Hella Personal Film Festival by Open Mike Eagle & Paul White

I find that the best way to describe Open Mike Eagle's approach to hip-hop as the type of rap that is enjoyed by men who wear scarves in the summertime and rap fans who also enjoy anime and Discovery channel documentaries. The Chicagoan emcee's blend of dry humour and intellectual lyricism with stories that present the irony of every day life never fail to provide both a laugh and some thoughtful discussion. Just last year with the release of his EP A Special Episode Of, Mike released one of the better rap projects of 2015 while only giving us about 20 minutes worth of material.

This time he's back with a lengthier project, and he's joined by producer Paul White, who is perhaps most know for his work with the always eccentric hip-hop artist Danny Brown. With Mike Eagle tackling topics such as technology, death, racial stereotyping and more, he still manages to stay as fresh and quirky as ever, and over the upbeat, childlike production of Paul White, the duo deliver an excitingly enjoyable hip-hop project.

It's hard to point a finger at exactly what makes this album work so well. Is it the varying production that swings between moments of being soulful and nostalgic to channeling inspiration from indie rock and 8bit video games, or is it the lyrics themselves that are among the most polished we've gotten from Mike thus far in his ten plus year career? Regardless, both contribute to the ever changing scape of Hella Personal Film Festival, and result in some fascinating moments. The track Check to Check for example, see's Mike explore the world of technology and our dependence on it. He states he's living "check to check" as he always finds himself in between checking some form of media. He constantly rides the line of lyrics that contain just as much humour as they do truth, and even at his silliest on cuts like Smiling where he claims to be avoided like a ghost fart because of his race, there still seem's to be a fair bit of sincerity in the lyrics. It's this mix of social inspection with Mike's tendency to poke fun at himself that grabs the listeners attention, and regardless of the instrumental backing him, remains the highlight of the project.

As the album progresses, the duo's consistency becomes highlighted as they deliver track after track that tells a story of it's own, both lyrically and instrumentally, and contributes to the overall theme of the album. That is, until the lackluster track Protectors of the Heat, which finds a tribal inspired instrumental with primarily loud percussion. It is also perhaps the only moment on the project where Mike seems to rely a little too heavily on a catchy chorus instead of delivering exciting, off the wall verses. Typically he presents just a simple couplet for the hook on these songs, and with their relatively short lengths (only Protectors of the Heat surpasses four minutes in length) it seems to fit quite well. Nonetheless, it doesn't take long for the two to get back on track and finish the album just as strong as they kicked it off. On Dive Bar Support Group we find Mike discussing both machoism and gentrification, while also dipping into themes such as alcoholism. It's a rather ambitious lyrical piece that showcases just what the emcee is capable of, and the sadness from the vocals seep into the poppy instrumental that backs him, making for one of the best tracks on the whole project. We see just how easily Mike can transition from deep topics to self satire on Drunk Dreaming, where he discusses just that, being drunk. The track is silly, fun, and lighthearted, an approach that these two seem to handle incredibly well on multiple occasions on this record.

When listening to this album it feels as if Paul White and Open Mike Eagle were a collaboration that needed to happen, despite it being a full-length album that I never expected us to get. The way the lyrics flow through the warm and fun production is a welcomed addition to Mike's always impressive approach, and helps make this a stand-out in both artists discography. To some it could seem a bit gimmicky, and that's fine. It isn't a project that everyone will get, nor will all rap fans enjoy, but to those of you who fall into the categories mentioned above, this is definitely a project worth checking out.

Rating: 3.5/5

Check out the track Check to Check below:

You can stream and download Hella Personal Film Festival over at Open Mike Eagle's BandCamp page here.

3001: A Laced Odyssey by Flatbush Zombies

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.

