Grindcore/power-violence act Nails have established themselves as one of the premier groups in the genre with their first two releases, both of which have garnered a rather impressive amount of acclaim. They have a sound that is hard to explain to those who have yet to hear them, as their frantic, chaotic, straight to the point tracks normally fail to even exceed the one minute mark. Their punchy guitars, roaring drum beats, and nasty, guttural vocals all come in with such ferocity that they're over before you even have time to click play.
On You Will Never Be One Of Us, Nails do branch out in some ways, with Violence Is Forever coming in at a modest three and a half minutes, and the closer They Come Crawling Back taking up eight minutes of the 22 that the album runs for. Even on the longer cuts however, the band deliver the same kind of music you would find on their previous two efforts, and with Converge's Kurt Ballou behind the scenes producing yet again, you're all but guaranteed to find some of the ugliest sounding guitar riffs around. Frontman Todd Jones, who provides both the guitar work and the vocals for the band, doesn't shy away from experimenting with the same hardcore/metalcore territory that many of the bands Ballou has worked with in the past have, especially on tracks like the aforementioned They Come Crawling Back, which features some mathcore influenced, headbang worthy breakdowns and slow-paced drum beats that in turn build up into multiple chaotic interludes before the track comes chugging to a halt.
While the rest of the album isn't as patience testing as the 8 minute epic, it still delivers in plenty of other ways. The title track, which was released as the album's first single is another highlight, as the band kick off the album with monstrous blast beats that are delivered with such attitude and flair that you can't help but feel the music. They take a groovier approach on Made To Make You Fall, with an intro that in some ways is reminiscent of groove-metal pioneers Pantera, that is before the track descends into hell once again and the groovy instrumentation is swept away in favour of more bone-rattling guitar riffing and drumming.
When it comes to what sets this album apart and it makes such a great inclusion in their discography, I think it's simply just how well they manage the pacing of their songs. Not only does the band manage to make the most of even the shortest tracks, but they also seem to include everything imaginable within these tight timeframes. There are plenty of short, Converge-esque breakdowns and guitar passages, and just as many moments where the band create such an enveloping wall of sound that you truly become beat down by the brutality they are presenting you with.
In the time you've spent reading this review, you probably could have listened to this album in it's entirety, so that's where I'll leave this. Nails have yet to disappoint thus far into their career, and if you found yourself enjoying either of their last two full-lengths, this truly is a must hear. They aren't changing up their style, and they aren't looking to make any new fans, they're just taking the same style they've perfected with their last two efforts, and this time they're cranking it up even louder.
Rating: 4/5
Check out the title track You Will Never Be One Of Us below:
With what is easily one of my favourite album covers of the year thus far, the hip-hop trio Flatbush Zombies gave perhaps the most accurate look into the style of music they create. It's colourful, it's cartoony, and unlike the usual wavy, drugged out cloud rap you're used to hearing, while still containing many of the same elements. All three members, Zombie Juice, Meechy Darko, and Erick "Arc" Elliott bring their own unique style to every track the Zombies have recorded. Juice's spastic flow and high pitched vocals contrasts Meech's dark and dreary approach perfectly, and when met with Erick's phenomenal production it has resulted in two fantastic mixtapes with D.R.U.G.S in 2012 and BetterOffDead in 2013.
With all the hype and excitement surround Flatbush Zombies sound, as well as their participation in the "Beast Coast" movement alongside rap collective Pro Era and hip-hop duo The Underachievers, the release of their debut studio album has been something I've been anticipating for quite some time. Now, two years since their last release, the Clockwork Indigo EP which they released as a collaborative effort with The Underachievers, the long awaited full-length album 3001: A Laced Odyssey see's the light of day.
The confines of drug rap are pretty snug to begin with, in my opinion. While the Flatbush Zombies have always taken quite a bit of artistic freedom with their sound, lyrically they have never strayed too far from topics such as drugs, money, and spirituality. While I went into this project hoping to hear the group branch out a bit from the genre and try to tackle some more mature and creative subjects, the lyrical content instead stayed true to what the members have always done. It wasn't too big of a disappointment however, as Meech and Juice both delivered some of their best verses yet, and accompanied them with rather unique flows on tracks like the opening cut The Odyssey. It's a great choice to kick off the project, as it sets the tone without giving away too much of what's to come. The strong start continues with the third track R.I.P.C.D, which is the Zombies ode to the death of the CD as a media format. As always however, the lyrics tend to venture off topic and range from religion, to the state of rap music, and to drugs as well.
The album begins to really slow down for me about half way through, as there are a couple of throwaway moments that feel rather out of place in the context of the record. The two and a half minute cut Fly Away features a simple, straight forward piano beat and has Meechy Darko taking a soulful vocal approach throughout. It doesn't add much other than feeling like an unnecessary interlude, much like the actual interlude Smoke Break does as well. Perhaps Juice and Erick felt that if Meech got a chance to sing, they should as well, and I'm assuming that's how this track was born. It's their ode to marijuana, and is easily the corniest track on the record. It's one of the few outright skippable tracks that Flatbush has produced so far in their career, and the odd use of feedback on the vocals doesn't help to boost the track whatsoever.
Fortunately the two weak moments are rather short, and are broken up with two decent cuts. Ascension, the better of the two tracks that separate the interludes, features some flamboyant production and an incredibly in your face hook that features Meech claiming his goal is to be better than God. Trade-Off, the latter of the two is still an enjoyable cut, and the ambient influence found in the background during the first few moments of the beat is a rather impressive inclusion from Erick Elliott. Through the chorus the beat takes on a much harder edge, but fails to really connect as the production seems to be a little too thin and uninspired. That, accompanied with the laughable hook of "it's the work hard play hard, I just got a blow job" holds this track back from being all that memorable.
The record finishes off strong with cuts like New Phone, Who Dis? and This Is It which lead into the epic 13 minute closing track Your Favorite Rap Song which for the first six or so minutes definitely is my favourite cut from the album. The old school New York street influenced production is accompanied with the best pure rapping that the trio deliver on the project, and definitely brings the album to a solid finish. However, the biggest, and perhaps only problem I have with the song is the decision to include 5 minutes worth of fans praising the trio at the tail end of the track. It's something I only bothered listening to in complete perhaps once or twice, and while there were some funny moments, and I'm sure provided a cool moment for those featured, it just doesn't add anything to the project, except for making an overly long project even longer.
I've given this album a couple weeks now to change my thoughts, and unfortunately it hasn't been for the better. We get a couple stellar cuts, and a few others that are worth multiple listens, but ultimately 3001: A Laced Odyssey is bogged down by some of the least interesting moments I've heard the trio deliver. I could easily pick out four or five tracks that, without their inclusion would make the album much more enjoyable, but because of how much was forced into an album that got stale rather quickly, it just doesn't resonate with me the same way that the Zombies did on their two earlier mixtapes.
If you couldn't tell by the wordplay in his stage name, Nyck Caution (get it? NYC, like New York City) is a New York based emcee who has gained a fair bit of exposure in the past few years thanks to his work as part of the hip-hop ensemble Pro Era, a group that also houses the likes of Joey Bada$$, Kirk Knight, and CJ Fly among many others. Despite the plethora of gifted artists who belong to the collective, Nyck has always managed to stand out thanks to his slick flow and unique voice that always brought a nice change of pace whenever he would appear alongside his label mates on a track. With that being said however, much like many other of the emcees that occupy the Pro Era roster, he has been relatively quiet over the past few years, and it has really been Joey Bada$$ who has brought the group their popularity. That's not to say others haven't been releasing projects, as Kirk Knight's Late Knight Special was released just last October, and CJ Fly has a project of his own under his belt with Thee Way Eye See It. For Nyck however, he hasn't taken on a full project of his own since Pro Era's come up, and with his release Disguise the Limit, he's looking not only to make a statement, but also to remind those who had long forgotten about his impressive performances on other emcees projects' that he's still around.
If you're already tired of hearing me discuss Pro Era, then chances are this project won't be for you. Not only is it filled with guest verses and production credits from friends of Nyck's, but lyrically the record is cluttered with references to his peers as well. Most of these prove unnecessary and serve no purpose other than to remind those not familiar with Nyck that he is a member of the collective. While that's a rather minor issue, it unfortunately isn't the only problem I found with the lyrics on this thing.
