THE 25 BEST ALBUMS OF 2012

25. Perfume Genius- Put Your Back N 2 It

Genre: Baroque Pop

 

     Earlier this year Perfume Genius released an oddly stylized album and it contained some of the most sorrowful songs released in a long time.  The tracks were rooted in ambient, yet it was completely engaging.  His voice quaked over simple piano chords, but the production and the dynamic swells gave it a magic unmatched by other singer-songwriters.

24. Kidkanevil and Daisuke Tanabe- Kidsuke

Genre: Glitch-hop





      
 
     If you are a japanese glitch electronica enthusiast you've probably heard of Daisuke Tanabe.  He is a monster in the specific subgenre for good reason.  The man has a way with tone and rhythm that other  electronic musicians can only dream of.  The creative pairing with Kidkanevil yields unique results.  The synths have a delicateness about them while still remaining foreboding.  The songs aren't something that you would bump in the club, but they are unique, engaging, and even danceable if your brave enough.




23. DIIV- Oshin

Genre: Post-punk/Dream-pop





      Out of Beach Fossil's ashes rose the reverb-soaked DIIV.  By blending post-punk and dream-pop they were able to craft an album that was incredibly cohesive and beautiful.  While each song has similarities they also have subtle differences in groove and texture that keep it a fresh listen each time you return to it.



22. Sigh- In Somniphobia

Genre: Extreme Metal








 
   I needed to make the album cover bigger so you could see it.  Yes, that is a pregnant elderly queen carting around a wheelbarrow of dead babies.  And the album sounds just like that.




21. Thee Oh Sees- Putrifiers II

Genre: Garage/Psych Rock



 
 
    Garage-rockers Thee Oh Sees pump out at least one album a year, and each of them are great!  Seriously how come other artists can't do this?  Thee Oh Sees make a pleasing adjustment to their sound, adding some psychedelic aspects and splash more melody, resulting in perhaps their most accessible album yet.  But don't worry fans, John's nasally croon is still going strong.




20. Earth- Angels of Darkness, Demons of Light II

 

Genre: Drone







     Drone innovators ("inventors" is perhaps a better word) Earth released a pair of albums at the end of last year and the beginning of this one.  Each one ditched the distortion-soaked bass and guitar for clean guitar tones and slow, powerful drum beats.  Repetition is key here.  The listener has to wrap themselves up in the guitar line and feel the slow march of the drums.  The album cover is fitting because this album really sounds like a procession of demonic angels.




19. Captain Murphy- Duality

Genre: Horrorcore







     Who knew Flying Lotus could rap?  On Duality, FlyLo exhibits his brilliant production ability with some fresh flows.  His use of pitch modulation kept the album terrifying and entertaining.  Even the skits were gripping, telling the story of a cult searching for its new god, and you're a candidate.  Also he raps over Bugg'n by TNGHT and that was fresh as fuck.


  18. Suis la lune- Riala

Genre: Screamo









    First off, these guys aren't what you think they are.  They sound nothing like Asking Alexandria.  What they sound like is catharsis.  Riala is screamo at its finest, with vocals that exhibit surprising dynamics and sorrowful guitar leads.  The rhythm section is tight and in tune with one another.  It's a perfect album for someone looking to expand their tastes and challenge themselves.  Not all great music is pretty.




17. Lightning Bolt- Oblivion Hunter 

Genre: Noise Rock








     Lightning Bolt collects material from earlier in their career to compile this 45 minute long EP (its an LP lets be real) and it flows surprisingly well.  The production is dirtier and the jams are much rawer than on their studio work.  Oblivion Hunter collects some great songs that any noise rock fan will enjoy.  The drum work is as frantic as always and the bass lines are fat and all over the place.  It's just proof that Lightning Bolt had it since the beginning.




16. Cloud Nothings- Attack on Memory

Genre: Post-hardcore








 
   Cloud Nothings bring a certain softness to the Post-hardcore genre.  They dumb down the insanity of Big Black or The Blood Brothers, but with no lesser musical magnitude.  The guitar and drum work is heavily rooted in punk but the harsh yet melodic vocals pepper these songs with emotion.




15. El-P- Cancer 4 Cure

Genre: Underground Hip-hop








     El-P is a monster.  His harsh production style combined with some truly intense flows proves that Eminem is not the only credible white rapper in the game.  El-P calls on some talented friends to guest star on a lot of these tracks, and they all kill it.  The beats are varied and interesting, utilizing some crazy samples and some tight live instrumentation.



14. Purity Ring- Shrines

Genre: Glitch-pop/Post-dubstep








     The genre name post-dubstep just screams "douchebag" but in this case its a really accurate description.  Purity Ring utilizes some apparent characteristics of dubstep and bass music and combines them with soaring pop melodies and the result is a surprisingly ethereal album.