Rating: 3/5

Listen to the track The Odyssey below:

Imperial by Denzel Curry

Florida based hip-hop emcee Denzel Curry has been a breath of fresh air in the rap scene ever since the release of his debut studio project Nostalgic 64 in 2013. On that project, we saw the artist blend aggressive, in your face trap inspired verses over some very spacey, dark, and surprisingly intricate production. His blend of cloud raps and gang related bars contributed to what was one of my favourite hip-hop projects of that year, and put him on the map as one of the better up and coming talents on the scene.

He followed up his debut album with the double EP 32 Zel/Planet Shrooms just last year. While this project was still quite enjoyable and showed off Denzel's growth, it was perhaps a bit too ambitious, as he spent the first half crafting some of his best trap inspired songs yet, but on the more laid back and drugged out second half, he delivered some of his most lackluster material to this point. It was made clear on that record that he's at his best when he's bringing loads of energy and raw, violent lyricism into the recording. So, with that being said, going into his newest project Imperial, I was hoping to see Curry take an approach more similar to that of Nostalgic 64.

While there are traces of older material on this new release here, it more so stands on it's own. We see a return to the southern hip-hop we've come to enjoy from Denzel, and he's certainly relying more on the trap influence than he is on the cloud raps. Nevertheless, he also looks to find his own style in terms of production, as we get rather wonky, spacey, trap influenced beats that are unlike anything you would find on his other releases. We also see a much more ambitious approach in terms of the guest features, as rather than bringing along past collaborators such as JK. The Rapper, Mike Dece, or Lil Ugly Mane, the former Raider Klan member instead enlists the help of some of the more popular hip-hop artists around, in the form of Rick Ross and Joey Bada$$. Not only is that an ambitious choice that is sure to bring Curry a bit more exposure, but it is also a risk that pays off extensively as both rappers deliver very solid verses without stealing the show. Knotty Head, the track that features Rick Ross is one of the moments of production that caught me off guard initially, thanks to the unorthodox sound of the synths and the transition into an old school 90's hip-hop beat during the last 20 or so seconds.

Lyrically we're seeing much of the same Curry we've come to know, as he discusses gang violence, drugs, racial issues, and things of the sort. It's not the meaning behind the emcee's lyrics that has made his music stand out however, and instead it's been the catchiness of his hooks and his always impressive flow. While his fantastic flow does carry over into this project, I feel personally that this record hosts some of his least flashy hooks that he's recorded. They aren't necessarily poorly written, but often times they feel a little too simplified and watered down when compared to past tracks like Parents, Threatz, or Zone 3, all of which were stand out takes on Nostalgic 64. There are quite a few decent hooks here nonetheless, Story No Title contains a fairly strong chorus, as does Pure Enough, a track that besides the hook, doesn't offer as much as most of the other tracks on the record.

This Life is a track worth noting as well, as it see's Denzel detailing a love interest as well as talking about his friends and the state of the world. He takes a much less aggressive approach for this track, but still manages to impress with lyricism that's a touch less over the top and anger driven. The real standout on this project though is easily ULT, the lead cut that opens the project with a bang and serves as a basis for Curry to showcase his vocal gift as quickly as possible. It's not the best production found on the album, but it's easily the most similar to his former body of work and definitely still stands out after multiple listens. That last track I want to point out is Zenith, which features Pro Era artist Joey Bada$$ and contains an instrumental that you'd be more apt to hear on a Joey project than one from Denzel Curry. Nonetheless, both rappers capitalize on the fantastic beat by delivering some great lyrics, which helps to bring some real life to the final few tracks of the project. While Knotty Head  with Rick Ross was a solid track, and the laid back old school vibe of the closing cut If Tomorrow's Not Here stands out as well, it's Zenith that gives us the best track with a feature on the record. The meshing of Curry's southern influenced style and the New York origins of Joey Bada$$ makes for a fantastic collaboration, and something I'm hoping to see the two rappers do more of in the future.

