Archive for ‘Reviews’

April 27, 2013

Serengeti, Saal

Serengeti, Saal (February 12, 2013)

David Cohn, who raps under the name Serengeti, is a vignette expert. He can summarize a character’s entire life — or at least someone’s crux and turning point – within a three-minute song, whether it’s the loser UFC-wannabe who finds vindication in a bar fight on “The Whip,” or the man suffering a painful breakup on “Dwight.” The former is meant to be a cleverly told joke; the latter is constructed around a series of anxious questions to the girlfriend who now rejects him. Both songs, which hail from his 2011 album Family&Friends, epitomize the sardonic humor and deeply unsettling melancholy on which most of his catalog rests. His best work is akin to short story collections in how they sustain an emotional tone through an exploration of, to paraphrase Henry David Thoreau, men that lead lives of quiet desperation. (There’s a third stream in Serengeti’s catalog: the bizarre odyssey of ’90s boom-bap also-ran Kenny “KDz” Dennis, as told through 2006′s Dennehy, 2010′s There’s a Storm on the Homefront and last year’s hilariously mocking Kenny Dennis EP.)

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February 17, 2013

Noteworthy Artists of 2012

This compiles the most successful artists of 2012. It’s based on an ephemeral and highly subjective mix of record sales, industry buzz, et cetera, and has nothing to do with my personal tastes in regards to who made the best music (or worst, for that matter).

Honorable mentions who did not make the list include Lupe Fiasco, Big K.R.I.T., Chief Keef, Schoolboy Q, B.o.B, Insane Clown Posse, Ca$h Out, Dev, Juicy J, Iamsu, DJ Khaled, Lecrae, TobyMac and Action Bronson.

For previous years (2010 and 2011), click on the “Best Of” tag below.

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January 19, 2013

El-P, Cancer for Cure

El-P, Cancer for Cure (May 22, 2012)

El-P occupies a singular perch. The Brooklyn rapper-producer has never sounded quite like anyone else, not even in the late 1990s, when the Sasquatch thumps and xylophone flows of his Company Flow crew birthed a generation of similar-minded travelers, spawned the hugely successful independent label Definitive Jux, and briefly transformed the hip-hop underground into a land of no-wave art-jazz and super-scientifical theorizing.

Now, ten years after Def Jukies last ruled the indie circuit (and two years after the label went dormant), the new generation whines about living in the suburbs, doing prescription drugs, and drinking sizzurp while molesting white girls, all while begging Jay-Z to cosign them. Meanwhile, the man who declared himself “independent as fuck” swims against the tide. I mean, what can you even compare Cancer for Cure to… Nine Inch Nails? Over three solo albums, El’s turned into a kind of prog-hop composer, an evolution made clear on opening track “Request Denied,” a three-minute instrumental jam full of analog synths, a drum volley worthy of DJ Shadow’s Entroducing….., heavy guitar riffs, and a Rhodes organ flurry, all before he introduces himself as “a pale kid calamity artist.” (He employs a crew of backing musicians that includes keyboardist Wilder Zoby.) While other rappers design songs that grab you in a 30-second playable stream, El-P’s third solo album demands repeat listens, and even then it can seem murky, like an abstract image that refuses to congeal.

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January 19, 2013

Big K.R.I.T., Live From the Underground

Big K.R.I.T., Live From the Underground (June 5, 2012)

Big K.R.I.T.’s Dirty South classicism is a gift and a curse. For all his bellicosity — celebrating “Country Shit” and rubber-band men and eating collard greens — he simply isn’t as amorally opportunistic as, say, Gucci Mane, who probably would rap about selling china white to grade-school kids if it netted him more downloads. For K.R.I.T., the Mississippi rapper’s love for Southern hip-hop’s pioneers is as much professorial as it is personal, and he tends to package his songs in a sociological context that canonizes his heroes while explaining their world to cultural tourists. He’s what was once called a “conscious rapper,” and that quality has helped him win fans in unlikely places — last week, the ever-so-tasteful NPR hosted an advance stream of his major-label debut, Live from the Underground, a rare event for a rap record.

But it’s a tricky negotiation between immersing yourself in debauchery while putting all those candy cars and sizzurp binges in the proper context. K.R.I.T. struck that balance perfectly on two justly lionized mixtapes, 2010′s Krit Wuz Here and 2011′s Return of 4eva. On sequel 4eva N A Day, which hit the Internet in March, he meandered into fogs of sleepy introspection and spacey, occasionally aimless beats. Live from the Underground is billed as his first “real” album, but it faces an audience well aware of his artistic idiosyncrasies. (Greenstreets Entertainment, an imprint of Nature Sounds, reissued Krit Wuz Here and Return of 4eva on CD last May.)