13. High on Fire- De Vermis Mystriis

Genre: Sludge/Stoner Metal







     Two important bands emerged from stoner metal titan Sleep's ashes, Om and High on Fire.  Om took the route of foreboding biblical doom rock while High on Fire kicked up the tempos and added some thrash and speed metal inspired licks.  This year High on Fire released an album that was relentless and powerful.  The tight drumming and fearsome vocals are matched only by how crisp and full the production is.



12. The Taxpayers- 'God, Forgive These Bastards': Songs From  the Forgotten Life of Henry Turner

Genre: Folk-punk








    The Taxpayers know their away around a sad love song.  With an arsenal of quaint instruments and a couple of shitty microphones, this band crafts a journey throughout the life of a homeless man forgotten by society, but remembered in the alleys of a slum.  But that's what folk-punk is all about.  I can imagine a group of gypsies playing these songs in the back of their ox-drawn carriage.



11. Death Grips- NO LOVE DEEP WEB

Genre: Industrial Hip-hop








     Death Grips have had a roller coaster of a year.  They released two albums, one for free, got signed to Epic, then got dropped by Epic, and now Flatlander can't travel "legally".  It's fitting that they go through this insanity when their music is so insane.  On NO LOVE DEEP WEB the listener encounters a stripped-down and bass heavy collection of songs.  MC Ride sounds exhausted and scared, and Zach Hill's drumming calms down, with only snippets of his signature fills coming through.  One could say its their most mature record, if you could call Death Grips mature.


10. Japandroids- Celebration Rock

Genre: Indie Punk








     Japandroids are all about emotion.  Their music is balls to the wall.  It's simple from each approach, yet it sounds so seasoned.  On their second LP Japandroids deliver shouts, screams, fuzz-soaked guitars, booming drums, and bookend these sounds with fireworks.  It's so fun to listen to you forget just how powerful these songs can be.



9. Various Artists- Playing Hide and Seek With the Ghosts of Dawn

Genre: Psychadelic Rock







     The Flaming Lips and their buddies cover In the Court of the Crimson King in its entirety, what could possibly go wrong.  One of the most important prog rock records of all time is completely re-imagined and re-executed by some fantastic psychadelic groups.  These songs gain a whole new perspective, and I love it.



8. Kendrick Lamar- good kid m.A.A.d city

Genre: Conscious Hip-hop







     Kendrick Lamar called good kid m.A.A.d city a short film, and not without good reason.  The album tells the story of Kendrick's life in Compton and its influence on his music.  Each track contains different characters and different scenes.  From a young Kendrick spitting rhymes in his friends car to being thrown into drug culture, these songs tell stories.  Kendrick's flows have never been hotter.  Manipulating meter and rhythm, Kendrick's on his A-game.



7.  Animal Collective- Centipede Hz

Genre: Neopsychadelia







     Cetipede Hz got a lot of hate this year, but all the criticisms I heard ("the production wasn't crisp", "it didn't have any cool harmonies") just translated to "it wasn't Merriweather Post Pavilion".  I appreciate this new direction.  Animal Collective went back to the weirdness while retaining a strong pop sensibility.  Some of these songs are downright catchy, and most of them are unique and interesting.  Perhaps a good new genre name for this would be "alien-pop".



6. The Hickey Underworld- I'm Under the House, I'm Dying

Genre: Garage rock







     Foreigners playing garage rock?  What is this?  It's one of the tastiest albums of the year.  The riffs on these songs are so well-calculated and executed, while still sounding so raw.  The lead singer sounds like Julian Casablancas with more attitude, and the rhythm section is tight.  These songs drip with sex, drugs, and rock and roll.

5. Aesop Rock- Skelethon

Genre: Underground Hip-hop








     Skelethon is my favorite hip-hop release this year.  Aesop's flows are on par with his best release (before this), Bazooka Tooth, and the production is even better.  Aesop employs live drums, creepy vocals, and some seriously strong synths, but it doesn't overpower.  Aesop spits his cryptic lyrics with a range of dynamics and tempos.  It's an engaging listen from start to finish.

4. Fiona Apple- The Idler Wheel is Wiser than the Screw and Whipping Cords Will Serve You More than Ropes Will Ever Do

Genre: Avant Piano Pop








    Fiona Apple returns with a vengeance, literally.  Her new album contains some of the most tortured singing and playing that I've ever heard.  The stripped down instrumentation creates this overall somber tone, but Fiona's voice and piano creates these subtle changes that keeps the listener crawling back for more.



3. of Montreal- Paralytic Stalks

Genre: Experimental Pop








    Kevin Barnes is weird.  Like really weird.  And on of Montreal's new album he's about as weird as he's ever been.  He bangs on pianos.  He busts out some droning synths.  He probably broke a couple of violin strings.  The final result, however, was a moving piece of experimental pop with suites of noise and melody.  It's unlike anything you've heard, unless you've heard of Montreal before.

