Finishing off the last 5 tracks of the record this morning: "3 Days," "One of Those Summer Days," "Major Minor Love," "Hunger," and "Woman."
Man, what a lovely little harp intro "3 Days" has! How could you not enjoy something so pretty. I'm glad that the groove picks up after that, because it's for sure not the direction you would expect. The opening line "oh I'm famished, so I eat your minerals" sticks with me every time I hear it, I just love the wording of that. As does the hook "we've got 3 days to feel each other, we've got 3 days to sing this song" - it's damn catchy. The groove continues with the sweetness of the previous ones with the addition of the strings, and I'm all about it. Another good one for Rhye.
Bringing it way down with "One of Those Summer Days." I could go back to sleep right now, it's so damn relaxing. I love that it's just Milosh and guitar in the beginning, and then the soft horns coming in rounding out the whole sound. Again, Robin did a great job composing this piece, the layers are really entrancing. This song could have been boring, but the well composed groove accompanied by Milosh's hypnotizing vocals keeps you locked in. The swell to the end it really nice as well (thanks strings). Me gusta.
"Major Minor Love" is one of my favorites on the album, for sure. The song starts with a nice little vocal intro (which comes back around at the end). What is it about this soft spoken (or singing, rather) man that is so hypnotizing? This track is another that has great layering going on from start to finish. Starts with just vocals and bass, and then come the drums and strings, so on and so forth. I love how gentle the whole thing is, you kind of just want to sway. And I love the concept of "some major minor love." The small, slight electronic break towards the end is a perfect little break. Harmonies at the end are so sweet. Love it.
The pace steps back up on "Hunger," which is a smart after 2 rather slow tunes. Gets you groovin again, and I'm all about that. It's got just the right about of electronic elements in it to stand out, which I dig, while still keeping the elements that have made this album so great. Love that there's a trombone solo in the middle! It's short, but still, I dig it. I'm grooving in bed, I love it.
And so we have reached the final, and title track of the album with "Woman." It's just key bass, synth, and Milosh singing "woman" drawn out in various melodies, to then be layed by himself, strings, and final horns. I love that "woman" is the only lyric in this song, it's all it needs. It builds, and then it's done. Short and sweet, and a pretty way to end the album.
Tuesday, April 15, 2014
Monday, April 14, 2014
Songs of the Day
So seeing as I'm a little behind this week, I'm gonna go ahead and do the first half (5 tracks) of the album: "Open," "The Fall," "Last Dance," "Verse," and "Shed Some Blood."
"Open" is a really wonderful way to start off Woman. How could you not love a string opening like this? And it's got a great build into the verse - it's hard to resist. Milosh has such an interesting sound to his voice. When my friend told me he sounded like Sade, I was slightly confused, but as soon as he starts singing, Sade is instantly what you think of (and that is meant in the most positive sense). Even though he kind of sounds like a chick, it still works. I love how smooth the groove is, and his voice sits so gently over the simple synth and guitar lines. Great interjection of a couple horn lines, and bringing back the strings at the end. A really simple, sweet tune that is easy to sit back and listen to.
Since the opening track was so soft, I'm glad things picked up a little bit on "The Fall" while retaining the same sweet feel as before. The track layers nicely, starting with the piano, then the vocals, bass, drums, and finally strings (gotta love some good strings on a track). The doubling on Milosh's voice works great with the groove as well - it beefs up his soft voice just enough. Robin Hannibal (talk about an unfortunate last name) - the instrumentalist of this duo - did a great job of orchestrating all of these pieces together. I was happy to hear a little bit of an instrumental section that was able to show off his composition skills. And how can you resist a song that starts out with "make love to me" in a world that's saturated with songs about "fucking bitches?" Another solid tune.
"Last Dance" keeps the the groove going, but in its own way, which I really enjoy. It's got this funkier feel going on with the bass, guitar, and synth sound, and of course the horns (while I think they're programmed) add to that feel. Something about Milosh's voice is so hypnotizing, like I'm listening to a lullaby - I can't get enough of it. Dig dig dig.
We come back down a little bit with "Verse," but I'm all about it. This groove, while having many elements, has a stripped down essence to it that I really like. And again with these strings - so pretty! Love that Milosh has some bigger harmonies going on on this track, you know how I luh me some good harmonies. Sheesh, this track is almost too relaxing. The only complaint I have about Milosh's voice is that sometimes it's hard to understand what he's singing because he is so soft spoken. I don't really care though, because everything else works so well. Solid, once again.
"Shed Some Blood" gets back into the funkier feeling we had going on in "Last Dance," and I dig it. I love how Robin and Milosh have managed to have this soft feel while retaining a funky feel. The guitar and bass grooves really hold this one down, which I am all about "Don't call me 'love' unless you mean it" - PREACH, HONEY! These tracks are all really short, but the perfect kind of short, the easy kind of short. So into all of it.
"Open" is a really wonderful way to start off Woman. How could you not love a string opening like this? And it's got a great build into the verse - it's hard to resist. Milosh has such an interesting sound to his voice. When my friend told me he sounded like Sade, I was slightly confused, but as soon as he starts singing, Sade is instantly what you think of (and that is meant in the most positive sense). Even though he kind of sounds like a chick, it still works. I love how smooth the groove is, and his voice sits so gently over the simple synth and guitar lines. Great interjection of a couple horn lines, and bringing back the strings at the end. A really simple, sweet tune that is easy to sit back and listen to.
Since the opening track was so soft, I'm glad things picked up a little bit on "The Fall" while retaining the same sweet feel as before. The track layers nicely, starting with the piano, then the vocals, bass, drums, and finally strings (gotta love some good strings on a track). The doubling on Milosh's voice works great with the groove as well - it beefs up his soft voice just enough. Robin Hannibal (talk about an unfortunate last name) - the instrumentalist of this duo - did a great job of orchestrating all of these pieces together. I was happy to hear a little bit of an instrumental section that was able to show off his composition skills. And how can you resist a song that starts out with "make love to me" in a world that's saturated with songs about "fucking bitches?" Another solid tune.
"Last Dance" keeps the the groove going, but in its own way, which I really enjoy. It's got this funkier feel going on with the bass, guitar, and synth sound, and of course the horns (while I think they're programmed) add to that feel. Something about Milosh's voice is so hypnotizing, like I'm listening to a lullaby - I can't get enough of it. Dig dig dig.
We come back down a little bit with "Verse," but I'm all about it. This groove, while having many elements, has a stripped down essence to it that I really like. And again with these strings - so pretty! Love that Milosh has some bigger harmonies going on on this track, you know how I luh me some good harmonies. Sheesh, this track is almost too relaxing. The only complaint I have about Milosh's voice is that sometimes it's hard to understand what he's singing because he is so soft spoken. I don't really care though, because everything else works so well. Solid, once again.
"Shed Some Blood" gets back into the funkier feeling we had going on in "Last Dance," and I dig it. I love how Robin and Milosh have managed to have this soft feel while retaining a funky feel. The guitar and bass grooves really hold this one down, which I am all about "Don't call me 'love' unless you mean it" - PREACH, HONEY! These tracks are all really short, but the perfect kind of short, the easy kind of short. So into all of it.
Saturday, April 12, 2014
Album Factoids
Woman
Released: March 1, 2013
Genre: Alternative R&B (ooo la la)
Label: Polydor
Producer: Rhye
(again, cant post a photo cuz of le ipad)
Released: March 1, 2013
Genre: Alternative R&B (ooo la la)
Label: Polydor
Producer: Rhye
(again, cant post a photo cuz of le ipad)
Week 94: Rhye
So, usually I start with a "this week's album" post, but my ipad is being a bum and wont let me post a picture of the album cover, so I'm just gonna skip that one. My friend Ross told me about them last night and played me the whole album and I dug it super hard. I'm surprised I hadn't heard of them before seeing as Woman (which was released last year) was critically acclaimed all over the place. From my one listen, Rhye seems to have a really unique sound that's interesting. Looking forward to taking a more in-depth listen to the record.
Wednesday, April 9, 2014
Final Grade: B
This was a pretty solid album from St Vincent. The first half of the album was really fun and had a cool edge to it, but I felt as though that edge was lost towards the end of the album. I just wouldn't have expected the album that started off with a track like "Rattlesnake" would end on a dud like "Severed Crossed Fingers." There was a lot of potential for this album to be great, but I don't think it tried hard enough. That's what it is! - the second half of the album sounds kind of lazy. That being said, St Vincent definitely has her own sound, and a lady can respect that in a world where conformity seems to win. "Prince Johnny" might be my favorite track, it was stuck in my head all week. Some tracks will definitely be on continued rotation, but I'll forget about some of the others. I feel as though this was a good first look into St Vincent, and I'll definitely keep my eyes and ears open for this fellows Berklee alum.