One of Nyck's strongest suits when it came to his guest features in the past, were as I mentioned, his flow and his lyrics. However, when you get fourteen tracks that present almost the exact same formula of songwriting and subject matter, there isn't much room for surprises or anything impressive, as we've heard it all so many times before. Many tracks simply deal with his past or how skilled of a rapper he is, aside from the emotional Out of Reach that deals with the death of the late Capital Steez, who was also a member of Pro Era before his passing in 2012.
The beat selection throughout feels fairly mediocre in terms of what I've come to expect from a Pro Era project, which is rather surprising especially considering the production is handled by the likes of Kirk Knight and Chuck Strangers whoboth lend instrumentals to the record. For the most part, it feels as if there's an uncertainty of what style the project is going for, as we get the more traditional gritty New York street style beats at certain points, but also get a fair share of cloud rap instrumentals and at other times production that is rather alternative and unexpected. The Kirk Knight produced cut Wordsmith see's Nyck spitting over a dirty, distorted guitar instrumental, something that certainly stood out, but also could have been cleaned up a little bit as the guitar did sound rather rough around the edges and does distract from what's being said on the song. The track Church also see's a rather adventurous risk as the instrumental progresses from your traditional hip-hop beat into a electronic dubstep breakdown.
There's not much to discuss in terms of individual tracks or the lyricism, as everything on the project is competent, which may be the biggest problem I have with it. Everything feels the same, and while there were a few tracks that differ instrumentally, Nyck himself stays the same with his approach throughout. I still think he has a ton of skill, but his songwriting remains very raw and until he is able to prove he's more than just a rapper who can drop a nice feature on someone else's track, he will continue to fade to the back of Pro Era's line up.
Folk singer-songwriter M. Ward of both She & Him and Monsters of Folk fame has always managed to deliver his most impressive material by himself, in my opinion at least. During the span of what's now been an illustrious 15+ year career, he's managed, as a solo artist to avoid releasing anything less than an enjoyable record. On his newest project, his first under the M. Ward alias in four years, he looks to continue that streak while also incorporating many new elements into his traditional folk sound.
The pitter patter of rain pouring down in the (More Rain) intro leads us into the album's first real track, Pirate Dial which is one of the expected signature folk tracks. It features some fantastic layered acoustic guitar with the ambient sound of rain fall heard in the background. One of the most visceral and beautiful tracks on the album, the sparse instrumentation helps create a wonderful atmosphere while Ward's vocals contain just enough reverb to make the indie influence evident. He follows this track up with Time Won't Wait Up, a much more upbeat americana track that features multiple vocal tracks from Ward and his chanting of "do do do" almost evokes a certain doo-wop feeling, something that certainly is a new addition to his ever changing repertoire. This same feeling reoccurs on the track I'm Listening as well. It's one of the slower tracks on the album, and the enchantingly quiet guitar work in the background is met with Ward's whisper like vocals which help to deliver yet another impressive cut.
The album certainly does start off hot, but there are a fair share of not so impressive moments as well. A perfect example would be the fairly generic cut Confession, which fails to stand out thanks to the lack of lyrical substance and some of Ward's weaker guitar play on the album. Despite the intriguing electronic elements that comes with the use of a synthesizer, Girl From Conejo Valley also fails to make all too much of an impression, and at this point in the album it becomes clear that Ward is capitalizing a bit more on the slow-paced, atmospheric tracks than he is the upbeat, heavily instrumentally layered moments. Fortunately, there's no shortage of the slower tracks throughout, and they're covered with Ward's echoey, distant yet inviting vocal approach that causes you to feel if he's singing to you, rather than at you. At times, the album reveals a certain familiarity to fellow folk artists Father John Misty's work, yet with a much more serious and accessible tone.
At only 38 minutes in length, there's no need of the album overstaying it's welcome, and it's a good thing that was the approach taken. The layered vocals make for a nice change, but they're used in such an abundance throughout, that one or two more tracks tacked on at the end could have resulted in overkill. Instead we find a nice mix of a plethora of different instruments, ranging from horns, to violins, to moments where we actually get some rather loud and booming percussion. It's when Ward puts his focus into his trust guitar that we really hear something special though, and on a track like Phenomenon, a song that is closer to honky-tonk country than it folk, that we see why. When complimented with light use of an organ, a banjo, a bass, we see how much can be put into a track while still keeping it simple and precise.
The variety of genre influence and overarching introspective theme of More Rain makes it a welcomed addition to what is already a superb musical catalogue for the accomplished song writer. There are certainly some moments stronger than other, and it feels as if more effort went into a handful of tracks than did the rest of the album, but ultimately it doesn't stop the record from being enjoyable.
Rating: 3.5/5
You can listen to M. Ward's track Girl From Conejo Valley below:
The long awaited return album from iconic post-hardcore act Slint... oh wait a minute, that's right, it only sounds as if this album were recorded by Slint. Instead, Before A Million Universes is the second full-length release from New York based post-punk outfit Big Ups. While the four-piece band don't bother pulling any punches when it comes to showing off their influences on this record, they also look to incorporate just enough of their own sound to allow them to make this project their own.
Let me preface by saying that I personally consider Slint's Spiderland LPto be amongst the best post-hardcore albums released, and seeing a band influenced by them isn't anything new, nor do I consider it to be a bad thing. However, it becomes immediately evident on this project that it's preventing Big Ups from defining their own sound as not only are they borrowing the vocal style, but many of the guitar riffs also seemed to be pulled right out of Slint's playbook.
Throughout the album we see frontman Joe Galarraga uses the same lo fi, raw, loud vocals that Slint's Brian McMahan brought to the post-hardcore genre to help bring the sound from quiet, slowcore indie-rock to ruthless post-hardcore onslaught. Ultimately, Galarraga does quite well with the vocal transitions, but because they seem so familiar, and are already an integral part of a such a well-known act, it's hard to not imagine you're listening to someone else when you hear them.
The album's opener, Contain Myself is one of the better moments on the LP in my opinion, as Big Ups balance the Slint inspired spoken word quiet to loud vocal approach with some heavily distorted guitar play and a booming bass line that plays a huge role on this album. In fact, the group's prominent use of the bass guitar is easily my favorite element from this project, as I felt it was by far the most unique aspect of their sound. After we move past that track however, the album takes and more of a dive into the same borrowed elements I've already mentioned.
The latter half of Meet Where We Are, the fifth track on the record, see's the group make a bit of progress and leave the slowcore moments behind to instead deliver a crunching, hardcore influenced post-punk sound that proves they're capable of being more than a glorified cover band. Once again on this track, it's the bass guitar that not only makes for a fantastic groove, but also gives the band a very loud punk sound.
Unfortunately, these moments of more ruthless and angered post-punk are few and far between and instead the group dedicate most songs to following the same formula laid down by their predecessors. We do see more glimpses of their real punk side on tracks like the fast-paced chanty anthems Negative and Hope for Someone, but unfortunately about a minute in they both break down into more moments of Slint worship.
For some, the way the Big Ups chose to wear their influences on their sleeves may be an intriguing element, but personally I find the borrowing from other artists to be a little bit too heavy on this album to allow it to truly click. The album plays as a tribute rather than a unique listening experience, and while their is clearly potential with the group's musicianship and songwriting, it feels like they took a step backwards from their debut album with this one. There are a couple tracks worth hearing, and I can see myself coming back a few times because at the end of the day, it is an enjoyable record, but it fails to distinguish itself in any meaningful way which leads to dismiss Big Ups as a band who really need to discover their own sound.
Rating: 3/5
Listen to Big Ups National Parks below:
You can stream or download Before A Million Universes here.
From the groovy opening bass line and spoken word vocals to the concluding chants of "pimp, pimp!" Kendrick Lamar manages to make untitled unmastered one of the most cohesive hip-hop compilation albums released in quite some time. The eight songs featured, many of which have been performed on live television recently during the Grammy's as well as on The Tonight Show with Jimmy Fallon, were recorded at different times over the last three years. It becomes very obvious the influence that Kendrick's last project To Pimp A Butterfly had on the recording, as there are moments of very similar instrumental progression and spoken word passages that K.Dot experimented with on the album. That's not to mention the use of many direct references not only to the album's title, but also to tracks like Mortal Men and King Kunta.
The surprise release of this project not only serves as an unexpected gift for all fans of the Compton born emcee, but it also proves his versatility and consistency. These tracks aren't driven by the same overlying theme that surrounded the recordings on TPAB, and yet they still work as both songs that could easily be hits, and deal with some very interesting and important subject matter.