2. Swans- The Seer

Genre: Post-rock/Drone







     SWANS ARE BACK BABY!  Can you handle two and a half hours of repetitive guitar lines, booming drums, terrifying vocals, and the same thing sung over and over again.  If you can then you can appreciate the genius of The Seer.  Michael Gira and his band of misfits craft pieces of noisy drums and guitars that find roots in anti-grooves that go on for over half an hour in some cases.  The listener may find themselves transfixed.  It throws everything that makes music accessible out the window.  It takes patience.  It takes understanding.  But most of all, it takes investment.  IN AND OUT AND IN AND OUT.
 

HAPPY 63rd BIRTHDAY TOM WAITS!!!

James Murphy Working with Arcade Fire on New Record

              

    James Murphy, mastermind of the illustrious late LCD Soundsystem, has confirmed reports that he is working with Arcade Fire on their new record.  He will be featured in 3 songs.  It has also been confirmed that Arcade Fire have a whopping 35 songs ready for the record, so there will be some fat-trimming (looking forward to a B-sides release in the future).  The LP will be out "sometime next year".  Check out Arcade Fire joining LCD Soundsystem at their final concert on the cut "North American Scum" off of Sound of Silver.

GRAMMYS!!!

    Everyone's favorite irrelevant awards show is back, and I'd like to take this opportunity to share my opinion on some of these releases.

Record of the Year

The Black Keys- Lonely Boy

The Black Keys made it big with "Tighten Up" and they're continuing their climb with "Lonely Boy".  A simple and oh-so-very dirty guitar riff chugs while Dan's distinctive howl busts out one catchy as hell chorus.  It's one of the best cuts off the LP and I'm glad to see this band receive so much attention, as I love their earlier releases so much.

Kelly Clarkson- Stronger (What Doesn't Kill You)

I did not care for this song very much and it was mainly for the lyrics.  I usually don't care that much about lyrics, but they were so apparent in this song that I couldn't help but notice the tired cliches.  I also didn't really like the melodies.  The chorus especially rehashed the same tired inspiration pop aesthetic, but without the bite and groove of say "Miss Independent".

Fun.- We Are Young

This was a good song, but not a great song.  The whole group vocal chorus grew tiresome quick.  There were some interesting arrangements and tempo changes though.  I personally think that Some Nights would have been a wiser choice, as that has more variety and is much catchier.

Gotye- Somebody That I Used To Know

This was an all right song.  I kind of liked the nod to latin music with the guitar line, and his voice is unique for pop.  I dug it, but all of it's best qualities were apparent on the first listen, so the track did not age well for me.  Once I could predict each note and hit of the song it started to bug me, but I suppose that's more the radio's fault than Gotye's.

Frank Ocean- Thinkin Bout You

A clear choice for a lead single, "Thinkin Bout You" is the perfect introduction to Frank Ocean.  His impressive vocal chops are showcased by his crooning falsetto and sensual tenor.  The beat lays back in the pocket and pretty much forces any listener to groove.  It's not my favorite track off of Channel Orange though, if I had to pick a Frank Ocean song to be nominated it would have to be Bad Religion.

Taylor Swift- We Are Never Ever Getting Back Together

With each song Taylor Swift drifts farther away from pop-country and more towards just plain old pop.  The chorus is somewhat catchy and the vocals on the verse hit the ear with a near hip-hop fluidity, but the skit in the middle is dumb and there's too much space production-wise.  It sounds kind of empty to be honest.  The chords sound mechanical and the sounds just don't blend together as nicely as her earlier work.

What Should Win: Frank Ocean- Thinkin Bout You
What Will Win: Fun.- We Are Young

Songs Everyone Must Hear: "Only Shallow"- My Bloody Valentine

    For literally one second, "Loveless" sounds like every other bullshit rock record with the overused snare drum count-in, but once that second ends it becomes one of the most important and unique guitar albums of all time.  The opening track "Only Shallow" washes the listener in a sea of texture.  Fuzz and reverb pulsate behind a guitar line that seems to physically move.  The song is as noisy as it can get, but it still seems soft.  Delicate vocals croon and lull the listener into a false sense of security before the 2 guitars that sound like 200 guitars come back to bite you.  It's one of the most mature, most important, and most boundry-pushing records in the history of rock.

Watch: Earl Sweatshirt: "Chum" Music Video

     Earl Sweatshirt has released a music video for his powerful single "Chum".  The video ties together giant frogs, a levitating Earl, an anonymous drummer, and this scary-as-fuck face.  It's an extremely haunting, yet extremely well done video that matches the tone of the song beautifully.  It really shows just how Earl has matured in his rap skills and in his songwriting.