Tuesday, April 8, 2014
Songs of the Day
Got the final 3 songs up for review today: "Psychopath," "Every Tear Disappears," and "Severed Crossed Fingers."
"Psychopath" isn't one of my favorite songs. I don't know what it is exactly, but there's a corniness to it that isn't working for me, and said corniness isn't catchy enough. I also don't really dig how the melody is purposely out of tune at the beginning of the verse, but maybe that's just me being a stickler. The chorus also doesn't do much for me either, the strings don't help the groove. And the somewhat random guitar solo in the middle kind of comes out of nowhere - it's confusing. No to the end modulation as well. This track is very "eh," especially compared to some of the other songs on the record.
"Every Tear Disappears" goes down the same kind of "just ok" route as the previous track. I think the groove is a lot cooler, but the whole thing just comes and goes without any leaving any particular kind of impression. The track starts off promising - I really dig the opening line of "oh a smile is more than showing teeth;" preach, honey. The whistle thing in the chorus is a little wack. I don't know, the vocals are a little to airy and therefore get kind of lost, and the groove isn't cool enough to stand alone. The groove switch at the end is also nothing special. I had to listen to the song a couple times because I kept getting distracted with something else. It's that kind of song.
Fortunately, the final track of the album is a little more solid than the previous two (but it's not much). I was a little surprised that "Severed Crossed Fingers" ended up being one of the slowest songs on the album, not only because of the title (um, hello, that's weird/gross), but because I thought she would have wanted a more upbeat track to end things on. I think the correct elements are here to make a really cool groove, but some of the synth/effects on the track are a overused and kind of beginner-sounding. The best part of this track is how it goes into this weird, white noise ending building up to the chorus again. Cool, but the ending chorus could have had some more umph. Ok track, but it could have been stronger.
"Psychopath" isn't one of my favorite songs. I don't know what it is exactly, but there's a corniness to it that isn't working for me, and said corniness isn't catchy enough. I also don't really dig how the melody is purposely out of tune at the beginning of the verse, but maybe that's just me being a stickler. The chorus also doesn't do much for me either, the strings don't help the groove. And the somewhat random guitar solo in the middle kind of comes out of nowhere - it's confusing. No to the end modulation as well. This track is very "eh," especially compared to some of the other songs on the record.
"Every Tear Disappears" goes down the same kind of "just ok" route as the previous track. I think the groove is a lot cooler, but the whole thing just comes and goes without any leaving any particular kind of impression. The track starts off promising - I really dig the opening line of "oh a smile is more than showing teeth;" preach, honey. The whistle thing in the chorus is a little wack. I don't know, the vocals are a little to airy and therefore get kind of lost, and the groove isn't cool enough to stand alone. The groove switch at the end is also nothing special. I had to listen to the song a couple times because I kept getting distracted with something else. It's that kind of song.
Fortunately, the final track of the album is a little more solid than the previous two (but it's not much). I was a little surprised that "Severed Crossed Fingers" ended up being one of the slowest songs on the album, not only because of the title (um, hello, that's weird/gross), but because I thought she would have wanted a more upbeat track to end things on. I think the correct elements are here to make a really cool groove, but some of the synth/effects on the track are a overused and kind of beginner-sounding. The best part of this track is how it goes into this weird, white noise ending building up to the chorus again. Cool, but the ending chorus could have had some more umph. Ok track, but it could have been stronger.
Saturday, April 5, 2014
Songs of the Day
And we continue with four more tracks of St Vincent: "Digital Witness," "I Prefer Your Love," "Regret," and "Bring Me Your Loves."
"Digital Witness" was the first single off of this album, and is the only track I'd heard prior to listening to the album (she performed it on an episode of "The Colbert Report"). It's got a groove to it that I dig, which is helped by the somewhat-digitized horns going on (you all know how much of a sucker I am for horns). She's still bringing her somewhat "out" flare vocally, working with the style of the album. I'm not really a fan of the groove in the chorus - it's a little too pop-y and major sounding, but that's probably why it was chosen to be the single. The whole thing kind of comes and goes and doesn't leave a huge impression, which kind of sucks because the previous songs have all been pretty cool. It's not a bad song, just not as good as some of the others.
This lady sure does do a good job at switching grooves throughout the tracks. "I Prefer Your Love" is a slower track (I don't want to call it a ballad, because it doesn't feel like what I would consider a ballad, but you get the point) that brings a little more of an intimacy to the album. The track is pretty bare, with a groove that kind of reminds me Sinead O'Connors version (aka the famous one) of "Nothing Compares to You," which I'm into. Dig the hook - "I prefer your love to Jesus," so you know she's real. Sweet song.
"Regret" brings us back into the alt-rock feel that I've come to really dig throughout the album. It's got a steady groove, which I'm into. Yet again, St Vincent's voice doesn't seem to be the focal point, but her aesthetic works for the song, so it's as if the groove and her vocals are one in the same. I really like how the feel changes throughout the track - it's rock-y, then a little more soulful, you get some stank faces in there, bring in some more electronic elements - it's cool shit. I'm down.
I was a little surprised to hear two tracks with "love" in their titles in such close proximity on the album (and kind of on the same album at all), but "Bring Me Your Loves" is completely different than its predecessor. "Bring me your loves, all of your loves, your loves, I wanna love them too ya know" is a pretty funky hook, I can get down with that. I must say, while this track is keeping with the sonic theme of the album, it might be a little too out for me. And not "out" as in weird, but it just doesn't seem as solid of an "out" tune as the rest of the track (if that makes sense). It's not annoying or anything, I'm just not as into it. The hook is still fun though.
"Digital Witness" was the first single off of this album, and is the only track I'd heard prior to listening to the album (she performed it on an episode of "The Colbert Report"). It's got a groove to it that I dig, which is helped by the somewhat-digitized horns going on (you all know how much of a sucker I am for horns). She's still bringing her somewhat "out" flare vocally, working with the style of the album. I'm not really a fan of the groove in the chorus - it's a little too pop-y and major sounding, but that's probably why it was chosen to be the single. The whole thing kind of comes and goes and doesn't leave a huge impression, which kind of sucks because the previous songs have all been pretty cool. It's not a bad song, just not as good as some of the others.
This lady sure does do a good job at switching grooves throughout the tracks. "I Prefer Your Love" is a slower track (I don't want to call it a ballad, because it doesn't feel like what I would consider a ballad, but you get the point) that brings a little more of an intimacy to the album. The track is pretty bare, with a groove that kind of reminds me Sinead O'Connors version (aka the famous one) of "Nothing Compares to You," which I'm into. Dig the hook - "I prefer your love to Jesus," so you know she's real. Sweet song.
"Regret" brings us back into the alt-rock feel that I've come to really dig throughout the album. It's got a steady groove, which I'm into. Yet again, St Vincent's voice doesn't seem to be the focal point, but her aesthetic works for the song, so it's as if the groove and her vocals are one in the same. I really like how the feel changes throughout the track - it's rock-y, then a little more soulful, you get some stank faces in there, bring in some more electronic elements - it's cool shit. I'm down.
I was a little surprised to hear two tracks with "love" in their titles in such close proximity on the album (and kind of on the same album at all), but "Bring Me Your Loves" is completely different than its predecessor. "Bring me your loves, all of your loves, your loves, I wanna love them too ya know" is a pretty funky hook, I can get down with that. I must say, while this track is keeping with the sonic theme of the album, it might be a little too out for me. And not "out" as in weird, but it just doesn't seem as solid of an "out" tune as the rest of the track (if that makes sense). It's not annoying or anything, I'm just not as into it. The hook is still fun though.
Friday, April 4, 2014
Songs of the Day
Since I'm starting this album a couple days late, I'm gonna review the first four songs to cover a little ground: "Rattlesnake," "Birth in Reverse," "Prince Johnny," and "Huey Newton."
"Rattlesnake" is a pretty cool song to open the album up with. I dig that it starts with just her and synth - gives you a focal point early on. The textures that go on between synths, guitar, and vocals (with effect) are all pretty dope and fit well together, which I like that. It's electronic, while still having an authentic feel to it. I remember her performance having electronic elements to it, but I don't remember if it was this much (like I said, I haven't listened to any of her previous albums). Regardless, it sounds really cool. Reminds me of Tune Yards a little bit. Cool shtuff.
I like the way that "Birth in Reverse" starts out with a similar feel to the previous tune, but then immediately picks up the pace to differentiate itself. Again, this song has a bunch of effects on all the instruments (her voice included), but it's not overly done, and it keeps a kind of theme going on. This is one song where I don't mind that four-on-the-floor is happening the whole time - it's appropriate for the track. The only reason I wish St Vincent didn't have a vocal effect is so that I could hear her true voice better. It still sounds good, I would just love to hear it. End break down is super dope. I dig, I dig.