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January 19, 2013

Plan B, Ill Manors

Plan B, Ill Manors (July 23, 2012)

Recently released U.K. film Ill Manors is an orgy of heroin shooting galleries, illegal immigrant women enslaved by Russian mobsters, a young bwoy doing his first murders, a cracked-out prostitute pimped for a cell phone, and an infant baby sold for cash and, in a climactic scene, thrown out an apartment window. What caused all this madness? These lost souls are products of broken homes and refugees of foster care. What they need, apparently, are responsible mummies and daddies.

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January 19, 2013

Lupe Fiasco, Food & Liquor II: The Great American Rap Album

Lupe Fiasco, Food & Liquor II: The Great American Rap Album (October 2, 2012)

The cover art for Lupe Fiasco’s sequel to his 2006 debut, Food & Liquor, is shrouded in all black, a design shtick historically associated with emotional disruptions: Prince’s violently pessimistic funk, Jay-Z’s uncharacteristically poignant bouts of confidence, Metallica’s awkward growth spurt from thrash metal prodigies to corporate-rock dinosaurs. Yet on Food & Liquor II, the Chicago MC continues on as always. He criticizes the AmeriKKKan government on “Ital [Roses],” just as he did with 2011′s “Words I Never Said” (off the commercially successful Lasers) and the original Food & Liquor‘s “American Terrorist.” He declares that his outrageously unvarnished opinions are mere expressions of love for his audience on “Heart Donor,” just as he did with Lasers‘ “The Show Goes On.”

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January 19, 2013

Meek Mill, Dreams & Nightmares

Meek Mill, Dreams & Nightmares
October 30, 2012

Meek Mill raps as if he is typing in all caps: “I’M BRINGING TUPAC BACK! TUPAC BACK!” He tends to, if not necessarily screech at the top of his lungs, then at least yell loud enough to project an appealing bellicosity. He’s not the first MC with a high-octane delivery — the underrated Ace Hood comes to mind, as well as Freeway, another Philadelphia rapper. And on past singles like “Tupac Back,” “Ima Boss,” and more recently, “Actin’ Up” (with its guilty-pleasure chorus “These bitches be actin’ up / And these niggas be lettin’ ‘em”), those shouted raps are aggressively uninhibited, the vocal equivalent of throwing bows.

November 10, 2012

Madlib, WLIB: King Of The Wigflip

Madlib the Beat Konducta, WLIB: King Of The Wigflip (September 30, 2008)

What better metaphor for the ever-prolific Madlib – whose 2008 resume includes Erykah Badu and Guilty Simpson — than WLIB AM, a 24-hour radio station? As the self-proclaimed King Of The Wigflip, the Los Angeles producer runs through twenty-four tracks, using his excellent taste in disco, doo-wop and scratchy funk to craft oddball breaks and loops. However, inconsistent performances from Madlib’s crew, from Prince Po (who adds ice-cold flows to “The Thang-Thang”) to MED (whose boorish rhymes saddle “The Ox (805)”), keep this hour-long jam session from achieving transcendence. Other guests include Murs (“Ratrace”), Defari (“Gamble On Ya Boy”), Georgia Anne Muldrow (“The Plan Pt. 1″), and Guilty Simpson (“Blow The Horns On ‘Em”). BBE Music.

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November 10, 2012

Killer Mike, I Pledge Allegiance To The Grind II

Killer Mike, I Pledge Allegiance To The Grind II (July 8, 2008)

Best known for raining hardcore rhymes on OutKast’s otherwise-cheery hit “The Whole World,” the bellicose Atlanta MC unveils a violent worldview on I Pledge Allegiance to the Grind II. He and Ice Cube put the “Pressure” on “black pigs who killed Sean Bell” and “dirty niggas working for a fuckin’ Clinton”; then he portrays a dope dealer gunning down a rival “dyke bitch” cocaine overlord clearly modeled after Cocaine Cowboys supervillain Griselda Marcos on “Good-Bye (City of Dope).” Killer Mike’s bellicose, bullying rap style powers Allegiance, but he nearly drowns under his gangsta fantasies and muddled politics. The music, a series of predictable keyboard-heavy beats, hardly illuminates his colorful and maddening contradictions. The producers include Malay (“City of Dope”; he’d later co-produce Frank Ocean’s channel ORANGE) and Cutmaster Swiff (“Big Money, Big Cars”). SMC Recordings.