Atoms for Peace set Release Date and Album Art

    Thom Yorke's supergroup Atoms for Peace will release their debut album titled "Amok" on the 25th of February.  It will feature Thom Yorke on guitars, keys, and vocals, Joey Waronker (who has played for R.E.M., Beck, and the late Eliott Smith) on drums, Mauro Refosco (percussionist for the Red Hot Chili Peppers) on percussion, Flea (of the Red Hot Chili Peppers) on bass, and producer and engineer Nigel Godrich handling production.  Check out this cut "Default".

Tracklist:

Before Your Very Eyes

Default
Ingenue
Dropped
Unless
Stuck Together 
Pieces
Judge Jury and Executioner
Reverse 
Running Amok

A$AP Rocky Releases Album Art and Sets Release Date

     A$AP Rocky announced that his album would be available worldwide on January 15, 2013.  Here's the album art.  The pretty stark image of paused movie footage of A$AP wrapped in an American flag draws up some darker emotions than his previous LP.  Check out the lead single off this record "Goldie".

NEW BURIAL 12'' TO BE RELEASED

    Dubstep/Future-Garage pioneer Burial will release 25 minutes and 32 seconds of new music December 17th following his acclaimed "Kindred EP" released earlier this year.  Check out the haunting title track to "Kindred EP"

NEW BIG BOI ALBUM LEAKS

   Big Boi's new album "Vicious Lies and Dangerous Rumors" has leaked 9 days before it's release.  Search the internet if you are so inclined to hear it.  With guest spots from Kid Cudi to Little Dragon to Big K.R.I.T. to Wavves I know I am.  Check out this track "Lines" off of the upcoming LP.

Das Racist Breaks Up
                

Looks like we're going to have to go to the combination Pizza Hut and Taco Bell alone.  Das Racist has broken up.  Kool A.D. claimed to have quit two months ago, but was asked not to announce it by their manager.  At a show last night in Munich Heems went onstage and announced the breakup followed by a short set of Das Racist songs he performed solo.  The breakup will be hard for fans everywhere but Heems and Kool A.D. both have solo mixtapes that bump in the whip so its not like we've heard the last from them.  Also there are songs finished for what would have been the upcoming album so those tracks will remain highly sought after until their label decides (or decides not to) release them.  Check out this cut from their highly acclaimed sophomore release.

REMIXXX: BUGG'N VS. BACKSEAT FREESTYLE

What happens when you mash together one of the best instrumental hip-hop tracks with one of the best rap cuts of the year?  You get this:

http://soundcloud.com/evoandflash/backseat-buggn-kendrick-lamar

Nick Oliveri Working With Queens of the Stone Age Again

    The howling bassist of Kyuss and early Queens of the Stone Age is now working with Queens of the Stone Age once more after being kicked out for allegedly assaulting lead singer Josh Homme's girlfriend over 5 years ago.  Oliveri's band Mondo Generator leaked the news:

"Nick has re-joined Kyuss, and has recently recorded his vocals on the new Queens of the Stone Age song!  Stay tuned."

Nick Oliveri is famous for his piercing screams and thick bass lines on what are widely considered the best Queen's albums, Rated R and Songs for the Deaf.  As a huge fan of Rated R and a lover of Oliveri's style I personally couldn't be more excited to hear this new track.  Check out "You Think I Ain't Worth a Dollar But I Feel Like a Millionaire"

\

Karriem Riggins- Alone Together Album Review



Artist: Karriem Riggins
Album: Alone Together
Genre: Instrumental Hip-hop/Turntabilism

7.2/10




I'm writing this review like how Karriem Riggins wrote this album...

Intro: big horn hits, frantic vocal sample

Round the Outside: repeated synth lines

From Detroit/Belle Isle: slow down, shoutout, scat singing, bass suddenly increases

Moogy Foog It: fond of this wonky bass tone, guero,

Ooooaaaa: chorus, repetitive synth

Stadium Rock: large tom sounds, scary vocal samples, latin-hip-hop drum beat, echoey, flute sample, very J dilla

Alto Flute: fast-paced bass line, drops out, very choppy with a low octave flute

Orbitz: repeated vocal sample, with banging triangle

Up: all over the place bass synth, creeping in on the as and the 32^nd note pickups

Forward Motion: cool sample of a r&b tune

Esperanza: Peruvian influence, tight strings,

Africa: overblown snare and bass, the African influence is there but not as explicit as the song name implies

Harpsichord session: what do you think it is?