There's quite a bit to take away from this project, and any fan of hip-hop music should enjoy it quite a bit. It certainly has shades of the same rapper who gave us Nostalgic 64 and 32 Zel/Planet Shrooms, but it also see's new risks and a lot of aspects we've never seen from Denzel in the past. If anything, Imperial shows he's continuing to reinvent himself and mature as an artist, and no longer needs to rely on flashy, loud, bass driven production, and can instead carry a track on his own. It's not quite on par with his commercial debut, but it leaves a better impression than his last release for sure.

Rating: 3.5/5

Listen to the track ULT below:

You can download Imperial here for free.

Disguise the Limit by Nyck Caution

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 who both 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.

Rating: 2.5/5

Check out Nyck Caution's track Church below:

Vroom Vroom EP by Charli XCX

Over the past few years, English born singer Charli XCX has become a household name within the world of pop music, thanks in part due to her collaborations with Iggy Azalea and Icona Pop and also with the release of her first two full-length albums. I was never blown away with the music Charli has released in the past, and for the most part all she offered was a fairly strong voice in terms of the pop realm, and lyrics that at times did stick in your head. With that being said, on her latest EP Vroom Vroom she looks to take a very different approach to her songwriting, and brings along talented producer SOPHIE to provide her with the suitable instrumentals.

SOPHIE, who just last year released his debut solo full-length Product has proven himself to be very gifted artist when it comes to creating wonky, unorthodox, catchy pop tracks and he furthers that with his work here. While the lyrics are rather catchy and are sure to please even those who are partial to traditional post-2010 radio pop, the real heart of the album is the club style production that is cranked full of loud bass, angry synths, and at certain moments some rather abrasive and in your face noises.

The project kicks off with the title track Vroom Vroom, a fast paced synth driven cut that houses some very loud drum work. The progression on the song is rather impressive as it switches back and forth from feeling like a club ready dance song during the verses, to highlighting Charli's vocal ability in a very radio friendly fashion on the chorus. Lyrically it introduces you to the same topics that are discussed throughout the other three tracks as well as they're simple, straightforward braggadocios lines that catch your attention during the hook and work together quite well with the production.

The second track Paradise carries an even quicker pace and contains some clear techno influence throughout. Bubblegum pop artist Hannah Diamond also makes an appearance on the track, and even with the inclusion of the sped up vocals that typically have me cringing over how similar they sound to Alvin and the Chipmunks fail to prevent me from enjoying this song. Up next is Trophy, a song that contains some more booming drums and an interesting vocal sample but plays to Charli's vocal ability quite well yet again. It's another moment where we find SOPHIE showcasing his ability to make a simple pop beat so much more, as we see many different passages and verses and the incorporation of a plethora of different sounds, something you wouldn't typically expect to find in your average pop tune. The closer Secret (Shh) is perhaps the most contradicting track on the album as it opens with rather ugly, noisy synth based production but transitions into a chorus that in many ways reminds me of a more well put together version of Iggy Azalea's Black Widow. 

The chemistry between the two artists who created this project is shown in abundance on each and every track, and while it may not appeal to those who haven't at least found some enjoyment in either artists previous work, it is sure to please those who are already fans, or those who are interested in a wonky, unique bubblegum bass pop project. While incredibly short and to the point, this definitely puts the duo on my radar, and I hope to see them teaming up many more times in the near future.

Rating: 3.5/5

Listen to the title track Vroom Vroom below:

More Rain by M. Ward

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:

Before A Million Universes by Big Ups

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 LP to 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.

untitled unmastered by Kendrick Lamar

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:

Jerome Raheem Fortune by Rome Fortune

My first experience with Rome Fortune's music came with the release of his 2014 EP Small VVorld, a project that didn't blow me away, but did make a solid impression nonetheless. On the project, it was made immediately clear that the Atlanta, Georgia based emcee had an ear for intriguing instrumentals and was able to match them up with the perfect flow seemingly with ease. So, going into his debut full-length album, Jerome Raheem Fortune, I was hoping to see him capitalize on the same spacey, wavy, intricate production style that made his older material stand out. Fortunately, the album delivered, as this is perhaps the most diverse project I've heard from Rome thus far into his career, as he comes through with various flows, and couples them with some fantastic production.