How is it that somehow St Vincent has managed to make the human voice program on the synth sound good on "Prince Johnny"? I am impressed, and I like it. I also like that this song brings it down a little bit, while keeping a strong feel. Bass/guitar line in the chorus adds a nice little umph to the track. I don't really get the track lyrically (Prince Johnny, who?), I also can't understand everything she's saying, but she makes it sound cool, so I'm down. Definitely dig that it goes out on the bass/guitar lick. Coolness all around.
St Vincent's voice sans-effect shows herself on "Huey Newton!" She's got a quiet voice, but it's got a swagger to it that I like. She's in the front of this track, which is good. The groove is relatively bare, so it gives her a nice canvas to paint (vocally). She sounds lovely when she gets into the high part in the chorus. The whole song has this "pretty" feel to it...up til the B section throws down some edge. It's back to the effect-style, but it grooves, and I get down with it. I like that this B section surprised me, and in a good way. Not enough surprises in music these days, if you ask me.
"Rattlesnake" is a pretty cool song to open the album up with. I dig that it starts with just her and synth - gives you a focal point early on. The textures that go on between synths, guitar, and vocals (with effect) are all pretty dope and fit well together, which I like that. It's electronic, while still having an authentic feel to it. I remember her performance having electronic elements to it, but I don't remember if it was this much (like I said, I haven't listened to any of her previous albums). Regardless, it sounds really cool. Reminds me of Tune Yards a little bit. Cool shtuff.
I like the way that "Birth in Reverse" starts out with a similar feel to the previous tune, but then immediately picks up the pace to differentiate itself. Again, this song has a bunch of effects on all the instruments (her voice included), but it's not overly done, and it keeps a kind of theme going on. This is one song where I don't mind that four-on-the-floor is happening the whole time - it's appropriate for the track. The only reason I wish St Vincent didn't have a vocal effect is so that I could hear her true voice better. It still sounds good, I would just love to hear it. End break down is super dope. I dig, I dig.
How is it that somehow St Vincent has managed to make the human voice program on the synth sound good on "Prince Johnny"? I am impressed, and I like it. I also like that this song brings it down a little bit, while keeping a strong feel. Bass/guitar line in the chorus adds a nice little umph to the track. I don't really get the track lyrically (Prince Johnny, who?), I also can't understand everything she's saying, but she makes it sound cool, so I'm down. Definitely dig that it goes out on the bass/guitar lick. Coolness all around.
St Vincent's voice sans-effect shows herself on "Huey Newton!" She's got a quiet voice, but it's got a swagger to it that I like. She's in the front of this track, which is good. The groove is relatively bare, so it gives her a nice canvas to paint (vocally). She sounds lovely when she gets into the high part in the chorus. The whole song has this "pretty" feel to it...up til the B section throws down some edge. It's back to the effect-style, but it grooves, and I get down with it. I like that this B section surprised me, and in a good way. Not enough surprises in music these days, if you ask me.
Tuesday, April 1, 2014
Album Factoids
St Vincent
Released: Feb 24, 2014
Genre: Indie-Rock
Label: Loma Vista/Republic
Producer: John Congleton
Released: Feb 24, 2014
Genre: Indie-Rock
Label: Loma Vista/Republic
Producer: John Congleton
Week 93: St Vincent
I can never think of what albums to review, so I hit up my girl Noël today and asked for her opinion. She suggested I do St Vincent's newest record, St Vincent. Considering it's her fifth record, I would say I'm pretty behind. Though I've known about St Vincent for some time - I saw her perform at Roots Picnic in Philly a couple years back (a performance I remember enjoying), and she happens to be a Berklee alum as well - I never sat down and checked her stuff out. I've read a bunch of good reviews about the album as well, so I'm looking forward to taking a listen.
Sunday, March 30, 2014
FInal Grade: B+
This was a solid debut album from ScHoolboy Q! I had gone into the album thinking it was going to be lyrically more along the lines of Kendrick, like I was going to be blown away by the storytelling, but I wasn't. Q seems to emulate more of the mainstream sound, but thankfully he (unlike many others) actually has the skills. It's a little more party-oriented, but the beats and the rhymes are good, so I can't hate on it. "Collard Greens" and "Blind Threats" are probably my favorite tracks, but I can see that changing, and I like when an album has tracks that make you change your mind every once in awhile. Definitely some bangers on here, I'm sure I'll be keeping this record in the arsenal.
Songs of the Day
Final three up for review this evening: "Hell of a Night," "Break the Bank," and "Man of the Year."
I feel like I've heard "Hell of a Night" before, probably just randomly on xm or something, or it might just sound like an obvious single. The beat is pretty dope, definitely gets you pumped/moving. I like the juxtaposition of how soft the "ooo"s are with the harshness of Q's tone, it's part of the reason why the song works. It's a track about partying hard (as most hip hop these days), but it's not overbearing/completely dumb sounding, so I can get down with it. Nothing lyrically that really jumped out at me, but I don't think that was really the purpose for this track. Cool tune.
"Break the Bank" for sure has all of the imagery going for it. The title, the beat, and the Q's tone & lyrics all equally represent the overall picture going on, which I dig. You gotta hustle to make money, and it's not always acquired legally, and Q definitely gives you the sense that he knows what that's about. "Whatchu talkin bout if it ain't bout the money?" - forreal tho.
I have most certainly heard "Man of the Year" before, and I ain't mad about hearing it again. This is definitely a solid single to end the album with (you can almost guarantee any song that tells you to "bounce" is going to be a jam). And I'm sure you get plenty dudes in the club asking ladies to "shake it for the man of the year" *rolls eyes* and I'm sure many "ladies" will oblige. Regardless, there's much worse out now, and this song is at least catchy and doesn't have really dumb lyrics, so it will do. Dig the string part at the end. Abrupt ending is a little sudden, but it's not completely uncomfortable. Dope track.
I feel like I've heard "Hell of a Night" before, probably just randomly on xm or something, or it might just sound like an obvious single. The beat is pretty dope, definitely gets you pumped/moving. I like the juxtaposition of how soft the "ooo"s are with the harshness of Q's tone, it's part of the reason why the song works. It's a track about partying hard (as most hip hop these days), but it's not overbearing/completely dumb sounding, so I can get down with it. Nothing lyrically that really jumped out at me, but I don't think that was really the purpose for this track. Cool tune.
"Break the Bank" for sure has all of the imagery going for it. The title, the beat, and the Q's tone & lyrics all equally represent the overall picture going on, which I dig. You gotta hustle to make money, and it's not always acquired legally, and Q definitely gives you the sense that he knows what that's about. "Whatchu talkin bout if it ain't bout the money?" - forreal tho.
I have most certainly heard "Man of the Year" before, and I ain't mad about hearing it again. This is definitely a solid single to end the album with (you can almost guarantee any song that tells you to "bounce" is going to be a jam). And I'm sure you get plenty dudes in the club asking ladies to "shake it for the man of the year" *rolls eyes* and I'm sure many "ladies" will oblige. Regardless, there's much worse out now, and this song is at least catchy and doesn't have really dumb lyrics, so it will do. Dig the string part at the end. Abrupt ending is a little sudden, but it's not completely uncomfortable. Dope track.
Saturday, March 29, 2014
Songs of the Day
Three more tracks up for review today (7-9): "Prescription/Oxymoron," "The Purge," and "Blind Threats."
The start of "Prescription/Oxymoron" sounds like it could be a Lupe Fiasco track, which I can definitely cosign because I love him. Another track about Q's life as a drug dealer (it's kind of the "Sing About Me" equivalent to this album), it has a somber feel to it that makes you listen. The "Prescription" half deals with his love for pills. The times where his daughter comes in asking if he's ok are really heart breaking, but it gives the listener a better visual on the content. The Oxymoron half of the track has much harder feel to it, as it deals more with the dealing side of things. I'm almost mad at how catchy the hook "I just stopped selling crack today" is, but that's the point of it. A turn up track, for sure. I dig.
As cute as it is to hear little kids curse, I've never really been a fan when it's on a record for some reason. "My daddy said drive, nigga" is how "The Purge" starts, and I could've done without that expletive from a 4 year old, but whatever. The rest of the track is chill, I really like the sample of the fire alarm used in the beat - cool choice. I haven't really listened to Tyler the Creator since I reviewed Goblin forever and a half ago, and I must say I've always preferred him as a feature rapper. I've never listened to Kurupt before, but the three rappers sound good together, and they've all got good flow. Nothing about this track really grabs me, but it's not a bad song either. Decent.