Water: spoken word about jazz over jazz-hop, intro into Double Trouble

Double Trouble: very cool, little flute lines and bells brighten it up

A7 Mix: exciting yet smooth

Ding Dong Bells: nice, spoken word break, kind of intelligible

Belle Isle Reprise: faster, a bit messier

Daooooh!!: latin pattern on the triangle, a wee bit repetitive

Tom Toms: quieter, warmer, soulful, jazzy

Because: choppy soul sample combined with funky synth groove, guitar solo

F_rd Jingle: wah guitar, return of flute, cut time funk, fade out into acappela gospel bullshit

Boy Is Doin’ It Right: darker, creepy quiet vocal sample,

Summer madness S.A.: latin, cool weird vocals

Back in Brazil: wonky, minimal

Live at Bert’s: great drumming, hand drums, guitar, supposed to simulate a live experience I guess.

No Way: a litte more fliying lotus-y

6-4: a break and a continuation of the themes in No Way

I Need Love: I NEED YO LOOOOVOIIIIN, fade out into cool guitar line

K. Riffins: sexy guitar lead, techno out of nowhere, interview with inventor of Moog, “let’s hear it”

Voyager/5000: wonkiness returns, bass tones act as chords behind the riff

Bring that Beat Back: trip-hop influence

Matador: chill as well

J Dilla the Greatest: great drums, cool lines

Fave Tracks: Moogy Foog It, Water, Double Trouble, Live at Bert's, J Dilla the Greatest

Earl Sweatshirt: Chum Track Review

Earl Sweatshirt has been viewed as the Boy Wonder of Odd Future.  With the release of the mixtape EARL, Earl Sweatshirt set a new standard for "horrorcore".  In fact his mixtape was the best thing to ever come out of OFWGTKA.  Now Earl is back with a brand new track and a statement.  Those looking for themes of rape, murder, drugs and death will be thoroughly disappointed with this track and the upcoming album.  On "Chum" a low distorted bass tone pulsates alongside a choppy snare pattern introduced by a subdued yelp, while Earl uncovers a harrowing and honest introspection on his father: "It's probably been 12 years since my father left/Left me fatherless/And I just used to say "I hate him" in dishonest jest/When honestly I miss this nigga, like when i was six", his life in OF: "We were the pottymouth posse crash the party and dip/With all belongings then toss 'em out to the audience" and finally just on growing up: "Someting sinister to it/Pendulum swinging slower, degenerate moving/Through the city with criminal stealth, welcome to enemy turf".

https://www.youtube.com/watch?v=SG1q1fBLNG0

Macklemore and Ryan Lewis: The Heist Review

"Shit it was only 99 cents!"

Artist: Macklemore and Ryan Lewis
Album: The Heist
Genre: Northwest/Conscious Hip-hop

7.1/10

     

    Macklemore (Mackleh-more?  Mackel-more?) is a conscious rapper, and a man who wants his message to be heard loud and clear.  Ryan Lewis is a producer fond of live instrumentation and a certain percussion instrument with 88 keys.  Together they have crafted one of the cleanest hip-hop records this year, but the question is: is it TOO clean?

     The record starts with a bang.  The beat echoes and acts as a pedestal for Macklemore to confidently and heroically belt out his verses, and the chorus reverberates as Macklemore “welcomes us to The Heist”.  “Can’t Hold Us” kicks up the fun another notch, with piano chords banging, quarter note snare hits pushing, and brass wailing.  “Thrift Shop”, already establishing itself with a hilarious video, incorporates an extremely catchy chorus with a fun and inventive sax line and Macklemore’s rants about getting laid in a dollar store outfit.  “Thin Line” brings it down to tell a failure-tinged love story; it’s most interesting aspect being the use of a dial tone as a chord.  Buffalo Madonna’s loud-mouthed bridge did not match the tone of the song, however.  The next track, “Same Love”, was another track that was well known.  With it’s strong advocacy of gay marriage and support for the LGBTQ community, “Same Love” proved to be a very important song.  It’s a subject that is usually avoided in the rap world, and such vehement support from such a popular rapper could have much more of an effect that people might think.  It helps that the song is fantastic as well.  The mournful piano and airy timbre combined with an extremely well-sung hook raised this simple ballad-rap to new heights.  But after “Same Love”, Macklemore and Ryan Lewis seem to run out of fresh ideas.  Ryan’s piano fetish permeates the remaining songs, and Macklemore incorporates a similar rhythm for many of his verses.  What salvages this, however, are the guest spots.  Ab-soul and Schoolboy Q especially bring a flair that injects the latter half of the album with life.

    It’s key to note that this album has two distinct artists: Ryan Lewis and Macklemore.  This is not just Macklemore’s album.  Macklemore devotes his attention to his lyrics, letting Ryan handle the production.  The problem that arises, however, is that sometimes it’s just a bit too divisive.  Ryan’s instrumental track “Bombom”, while a decent track, doesn’t fit with the album.  Lyrically, Macklemore’s writing style lacks diversity, opting for emotional strength with the occasional fun line.  The track “Gold” was the only truly bad song on the record.  He uses the word “gold” around 40 times over the course of 4 minutes.  It was kind of really annoying.