The album's opening track, which can't be called anything but that, since the tracks are all untitled, is an ambitious effort that finds Kendrick discussing the future of the world over a deep bass line and haunting piano play. Eventually we get to an interaction between the emcee and God himself, who asks "what have you done for me?" The track is reminiscent of TPAB's How Much a Dollar Cost in it's introspective discussion of faith, and Kendrick's apparent fear of not being accepted into heaven. Not only does it start the project off on the right foot, but it's one of the most memorable moments throughout the album as well.
The second track on the album see's a beat more similar to something you would have found on TDE label mate Jay Rock's recent album 90059, and yet with the few moments of freejazz influence, you're reminded exactly who it is you're listening to. The lyrics on the cut see Kendrick exploring his fame, and how his own life has changed while the life in the hood remains all consistent. It's also the first time on the project we hear the chants of "pimp pimp," something that becomes a reoccurrence as the album moves on.
The following track is one of the most impressive lyrically, and was debuted quite some time back live on the Colbert Report. Kendrick discusses encounters with members of many different races, and the advice they give him on how to live his life, yet when he arrives at the white man, all he wants is a piece of the emcee. The song is clearly being used as a metaphor for record labels and the music industry, and as far as the songwriting goes, it's one of my favorite moments on the project.
After a short interlude, we get the fifth cut on the album which see's an appearance from Anna Wise, an artist who many will recognize from her contributions on TPAB. The dynamics on this song are quite impressive, as we see Kendrick aggressively handle the laid back jazz lounge instrumental, while Wise delivers a much more beautiful and traditonal hook to the song. The duo are also joined by rappers Punch and Jay Rock later on in the track, and both drop solid verses to bring the cut to it's conclusion. Up next is the sixth track, which instrumentally reminds me a lot of the For Sale interlude from TPAB, but quickly expands to much more thanks in part to a feature by R&B/soul artist Cee-Lo Green. The song digs deep into the concepts of human flaws, as well as embracing unique traits with lines like "look at my flaws, look at my flaws, look at my imperfections and all. Look at how you think my mystique is a round of applause." This track in particular is an example of Kendrick's ability to step away from the misogynistic stereotypes that surround the hip-hop music and culture, and instead make something that can be seen as positive.
The album takes quite a turn stylistically for the seventh track, as the eight and a half minute long cut begins with much more of a "banger" beat than we've heard thus far, which is somewhat ironic considering producer/rapper Swizz Beats claimed it was his five year old son Egypt who actually provided the production on this one. Nonetheless, it isn't long before the instrumental transitions into something much broader, as the eight minute track fails to ever get repetitive, and in fact is more like three separate songs placed into one album slot. The final third of the track provides one of my favorite moments from the project, as we get a very lo-fi, direct cut from the studio audio from Kendrick. You can hear background noise, speaking, and chairs squeaking among other things, but it feels so organic and natural that it's almost as if you're in the studio as well, which is just another example of K.Dot incorporating elements of other genres into his own style.
That brings us to the closing track, which some may know as Blue Faces, which was debuted just a month or so back on Jimmy Fallon's Tonight Show. The song sees the rapper delve into the mind of a love interest to ask her why it is she's so sad. The funky, fast-paced instrumental might have served better as an opener than as the closing track, but it's still yet another solid moment and brings the album to a rather quick conclusion.
It's hard for me to assign a rating to a compilation project, but it feels like much more than just a collection of untitled and unmastered tracks. It isn't anything like Kendrick's earlier releases, and all of his previous releases have been unlike anything he's released prior to those. While the core of the album is clearly influenced by his last release, it's a much more streamlined and to the point approach that still manages to be both unique and inventive. There are some moments better than others, and it does feel rather raw at times, but ultimately it's yet another fantastic release from the Compton native that will keep fans foaming at the mouth for his next release.
Rating: 4/5
Listen to Kendrick Lamar perform Untitled 2 (Untitled 8 on the album) live below:
It can easily be said that Macklemore has taken over as the face of pop rap over the last few years. Loved by the mainstream audience, but despised by many self proclaimed hip-hop heads, he's been put into a tough position because of his success. As an underground Seattle rapper, he released his fair share of projects, including his sole full-length album as a solo artist The Language of My Worldback in 2005. However, it wasn't until he met producer Ryan Lewis and the two decided to team-up that his career began to take off.
As a duo, the two independently released two EP's before their debut album The Heist hitstores in 2012. Packed full of decent production and fairly average pop rap rhymes, it was the subject matter of tracks like Same Love, and the catchiness and comedic punchlines of hits like Thrift Shop that helped the duo rise to the top of the charts. Of course it wasn't all smooth sailing for the duo however, as they received a fair bit of backlash from the rap community, especially when they were awarded the Grammy for rap album of the year in 2013 over Kendrick Lamar and his monumental release Good Kid MAAD City. The duo refused to let the lukewarm reception get to them though, and tracks like the new album This Unruly Mess's lead single Downtown made it clear they weren't prepared to back away from the pop sound anytime soon. That eventually became an afterthought however, as last month with the release of the album's second single White Privilege II, Macklemore took on a very important topic, and despite early criticism from your's truly, I've grown to enjoy the track quite a bit and respect it not only for it's relevancy, but also for what Macklemore offers lyrically.
Even with one solid single, I still went into this album expecting to be disappointed by sugary pop hooks and cringe worthy attempts at musical comedy. Nonetheless, I felt the need to give it the time of day, and astonishingly, I ended up being quite impressed.
The album kicks things off with one of the best lyrical displays Macklemore has offered thus far in his career, as Light Tunnels see's the Seattle emcee detail his experience at the Grammy awards and his thoughts during his upset win for rap album of the year. We also get a peak into the mind of the rapper, as he mentions how insecure and uncomfortable the award made him, as well as how much he began to doubt his skill after the criticism he received. Lines like "I don't like who I am in this environment, I forgot what this art's for" help reinforce what he explains throughout many of the albums deeper moments, which is that he cares about hip-hop and can offer more than just being "another white radio rapper." The song's chorus, sung by Mike Slap is the same generic pop hook I've come to expect from Macklemore, but it isn't enough to stop me from enjoying this track, as the introspective bars have me actually caring about what the emcee is saying, something that very rarely happened on his last album.
Other deep cuts like the aforementioned White Privilege II which serves as the closer, and Kevin a track that features Leon Bridges and details the overdose of one of Macklemore's childhood friend's, show us a much more honest, down to earth conscious hip-hop side of the duo that I didn't expect to find on this record. In the past, with songs like Same Love, I've felt like Macklemore was simply using current world issues for his own gain, and while I'm not necessarily convinced that wasn't the case in the past, I don't feel that way with these cuts on Unruly Mess,because there's a touch of sincerity, and it feels like there's something to prove with each line delivered.
It's not all positives on the album though, and that same cheesy mainstream pop culture artist who we've come to know appears multiple times on the album. Downtown is an obvious example of that style, but we get tracks like Brad Pitt's Cousin, Dance Off, and Let's Eat as well which see rather lackluster punch lines and weak attempts to brag. I struggle to take Macklemore serious when he takes a braggadocios lyrical approach, and the overly radio friendly production doesn't do much to elevate the tracks either. There are however, a handful of cuts that sit somewhere between those that are self reflective and the others that are drenched in pop influence. Buckshot, a cut that features New York hip-hop veteran KRS-One and iconic producer DJ Premier centres around Macklemore's experience with graffiti art, something that any one familiar with KRS-One will know he also is well versed in. It's a very enjoyable track, and sits on the fun side without relying on too clean of a chorus or too much pop influence. The indie-rock flavored instrumental on St. Ides is another one of the album's highlights, as the lyrics reflect on Macklemore's history of alcohol abuse. The twangy guitar featured on the track helps make it one of the better beats throughout the project as well.
I've breezed over White Privilege II a few times already throughout this review, but I feel like it's important to address the track a bit further. The song of course discusses the black lives matter movement and the ongoing struggle between black youth and police officers in the United States. Macklemore mentions the silence he and many other white artists have resorted to while the incidents continue to occur, and he also reflects on the hip-hop culture and those who consider him to have "stolen the sound" for his own gain. I have already said I was dismissive of the song at first listen, but since I've come to respect the emcee more, not for making a track on something important, but as serving as the connection between what's occurring and a mainstream audience. No, you shouldn't feel sympathy for Macklemore when hearing this track, but it's purpose is instead to inspire those who have set in silence and have remained uninvolved with protests and demonstrations to stand-up and be heard. Regardless of your opinions on the matter, it's a track that warrants a listen for the power behind the message alone, and the lyrical display from a man who prior to this track was nothing more than a boring pop rapper, at least in my opinion.