"Blind Threats" for sure is my favorite beat of the day. The sample sounds like something out of a 70s movie, which gives it a old school feel that I dig, but it still sounds fresh. "But if God won't help me, this gun will," damn, that's a deep hook, but I'm sure that's how a lot of people feel. Dig the strings they come in, they sound pretty cool. Also dope to hear Raekwon on the track, his distinct sound works well with both the track and with Q's flow. Dope track.
The start of "Prescription/Oxymoron" sounds like it could be a Lupe Fiasco track, which I can definitely cosign because I love him. Another track about Q's life as a drug dealer (it's kind of the "Sing About Me" equivalent to this album), it has a somber feel to it that makes you listen. The "Prescription" half deals with his love for pills. The times where his daughter comes in asking if he's ok are really heart breaking, but it gives the listener a better visual on the content. The Oxymoron half of the track has much harder feel to it, as it deals more with the dealing side of things. I'm almost mad at how catchy the hook "I just stopped selling crack today" is, but that's the point of it. A turn up track, for sure. I dig.
As cute as it is to hear little kids curse, I've never really been a fan when it's on a record for some reason. "My daddy said drive, nigga" is how "The Purge" starts, and I could've done without that expletive from a 4 year old, but whatever. The rest of the track is chill, I really like the sample of the fire alarm used in the beat - cool choice. I haven't really listened to Tyler the Creator since I reviewed Goblin forever and a half ago, and I must say I've always preferred him as a feature rapper. I've never listened to Kurupt before, but the three rappers sound good together, and they've all got good flow. Nothing about this track really grabs me, but it's not a bad song either. Decent.
"Blind Threats" for sure is my favorite beat of the day. The sample sounds like something out of a 70s movie, which gives it a old school feel that I dig, but it still sounds fresh. "But if God won't help me, this gun will," damn, that's a deep hook, but I'm sure that's how a lot of people feel. Dig the strings they come in, they sound pretty cool. Also dope to hear Raekwon on the track, his distinct sound works well with both the track and with Q's flow. Dope track.
Friday, March 28, 2014
Songs of the Day
Three more tracks make up today's review: "What They Want," "Hoover Street," and "Studio."
I guess my 2 Chainz comment on the "Collard Greens" review has come back to bite me, because he's the featured rapper on "What They Want." I can't say I'm surprised, he's one of the biggest rappers in the game right now (unfortunately), just slightly disappointed. Q goes down to 2 Chainz level a little bit with his flow - it's much slower than it has been on previous tracks. I can do without the cum imagery though, thank you. Oh 2 Chainz, I simply do not understand how you have more money than I do, you are so awful! Q could have had a much better song with a different collaborator. The beat also isn't all that, but it definitely could have been the backbone to a great track. This one doesn't do much for me.
I like how out "Hoover Street" is. There's not really a locked in center - the flow is doing it's own thing over the super open, bare beat. It almost seems dream-like. I dig that it gets itself into something a little more structured, and at the right time too (a little longer would have seemed a little boring). Lyrically, this is a pretty in depth track about his dealing days, and I'm always down for a story. The beat is cool too, has an old school feel to it that I dig. The track is a little too long for my taste, it's too easy to be distracted. It'll take a couple listens to buckle down and really catch everything that's going on within this tune, but I'm down for it.
"Studio" is definitely my favorite track of the day. The beat has a 90s R&B vibe to it that I really dig, as I am such a sucker for a good throwback. "I'm just sittin in the studio tryna get to you baby" is a pretty catchy hook, and BJ the Chicago Kid's voice sounds great on it. There's nothing that's lyrically gripping me, but it's a dope beat to chill back to you, and it's got a catchy hook, so why the fuck not?
I guess my 2 Chainz comment on the "Collard Greens" review has come back to bite me, because he's the featured rapper on "What They Want." I can't say I'm surprised, he's one of the biggest rappers in the game right now (unfortunately), just slightly disappointed. Q goes down to 2 Chainz level a little bit with his flow - it's much slower than it has been on previous tracks. I can do without the cum imagery though, thank you. Oh 2 Chainz, I simply do not understand how you have more money than I do, you are so awful! Q could have had a much better song with a different collaborator. The beat also isn't all that, but it definitely could have been the backbone to a great track. This one doesn't do much for me.
I like how out "Hoover Street" is. There's not really a locked in center - the flow is doing it's own thing over the super open, bare beat. It almost seems dream-like. I dig that it gets itself into something a little more structured, and at the right time too (a little longer would have seemed a little boring). Lyrically, this is a pretty in depth track about his dealing days, and I'm always down for a story. The beat is cool too, has an old school feel to it that I dig. The track is a little too long for my taste, it's too easy to be distracted. It'll take a couple listens to buckle down and really catch everything that's going on within this tune, but I'm down for it.
"Studio" is definitely my favorite track of the day. The beat has a 90s R&B vibe to it that I really dig, as I am such a sucker for a good throwback. "I'm just sittin in the studio tryna get to you baby" is a pretty catchy hook, and BJ the Chicago Kid's voice sounds great on it. There's nothing that's lyrically gripping me, but it's a dope beat to chill back to you, and it's got a catchy hook, so why the fuck not?
Thursday, March 27, 2014
Songs of the Day
Got the first three tracks on deck for review this afternoon: "Gangsta," "Los Awesome," and "Collard Greens."
No surprised that "Gangsta" comes hard to open up the record. It's the kind of track that gives you a stank face and makes you want to turn up, which (in the right setting) I can get down with. Q has a roughness to his tone that definitely works with the track, although I prefer something a little smoother, but I don't mind it. It is pretty cute how his daughter starts the track off with "my daddy a gangsta," gotta love a good baby cameo. This track eludes back to Q's days as a drug dealer, and that vibe definitely comes across. Not anything lyrically that really jumps out at me, but it's definitely a cool tune that gives you exactly what you would expect from a song with that title.
"Los Awesome" goes along with the same kind of turn up vibe as "Gangsta," but with a little more of a dance feel. I can hear this bumpin in a club, and I'm sure everyone would get down to it. Dope to hear Jay Rock on the track, their flows go well together. The beat is almost a little overpowering, it's gonna take a couple listens before I really hear what the two are saying because they're somewhat muddled underneath the groove. The beats cool though, so I don't really mind (lyrics are secondary in my mind anyway). Now this song is making me want to go to the club...too bad it's only 2:30 in the afternoon. The slow down at the end is a dope lil interlude. I can get down with it.
So I knew I had heard at least one Schoolboy Q song on xm, and it was "Collard Greens." I definitely stopped at it because it was featuring Kendrick, and I'm down to listen to anything he's on. This is definitely a catchy tune, which I'm sure is why it was the first single off the album. Love Kendrick's little Spanish section in his verse...and his whole verse in general. I really dig the beat on this one, another club banger for sure. The two's flows go well together, so it's no surprise that they come from the same crew. "Kush be my fragrance," no way, me too! It's nice to hear rap tracks with rappers that have actual flow (which is so lacking in popular rap these days *coughcough* 2 chainz *coughcough*). Definitely a catchy track.
No surprised that "Gangsta" comes hard to open up the record. It's the kind of track that gives you a stank face and makes you want to turn up, which (in the right setting) I can get down with. Q has a roughness to his tone that definitely works with the track, although I prefer something a little smoother, but I don't mind it. It is pretty cute how his daughter starts the track off with "my daddy a gangsta," gotta love a good baby cameo. This track eludes back to Q's days as a drug dealer, and that vibe definitely comes across. Not anything lyrically that really jumps out at me, but it's definitely a cool tune that gives you exactly what you would expect from a song with that title.
"Los Awesome" goes along with the same kind of turn up vibe as "Gangsta," but with a little more of a dance feel. I can hear this bumpin in a club, and I'm sure everyone would get down to it. Dope to hear Jay Rock on the track, their flows go well together. The beat is almost a little overpowering, it's gonna take a couple listens before I really hear what the two are saying because they're somewhat muddled underneath the groove. The beats cool though, so I don't really mind (lyrics are secondary in my mind anyway). Now this song is making me want to go to the club...too bad it's only 2:30 in the afternoon. The slow down at the end is a dope lil interlude. I can get down with it.
So I knew I had heard at least one Schoolboy Q song on xm, and it was "Collard Greens." I definitely stopped at it because it was featuring Kendrick, and I'm down to listen to anything he's on. This is definitely a catchy tune, which I'm sure is why it was the first single off the album. Love Kendrick's little Spanish section in his verse...and his whole verse in general. I really dig the beat on this one, another club banger for sure. The two's flows go well together, so it's no surprise that they come from the same crew. "Kush be my fragrance," no way, me too! It's nice to hear rap tracks with rappers that have actual flow (which is so lacking in popular rap these days *coughcough* 2 chainz *coughcough*). Definitely a catchy track.
