lloyd boasts on "Treat U Good," how he wants to “Keep it hood/ Just a lil'' which pretty sums up his Pop appeal and his newest album. Through the eyes of a younger audience Lloyd's ethos is one of blissful salvation, and while gettin' nasty on top of the washing mahine might be a hard sell for older Pop critics, Lesson's success will say other wise.
The hating to go around on Lessons in Love is for good reason. There are many things to appreciate about Pop music, but a lack of emotional depth shouldn’t be one of them. Still, I have to admit that “Girls All…” is a hot single, I'm digging the vocal play and lyrical triples play on “I’m Wit It,” and his falsetto reminds a little me of an early Michael Jackson.
This is the High School party where the parents leave, everyone gets drunk on bad drinks made with good liquor, and Lloyd hopefully croons you to third base by the end of the night. Like those before him, he is a musical/sexual identity searching for confidence while maturing into adulthood . Lessons in Love is another youthful attempt for unrequited love, while keepin' it hood, just a lil.'
* Both endorsed Obama for president, but I remember reading some where that John McCain proclaimed that Usher was his favorite musical artist. Pandering, or true maverick?
Saturday, October 25, 2008
Malleable
So I am listening to Blood Ceremony’s S/T debut,* and mulling over some big-name death metal.
Origin's latest, Antithesis, is a nitro-blast downpour of tech-metal. Make no mistake about it; Origin has the goods, Topeka, KA born to kill. This is the technical death metal album to fall for this year, and what makes these songs stand out, more than newcomers like Braindrill, is that the band has begun to master songwriting in parallel with their obscene instrumental prowess. I wish that there were more prominent guitar leads on the album, and I have some problems with the production (blurred guitars and heavily triggered drums are standard detractions), yet there are some great songs on this Antithesis. “Wrath of Vishnu” tears you in half then releases a melodic guitar lead, opener “The Aftermath” showcases the bands love of sweeping guitars, and the drum on licks on “Algorithm” reveal John Longstrengths skill in overdrive. After careening through most of the album, on the title track Origin rides a groove before putting Antithesis to rest.
Krisiun just keeps on barreling ahead through the years. While the three bothers are heralded as a pure, straightforward death metal band, I think what makes them special is a grasp of subtleties within the genre. Morbid Angel was essential for early death metal, but also for their influence on black metal through overtly implementing classical themes in their music (Mozart), as an addition to their religious imagery. The titles for the first LP’s are an obvious sign; Alters of Madness and Blessed are the Sick, but also reveal a fascination with classical aesthetics, to create an ugly combination of blood in baroque.
Krisiun is undoubtedly a part of this tradition, old school style and cultural devotion. While Krisiun’s Bazilian aesthetic is more militant in comparison Morbid Angel, a relationship to an ancestral identity has played a pivotal role in establishing them as a force over the years. One could point to the acoustic interludes, but they are nothing new to Metal; and Max’s tribal drum fills are a highlight every time around, but never the silver bullet. It’s Moyses’s penchant for unique melody and Alex's diminished vocals residing in the background of every album that ties Krisiun to their predecessors . His solos can be wild, but it’s the intangible “less is more” guitar work during the lulls that deserve notice in a genre that prides its self on excess.
Their newest offering, Southern Storm, improves on Assassination by taking their time around each base. On Storm they labor longer , instead of pouring all of their technicality into over-blown breakdowns. The solos have improved and are more prominent, and it should be stated that Max Kolesne is still, one of the best Metal drummers period. I have said enough.
*Blood Ceremony: coolest album of 08'.
Origin's latest, Antithesis, is a nitro-blast downpour of tech-metal. Make no mistake about it; Origin has the goods, Topeka, KA born to kill. This is the technical death metal album to fall for this year, and what makes these songs stand out, more than newcomers like Braindrill, is that the band has begun to master songwriting in parallel with their obscene instrumental prowess. I wish that there were more prominent guitar leads on the album, and I have some problems with the production (blurred guitars and heavily triggered drums are standard detractions), yet there are some great songs on this Antithesis. “Wrath of Vishnu” tears you in half then releases a melodic guitar lead, opener “The Aftermath” showcases the bands love of sweeping guitars, and the drum on licks on “Algorithm” reveal John Longstrengths skill in overdrive. After careening through most of the album, on the title track Origin rides a groove before putting Antithesis to rest.
Krisiun just keeps on barreling ahead through the years. While the three bothers are heralded as a pure, straightforward death metal band, I think what makes them special is a grasp of subtleties within the genre. Morbid Angel was essential for early death metal, but also for their influence on black metal through overtly implementing classical themes in their music (Mozart), as an addition to their religious imagery. The titles for the first LP’s are an obvious sign; Alters of Madness and Blessed are the Sick, but also reveal a fascination with classical aesthetics, to create an ugly combination of blood in baroque.
Krisiun is undoubtedly a part of this tradition, old school style and cultural devotion. While Krisiun’s Bazilian aesthetic is more militant in comparison Morbid Angel, a relationship to an ancestral identity has played a pivotal role in establishing them as a force over the years. One could point to the acoustic interludes, but they are nothing new to Metal; and Max’s tribal drum fills are a highlight every time around, but never the silver bullet. It’s Moyses’s penchant for unique melody and Alex's diminished vocals residing in the background of every album that ties Krisiun to their predecessors . His solos can be wild, but it’s the intangible “less is more” guitar work during the lulls that deserve notice in a genre that prides its self on excess.
Their newest offering, Southern Storm, improves on Assassination by taking their time around each base. On Storm they labor longer , instead of pouring all of their technicality into over-blown breakdowns. The solos have improved and are more prominent, and it should be stated that Max Kolesne is still, one of the best Metal drummers period. I have said enough.