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October 20, 2012

Drake, Take Care

Drake, Take Care (November 15, 2011)
Young Money/Cash Money/Universal Republic

On the cover artwork for his second album Take Care, Drake holds a pair of chalices. He’s dressed in a black shirt with the top buttons undone, revealing his hairy chest, and he wears a thick gold chain around his neck. “Bracelets and rings/ All the little accents that make me a king,” he says on “Lord Knows,” before adding that his only role models are Hugh Hefner, Michael Jordan, and his YMCMB bosses Lil Wayne and Baby the Birdman (Young Money – Cash Money Billionaires). Meanwhile, his eyes stare soulfully at the table in front of him, as if he were deep in thought. It’s as if he wants to tell us that he has dark moments of the soul.

Take Care is a thematic follow-up to 2010’s Thank Me Later, but it’s much closer to the pop Zeitgeist. It caps a year when a host of artists echoed the ambient blend of R&B and hip-hop he introduced on Thank Me Later, including Frank Ocean and the Weeknd (who appears on several Take Care tracks). Big Sean and J Cole embraced the clean-cut, proudly middle-class, fame-for-fame’s-sake ethos that Drake trumpeted; he didn’t invent it (that honor goes to Kanye West), but his success has come to personify it. Much of the hardcore rap audience views these suburban braggarts suspiciously, taunt them as being too “soft,” lob homophobic slurs and claim that they’re pop sellouts. Smartly, Drake doesn’t bother answering these trolls. He’s too focused on extending the cultural moment that began with Thank Me Later, and exploring a vague melancholy that emerges in his relationships with women.

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September 7, 2012

Noteworthy Artists of 2011

This list of noteworthy artists of 2011 has been compiled well after the fact, much like its 2010 predecessor. But unlike that year, which saw clear “winners” like Eminem, Nicki Minaj and Drake, 2011 was fragmented, with lots of players but few big, dominating names. I suppose that Kanye West, Lil Wayne and Rick Ross are perennials. But what to make of those artists who had chart success, like Ace Hood and Young Jeezy, but didn’t generate any real excitement? Then there were artists that moved us for various reasons, such as the Game’s batshit interviews to various websites, the Beastie Boys’ late MCA’s public battle with cancer, and regional rap heroes E-40, Trae and DJ Quik. There were various Internet fancies: Main Attrakionz, Mr MFN Exquire, Roach Gigz, G-Side, and Death Grips. And there were a surprising number of one-hit wonders, like YC, Tinie Tempah and, most notoriously, Kreayshawn.

With so many candidates, this year’s list could have been easily expanded, but I think keeping it at 25 names leads to a more rigorous process. As before, they were chosen from using an abstract yet informed opinion on industry impact and commercial success. It is not a “best of 2011″ list.

Honorable mentions include Stalley, Shabazz Palaces, Common, Snoop Dogg, New Boyz, Gym Class Heroes, Action Bronson, Flo Rida, Pusha T, Meek Mill, Childish Gambino, Sole, Dev, Blu, and Serengeti, in addition to the ones cited above.

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September 7, 2012

Noteworthy Artists of 2010

This post marks a bit of housekeeping and, hopefully, a new tradition. 2010 was the first year I began to cover hip-hop music comprehensively without being limited to a certain sector (underground hip-hop, for example) or city (when I lived in Atlanta or other places). (It’s a nice coincidence that 2010 was the start of a new decade as well.) Due to my new job as hip-hop editor for Rhapsody, I listened to every rap album of note, not just the most critically-acclaimed or the ones I thought would fit my personal tastes. My perspective on which artists are the most important from an industry standpoint include quite a few that I normally wouldn’t give attention.  These artists are listed in alphabetical order, and shouldn’t be confused with a list of my favorite albums from that year.

I’ve learned to grow wary of “top” and “best of” lists after years of making them both privately and for various publications. Eventually, personal bias becomes the point of the list instead of a useful guide to the best of a certain form or art. But a collection of newsmakers and noisemakers seems agnostic enough. Or maybe that’s just a cowardly response to the problem. I didn’t use any mathematical formulas to compile this particular list, so it is still just an opinion masquerading as an objective analysis. It is not a list of the top Billboard sellers from 2010, but a vague yet informed look at the ones who achieved a combination of cultural and commercial impact.

Having said that, these are the 25 noteworthy artists of 2010, along with a brief summary of recorded highlights. Honorable mentions include Lil B, Gucci Mane, Onra, Ana Tijoux, Reflection Eternal, Lloyd Banks, Travie McCoy, and Soulja Boy.

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