Monday, March 24, 2014
Album Factoids
Oxymoron
Genre: Rap
Released: March 3, 2014
Label: Top Dawg, Interscope
Producers: Schoolboy Q, Anthony "TOPDAWG" Tiffith, Pharrell, Boi-1da, Clams Casino, DJ Dahi, Frank Dukes, LordQuest, The Maven Boys, Mike Will Made It, Marz, Nez & Rio, Rocket, Sounwave, Swiff D, Tae Beast, THC, Tyler the Creator, The Alchemist, Willie B
Genre: Rap
Released: March 3, 2014
Label: Top Dawg, Interscope
Producers: Schoolboy Q, Anthony "TOPDAWG" Tiffith, Pharrell, Boi-1da, Clams Casino, DJ Dahi, Frank Dukes, LordQuest, The Maven Boys, Mike Will Made It, Marz, Nez & Rio, Rocket, Sounwave, Swiff D, Tae Beast, THC, Tyler the Creator, The Alchemist, Willie B
Week 92: Schoolboy Q
So, everybody's been talking about Schoolboy Q lately, and I guess I'm completely out of the loop because I couldn't name a single track of his. But I was doing some research, and a) he's in the same crew as Kendrick Lamar (who is definitely my favorite rapper right now. I mean, cmon, good kidd was pretty fucking incredible), and b) his album just dropped a couple weeks ago so there seems to be no better time than the present to check this dude out. I've been trying to keep up with new music a little better as of late, so hopefully this is a new artist that I'll be able to get down with. Here's hoping this album lives up to the hype!
Friday, March 14, 2014
Final Grade: A-
I really got down with G I R L. The fact that Pharrell is making an effort to bring back soul-inspired music is something I can definitely get behind, and the fact that he's bringing it to popular music is even better. The album is fairly consistent top to bottom, with only a couple songs coming out as definite hits. I think I like the first half of the album better than the second, but tracks like "Lost Queen," and "Happy" help hold it down. "Brand New" w/ JT is definitely my favorite feature on the album, and one of my favorite tracks overall (but you know how much I luh me some JT). Pharrell is really great at making simple compositions sound complicated and intricate, which is a great ballance. He doesn't have the greatest voice, and isn't the most lyricall-savy writer out there, but he knows how to make you groove, and that may be the most important factor of them all.
Thursday, March 13, 2014
Songs of the Day
God, I've gotten so terrible at this blogging thing. Anyway, because of this, I must finish the album today because I'm going to Jamaica tomorrow, and yall wont be hearin diddly from me. So, we've got 6 tracks to finish out the rest of G I R L: "Happy," "Come Get It Bae," "Gust of Wind," "Lost Queen," "Know Who You Are," and "It Girl."
I must say, "Happy" has been my jam for a minute, so I'm surprised that it's just now getting big. Guess it was too good to be a Despicable Me 2 soundtrack exclusive. I really love this song, which is why I'm happy I don't listen to the radio because I bet it's already over played by now. This song makes me feel happy whenever I listen to it, so it's aptly titled. I love the harmonies going on in the chorus - they really make the tune. And everyone loves a good song to clap to. The track is simple, upbeat, and is really fun to listen to. Way to go, Pharrell.
"Come Get It Bae" goes right along with the feel of the album, and I'm so down with it. The percussion going on throughout the track is dope (especially considered it's comprised of claps and hitting what sound like buckets). Pharrell's always been good with that kind of shtuff. Again, we've got simple, and not very awe-inspiring lyrics, but we all know it's about the grooves on this album. We've got some help from Miley Cyrus on the vocals (although she does not get a feature), and she sounds fine. A female vocal adds a little depth to the track, so she helps out with that, but she's not doing anything extraordinary. Cool, cool.
I love the old school R&B feel going on in "Gust of Wind," it's an easy groove to...well...groove with. I must say, Daft Punk in the chorus doesn't really tickle my fancy (the vocal effect seems a little too much for the groove), but it makes sense considering their Grammy winning collaborations on Random Access Memories. I would have been cool with just Pharrell. Love the strings going on in the back, definitely a cool feature of this track. I'm glad Pharrell knows his vocal limitations, because I think the track would be clouded by something too fancy (which is probably why I'm not convinced by the feature). I dig, I dig.
The African-inspired "Lost Queen," is a dope track to slow the album down with. The vocals remind me of some Graceland kind of goodness. I really dig how simple the whole production is with just the vocals and percussion. Even the slight synth additons in the chorus seem like too much to me, but they're not overly bothersome. "What planet are you from, girl/ and are there others like you there?" - the answer is no, no boo there are not ;) Love when the vocals do that little skip, like on lines like "find you, find you, find you." Chill, good shit. But then there's a whole B side to this one! We exit with the ocean into a sexy slow jam. Man, this is such a dope groove (like I'm surprised), all thanks to the Rhodes sound going on the keys (I'm such a sucker for Rhodes). "You've gotta go inward to experience the outerspace that was built for you - you gotta go inward," aight Pharrell, I see you with your inuendos. You gotta love a good B side.
"Know Who You Are" is probably my least favorite groove/overall track on the album, but it's not bad. The groove has a slight reggae feel to it, which makes it easy to just bounce to. It sounds kind of sunny, if that makes sense. This is a duet with Alicia Keys, and she's sounding good. I have been somewhat fed up with her sound since "No One" (it sounded like she was yelling the whole time), but this sounds more like her older self, so I'm down with that. Other than that, the track is kind of boring, and a little square compared to the rest of the album. It's certainly not a bad song, it just doesn't give me a stank face like the rest of the tracks.
"It Girl" isn't my favorite track either, but it gets back to the cooler feel that was on the rest of the album. I'm not sure what filter is on Pharrell's voice, but I dig it - it's subtle. This is a cool groove to walk down the street to - it's chill while still remaining interesting. The B section is pretty dope, especially the single note guitar line that goes flat for a second - I dig that. All the little subtleties going on are pretty sweet to, especially considering it's instrumental. The two grooves together make me like the song as a whole. Cool stuff, for sure.
Tuesday, March 4, 2014
Songs of the Day
Yay, starting a new album! Got the first four tracks up for review today: "Marilyn Monroe," "Brand New," "Hunter," and "Gush."
A little string intro is always a nice way to start off an album, especially when the track is named after bombshell "Marilyn Monroe." I've never known Pharrell to be an incredible lyricist (Seeing Sounds, anyone?), but his production skills make up for it. Really dig that the strings go into a funky groove - definitely gets down. Wouldn't take Pharrell to be the type to have a diary, or, if he did, start said diary with "dear diary," but whatever. He "just wants a different type of girl," which is cool, gotta give the normal ladies a chance. If only you weren't already taken... *snaps out of daydream* Anyway, the groove is definitely the strong point of this tune, and I can certainly get down with it. Gotta love a good groove.
Um ok, I can seriously get down with this "Brand New" groove, and the fact that my boo JT is on it only makes the track that much better! I also love that this is listed as a "Duet with Justin Timberlake," versus "featuring." Off the bat the groove reminds has a MJ "Workin Day n Night" feel to it that I really dig. Man, this is a tasty track! Love the single guitar line, and the horns (yummy) in the back, the percussion, the "doo doo"s in the background, the mother fucking BASS - it's all so funky! The way it mellows out after the chorus is great. Ok, this is my new jam!
So "Hunter" immediately reminds me of that INXS song "Need You Tonight," and I am totally ok with that. I like how minimal the beat is while remaining mad groovy. I knew I could count on Pharrell to get funky with it! "Duck Dynasty is cool n all/but they got nothin on a female's call/I'm a hunter" - oh you silly Pharrell, track is still dope tho. Like that it goes to the V chord just for a second, it breaks up what could have potentially felt like a somewhat monotonous groove. Dig it.
Of course "Gush" is keeping right along with the soul/funk groove - thank you, Pharrell! But I must say, you should be a little concerned if a girl lights her ass on fire...just saying, not the best thing to ask a female to do haha. I will get dirty with you though (as I'm sure maaaaaaany women would), so that is a fair question. I so was not expecting the strings B section, but I'm so down with it - it's a nice little switch up, especially how it blends back into the groove. Bass is holding it down. I dig it, I dig it, I fucking dig it.