The best moments on This Unruly Mess I've Made are easily the best that the duo have offered since they began teaming up, and I'm very impressed with what they've done throughout the LP. Unfortunately, there are still a handful of tracks that feel phoned in, as if the sole reason they were included was to appeal to a more a mainstream audience, and that hurts the album quite a bit. Nevertheless, my opinion on Macklemore and Ryan Lewis has been altered quite a bit, and I now see a lot more potential in their sound. If they can trim out some of the more uninspired moments in the future, Macklemore will have plenty more award shows to write about.
Rating: 3.5/5
You can listen to Macklemore and Ryan Lewis' White Privilege II below:
Daydream Society is the solo project of Fort Wayne, Indiana based ambient musician Bryan Mullins. He first caught my ear with his 2015 release: For Now, a very impressive record that saw him use a traditional synth based sound to create some very uniquely lush soundscapes as well as some spectacularly vivid imagery. He released the follow-up to that project, Avulsion, this past January, and while it stayed true to that same sound found on For Now, it also saw him dig a bit deeper as an artist as he tried to define his stylistic direction a bit further.
If one thing can be said about both of the last two projects, it's how much I found the music correlated with the album art. The brightly lit neon city that graces the cover of For Now matches the vibrant synths of the album perfectly, and often times the music itself provoked the feeling of walking down a brightly lit city street on a dark rainy night. Meanwhile, the artwork for Avulsion is quite different, yet the wintery forest that you are presented with on the cover still manages to connect with the music quite well, as this time the sound is more of a warm blanket, enveloping you much like the bright sun that can be seen peaking through the aforementioned trees does to the forest.
So, what about the newest album, Fervor? This one was hard to get a read from by simply looking at the album art, but after hearing the first few songs, it becomes immensely clear what the artistic direction is. The project, which Bryan himself referred to as being "an album about love, without using any lyrics" is the darkest I've heard him get. The angry, dirty distortion on tracks like Daring to Deceive You and Fate or Fiction Pt. 2 feel both loud and abrasive when contrasting the hauntingly beautiful synths that occupy most of the other tracks, however when set against the backdrop of the shadows and darkness of the album's cover, it all seems to make complete sense.
While he has classified his previous projects as experimental, it wasn't until Fervor that I felt the tag truly belonged. The closing track The Best Dream of Your Life, a cut that comes in at nearly 7 minutes long, is a wonderful example of that. The extra slow pacing of the piece is wonderful, and while it's kicked off with the same buzzing atmosphere that you might expect, it's as the track progresses that we find surprises such as the ugly keys which manage to still boarder on being pretty in their own eccentric way. When that's mixed in with what appears to be a very sci-fi inspired sound, it creates one of my favorite tracks on the entire album. It was an ambitious decision to venture further into experimental territory, but fortunately the plethora of new sounds included on this record don't interfere with the same atmospheric nature that can be found on the rest of Daydream Society's projects. Even with some moments being more out there and unpredictable, the project as a whole remains very coherent and has it's own unique identity without alienating any of the elements found on older material.
This is certainly the most ambitious Daydream Society album I've heard, and for each second of beauty and love, there's also a moment of sadness and despair, but after all, isn't that what love is? In many ways, I consider an ambient piece to be much like surrealism is in art. You may not be able to hear or feel exactly what the artist was thinking when creating it, but each listener will have their own interpretation of what's beneath the surface. For me, Fervor is a journey for both love and lust, a journey that has ups and down, and is equal parts alluring as it is tragic. Is Fervor Mullins' best project? Perhaps not, but it certainly is on par with the rest of his works. What it truly is however, is a sign of musical maturity and further development of what was already an incredible approach.
Rating: 4/5
You'll be able to download or stream Fervor on March 1st, overon Daydream Society's bandcamp pagehere. In the meantime, head over and check out some of his other material.
It's been over 15 years now since the Baltimore based experimental pop outfit Animal Collective released their debut album Spirit They've Gone, Spirit They've Vanished. Now, after a four year span without a full-length release, they have released their tenth studio album Painting With. Four years is the longest gap the group has even taken between releases, and they've used the extra time to reinvent their style, to some extent at least. David Portner, one of the group's co-founders who started in his own side project Avey Tare's Slasher Flicks while the group were on hiatus, stated that the goal whilst recording the album was to simplify their sound, and do away with the long passages and use of reverb that had developed into a very prominent element of their past material. While the decision to change such defying characteristics of their sound didn't hurt the music on Painting With, it didn't do much to help it either, as Painting With is perhaps the most average album the group have released.
The colorful, upbeat and cartoony tracks FloriDada, The Burglars, and Spilling Guts all still feel like Animal Collective, but are elevated by their simplicity, in comparison to the band's other material that is, as well as their short overall lengths. Painting With is the trio's shortest release, coming in at a modest forty minutes, which is proof enough already that they have done away with the use of extended passages. While the music is as mentioned, a tad simpler than those familiar with the band's previous albums may expect, they still create very lush, layered soundscapes that can be challenging at time to listeners. Unfortunately that doesn't always work well with the direct and to the point nature of the tracks, as throughout the album there are quite a few moments where the band have too much going on. On the opposite end of the spectrum, tracks like Hocus Pocus (which features Velvet Underground co-founder John Cale)and Vertical feel as if they're missing something, as if they're empty when stood up next to the rest of AC's musical catalogue.
The album does contain some fun moments, as well as a handful of well-crafted enjoyable pop cuts. Despite that, the music is constantly bogged down by the similarities found throughout the record, as it constantly feels as if the band decided to confine their songs and are frequently holding back intentionally rather than expanding their sound as they have previously done with every new release.
At it's core, Painting With is the poppiest and most fun that Animal Collective have ever been, but it's also the simplest and most direct record that they've released thus far. It's not the fleshed out, unique, experimental pop record that the band are known for, but that doesn't mean it isn't worth a listen. It's hard to get through the full project without tapping your foot and singing a long to at least one of the peppy, upbeat songs, and while Painting With isn't quite their best, I wouldn't say it's their worst release either.
Favorite Tracks: FloriDada, The Burglars, Spilling Guts, Golden Gal Least Favorite Tracks: Vertical, Summing the Wretch Rating: 3/5
Check out the album's lead single FloriDada below:
Here we are in the 21st century, with a metal scene unlike we've ever seen before. No longer can a band succeed by striving to simply be the "heaviest" or "most metal," because it's been done countless times before. Now, it's about the style just as much as it is the substance, it's about broadening the horizons of the listener and incorporating more than just blast beats and ugly vocals, that is if you want to make a great record. For Slaves BC, they do exactly that with a blend of hardcore punk and blackened doom metal that has established themselves as one of the most exciting upcoming bands in the metal scene, in my personal opinion at least. They've released a handful of singles, 7' splits, and EPs over the last couple years, but All Is Dust And I Am Nothing is their first full-length album, and boy is it ever packed to the brim with the rawest of raw vocals and nasty, chugging, guitar riffs guaranteed to leave you begging for more (or maybe less?)
The album, loosely referred to as a concept album, sees the band explore the meaning of life. If you are unsure of what exactly it is that they discovered throughout this venture, maybe the song titles will help clarify. A quick peak at the track listing gives you titles such as God Has Turned His Back, All Find Their Way to Their Grave, and Everything Is Meaningless. The music however, doesn't deliver exactly in the same vein that the song names might lead you to expect, as the project feels quite a bit more like the narrative of a man's life than it does the emo record that the track listing might imply. As the LP progresses, the screeched vocals, which do at times feel as if they were inspired by early 90's screamo, feel as if they become lower and lower in the mixing. Progressively becoming drowned out in dirty, muddy, distortion. It's as if the man's thoughts are no longer clear, or at least are not distinguishable to those who hear them. The ferocity and raw nature of the vocals are perhaps best displayed when tracks come to a halt, on cuts such as Crawling Through Nothing and Why Are We Here? the band makes the decision to finish the tracks with blood curdling, animalistic shrieks rather than relying on the heaviness of their respective instruments.