*Blood Ceremony: coolest album of 08'.
Wednesday, September 10, 2008
Soo Coo
I initially wanted to write about the new GZA, Pro Tools, why you ask? Because some reviews are saying that it sounds a lot like Legend of Liquid Swords...,* and when was that a bad thing? The Wu-Tang clan and their splintered solo releases never were really about breaking new ground, but staying true their to cult fame. They own a place in history and the fact that the Wu are still around, losses aside; is a statement in itself.
On the flip side, I have a really hard time defending the status of the real-time southern scene, and to completely honest, I struggle with Lil’ Wayne and T.I. They have a few bright spots in their respective repertoire’s, (Earthquake/ The King Back), but it’s as much the production’s winning effort, as the lyrical jockey riding it. Differences aside, I really have got to give some love to Pusha-T, who is one of the most underrated rappers in one of the most underachieving crews. His Clipse patriot Malice join MC’s Ab-Liva and Sandman to fill out their first Re-Up Gang LP, Clipse Present: Re-Up Gang. The best tracks, “Million Dollar Corner” and “Been Through So Much,” are formulaic but successful in comparison to the sixteen-and-over synth approach that define the album’s failures. I am waiting for the next Clipse release for some redemption.
One album that actually has started to get under my skin is the newest Nappy Roots release, Humdinger. While the club scene tracks “Flex,” “Fresh,” and “Panic Room,” remind me of why my southern sympathies feel like an outcast, Humdinger also never forgets where it came from. There is an emotional tone on the album's worthwhile tracks because they find themselves in their surroundings. I 've been really digging on, “On My Way To Georgia,” “No Static” ft. Greg Nice and "Small Town," which are a mix of southern comfort with a dash of sweet tea in comparison to those hastily delivered from the bottom shelf. The single's are respectable, “Good Day” reminds me of De La Soul’s "Trying People" (Bionix), as the feel good track with a children's choir present to lift the spirits, while “Down and Out” ft. Anthony Hamilton keeps the groove alive. It might not be my the best thing I have come across this year, but what's a diamond in the rough if you don’t get a lil' dirty? Check this one out.
* To be honest, the guitar riffs/beat on "Stay in Line" ft. Santi White (Legend) and "0 % Finance" (Pro), do sound uncomfortably similar.
On the flip side, I have a really hard time defending the status of the real-time southern scene, and to completely honest, I struggle with Lil’ Wayne and T.I. They have a few bright spots in their respective repertoire’s, (Earthquake/ The King Back), but it’s as much the production’s winning effort, as the lyrical jockey riding it. Differences aside, I really have got to give some love to Pusha-T, who is one of the most underrated rappers in one of the most underachieving crews. His Clipse patriot Malice join MC’s Ab-Liva and Sandman to fill out their first Re-Up Gang LP, Clipse Present: Re-Up Gang. The best tracks, “Million Dollar Corner” and “Been Through So Much,” are formulaic but successful in comparison to the sixteen-and-over synth approach that define the album’s failures. I am waiting for the next Clipse release for some redemption.
One album that actually has started to get under my skin is the newest Nappy Roots release, Humdinger. While the club scene tracks “Flex,” “Fresh,” and “Panic Room,” remind me of why my southern sympathies feel like an outcast, Humdinger also never forgets where it came from. There is an emotional tone on the album's worthwhile tracks because they find themselves in their surroundings. I 've been really digging on, “On My Way To Georgia,” “No Static” ft. Greg Nice and "Small Town," which are a mix of southern comfort with a dash of sweet tea in comparison to those hastily delivered from the bottom shelf. The single's are respectable, “Good Day” reminds me of De La Soul’s "Trying People" (Bionix), as the feel good track with a children's choir present to lift the spirits, while “Down and Out” ft. Anthony Hamilton keeps the groove alive. It might not be my the best thing I have come across this year, but what's a diamond in the rough if you don’t get a lil' dirty? Check this one out.
* To be honest, the guitar riffs/beat on "Stay in Line" ft. Santi White (Legend) and "0 % Finance" (Pro), do sound uncomfortably similar.
Wednesday, September 3, 2008
Profana en Oakland
So I’ve been listening to the new Morbosidad Profana la Cruz del Nazareno. They play a vicious style of black metal inspired by bands like Blasphemy, and they finish the album with a Sarcofago cover! If you know what I mean, then you know.
Most black metal albums create a vast amount of space to dwell within and gather strength over time. Morbosidad are grounded through the vocal arrangements, mostly because their death metal pacing and dynamics don’t create an overarching voice. Vocalist Tomas Stench layers his vocals from torrential heighs to seething depths, and on Profana, Morbosidad keep all the spike-pierced death for an uncompromising work of black metal.
Songs like "Posiedo Por El Diablo" and "Templo de Lucifer" flash their early black/thrash allegiance, while "Inmortalidad Diabolica's" vocal intro presents a foreboding place of ritual. For those who love black metal burning down the speedometer, this is for you.
Most black metal albums create a vast amount of space to dwell within and gather strength over time. Morbosidad are grounded through the vocal arrangements, mostly because their death metal pacing and dynamics don’t create an overarching voice. Vocalist Tomas Stench layers his vocals from torrential heighs to seething depths, and on Profana, Morbosidad keep all the spike-pierced death for an uncompromising work of black metal.
Songs like "Posiedo Por El Diablo" and "Templo de Lucifer" flash their early black/thrash allegiance, while "Inmortalidad Diabolica's" vocal intro presents a foreboding place of ritual. For those who love black metal burning down the speedometer, this is for you.
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