A little string intro is always a nice way to start off an album, especially when the track is named after bombshell "Marilyn Monroe." I've never known Pharrell to be an incredible lyricist (Seeing Sounds, anyone?), but his production skills make up for it. Really dig that the strings go into a funky groove - definitely gets down. Wouldn't take Pharrell to be the type to have a diary, or, if he did, start said diary with "dear diary," but whatever. He "just wants a different type of girl," which is cool, gotta give the normal ladies a chance. If only you weren't already taken... *snaps out of daydream* Anyway, the groove is definitely the strong point of this tune, and I can certainly get down with it. Gotta love a good groove.
Um ok, I can seriously get down with this "Brand New" groove, and the fact that my boo JT is on it only makes the track that much better! I also love that this is listed as a "Duet with Justin Timberlake," versus "featuring." Off the bat the groove reminds has a MJ "Workin Day n Night" feel to it that I really dig. Man, this is a tasty track! Love the single guitar line, and the horns (yummy) in the back, the percussion, the "doo doo"s in the background, the mother fucking BASS - it's all so funky! The way it mellows out after the chorus is great. Ok, this is my new jam!
So "Hunter" immediately reminds me of that INXS song "Need You Tonight," and I am totally ok with that. I like how minimal the beat is while remaining mad groovy. I knew I could count on Pharrell to get funky with it! "Duck Dynasty is cool n all/but they got nothin on a female's call/I'm a hunter" - oh you silly Pharrell, track is still dope tho. Like that it goes to the V chord just for a second, it breaks up what could have potentially felt like a somewhat monotonous groove. Dig it.
Of course "Gush" is keeping right along with the soul/funk groove - thank you, Pharrell! But I must say, you should be a little concerned if a girl lights her ass on fire...just saying, not the best thing to ask a female to do haha. I will get dirty with you though (as I'm sure maaaaaaany women would), so that is a fair question. I so was not expecting the strings B section, but I'm so down with it - it's a nice little switch up, especially how it blends back into the groove. Bass is holding it down. I dig it, I dig it, I fucking dig it.
Monday, March 3, 2014
Album Factoids
G I R L
Released: March 3, 2014 (Today!)
Genre: Soul/Neo-Soul
Label: Columbia
Producer: Pharrell (duh)
Released: March 3, 2014 (Today!)
Genre: Soul/Neo-Soul
Label: Columbia
Producer: Pharrell (duh)
Week 91: Pharrell
Went on iTunes to try and figure out what album to do this week, and Pharrell's new record was right up front, so I figured "why not?" He's the biggest producer in the game right now (and has been for quite some time), definitely the top producer I want to work with at the moment, and I'm sure this album will show off all his talents. I'm an NERD fan, but this is the first of his solo records I've picked up ("Frontin" is still my jam tho), and I hope it shows some more of that soul that he's been bringing back into top 40. Leh do dis.
Tuesday, February 25, 2014
Final Grade: B+
You know, this record really wasn't half bad! I have definitely found myself having some of these songs stuck in my head over the last week, and I wasn't mad about it. Lorde is definitely mature for her age, or at least she projects that through her sound and lyrics - I forgot she was only a teenager the majority of the time. And she just won 2 Grammys! Like, what the fuck was I doing with myself when I was 17, sheesh?? I dig that this record has a alternative/synth sound, and isn't strictly the kind of pop you hear on the radio these days. It has an older flavor, while staying fresh. "Glory and Gore" is probably my favorite song, which makes sense seeing as it's the most out tune on the record. And even though Lorde doesn't have that great of a voice, it works for her style, and I can get down with that. Overall, pretty decent record. Good, I needed some new pop in my arsenal.
Songs of the Day
Final 3 tracks on deck for this last day Lorde reviewing: "Still Sane,""White Teeth Teens," and "A World Alone."
I must say, so far I've enjoyed this album, and "Still Sane" keeps that feeling going. "All work and no play never made lose it" is definitely a more positive message than the majority of the pop bs that's taken over the radio, so I'm down with it. Lorde's got this chill, synth vibe down, which I dig. This track is definitely more for chilling out versus rocking out, and being as short as it is (3:31), it comes and goes pretty quickly. Not a stand out tune, but still a cool one. Lorde's eeriness working for her yet again.
"White Teeth Teens" probably has one of the grooves I like the least on the record - doesn't really do much for me/ doesn't seem as fresh as the rest of them. It's still catchy tho, especially when the drumline-like snare comes in in the chorus. Are "white teeth teens" supposed to be rich because they have good dental hygiene? Not my favorite analogy, but I guess I get it. I like the layering of the vocals at the end of the track, it's probably my favorite part of the song. This one didn't do much for me, but it's not a bad track.
It's unfortunate that these last 3 tracks had to be my least favorite of the record, but that's how these things go sometimes. "A World Alone" is the least different-sounding track on the record, which is probably why I don't like it as much as the rest of the album. Given the title, it has a much happier feel to it than you would expect - sounds beachy. Interesting that a 17 year old is talking about raising a glass (not that I wasn't doing that at 17, you just forget that teens do shit that's illegal lol), but that kind of stuff has been mentioned many a time before on the record. The groove is catchy for sure (that's pop for you), I just don't think there's anything really special to it, same with the lyrics and everything. Just eh.
I must say, so far I've enjoyed this album, and "Still Sane" keeps that feeling going. "All work and no play never made lose it" is definitely a more positive message than the majority of the pop bs that's taken over the radio, so I'm down with it. Lorde's got this chill, synth vibe down, which I dig. This track is definitely more for chilling out versus rocking out, and being as short as it is (3:31), it comes and goes pretty quickly. Not a stand out tune, but still a cool one. Lorde's eeriness working for her yet again.
"White Teeth Teens" probably has one of the grooves I like the least on the record - doesn't really do much for me/ doesn't seem as fresh as the rest of them. It's still catchy tho, especially when the drumline-like snare comes in in the chorus. Are "white teeth teens" supposed to be rich because they have good dental hygiene? Not my favorite analogy, but I guess I get it. I like the layering of the vocals at the end of the track, it's probably my favorite part of the song. This one didn't do much for me, but it's not a bad track.
It's unfortunate that these last 3 tracks had to be my least favorite of the record, but that's how these things go sometimes. "A World Alone" is the least different-sounding track on the record, which is probably why I don't like it as much as the rest of the album. Given the title, it has a much happier feel to it than you would expect - sounds beachy. Interesting that a 17 year old is talking about raising a glass (not that I wasn't doing that at 17, you just forget that teens do shit that's illegal lol), but that kind of stuff has been mentioned many a time before on the record. The groove is catchy for sure (that's pop for you), I just don't think there's anything really special to it, same with the lyrics and everything. Just eh.
Songs of the Day
Three more tracks for today's review: "Buzzcut Season," "Team," and "Glory and Gore."
See, "Buzzcut Season" has the kind of four-on-the-floor that I can get down with - it grooves. This track definitely has a chill feel to it that's catchy. Another track that is very minimal production-wise, but works. It's easy to forget that Lorde was only 16 when she made this, which is pretty dope. This is all her and producer Joel Little, so major props.
"Team" goes in a little harder than the others so far, which I get down with. Though I don't think she has the best voice, it works with what she's going for, and it has it's own style. I can get into it. I'm not anything that really catches me lyrically, but the melody for the hook is catchy, which is the first thing people are going to catch onto.
I got into it at the beginning with "You been drinkin like the world was gonna end" Pretty cool lyric, and "Glory and Gore" is a pretty cool song. Like "Team," it goes in a little harder than some of the previous tracks, which I dig. The hook is pretty damn catchy too, "glory and gore go hand in hand, that's why we're making headlines" And ooooo the B section! So fucking cool! I love how it gets into that eerie minor feel - super dope. Might be my favorite song so far!
See, "Buzzcut Season" has the kind of four-on-the-floor that I can get down with - it grooves. This track definitely has a chill feel to it that's catchy. Another track that is very minimal production-wise, but works. It's easy to forget that Lorde was only 16 when she made this, which is pretty dope. This is all her and producer Joel Little, so major props.
"Team" goes in a little harder than the others so far, which I get down with. Though I don't think she has the best voice, it works with what she's going for, and it has it's own style. I can get into it. I'm not anything that really catches me lyrically, but the melody for the hook is catchy, which is the first thing people are going to catch onto.
I got into it at the beginning with "You been drinkin like the world was gonna end" Pretty cool lyric, and "Glory and Gore" is a pretty cool song. Like "Team," it goes in a little harder than some of the previous tracks, which I dig. The hook is pretty damn catchy too, "glory and gore go hand in hand, that's why we're making headlines" And ooooo the B section! So fucking cool! I love how it gets into that eerie minor feel - super dope. Might be my favorite song so far!
Friday, February 21, 2014
Songs of the Day
Got the first four tracks up for review today: "Tennis Court," "400 Lux," "Royals," and "Ribs."