When the opening track All The Way began, I was forced to check my iTunes library because I could have sworn I had accidentally put on a song by a synth-pop act like Carly Rae Jepsen or Chvrches. Not only does the beat feel far off from what you would expect on a hip-hop project, but Rome Fortune's singing voice comes through in a way that sounds like he could be making radio-ready pop music. It's not one of the best tracks on the project, but it certainly sets up the listener for what's to come up next, and overall is still an enjoyable cut.

That same pop oriented singing comes into play multiple times on the album, and it almost always works for the best. Some of the records finest moments, the song Love for example, see's Rome alternating between his deeply pitched natural singing voice and a much higher autotune approach delivered over top of a dance influenced club beat. Of course, the use of upbeat danceable tracks doesn't stop there, the appropriately titled Dance is another cut that see's Fortune handling a lot of singing duties, and while lyrically it might not be the most impressive, it's the production, catchiness, and his flow that help drive the track just like with the rest of the album. 

It's not all poppy dance rap on the record however, as many tracks exude a certain alternative trap flavor, a la Chicago rapper Lucki Eck$. The song Blicka Blicka features a sparse, spacey instrumental with Fortune spitting some trap inspired bars without digging so deep into the drill or trap scene that you feel like you're listening to a project of those genres. The following cut, Heavy as Fathers see's a similar approach, and opens with the line "sniffed a bunch of cocaine last night,"  which gives you an idea of the "turn-up anthem" that the track really is. There's no promise of broad, introspective lyrics that will make you think on this album, but Rome is still constantly is able to bring more to the table than your run of the mill turn-up party rapper on cuts like these. 

There are a few deeper moments lyrically throughout Jerome Raheem Fortune as well, like on the cut What Can You Do where Rome spends the track reflecting on his childhood, his relationship with his father, and his struggles with drug addiction. While it doesn't always feel as if he's reaching as far back as he can, the sung of chorus of "what can you do about it? not a god damn thing" shows his fairly lighthearted perspective on the matter, and before too long we're back to the more upbeat, fun, entertaining tracks.

Still I Fight On, one of the most ambitious tracks in the listing as far as length goes, clocks in at over six minutes, and while the instrumental begins sounding like perhaps the most traditional the production on this project gets, it quickly progresses into one of the finer alternative trap beats found in the listing. The tinny claps met with the shiny synths and dirty bass all slide into the background as Rome takes front and centre with his rhymes which while ultimately aren't anything spectacular, remain entertaining and prove once again that he's able to hold his own.

The album wraps up with a couple more interesting tracks, as both Paid Back Loans and the closing cut Find My Way are memorable moments from the project. The guitar based instrumental on Paid Back Loans is a small but solid change from the earlier instrumentals, and the warm, tropical production on Find My Way is a strong way to wrap the project up and leave on a high note.

The combination of perhaps the best production I've heard on a hip-hop project so far this year, a plethora of fantastic hooks, and a strong enough flow and lyricism to help Rome Fortune stand on his own makes Jerome Raheem Fortune a fantastic debut full-length for the Georgia native, and proves that he may just be a hip-hop star in the making.

Rating: 4/5

Listen to Rome Fortune's track Blicka Blicka below:

This Unruly Mess I've Made by Macklemore and Ryan Lewis

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 World back 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 hit stores 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:

Fervor by Daydream Society

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, over on Daydream Society's bandcamp page here. In the meantime, head over and check out some of his other material.

Ufonaut by Entropia

For those not familiar with Entropia, they are a Polish post/black/experimental metal outfit who really hadn't crept onto my radar until the release of this LP here; Ufonaut. With that being said, the fusion of black metal and post metal, also known as blackgaze, has been one of my favorite metal sub genres over the past few years, and it has led me to a handful of fantastic releases from the likes of Deafheaven, Ghostbath, and Harakiri for the Sky. So, when going into this album, I clearly had high expectations. Fortunately for myself, and any other fan of this genre, Entropia delivered in quite impressive fashion. 