     Overall, this is not a bad effort at all.  The first half of this album charms with some awesome poppy catchy hooks, conscious lyrics, and fresh production.  The tactics used do get a bit stale, but they’re still decent-to-good through the rest of the album.  Far worse things have debuted at the number 2 spot on the Billboard 200.  7.1 heists pulled off out of 10.

FAVE TRACKS: Ten Thousand Hours, Thrift Shop, Same Love, White Walls

Death Grips: No Love Deep Web

Artist: Death Grips
Album: NO LOVE DEEP WEB
Genre: Experimental-Noise Hip-hop

8.4/10

    

    This is the censored version of the album art.  The actual art would get me shunned by every single person who reads this review.  If you wish to see it, google “No Love Deep Web” with the safesearch off.

    On “Deep Web” a sample proclaims that “people are trying to hear what I’m saying”.  It’s a funny line considering how MC Ride’s intense delivery can be indistinguishable.  With NO LOVE DEEP WEB Death Grips have released two dark, intense, paranoid, and yet clearly different records.  NO LOVE DEEP WEB leaves the flurry of production and sampling behind for something stripped down, bass-heavy, far less catchy, and focused on the vocals.

     On “Come up and get me” a frantic, discordant bass line accents in certain places, making the song feel like an odd-time signature.  MC Ride delivers one of the most harrowed performances of his career, his voice emanating fear, anger, and excitement, with his voice cracking and breaking at every line.  “Lil boy” breaks out in the first hook of the record with a cool “burn through it/I’m not taking turns through it”.  The drums syncopate with the synth in a descending bass/drum line.  “No Love” sounds just as it’s name would suggest, with echoing bass hits and shouted distant cries.  Late in the track a tortured MC Ride screams “CHOOSE THIS LIFE YOU’RE ON YOUR OWN!”  “Black Dice” leaves the hooks behind relying on the trance-like synth to capture the listener.  “World of Dogs” features a quiet and surprisingly monotone “It’s all suicide.  It’s all suicide.  It’s all suicide.”  “Lock your doors” continues with this dark atmospheric tonality.  “Whammy” returns to hook territory with a vocal sample that recalls “Punk Weight” from The Money Store.  Distorted vocals and “wa-wa-wa-wa-WHAMMY” bring the vocals to the forefront.  “Hunger Games” really gets to show Zach Hill’s drumming skills.  It’s snare heavy with very heavy bass.  “Deep Web” seems like the most schizophrenic tune on the record, with MC Ride trading off lyrics with himself.  “Stockton”’s beat somewhat underwhelms, but the hook is interesting “I’m bouuuncin’ WOOP”.  “Bass rattle stars out the sky” is pretty self-explanatory, and is the most danceable track of the album.  The record ends with a powerful and radically different song, “Artificial death in the west”.  On this song, the frantic and angry vocals are brought down to new lows.  MC Ride delivers his lyrics in a clear and sorrowful format, with haunting tones permeating and mixing with the vocals in a way that both frightens and inspires.

    Lyrically MC Ride still has it.  While he continues to deliver lines that are rooted in the negative emotions of mankind, he does so in a thought-provoking way.  On “Come up and get me” the topic of suicide is tackled: “I’m in an eight high abandoned building/No daylight one midnight lamp lit twenty-four seven/Murdered out windows two exits/Street or nosedive to the next life in seconds”.  Sexuality and violence meld in the terrifying “Artificial death in the west”: “G-O-D- she shoot pussy through your chest/You die” and “In fishnet wet guise of gimp horizon slit bled like my wrist I suck it dry/which nipples mine read the signs still can’t decide/at your own risk at your own risk/don’t touch me bitch don’t touch me bitch”  The shock value remains as well, with the soon-to-be-infamous line “I’m the coat hanger in your man’s vagina” on Deep Web.

    Overall this record is something completely fresh and different from both Exmilitary and The Money Store and only proves that Death Grips are one of the greatest modern acts.  With varied and experimental productions, insane lyrics, and an intensity matched by no other in hip-hop, Death Grips continues to impress.  This album is great, but it does lack some of the punches on The Money Store.  The tracks somewhat lack variety of tone, but the consistence is still good.  Some tracks left me desiring more, like “Stockton” and “Pop”, and I really wanted to hear Zach Hill go nuts.  But the final product still impresses me.  8.4 inches out of 10.

FAVE TRACKS: Come up and get me, Lil boy, No Love, Whammy, Hunger Games, Deep Web, Artificial death in the west

G.O.O.D. Music- Cruel Summer Review


Album: Cruel Summer
Artist: Many, many, many artists
Genre: Hip-hop

6.2/10






G.O.O.D Music?  More like O.K.A.Y. music amirite?