Anyone can pound on a drum set and scream into a microphone, and while at times it may seem as if that's all that the Pittsburgh based hardcore outfit are doing, it always leads to something bigger and badder. Whether they're looking to bring out the ugliest, meanest noise possible on the tracks God Has Turned His Back and Nothing Remains But Death, which feel at times as if they were influenced by mathcore acts such as Converge or Dillinger Escape Plan, or moments where they are looking to create some cleaner, more traditional metal instrumentation like on Everything Under the Sun, the band always seems to be looking to try something different than what you have heard on the previous track. Even if the progression is minuscule, it can still always be found.
Beauty in metal is more prominent than ever before. Subgenres such as post-metal and blackgaze, are seeing acts incorporate lush soundscapes and more atmospheric elements into their sound that previously wouldn't have been accepted as being heavy metal. For Slaves BC however, their sound is as far from being pretty as humanly possible. It's dirty, it's raw, and it's ugly as hell, yet the band refuse to let that be the ultimate selling point of their sound. Instead, they focus on building bone crushingly heavy and slow, methodically placed riffs that when met with the angry drum bashing and wretched vocals makes for arguably the nastiest metal album I've heard this year.
Rating: 3.5/5
Listen to the the track Everything is Meaningless below:
It seems as if The Life of Pablo, Kanye West's 7th full length LP had a release that was based more so around the spectacle itself than it was actually around the music being created. From the way that the man known as Yeezy decided to handle the release, premiering it at Madison Square Garden alongside his latest fashion venture Yeezy Season 3 (which you watch in full over at TIDAL here) to the multiple name changes of an album that began as So Help Me God, which then became SWISH, and stopping at Waves before finally ending up with the title The Life of Pablo. It seemed to be a lot of ego stroking, and left expectations varied among those waiting for the album's release.
While West has had a history of successful releases, with his debut full-length effort The College Dropout winning him one of his many Grammy Awards and giving him his first hit single with Jesus Walks, it wasn't until 2010's My Beautiful Dark Twisted Fantasy that Kanye truly came into his own as an artist. The album was an introspective and dark look in at the life of a man who had transcended being a rap artist and had now become an infamous pop culture star thanks to his outspoken ways, and in particular his run in with Taylor Swift at the 2009 Video Music Awards. He continued to impress critics and fans alike after the release of MBDTF with his following album Yeezus, a record that saw the GOOD Music founder experiment with elements of abrasiveness and noise rap for the first time. It was yet another standout release, and managed to convert many former unimpressed listeners into bonafide fans.
On his new release The Life of Pablo, we're getting what feels like a reflection on his career as well as a combination of all the sounds he's incorporated in the past. Tracks like Father Stretch my Hands and Highlights are both reminiscent of his early material,the Graduation recordin particular, and the I Love Kanye interlude takes a similar formula to the skits found on his aforementioned full-length debut The College Dropout. That interlude is one of the most interesting moments on the album due to the way that Kanye embrace his reputation as a self-centred egotistical man much like he did on My Beautiful Dark Twisted Fantasy, while also poking fun of it in humorous fashion. Unfortunately, aside from that single track we don't hear much more of that same introspective side of the rapper throughout the LP. We do however get a few cuts similar to those found on the album Yeezus, as both Feedback and FML bring out that same abrasive and a touch more experimental side of Kanye we've seen before, making them enjoyable cuts worth hearing.
While there were many artists recruited to collaborate on the album,(Kid Cudi, Chris Brown, Rihanna, Post Malone, and The Weeknd to name a few) it's the guest verse of rap superstar Kendrick Lamar that really steals the show as far as the star studded features go. His appearance on No More Parties in L.A, which was released as a snippet earlier on, is one of the best moments you'll find on the album. K.Dot has constantly proven himself as one of if not the premier emcee in the game, and he does so here yet again on another artists record.
That does however lead into the biggest problem with the project, as many of the best tracks found in the listing were already released as singles. Not only have you already heard the core of the album by listening to the tracks that have already been released, but you've also heard the best moments. When Kanye originally tweeted out the track listing, the album contained just a mere 9 tracks, and some of the singles which had already been released had been left off. No More Parties for example, was originally not going to be on the album, yet ended up being one of the best tracks, making it appear as if the singles were just thrown on either from fear or nervousness. The final single released from the album, 30 Hours, ended up being one of the least impressive moments found on The Life of Pablo, as the song clocks in at five and half minutes, yet feels as long as the name would imply it to be. Like quite a few other cuts scattered throughout, it doesn't bring anything new to the album, and the beat is nothing more than generic and boring filler. Kanye killed a lot of the momentum found on the original album by making the decision to add so many tracks at the last minute, as quite a few of them fail to stand out on their own, and hardly justify the delayed release.
Most of what's found on the album feels very familiar, as if it's already been heard quite a bit before. Even the most controversial moment on the album, the line from the track Famous where Kanye states that not only might he still have sex with Taylor Swift, but that he in fact made her famous, it feels as if he's living in the past of something that was relevant over 7 years ago. All of the emcee/producer's former releases are enjoyable for their own reasons, but when placed into one single project, it feels more like a convoluted mess than anything new.
At the end of the day, The Life of Pablo is not Kanye's best release, and when compared to his last two albums, it seems like a step backwards. Is it a bad release? Not by any means. But when considering the roll that the Chicago native has been on over his last few albums, and the hype that was surrounding one of the biggest rap releases of the year, it can't help but leave a bit of a sour taste in your mouth.
Favorite Tracks: Feedback, I Love Kanye, Real Friends, No More Parties in L.A
Least Favorite Tracks: Highlights, 30 Hours
Rating: 3/5
If you've heard the album, what did you think of it? Go ahead and let me know your thoughts down below, if you disagree tell me why I'm wrong or just call me mean names.
Nostalgia is in, and what's old is now hotter than what's new. What was once considered dated, or "so last year" is now coveted and celebrated. That can be applied to music, movies, and the majority of other art forms across nearly any platform. There is a certain demand for more acts like Zeppelin and Pink Floyd, but it's rather unfair to expect that same sound when we live in a time with a music scene filled to the brim with uniquely creative acts. However, for those into the revival of past trends and musical styles, the new Nap Eyes album Thought Rock Fish Scale is aimed specifically at you.
The sounds of Atlantic Canada flow through the folk act's sophomore release, while the band also looks to incorporate influences from the likes of iconic art-rock group The Velvet Underground. The laid back guitar play and somber tone of the album are propelled by frontman Nigel Chapman's vocal approach, which does at times feel monotonous, and yet at other times fits in just perfectly. While the album is just a mere 34 minutes in runtime, it sees plenty of repetition and longer than expected tracks. The longest cut on the album, Lion in Chains, is an example of the four-piece taking advantage of said repetitious approach and extra song length as Chapman's voice fills your ears by soaring high above the instrumentation with his story telling as he pulls you into his own little world until the next track hits. It isn't always a positive when the songs happen to drag on for so long though, as cuts like Click Clack and Alaskan Shake both feel as if they simply should have wrapped up sooner, despite both being quite a bit shorter than the aforementioned Lion in Chains.
One of the most intriguing aspects of the project is just how prominent Josh Salter's bass is. It comes through both groovy and mellow, and on the opening cut Mixer, feels louder than any other instrument featured, which helps make it one of the best songs on the whole album. The project can only be explained by calling it the soundtrack to cracking open a cold beer on a sandy beach, thanks to the warm and welcoming guitar riffs and soothing, laid back drum patterns.
As far as the local Nova Scotian music scene goes, I haven't heard many acts that are worthy of discussion. Nap Eyes however, have proven themselves deserving of anyone and everyone's time of day with their latest release. It isn't anything new, and in fact it feels quite old. The album gives you that same feeling as finding an old childhood toy, or flipping through a photo album filled with pictures of your favorite summer. It's that atmosphere and sensation that not only keeps the album from being just another indie folk record, but also allows it to be accessible to music fans both young and old.
Favorite Tracks: Mixer, Lion in Chains, Trust
Least Favorite Tracks: Click Clack, Alaskan Shake
Rating: 3.5/5
Listen to Nap Eyes track Mixer below:
You can download the band's album Thought Rock Fish Scale here.
Underground Chicago based rappers Chris Crack and Vic Spencer have both been putting together some very solid projects within the underground hip-hop scene for quite sometime now. They are frequent collaborators, and on Who the Fuck is Chris Spencer? they deliver their first full-length album has a collective. While Vic Spencer is perhaps best known as the guy who exchanged diss tracks with fellow up and coming Chicago emcee Mick Jenkins late last year, he, as well as Crack, are both also known as on the rise hip-hop artists who are looking to use this release as a stepping stone to the next level of popularity.