"Tennis Court" is a cool track to open up with. I dig the spacey-ness of the beat while still having a pop feel to it. The hook is kind of dumb, namely the "we'll go down to the tennis court, and talk it up like yeah" part, but this is a pop album, so I was expecting that. Doesn't change the fact that I'll probably be singing that exact line for the rest of the evening. Lorde's voice doesn't do anything on this track that's particularly awesome, but she does her own style well, and that's what matters. Pretty decent track.
The 80s feel that "400 Lux" has is for sure something that I can get down with. I can totally see this song in a movie, it's got that kind of montage feel to it. Her vocals go well with the chill vibe, I wish there was a little more umph to the lyrics, but they're not bad either, so that's an improvement to about 90% of top 40. The hook is cute and catchy, I dig the "and I like you" repeated line. Some pretty chill shit.
At this point, we've all heard "Royals" a hundred times, but I still think it's a good track. Luckily for me, not listening to the radio keeps me from getting completely fed up with songs after two weeks, so I still dig this track. The minimalism of this song is really what makes it - just a chick and a some synth drum & bass, that's all you need sometimes. And of course we all love the harmonies, they help make the song. She did win two Grammy's for the song after all. I wonder if the 17 year old knew this song was going to completely change her life....
Totally dig the spacey, a cappella intro to "Ribs." I do wish it didn't come in with four-on-the-floor though, because it is so overused in today's pop music. Seriously, it's in every fucking song and it needs to stop. Otherwise, this track has some cool elements to it. Lorde's voice has a kind of eerie feel to it that sits well with the track. Probably my least favorite of the day, but still cool.
"Tennis Court" is a cool track to open up with. I dig the spacey-ness of the beat while still having a pop feel to it. The hook is kind of dumb, namely the "we'll go down to the tennis court, and talk it up like yeah" part, but this is a pop album, so I was expecting that. Doesn't change the fact that I'll probably be singing that exact line for the rest of the evening. Lorde's voice doesn't do anything on this track that's particularly awesome, but she does her own style well, and that's what matters. Pretty decent track.
The 80s feel that "400 Lux" has is for sure something that I can get down with. I can totally see this song in a movie, it's got that kind of montage feel to it. Her vocals go well with the chill vibe, I wish there was a little more umph to the lyrics, but they're not bad either, so that's an improvement to about 90% of top 40. The hook is cute and catchy, I dig the "and I like you" repeated line. Some pretty chill shit.
At this point, we've all heard "Royals" a hundred times, but I still think it's a good track. Luckily for me, not listening to the radio keeps me from getting completely fed up with songs after two weeks, so I still dig this track. The minimalism of this song is really what makes it - just a chick and a some synth drum & bass, that's all you need sometimes. And of course we all love the harmonies, they help make the song. She did win two Grammy's for the song after all. I wonder if the 17 year old knew this song was going to completely change her life....
Totally dig the spacey, a cappella intro to "Ribs." I do wish it didn't come in with four-on-the-floor though, because it is so overused in today's pop music. Seriously, it's in every fucking song and it needs to stop. Otherwise, this track has some cool elements to it. Lorde's voice has a kind of eerie feel to it that sits well with the track. Probably my least favorite of the day, but still cool.
Wednesday, February 19, 2014
Album Factoids
Pure Heroine
Released: September 27, 2013
Genre: Pop
Label: Universal
Producer: Joel Little
Released: September 27, 2013
Genre: Pop
Label: Universal
Producer: Joel Little
Week 90: Lorde
Ay dios mio, we're at 90 (+ all the other weeks I wasn't productive with
this)! I decided to continue on with newer talent and decided to
review Lorde's Pure Heroine. I only know of "Royals," which is
pretty damn catchy, but I've heard good things about the album. I also
(at my own accord) don't pay much attention to current top 40 music, but
I figured what the hell, the chick seems weird and she just won 2
Grammy's... I'll get my pop on. I'm late, but whatever.
Monday, February 17, 2014
Final Grade: A-/B+
I thoroughly enjoyed Acid Rap. Chance's flow is very unique, and he doesn't rap about stupid shit all the time, which is quite refreshing in this age of hip hop. "Juice" is definitely my favorite track, which is only slightly disappointing since it's the first song I heard off the album, but it's a dope track regardless. I think a little more time and seasoning will definitely result in Chance being a big player in the rap game, and this album is a dope start to that. Will definitely continue listening to this album.
Saturday, February 15, 2014
Songs of the Day
Late night blogging, cuz that's how I roll. Got the final three tracks to knock out this evening: "Acid Rain," "Chain Smoker," and "Everything's Good (Good Ass Outro)."
Off the bat, I dig the vibe of "Acid Rain," which I would hoping coming from the track that most closely shares the name of the title. Nothing's particularly crazy about Chance's flow or lyrics on this track, but the beat definitely let's you groove with him. I dig the quoting of R. Kelly's melody on "The World's Greatest," took me a second to remember what song he was referencing exactly - a cool groove to go back to. Solid track.
Honestly, "Chain Smoker" is probably my least favorite track on the album. Neither the beat or Chance's flow are doing anything for me. And it's really not all that bad considering that I don't really dislike the track, it's just not up to far with the rest of the album. I also find the hook annoying, which isn't something that you generally want lol. Ok track, nothing incredible.
I think my favorite part of "Everything's Good (Good Ass Outro)" is the way that Chance says "Dillaaaaa" in his first line - a good way to start off. The voicemail in the beginning definitely reminds me of Kendrick's good kid, m.A.A.d city, which is probably some kind of nod. Dig the jazzy feel to the track, especially with the trumpet and the upright bass. Going back into the "Good Ass Intro" groove is a nice tie in for the whole shebang. Solid.
Off the bat, I dig the vibe of "Acid Rain," which I would hoping coming from the track that most closely shares the name of the title. Nothing's particularly crazy about Chance's flow or lyrics on this track, but the beat definitely let's you groove with him. I dig the quoting of R. Kelly's melody on "The World's Greatest," took me a second to remember what song he was referencing exactly - a cool groove to go back to. Solid track.
Honestly, "Chain Smoker" is probably my least favorite track on the album. Neither the beat or Chance's flow are doing anything for me. And it's really not all that bad considering that I don't really dislike the track, it's just not up to far with the rest of the album. I also find the hook annoying, which isn't something that you generally want lol. Ok track, nothing incredible.
I think my favorite part of "Everything's Good (Good Ass Outro)" is the way that Chance says "Dillaaaaa" in his first line - a good way to start off. The voicemail in the beginning definitely reminds me of Kendrick's good kid, m.A.A.d city, which is probably some kind of nod. Dig the jazzy feel to the track, especially with the trumpet and the upright bass. Going back into the "Good Ass Intro" groove is a nice tie in for the whole shebang. Solid.
Friday, February 14, 2014
Songs of the Day
Three more tracks up for review today: "Favorite Song," "NaNa," and "Smoke Again."
"Favorite Song" is definitely a good start to the day. Love the Betty Wright slowed down sample, makes for a super chill beat with a cool reggae feel to it. I haven't familiarized myself with a lot Childish Gambino's material, so it's dope to hear him on this track. His flow goes well with Chance's, so it makes for a nice collaboration. Nothing particularly awesome lyric-wise, but still a fun song to listen to.
"NaNa" goes right along with the chill vibe going on thus far, especially with the Jack Wilkins sample. I instantly recognized it from Tribe's use of it on "Sucka Nigga" on Midnight Marauders. It's dope that Chance was able to bring this sample back without it sounding just like Tribe track. I'm not the biggest fan of Action Bronson's flow on this track, but it's not completely bothersome. I'd have to hear him on his own material. I also can't really understand a lot of what Chance is saying on this one, but it's not the worst thing. The "nanana nanana" hook is amusing, not all that. Chill song.
Normally the fake horn sound on the "Smoke Again" beat would distract me too much, but luckily the other elements of the groove make up for it. Being the last track of the day, I was kind of hoping for more of an upbeat track, but in the context of the album it works to keep things chill. "Let me put my mouth where you potty, boo" isn't exactly the, um, sexiest way to say things...sounds like Ab-Soul is trying to eat her poop, and that's gross. Safe to say, this isn't my favorite track lyrically (nothing today has been super mind-blowing), but if you're high and tune it out, it's a chill tune to listen to.
"Favorite Song" is definitely a good start to the day. Love the Betty Wright slowed down sample, makes for a super chill beat with a cool reggae feel to it. I haven't familiarized myself with a lot Childish Gambino's material, so it's dope to hear him on this track. His flow goes well with Chance's, so it makes for a nice collaboration. Nothing particularly awesome lyric-wise, but still a fun song to listen to.