On Ufonaut, the band encompasses a traditional black metal style as means to create a basis or outlining sound for their music, but it's their ability to take influence from other subgenres and incorporate them throughout that really adds the extra substance to this project. The opening track Fractal is a great example of that, as the opening 45 seconds or so, see's the band weaving in and out between a much more traditional black metal guitar riff and some Mastodon-esque sludgy, slow paced guitar stylings. As the track progresses, we also see the band incorporate the use of an organ which helps contribute to the very haunting nature of the song. As it comes to end, horns are introduced, which really allow for the group to build a fantastic crescendo to what is easily one of the best moments on the entire LP. 

From there, you find much more of that same risk taking and genre bending formula as the album proceeds. Songs like the title track Ufonaut see the band experiment with some slower, cleaner guitar tones in between heavy, hard hitting moments, while both Mandala and Paradox are used to showcase the group's more experimental side, as they use variations of middle eastern instruments to help create some intricate, folkish instrumental passages. The record's closing cut, Veritas is also worth mentioning, as it's the longest track on the record and also perhaps the loudest. It finishes the album off with a fantastic climax, thanks to the final minute of the track which is full of in your face, wretched, ugly screams that really help drive their sound into your head like a car with no breaks smashing into the side of a burning building (that was seriously the best analogy I had.) 

Aside from Veritas however, the vocals do, at certain moments at least, tend to come off as rather gimmicky and annoying. It's not so much the vocalist himself, (who goes by the stage name of U, as each one of the band members is named after a letter from the word Ultra,) but it's the production choices. Like on the aforementioned opening track Fractal for example, we find a blowing, wind-like noise appearing seemingly every time U opens his mouth, and then as the album continues, the vocals become coated with an echo effect that would make you assume the band recorded the frontman while he was screeching in a dark, empty cave. And while typically that might be a positive on a black metal project, this isn't your ordinary record, and the rest of the production is rather clean and lively in comparison to the raw, lo-fi nature of the vocals. 

With that being said, the vocals only appear on perhaps a third or so of the album, and the focus clearly lays on the instrumentation, which is of course consistently fantastic, so it doesn't interrupt my enjoyment all that much. There really isn't anything on this album that doesn't deliver in a unique and intriguing fashion. It's certainly heavy enough to welcome any fans of more traditional black metal acts, but it also keeps you guessing by firing post-metal inspired passages at you on nearly every single track. A great addition to the Polish black-metal scene, and a fantastic statement for all blackgaze bands around, Entropia delivered a very nice LP.

All in all, I'm giving Ufonaut a 4/5.

Let me know down in the comment section, have you heard the album? If so, what'd you think?

Listen to Fractal, the second single released from the album down below:

You can download or stream the album over on Entropia's bandcamp page here.

Painting With by Animal Collective

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:

You can preorder Painting With, Animal Collective's 10th full-length studio album here.

All is Dust and I Am Nothing by Slaves BC

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:

You can download or stream the band's album at their bandcamp page here.

If you enjoy ugly, disgusting, rage inducing metal music I suggest also checking out my review for the latest Seven Sisters of Sleep album Ezekiel's Hags.

II by Magrudergrind

Power-violence/grindcore outfit Magrudergrind rose to prominence back in 2009 with the release of their self-titled second full-length album. It was a project that brought fans and critics alike together with immense praise and respect for the groups ability to combine brutally crafted grindcore and power-violence with the use of vocal sound clips and many different stylistic influences. They have continuously managed to impress with their ferocity and hardcore aesthetics while also improving between each release since their inception back in 2002.

Following the release of their 2010 EP Crusher, the band dropped off the radar, and despite a couple of public appearances and reissues of former material, have left fans disappointed with their lack of output. The politically charged trio are back this year however, and with Converge's Kurt Ballou handling the engineering duties once again, Magrudergrind are looking to pick up where they left off and wreak havoc on any and all potential listeners.