The album is presented as a concept project, an introduction to Chris Spencer, as the project's title implies, and while you do learn that he's a wise cracking, beyond confident man who has no problem speaking highly of himself, that's about as far as the duo manage to take it. Their lyricsm isn't bad, and there are a plethora of clever lines that still cause me to chuckle after multiple listens. The best example of the quick-witted song-writing comes on the cut Ice Cubes when Vic Spencer spits the line "y'all get an A+ for sucking balls." It's simple, straight forward lines like this that the two specialize with, and when it's combined with the 90's inspired production of the album, it works quite well.
The downside, however, is that the production isn't always all that impressive. Instrumentals like the vocal sample driven beat of Zebra Ave or the strange synth based production found on The New Information aren't able to be redeemed by the rapping, because the two rely on their ability to ride the beat so heavily that when using an unimpressive instrumental, they end up failing to deliver. With that being said, there are also tracks where the samples are extremely well done and the beats help propel Spencer and Crack to a much higher level then they'd otherwise be on. Spencer has proven himself as talented behind the boards, and assuming he handled those duties on this project as well, he certainly came through with some of the best production I've heard from him on the album's better cuts.
As I mentioned, the two were clearly influenced by 90's hip-hop as the jazz based sampling and laid back flows are the driving force throughout. No Biggie is an exception of that rule, as the trap flavoured song features some hard-hitting bass and an aggressive flow from the two Chicago natives. At no point do they look to bring anything new or unique to the table, and that is perhaps just a byproduct of drawing as much inspiration as they do from the past.
Any fan of either of the two gifted emcees' should take the time to check this one out, and those not acquainted will find this to be an easy way of being introduced. Who truly is Chris Spencer? He's not anyone exciting or innovative, but when he's firing on all cylinders, he makes some truly enjoyable hip-hop tracks.
Favorite Tracks: Cue Ball, No Biggie, Drunken Monkee Least Favorite Tracks: Zebra Ave, The New Information
Profound Lore Records became one of the most exciting labels for loud, ugly, and noisy music last year thanks to two fantastic releases from solo black metal project Leviathan and noise/experimental act Prurient. This year however, it's the long awaited full-length debut from French-Canadian technical death metal outfit Chthe'ilist that has people talking. The lyric sheets from the new album reads like a choose your own adventure novel, detailing dark fantasized stories in ways that only a death metal outfit can. Of course the vocals are not the focus of the sound they're creating though, as their sheer brutality and lyrical creativity serve only as the cherry on this atrocious cake of an album.
From the moment that the church bells and loud footsteps of the opening title track give way to the band's booming drums and dark, operatic atmosphere, the Canadian three-piece look to grab the listener's attention. Whether it be through the animosity and chaotic nature of their sound, or by their impressive musicianship, they certainly succeed to that degree. They merge the seven track LP into a exhibition of their proficiency, not simply showing off as many technical metal acts tend to do, but also using intriguing song writing and composition to help showcase their capabilities. While at times the mid-song transitions do feel forced and sloppy, the trio often finds themselves able to prove the necessity only a few short moments later when they have already moved onto bigger, badder, and angrier things.
The band also experiment and take their fair share of risks throughout their debut, moments like the industrial inspired outro to the second track Into the Vaults of Ingurgitating Obscurity, one of the few if not the only weak track on the album, still manages to provoke the image of a snarling demonic animals, maybe even a being of another planet with the bizarre noises that appear while the song is approaching it's conclusion. With that being said, it's that same uncertainty of what you're going to hear and the unknowing of what is going to come next that keeps you on the edge of your seat in anticipation upon listening. The funky bass line found in tracks like The Voices from Beneath the Well andVecoiitn'aphnaat'smaala is confirmation that the group's ability to incorporate bold stylistic choices help them separate themselves from other flashy, technical death metal outfits. The thirteen minute closing epic that finishes the project proves to be the ultimate climax, as the band drags you through one more dark forest on one more gothic adventure, and with a name like Tales of the Majora Mythos Part 1, it would appear as if it were also an ode to the iconic Zelda game Majora's Mask. Chthe'ilist's first full-length release offers enough diversity to feel fresh throughout the full fifty plus minutes that it occupies, while also feeling familiar enough to lose yourself in the fantasied atmosphere found throughout. The album has been quite a few years in the making, and fortunately, it proves itself worth the wait.
Favorite Tracks: Scriptures from the Typhlodians, The Voices from Beneath the Well, Tales of the Majora Mythos Part 1 Least Favorite Tracks: Into the Vaults of Ingurgitating Obscurity Ratings: 4/5
Listen to Chthe'ilist's The Voices from Beneath the Well below:
You can download the album on the Profound Lore bandcamp page here.
Recently I reviewed the newest Future album EVOL (a review which you can read right here) and during that review, I mentioned the subtle subtweets and disses exchanged between Future and fellow Atlanta based rapper Young Thug over the last year or so, thanks to the two rappers embracing the state of 21st century hip-hop where all "rap beef" takes place on Twitter. Regardless of the words exchanged between the two, the true showdown came this past Friday as both artists released their own respective projects. While Future's EVOL was an average trap project that gave us the same Future we've been seeing for his last few releases, I was hoping Young Thug would seize the opportunity to capitalize on his seemingly always growing momentum, and finally prove himself as a rapper.
Originally, it was Slime Season 3 that was planned to be released this month. Instead, however, Young Thug, claiming inspiration from Kanye West and all the name changes his upcoming release (now titled Waves, incase you weren't sure) went through. Under the name I'm Up, Thug has released his 10th project since the beginning of 2014, and yet still, Thug fails to prove that he's deserving of his popularity.
The promising opener F Cancer, is a tribute to rapper Boosie Badazz, who had announced his diagnosis of cancer back in November of last year. The bass driven, upbeat production coupled with Thug's flow and simplistic lyrics and a feature from Quavo (of Migos fame) actually helps build an enjoyable, catchy cut that Thug has proven he is capable of doing in the past. Unfortunately it is one of the few songs on the album that actually manages to do enough to standout. For My People and Special are two other moments on the project where Thug is able to make a slight statement, thanks to the spacey trap production and intriguing features. Aside from that however, I'm Up is a collection of generic, boring, subpar trap songs. Thug's exuberant personality is no where to be found on the project, and much like I mentioned in my review of Future's EVOL, Thug is becoming another artist who is putting out far too much material and rather than impressing like he did when he first blew up, he's slowly assuring his fate as just another musical fad rather than a truly enjoyable act.
Each time I listen to I'm Up, I can't help but struggle to pay attention once I'm four or five cuts in. There's nothing impressive or enjoyable being shown aside from the few decent cuts I mentioned previously. If it comes down to Future or Thug, I'm listening to EVOL over I'm Up any day of the week, and that's not necessarily a compliment to either artist, but more so just proof that both are beginning to overstay their welcome thanks to the far too frequent releases.
Favorite Tracks: F Cancer, For My People, Special Least Favorite Tracks: King TROUP, Hercules Rating: 2/5
Below you can watch the F Cancer music video, which is co-directed by Thug himself, and also features the rapper/now director(?) being dressed head-to-toe in a set of pink scrubs.
As hard as it might be to remember, there once was a time when Wiz Khalifa was an up and coming hip-hop artist putting out some very interesting stoner rap. His laid back flows, wavy beat selection, and clever yet simplistic wordplay helped allow him to put out some great mixtapes such as Prince of the City, Burn After Reading, and Kush & Orange Juice. As his popularity grew however, the apparent amount of thought and effort that went into his songwriting began to diminish, and after the release of his third full-length album Rolling Papers, it was clear he was heading in a new direction stylistically. Now, with plenty more popularity and a couple big name awards under his belt, Wiz has delivered Khalifa, his sixth full-length release. Former fans of the Pittsburgh born emcee will probably go into this album hoping for a return to the rapper's former ways, unfortunately, they will end up sorrily disappointed.