"NaNa" goes right along with the chill vibe going on thus far, especially with the Jack Wilkins sample. I instantly recognized it from Tribe's use of it on "Sucka Nigga" on Midnight Marauders. It's dope that Chance was able to bring this sample back without it sounding just like Tribe track. I'm not the biggest fan of Action Bronson's flow on this track, but it's not completely bothersome. I'd have to hear him on his own material. I also can't really understand a lot of what Chance is saying on this one, but it's not the worst thing. The "nanana nanana" hook is amusing, not all that. Chill song.
Normally the fake horn sound on the "Smoke Again" beat would distract me too much, but luckily the other elements of the groove make up for it. Being the last track of the day, I was kind of hoping for more of an upbeat track, but in the context of the album it works to keep things chill. "Let me put my mouth where you potty, boo" isn't exactly the, um, sexiest way to say things...sounds like Ab-Soul is trying to eat her poop, and that's gross. Safe to say, this isn't my favorite track lyrically (nothing today has been super mind-blowing), but if you're high and tune it out, it's a chill tune to listen to.
Wednesday, February 12, 2014
Songs of the Day
Got tracks 5-7 on deck for today's review: "Lost," "Everybody's Something," and "Interlude (That's Love)." So far, this album is pretty dope, so I'm glad these tracks follow suit. "Lost" has a laid back groove to it that allows Chance's flow to really sit in it. "Her pussy like me/ her heart like 'fuck it'," ugh that's too real though. I'm definitely getting down with his style. Now, I'm down that there's a female emcee featured on this, I'm not the biggest fan of Noname Gypsy's flow. I don't know if I can pin point it exactly, but it just sounds a little lazy or something. She spits well, just not my favorite tamber. Regardless, cool tune to chill to.
I already knew that I was gonna get down with "Everybody's Something" when it opened with some "Fall in Love," but it's produced in a heavier way that makes it its own beat. Dig. Something about Chance's flow on this reminds me of early Eminem, which I am certainly down. Love the hook, "everybody's somebody's everything/ nobody's nothin" :) Saba's verse is cool, I like his flow. This one is a cool groove to sit into. Thumbs up.
Well, "Interlude (That's Love)" is getting listened to just in time for Valentine's Day with all it's lovey-dovey-ness. I must say, you don't hear too many rappers talking about how love is greater than drugs, poppin bottles, and all those other flagrant, unrelatable shit you hear about in rap songs these days. While it fits with the message of the tune, the groove is the tiniest bit corny to me (probably all the major), but I like that it picks up towards the end. Very sweet.
I already knew that I was gonna get down with "Everybody's Something" when it opened with some "Fall in Love," but it's produced in a heavier way that makes it its own beat. Dig. Something about Chance's flow on this reminds me of early Eminem, which I am certainly down. Love the hook, "everybody's somebody's everything/ nobody's nothin" :) Saba's verse is cool, I like his flow. This one is a cool groove to sit into. Thumbs up.
Well, "Interlude (That's Love)" is getting listened to just in time for Valentine's Day with all it's lovey-dovey-ness. I must say, you don't hear too many rappers talking about how love is greater than drugs, poppin bottles, and all those other flagrant, unrelatable shit you hear about in rap songs these days. While it fits with the message of the tune, the groove is the tiniest bit corny to me (probably all the major), but I like that it picks up towards the end. Very sweet.
Monday, February 10, 2014
Songs of the Day
Got the first four tracks on deck for review this lovely evening: "Good Ass Intro," "Pusha Man," "Cocoa Butter Kisses," and "Juice." I must say, "Good Ass Intro" is aptly named! Definitely a dope way to start the album. I love the combination of the church choir feel that continues to pile style on top of style - layers are cool. And when the drums drop and horns come in - me gusta mucho! Chance's flow/sound is something that comes off as harsh (somewhat of a Lil Wayne tamber), but it takes about point five seconds to get over - he uses the melody of his flow to smooth it out. There are about a million people featured on this track, and I wish they were easier to decipher from one another, 'cause it would be cool to give credit exactly where credit is due. But to
BJ The Chicago Kid, Lili K., Kiara Lanier, Peter Cottontale, Will for
the O'mys, & JP Floydd for Kids These Days, yall helped create a funky opener.
Thankfully, "Good Ass Intro" wasn't just a fluke, "Pusha Man" falls right into the goodness. The beat for this track is dope, different from other hip hop tracks. And even though he's saying shit like "she has blisters on her knees," you know, because she wants the d, he somehow manages to produce it in a way that still keeps you interested in the song. Nice lil fake-out end to come back with a new track, of which has an equally cool, if not cooler beat. I like how spacey and out there is sounds (definitely would go well with a certain substance teehee). "Somebody will steal daddy's role-y, and call it neighborhood watch" - so dope. Chance's unique flow really makes you get into his tracks - I dig it.
"Cocoa Butter Kisses" picks up on the church grind that "Intro" started with - a good feel to get back on. Again, it's contrasted with some heavier drums, which I find to be a cool juxtaposition. I would just like to say that I am down with any rapper that's gonna reference the Rugrats, that's just too cool. I love the imagery of "I miss my cocoa butter kisses" - it evokes the very image. And Twistaaaaaa! Where have you been, my dude?? So dope to hear this (fast) rapper back on something, and of course he does not disappoint.
I was excited to get another listen to "Juice," it definitely had me from the start. The simplicity of this beat really intrigues me, definitely on some "less is more" shit. OMFG I'm just realizing the sample is "Jealous Guy" by Donny Hathaway off of Donny Hathaway Live, which I not only reviewed, but it's my favorite track on the album! Ugh, my love for this song just increased for much! The whole thing has this swinging/swaying kind of feel going on that makes it super easy to listen to and just get lost in. Completely understandable as to why this was the single. Too many lines to isolate. I dig this so hard.
Thankfully, "Good Ass Intro" wasn't just a fluke, "Pusha Man" falls right into the goodness. The beat for this track is dope, different from other hip hop tracks. And even though he's saying shit like "she has blisters on her knees," you know, because she wants the d, he somehow manages to produce it in a way that still keeps you interested in the song. Nice lil fake-out end to come back with a new track, of which has an equally cool, if not cooler beat. I like how spacey and out there is sounds (definitely would go well with a certain substance teehee). "Somebody will steal daddy's role-y, and call it neighborhood watch" - so dope. Chance's unique flow really makes you get into his tracks - I dig it.
"Cocoa Butter Kisses" picks up on the church grind that "Intro" started with - a good feel to get back on. Again, it's contrasted with some heavier drums, which I find to be a cool juxtaposition. I would just like to say that I am down with any rapper that's gonna reference the Rugrats, that's just too cool. I love the imagery of "I miss my cocoa butter kisses" - it evokes the very image. And Twistaaaaaa! Where have you been, my dude?? So dope to hear this (fast) rapper back on something, and of course he does not disappoint.
I was excited to get another listen to "Juice," it definitely had me from the start. The simplicity of this beat really intrigues me, definitely on some "less is more" shit. OMFG I'm just realizing the sample is "Jealous Guy" by Donny Hathaway off of Donny Hathaway Live, which I not only reviewed, but it's my favorite track on the album! Ugh, my love for this song just increased for much! The whole thing has this swinging/swaying kind of feel going on that makes it super easy to listen to and just get lost in. Completely understandable as to why this was the single. Too many lines to isolate. I dig this so hard.
Album Factoids
Acid Rap
Released: April 30, 2013 (smh, I'm late)
Genre: Rap
Label: Self-released (I think this is a first for the blog!)
Producer: Petter Cottontale, Cam, Stefan Ponce, Ceej for Two9, Nosaj Thing, Nate Fox, DJ Ozone, Ludwig Gorransen, brandUn DeShay, Blended Babies, Jake One
Released: April 30, 2013 (smh, I'm late)
Genre: Rap
Label: Self-released (I think this is a first for the blog!)
Producer: Petter Cottontale, Cam, Stefan Ponce, Ceej for Two9, Nosaj Thing, Nate Fox, DJ Ozone, Ludwig Gorransen, brandUn DeShay, Blended Babies, Jake One
Week 89: Chance the Rapper
So, I am determined to finish this blog before I graduate college, and considering I have 12 weeks and 12 albums left, it's looking like I need to get back on my ass! Aight, anyway, for week 89 (really, it's like week 300 at this point) I've decided to finally check out Chance the Rapper. I've been hearing dope shit about Acid Rap, and I watched the "Juicy" video yesterday and figured it was about damn time I really look this dude up. I know, I know, I'm late, I guess I was still on a Kendrick high. Time for some new rap in my life (in addition to, not in replace of), it's about time.
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