What hasn't been done already within extreme music? There isn't much an act can do to be any louder or more chaotic than the music that came before it. In the case of Magrudergrind, they instead look to incorporate moments, like one found on the second track Divine Dictation, where the guitar playing slows down to a chugging pace momentarily, serving as a hardcore punk influenced break from the ferocity, something that reoccurs throughout the LP. With that being said, it's primarily earth shaking blast-beats, punk oriented guitar riffs, and blood curdling vocals that provide the barbaric nature of the music on II.

The biggest change from the band's last full-length to this one, is the disappearance of the sound clips, which were one of the defining factors on their previous releases for me personally. They take advantage of the extra time allotted from the decision to leave out any vocal samples by instead delivering 24 minutes of unrelenting force. It's that same bloodthirsty savagery that has garnered so many comparisons to British grindcore originators Napalm Death. While the band has been around for 30+ years and continues to put out fantastic material (see their Apex Predator - Easy Meat album released last year for any needed proof) they are getting older, and it appears that Magrudergrind may just be the right act to inherit the title of the biggest grindcore act.

The music that the American extreme outfit is crafting isn't necessarily for everyone, but it definitely serves it's purpose. For anyone who enjoys the kind of music that is guaranteed to make your ears bleed and turn you into a weeping mess of a human, this LP is a goldmine.

Rating: 4/5

Check out the track Sacrificial Hire from the new album below:

You can download the album at Magrudergrind's bandcamp page here.

Who the Fuck is Chris Spencer? by Vic Spencer & Chris Crack

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

Rating: 3.5/5

Listen to the duo's track Cue Ball below:

Le Dernier Crépuscule by Chthe'ilist

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 and Vecoiitn'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.

Ezekiel's Hags by Seven Sisters of Sleep

Sludge metal has always been more of a style than a genre, with it's down-tuned, methodical, swampy guitar play featured prominently alongside booming drums and vocals that can range anywhere from wretched screams to warm and welcoming serenades. It's certain that you never know exactly what to expect going into an album with the label "sludge metal," aside from the fact that it will hit you hard and it won't quit until you're done listening.

Not only does the Californian based five-piece Seven Sisters of Sleep (SSOS) embrace the sludge metal mantra, but they also use it as a stepping stone, a method of inspiration only to explore even darker and heavier depths of the metal world. The music found on Ezekiel's Hags can't be lumped into any modern genre, and trying to define it simply isn't a possibility. The band isn't looking to show their musical influences, or give you an idea of what they're trying to make, instead they're looking to engage in a complete onslaught of gigantic proportions as they envelop the listener in a cloud of raw, dirty, unrelenting musical horror.

As soon as the lightning fast blast-beats and Converge-esque screeches of the opening track Jones explode onto the album, the pace of the record is set. At only two minutes in length, you'd believe SSOS would rely on short, frantic, organized chaos to carry the momentum on their first release in three years. Instead, however, we see the band tackle multiple cuts of over five minutes, even seeing the closing track Bastard Son come in at over ten minutes. Just as easily as the band can hit you over the head with a hammer and bring your misery to an end, they can also tie you up and drag you along, stretching the brutality to twice or even three times the expected lengths while still finding new ways to keep you invested.

Even deadlier than the group's incorporation of such a varied list of genres (death, doom, and black metal as well as hardcore and grindcore, to name a few) is their ability to do so at the drop of a dime. One minute you're getting lost in the chugging guitar riffs of Plateau or Third Season, and then next thing you know, the vigorous drumming on Brother's River or the ear-splitting vocals and grindcore outro of Sacred Prostitute shakes you from your core. The album is equally technical and beautifully composed as it is ruthless and sadistic, perhaps that's exactly what Seven Sister's are aiming to do.

Favorite Tracks: Jones, Denounce, Gutter, Sacred Prostitute, Ud-Nun, Bastard Son

Least Favorite Tracks: None

Rating: 3.5/5

I'm Up by Young Thug

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.