Not only is Khalifa the worst album Wiz has put out this far in his career, it's also one of the worst rap album's I've heard in a very long time. The album, summed up as quickly as possible, is 13 tracks with absolutely zero effort, featuring generic production, an overuse of overdubbed vocals and echo effects, boring lyricism, and the Taylor Gang leader attempting to say "I smoke weed" as many times as he possibly can on an album before driving the listener insane. Lines like "my chain shit on your car, my rolex fucked your bitch" on Celebrate, or "gettin' all this paper, got me shittin' in public" two tracks later on City View are beyond cringe worthy. Not even the instrumentals, done mostly by fairly talented producers like frequent Khalifa collaborators Big Jerm, SAP, and Sledgren can help save any tracks on this LP, as most beats feel generic and boring, not even seeming good enough to be filler on an older project of his.
The album is 52 minutes yet feels like a lifetime, with guest features throughout adding nothing more than perhaps an appearance on the chorus or a lacklustre short verse. The only decent features comes on the one tolerable cut on the record, as No Permission features fellow Taylor Gang records label mate Chevy Woods. The instrumental, which is easily the most reminiscent of Wiz's past material on the album, is fairly average, and he appears to at least be attempting to put in an effort lyrically on this track. The biggest issue with the album for me, if it isn't clear yet, is that it's obvious Wiz isn't trying, coming through as a shell of himself even on his other commercial releases. While projects like Rolling Papers and O.N.I.F.C weren't great by any stretch, they at least felt like radio-bait, whereas Khalifa doesn't even seem to be enjoyable enough for the radio. It's not catchy, unique, creative, or anything else that could possibly be seen as a positive quality.
On Zoney, one of the later tracks in the listings, Wiz even brings his son Sebastian onto the album as perhaps some attempt to create a cute moment, but that's the last thing needed on a rap album. The only thing it serves to do is help the listener forget the lyrics earlier on the track, which are among the worst found in the listing. It did garner a smile from me though, because it became evident at this point how heavy Wiz was reaching, just looking to fill-up time and tracks as needed.
I'll be completely honest and admit that I'm not much of a fan of commercial radio rap. With that being said, the pop-rap elements aren't even what makes this album so unbearably bad. There's nothing appealing to be found anywhere near this album aside from maybe one or two tracks that are just a little bit above the horrendous standards the rest of the album sets. I'm not going to ramble on about just how poor this project is, or how far Wiz Khalifa, a once at least somewhat talented emcee has fallen off. Instead, I'll just leave by recommending you stay as far away from this album, or any song found on it for that matter, as possible.
Favorite Tracks: If I have to choose, No Permission is at least better than the other songs found on this trash heap.
I'm not even going to attach a video from the album below, instead listen to Never Been, a track from back when Wiz made enjoyable stoner rap.
Least Favorite Tracks: BTS, Celebrate, Elevated, City View, Call Waiting, Zoney Rating: 1/5
Yes that's right, one, as in the same number of songs that I can actually ever potentially see myself considering coming back to on this album.
Have you listened to the album yet? If so, let me know your thoughts in the comments section down below!
When Jazz Cartier claims "everybody in the States compares me to Drake, cause not many in the city can carry the weight" on the song Talk of the Town, he delivers an interesting perspective of what's to come on the follow-up to his debut album Marauding in Paradise that was released back in April of last year. Not only does Jazz share Drake's hometown of Toronto, Ontario, but he also shares a similar sound to that of the OVO member, as just like Drizzy is known for his ability to to craft fantastic party anthems over a plethora of beats, Jazz once again proves he's capable of the same on Hotel Paranoia.
Coming in at 16 tracks, Hotel Paranoia is quite an ambitious effort from the Canadian emcee, but if one things for sure, Cartier never shies away from taking risks. Whether it be through his boastful lyrics or his seemingly ever-changing beat selection, which while often trap flavoured, seems to also incorporate influences from many other genres as well. Even with the diversity though, 16 trap songs is a lot to digest, but could the up and coming hip-hop artist step-up and deliver yet again?
The aforementioned opening track Talk of the Town is exactly the way a project should open, Jazz is bold, he's energetic, and ultimately he introduces his listeners of what's to come. That is, until the outro of the song begins, and a skit between himself and an apparent worker from the "hotel paranoia" plays out. I didn't go into this mixtape expecting a concept project, but when one presents a skit of the sorts, and even finishes it with Jazz asking the employee if she can inform him when his friend arrives, as well as asking where the elevator is. The concept seemingly disappears after that track however, and the only true reoccurrence is when the albums sole guest appearance, coming from River Tiber, appears later on in track listing. Once again though, the cut has no clear connection to anything else in the project, so the skit is a somewhat questionable inclusion on the album.
The album almost appears to be divided into halves, as the first ten or so tracks are the expected hard hitting trap beats with Jazz dropping one liners and braggadocios statements. It changes up with After The Club however, as the subject matter becomes the relationship between the Toronto native and a love interest. The change in pace is reversed however, as Tales, the fifteenth track in the listing brings back the style found in the first ten cuts. The track pacing is interesting, but in some ways makes the project feel convoluted.
The project's closer, Save Me From Myself, is one of the most eccentric cuts I've heard from Jazz, as he delivers his first verse in a raw, almost demented vocal style. It's easily one of the most intriguing cuts found on the album, alongside How We Do It, a track that samples the Montell Jordan song by the same name. Not only is the use of the sample fairly interesting in it's own right, the song is the trap anthem you can expect to hear when you tune in to a Jazz Cartier project.
The album definitely flips back and forth, with a share of generic trap cuts that don't add much to the overall experience, but also quite a few enjoyable cuts that display lyrical skill as well as a strong ability to craft catchy hooks. If the goal with this release was to separate himself from Drake, I do believe Jazz succeeded, with that being said, the comparison isn't a bad thing and the more distancing he does, the more he'll need to add diversity and individuality to his sound. Favorite Tracks: Talk of the Town, Red Alert, How We Do It, Save Me From Myself
Least Favorite Tracks: Illuminati Love Song Rating: 3.5/5
Look I know I'm a month late on this, but there were way too many important 2015 releases that I missed out on and needed the time to hear. In fact, there are quite a few albums that I didn't even have the chance to review that still ended up on my list. It's been a fantastic year in music, and there's been stellar releases from a ton of my favorite artists. It seems to be customary to mention how hard compiling a year end list is, but this one truly was difficult. Without delaying it any further, my top 20 albums of 2015.
20)
Abyss by Chelsea Wolfe
Out of all the album's found on my list, Abyss is the one I've listened to the least, and it has nothing to do with the album's quality. Put simply, the album is so powerful, so noisy, so loud, that you can't help but feel the music. Chelsea Wolfe's gothic voice is beautiful yet empty, it's the only thing stopping you from being sucked into the dark, dreary production that surrounds this album in blackness. Abyss may be the heaviest album of 2015, and yet still, it manages to feel both calming and soothing.
19)
Today, I Wrote Nothing by Billy Woods
Billy Woods has been doing his thing within the underground hip-hop scene for quite some time now, but with the release of Today, I Wrote Nothing, Woods grabbed the world's attention, and put his talents on display. He still may not be the biggest, most well known hip-hop commodity, but he solidified himself as one of the most underrated talents in the game by creating his most ambitious project yet.
18)
Scar Sighted by Leviathan
For those not familiar with Leviathan, multi-instrumentalist Jef Whitehead's solo black metal project has been one of the biggest acts in American black metal for quite some time. On his latest album, Whitehead often times seems to forget he's even making a black metal album, as it sounds more like a hodgepodge of every genre he can think of, combining death and doom metal with noise rock, post metal, and just about anything else that crosses his mind. While typically such stylistic choices would lead to a project that's convoluted and ultimately too ambitious, that isn't the case on Scar Sighted, as each risk pays off, making for one of the better metal releases of the year.
17)
I Love You Honeybear by Father John Misty
I'm not quite sure what it is I like more about J. Tillman, the former Fleet Foxes drummer who has since went solo under the Father John Misty alias, is it his music or is it his humour? On his latest record I Love You Honeybear, there's no need to choose. The blend of Tillman's outrageous comedy and personality with his fantastic song compositions help make for one of the most unique indie folk experiences around.
16)
Luminiferous by High on Fire
As if Matt Pike had anything else to prove after creating Dopesmoker alongside his fellow Sleep bandmates, an album that has went on to be one of the most influential stoner metal projects of all time, he decided to form his own band High on Fire. Since their formation, High on Fire have delivered quite a few classics themselves (their 2007 album Death Is This Communion is a personnel favorite of mine.) In 2015, the band released what has to be considered one of their better albums thanks to the the blend of doom metal, sludge metal, and thrash metal found throughout the track listing. Pike's vocals are perhaps the best they've ever been, and his bandmates aren't too shabby on this one either. Luminiferous makes for a great album for any fan of metal music, to say the least.