I’m so sorry.

     In all seriousness, this collaborative album from the members of Kanye West’s G.O.O.D. (Getting Out Our Dreams) Music label has been highly anticipated, treating us to some fantastic singles.  With a whopping 20 producers and over 20 artists appearing on the 54 minute record, one would think it would be too big to fail, but that’s exactly where this album falls short.  With some standout tracks, some mediocre tracks, and one disgustingly awful track, Cruel Summer reveals its greatest weakness, cohesiveness.

     The album starts out with the grandiose and triumphant “To the World” featuring famous urinator R. Kelly on a fantastic hook and verse.  The production is powerful, with booming drums and symphonic tones throughout.  Kanye West busts out some rhymes about his wealth: “I’m just trying to protect my stacks/Mitt Romney don’t pay no tax/MITT ROMNEY DON’T PAY NO TAX”.  The song acts as a pretty great intro to an album that is essentially just a celebration of success.  Up next is the jam of the fucking summer, “Clique”.  Hit-Boy takes on production, keeping the bass high and the synths dark.  Big Sean busts out the best work of his entire career, writing the hook and first verse.  His rhymes and flows fluctuate and is filled with humor.  Jay-Z and Kanye kill it as well.  The third track is the one we all know and love: “Mercy”.  With a cryptic intro and staggering amount of verses, “Mercy” stands out by highlighting each rapper’s unique style.  Big Sean has puns galore: “Make that ass drop/That’s an ass-quake”.  2 Chainz lazily busts out rhymes about being crossed.  And Kanye underwhelms, probably choosing to take the back seat in order to not embarrass his apprentices.  “New God Flow” features Pusha T is aggressive and powerful: “I believe there’s a God above me/I’m just the god of everything else”.  GHOSTFACE FUCKING KILLAH is on the track: “I got soccer moms paying for cock/Asians get it from behind while they cleanin’ they wok”.  The hook leaves something to be desired though, and Kanye breaks out a military chant.  At this point in the album, the tracks drop in quality considerably.  “The Morning” suffers from some sloppy production and some out-of-place vocoder.  “Cold” utilizes a club-beat and some more DJ Khaled dance-rap bullshit.  “Higher” [icks up a little with some great syncopated hits and soulful hooks.  “Sin City“ is hugely dissonant, coming together only for Cyhi’s verse.  “The One” rehashes the same type of hook used throughout this album.  The pop-soul aesthetic gets old fast, and especially on this track the hooks and verses are just too different.  Trap rap like Big Sean and 2 Chainz shouldn’t be backed up by an sorrowful hook.  “Bliss” goes into half-time and John Legend gets a chance to show off his crazy vocal chops.  “Don’t Like” is forgettable due to its dirty production, frequent drop-outs, and lack of memorable lines or flows.

     And then there’s “Creepers”.  Jesus fucking Christ Kid Cudi what the fuck are you doing?  Kanye gave Kid Cudi a track all by himself, and it does not pay off at all.  The drums are much much too loud and his flow is messy.  The lyrics sound like they were made up on the spot by a guy who can’t freestyle: “If I had one wish it would be for more wishes/Fuck trying to make it rhyme”.  Wow.

    Overall this album started off strong.  Great hooks, glossy production, some interesting flows, but it soon got old.  The same type of hook, the same string backup, the hit-or-miss verses all hurt the album.  There were just too many people with too much say in how this album was to be executed.  I would listen to everything except Creepers and Don’t Like, because every other song has certain redeeming qualities and different people may appreciate it more than I can. 6.2 cruel summers out of 10

The Weeknd: Echoes of Silence Mixtape Review

It's a face, a dark dark face

Album: Echoes of Silence
Artist: The Weeknd
Genre: Downtempo R&B

7.4/10

   
“Echoes of Silence”, but wait, silence can’t echo!  How surreal.

    But in all honesty the name ‘Echoes of Silence’ is an apt one for The Weeknd’s third mixtape.  The tones and themes percolate and ripple through the lyrics, vocal delivery, and production.

    Admittedly, there’s not much going on in this mixtape, but that’s precisely the point.  By cutting out flashy synths, textbook drum beats, and rehashed R&B vocal tactics, The Weeknd pulls off some truly harrowing and interesting songs, while leaving some others to be consumed by the weaknesses of downtempo music.  The record opens up with “D.D.”, a cover of Michael Jackson’s “Dirty Diana”, and it doesn’t fail to impress.  With atmospheric winds swirl, The Weeknd begins his signature sorrowful vocal delivery.  The drums come in loud with an almost tribal quality.  These production elements will continue to show up throughout the record.  “Motreal” introduces another prevalent element, group vocals.  The Weeknd will sing multiple parts to be overdubbed throughout the album, allowing the vocals to become a powerful force.  The track transitions into the xylophone-heavy “Outside”.  ‘XO/The Host” begins with what sounds eerily similar to the string overture of A Clockwork Orange.  The drums continue to employ the same technique, forgoing a “groove” in order to implement and more jagged style.  “Initiation” features some awesome production, meddling with the pitches of The Weeknd’s voice to create a terrifying and harrowing atmosphere.  That combined with a more straightforward, groove-oriented beat equates to a killer song.  “Same Old Song” returns to downtempo, allowing a quiet bass line to lead the song.  “The Fall” continues with this aestheic.  The closer “Echoes of Silence” features a solitary piano and an ever-so-slightly sadder delivery, perhaps to signify the direction The Weeknd is taking musically.

     When an album chooses the more reserved musical route, more focus is diverted to the lyrics.  “Montreal” has The Weeknd shouting out to his native land in his native tongue.  “Outside” tells the story of a man so sexually frustrated that he’ll be some girl’s rebound fuck, and make sure she never rebound fucks again: “I’ll let you show me his moves/Let you do what he taught you/Let you reminisce how you used to do”.  On most of these tracks The Weeknd forgets about poetry to just get a message across, not dropping any “sick rhymes”.  However, “XO/The Host” features a standout lyric: “Waken up with most of ya side wet/Another room, you hear your mom cryin’/Cuz she found your bag stuffed in the laundry/And the Bacardi from the last party”.  “Same Old Song” features a very excited Juciy J yelling about throwing around 30,000 dollars away at a strip club, a very strong contrast to the tones presented in the rest of the record.  “Echoes of Silence” ends the album with a regretful “No.  No.  No.  No.  No.”

    Overall there’s still some awesome vocal work here.  The Weeknd is a more than capable singer, and the less-is-more songwriting/production style pays off for a good amount of the album.  Some parts had me wondering if anything was going to happen however, and there isn’t much diversity in terms of sound.  It’s still solid.  7.4 Echoes out of 10.

FAVE SONGS: D.D., XO/The Host, Initiation, Echoes of Silence

TNGHT: EP Review


EP: TNGHT
Artist: TNGHT
Genre: Bass/Instrumental Hip-hop

8.9/10

     Electronic Dance Music.  It demands respect.  Well, maybe “begs” would be a better word.  When an entire genre of music is based on the singular goal of getting you to shake your hips, how can a “patrician” with “superior” music taste take it seriously.  Well dammit if TNGHT, the collaboration between producers Hudson Mohawk and Lunice, isn’t going to try and make them.  The new duo’s EP is a bright, danceable, scary, and musically interesting group of songs that cram a whole lot of shit in 15 minutes.

      The EP opens up with “Top Floor”, a brooding intro.  Dark synths meld with what sounds like Bollywood in Hell.  The beat is strong, but not overwhelming.  The most important part about this track is that there’s NO DROP.  Fans of Skrillex-type bass music need not apply.  The next track “Goooo” is louder, with a descending synth line and snare hits.  The name of the track comes from the vocal samples that run rampant, almost like hooks, in the track.  The snare hits are reinforced with the vocal sample that keep the track interesting and “slappin’”.  The next track is the apex of the EP, smack dab in the middle.  It doesn’t hesitate, repeating a loud and powerful “REACHIN’ FO’ HIGH-REACHIN’ FO’ HIGH” hook that suddenly cuts out to let some heavy brass come in.  The vocals return, in both the original and lower octaves.  The real fun is in the drum programming though, with samples, fills, and beats all overlapping to provide some danceable chaos.  “Bugg’n” introduces some even cooler samples: a baby squealing and a bubble popping, on the off-beats as a strong four-on-the-floor beat keeps the track grounded.  It’s both laid back and funky, and is probably the most down-to-earth track.  The EP ends with the cacophony of “Easy Easy”.  The track begins with a strong ‘GOGOGOGO” before introducing a backwards synth hook that will return in different keys and octaves throughout the track.  The last minute and a half seem to combine all the elements introduced in previous tracks: crazy drums, samples, and bass lines, in this organized mess/collision.

      Separate these tracks make for some awesome dance tracks.  They work to serve that surface-level job EDM has.  However, what really makes this EP great is that it’s well-crafted and MUSICAL.  New ideas and sounds are introduced.  This is not just some “OMIGOD THAT DROP WAS SO FILTHY OMFMDAFDSJK” EP.  This is not just some simple drum program with a couple synths layered over it, it truly is musical.  I challenge anyone who says “real music is made with instruments” to listen to this EP, with all its complexities and layers and musicality, and try to say that statement once again.  8.9 out of 10.

FAVE TRACKS:  Gooo, Higher Ground, Buggin', Easy Easy