15)
Get to Heaven by Everything Everything
If you're a fan of catchy, sing-a-long pop rock, look no further than Everything Everything's Get to Heaven. The band's third full-length studio release see's them pursue darker song-writing, but when met with the band's upbeat electronic rock style it leads to what is easily their finest release yet. It's guaranteed to get stuck in your head, and leave you wanting more. If that is the case, the band even packaged five or so extra tracks alongside the deluxe edition of this release.
14)
Every Open Eye by Chvrches
Chvrches have seemingly perfected the art of crafting synth-pop at this point. They released one of the best debut album's of 2013, and followed it up with Every Open Eye, an album that proves they haven't lost a step yet. If you're a fan of synth-pop, you've already heard Chvrches, if you aren't a fan of synth-pop, check out this album and you will be.
13)
I Don't Like Shit, I Don't Go Outside by Earl Sweatshirt
Earl Sweatshirt is one of the most talented young emcee's around, and if he didn't manage to impress you on EARL or Doris, then I Don't Like Shit should do the job. Not only has Earl refined his sound and continued to improve both his lyricism and beat selection, but he managed to do so on a project that clocks in at a mere 30 minutes. Maybe it sounds too short for you to truly be able to grasp what the Odd Future member is saying, but thanks to some superb lyrics and some fantastic features, it ends up feeling like the perfect length.
12)
The Anthropocene Extinction by Cattle Decapitation
Not only do Cattle Decap possess one of the most metal names I've ever heard, but they also have one of the premier vocalists in the current death metal scene thanks to frontman Travis Ryan. The vegan deathgrind 4-piece are frequently spreading their message against the mistreatment and eating of animals through their absolutely brutal and bone shattering music, and The Anthropocene Extinction see's the band look deeper into a dystopian future where we as humans fail to change the way we're living, and if there was ever an album to scare you into changing your ways, I'd put money on it being this one.
11)
Sometimes I Sit and Think, and Sometimes I Just Sit by Courtney Barnett
Australian singer-songwriter Courtney Barnett has been putting together solid material under the radar for a few years now, but it wasn't until last year that she released her debut full-length. The album definitely came in on the unique side of the spectrum, and was a nice change of pace to an indie rock scene that is littered with recycled sounds. Barnett's style isn't quite indie rock, but it isn't quite indie folk, to me it's a hybrid of the two. Call it what you want, perhaps the best summation of the album is simply; great.
10)
The Algiers by The Algiers
The Algiers self-titled debut full-length was easily one of the biggest, and best surprises to come from this past year. The group managed to blend gospel, post-punk and noise rock among other things with ease. They took the music industry by storm from virtually nowhere, releasing an album that's just as fun and catchy as it is skillful. The upbeat pacing mixed with some very intriguing gospel influenced vocals is seriously something to behold.
9)
Meliora by Ghost
If there's one thing Ghost proved in 2015, it was that you don't have to be the heaviest to be one of the best. Not only did the band put out one of their best albums yet and one of the best albums of the year, they managed to do so while creating a sound unlike what any other band is currently producing. The band gives you your hard hitting heavy metal on cuts like From the Pinnacle to the Pit and Mummy Dust, but they also toy with elements of classic rock, psychedelia and a plethora of other genres throughout the album. Hell, He Is is much closer to being a folk song than it is metal, and yet still, on Meliora it makes sense.
8)
The Powers That B by Death Grips
What can really be said about Death Grips that hasn't already been said? Their impressive discography continues to grow, and they manage to continue producing their signature sound without ever quite sounding the same, especially on the double LP The Powers That B. We get some of the noise rap group's most abrasive and angry cuts, and we also get some of their most lyrical and timid. Sure, it may not be The Money Store, but it's pretty damn close in my mind.
7)
E•MO•TION by Carly Rae Jepsen
If you haven't heard Carly Rae Jepsen's latest album, you need to as soon as possible. I Really Like You may not be the most impressive single, but if you take the time to dig deeper into the album, you'll find a hidden gem. An ode to mid 80's synthpop with just a touch of Jepsen's own style makes this album one of the most impressive mainstream commercial pop releases in quite some time. It's fun, it's laid back, and it's straight forward without being watered or dumbed down like most commercial pop tends to be.
6)
So The Flies Don't Come by Milo
I was late on this project, way too late. I regret every minute not spent listening to this album, and I've been making up for it even since I got around to hearing it by playing it on a daily basis. This is a hip-hop record that goes down the list and checks off every single thing I look for with an album within the genre. Milo's lyrics border from being clever to being so complex I need to use google to understand, and that's something that shouldn't be taken for granted. Combine that with some very enjoyable production and great features, and you have So The Flies Don't Come, one of the best rap projects of 2015.
5)
Currents by Tame Impala
Currents, Tame Impala's third full-length studio album was definitely a grower. After my first listen, or my first four or five for that matter, I wasn't impressed. That's not to say that I didn't like it, but maybe I just didn't quite understand it. Kevin Parker had switched up the formula that made his first two projects so enjoyable, almost completely throwing away his guitar and instead focused primarily on the synthesizers. As the album has aged, it has continued to grow on me, and has become my favorite in the band's discography by quite a large margin. Changing up the formula is always a big risk to take, but in the case of Tame Impala and Currents, it's a risk that paid off.
4)
Carrie & Lowell by Sufjan Stevens
One of the most hauntingly beautiful albums I've heard this year, Sufjan Stevens' Carrie & Lowell isnot only one of the best of the year, it's one of the best in Sufjan's discography. He returned to his folk roots after experimenting with more electronic elements on his previous release The Age of Adz, which is a fantastic album in it's own right. Carrie & Lowell was made in memory of Stevens' late mother Carrie who passed away back in 2012. The lyrics are often times very personal, inspired by his childhood and family. If you enjoy sparse, atmospheric, indie folk music, Carrie & Lowell is a must hear.
3)
Purple by Baroness
Because of it's release coming in late December, Purple was unfairly left off of many best of 2015 lists. Not only is the album a return to form for the sludge metal band Baroness after the release of the somewhat disappointing double LP Yellow & Green, but it's also perhaps their best release to date. The band once again manages to take their sludge metal roots and blend it with alternative metal crafting catchy, often time chorus driven tracks. If you feared that Baroness were going to fall off after their last album, give Purple a spin, if it proves one thing it's that not only are they back, but they're one of Savannah's premier metal acts.
2)
To Pimp A Butterfly by Kendrick Lamar
When it came down to declaring my favorite album of 2015, I really struggled making a decision. Kendrick Lamar dropped what has become immediately one of the most important hip-hop album's of the decade. The subject matter is important, Kendrick is talking about things that matter and that we need to pay attention to, in a time where no mainstream artists chose to do so in their music. Important doesn't necessarily always lead to quality though, and the Compton native did an impeccable job of ensuring his album was just as enjoyable as it was anything else. Tracks like King Kunta, Alright, and You Ain't Gotta Lie will keep those looking for hits satisfied, while still managing to incorporate such a bold message under the surface as well. Kendrick Lamar is declaring he's proud of his heritage, as should everyone else, while also discussing the stereotypes still perpetuated against minorities to this day. For those of you claiming that hip-hop is dead, we'll see about that twenty odd years from now when To Pimp A Butterfly is still as relevant and important as it right now.
1)
New Bermuda by Deafheaven
Until sitting down to write this list, I had TPAB and Deafheaven's latest release sitting both in my number one spot. Two albums, so different, yet so similar. One is a hip-hop album with a crucial message that everyone needs to hear, the other is a black metal masterpiece, blending the extreme genre with elements of post-metal and shoegaze among other things. The atmospheric soundscape of this album, the tremolo picked guitars and epic blast beats that make way for post-rock passages only to once again build into a wonderful crescendo, New Bermuda has everything. The groundwork was laid with the band's second studio album Sunbather, but what they did in 2015 was take it to a grander scheme, they took the 10+ minute black metal onslaughts, and the beautifully intricate interludes that separated them, and found a way to combine the two into single tracks. It's an album that screams work of art, each sound layered precisely onto one another, with the ugliness of the wretched vocals floating somewhere beneath the surface. The beauty that lays in Deafheaven's New Bermuda is simply too strong to ignore, and that's what makes it worthy of the title of my favorite album of 2015.
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