#10: “Never Coming Back” by A Place to Bury Strangers – I was excited to learn that Lea Braswell was the new drummer for APTBS. I thought she’d match the powerhouse duo of Oliver Ackermann and Dion Lunadon well, and this single not only proved me right, but it also heralded a new sound for the band that was outstanding.
#9: “Asia (Adrenaline)” by Hprizm – This single, and really the whole album, reveals more and more with each listen. Plus, the beats on it are great (That referee’s whistle used for timing!). It’s a song that makes you want to explore more of Hprizm‘s catalogue (as you should).
#8: “Fighting” by Here Lies Man – I was sent this by HLM‘s label, Riding Easy Records, in a clever scheme to make me fascinated with HLM’s heavy Afrobeat jams. The scheme worked, because this single was not only all over my earbuds, I even heard it on BBC 6 Music.
#7: “Great Job” by CHAI – These post-punks from Japan are fully committed to the DIY life and have serious musical chops. You can’t help but love them, especially when they make music as good as this single from their new record due later this year.
#6: “Curse of the I-5 Corridor” by Neko Case – Stunningly beautiful, this song is a prime example of Case‘s vocal wonders and songwriting skill. Few artists nowadays can write and sing a song like her, and even fewer could write and sing something like this.
Who made the top 5? That will be revealed tomorrow!
#15: “Christmas Time Is Here” by Khruangbin – Seriously, their cover of the Vince Guaraldi Trio classic is a pure delight and a lovely oasis during the crazy Christmas season.
#14: “I Came Back to Bitch” by L7 – The exact opposite of the above track, this tune is a kick in the junk from these punk legends who have been simmering with aggression and fire for a few years now. It was a welcome comeback for them and a great example of what to expect on their upcoming album this year.
#13: “Black Habit” by MIEN – Possibly the creepiest track on my top 20 list. This song was the first single release by this psychedelic supergroup, and it instantly got under your skin and crawled around in there.
#12: “Fresh” by D-Tension – Full disclosure, D-Tension and I knew each other in middle school. He grew up to be a major player in the Boston hip-hop scene and on Boston radio and this year he put out one of the best hip-hop singles of 2018. My jaw dropped when I heard this.
#11: “The Hype” by Shopping – I knew this song by these British post-punks was going to be in my top singles list as soon as I heard it. The bass groove is wicked and the track feels and sounds like a good time.
Who makes the top 10? Come back tomorrow to find out, amigos.
Keep your mind open.
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The main reason I don’t like to put out year-end “Best of…” lists before the end of the calendar year is that good music is being released all the time, even up until December 31st. Take, for example, DOOM Xmas, one of the best Christmas and hip-hop albums of the year featuring rhymes by perhaps the best MC of the modern age, MF DOOM, and slick beats by producer / beat maker Cookin’ Soul.
After an intro that samples , “Naughty or Nutz” samples Nat King Cole‘s “Christmas Song” as DOOM puts down rhymes that seem simple but are actually quite complex. “Why spend Christmas Eve with some extra fat white dude to come busting through the ceiling when you can spend it with your favorite super villain?” DOOM asks before “Let It Snowwwww” and challenges the MC’s to even try to match him (“I traded two beans for this cow, keep talkin’!”). Rhymes like “It’s fake like wrestling’, get ’em like Jake the Snake on mescaline.” will bust you up. Don’t dismiss Cookin’ Soul, however. His beats on “Smoke a lil Xmas Tree” sound basic at first, but they have more layers than the dip you’re going to serve at your upcoming Super Bowl party. Don’t believe me? Then, “MF Grinch” will make you a believer as Soul mixes up “You’re a Mean One, Mr. Grinch.” It’s impossible not to shake your head and / or hips during it.
After challenging Santa Claus to a pot belly contest to the death, DOOM name checks Blacula and laments not being able to get mustard at a Chinese restaurant as Soul samples Paul McCartney‘s “Simply Having a Wonderful Christmas Time” on “Wonderfull.” DOOM handles Soul’s Latin beats on “Llego Navidad” with ease, and “XXXmas Ladies” has DOOM praising his current and former lady loves. He delivers a full story for each one in just a few verses. His efficiency is stunning. Most rappers couldn’t tell this many tales in one album side.
If you’re making a Christmas mix tape and need to fill the last minute or so on one side, “HO (Christmas skit)” would be a great choice for that with it’s instrumental yuletide jam. “The Holiday Agenda” is a great way to describe family drama or tasks that have to be completed during the holidays. DOOM sends a shout-out to De La Soul in the track and Soul’s beats are killer throughout it. The album ends with “Unhappy,” a remix of the Vince Guaraldi Trio’s “Christmas Time Is Here” that emphasizes the Christmas blues. It’s fitting, as DOOM is a super villain after all.
This is the best original Christmas album I’ve heard since Gary Wilson‘s It’s Christmas Time with Gary Wilson, and the best hip hop record I’ve heard in months. The Days of Christmas last until January 06, 2019, so don’t think you need to waiting until Christmas 2019 to get this.
Keep your mind open.
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I stumbled upon Hprizm when his label, Don Giovanni Records, sent me an e-mail that more or less said, “We thought you might like this.” It turns out that I did, as Hprizm’s Magnetic Memory is one of the most intriguing rap records I’ve heard in a long while.
Combining slick beats with electro bleeps, def(t) sampling, and assured vocals, the album covers topics ranging from waking up from illusions to economic inequality. The opening track, “Keep Pushing,” reveals Hprizm’s MC skills in ways that will leave you dumbfounded. Lion roars and slightly industrial synths loop throughout “Infusion” as Hprizm mentions “America’s nightmare, us waking up.” “Resuscitate” mixes jazz saxophone and frantic, choppy beats with Hprizm unloading fierce rhymes you can barely follow because they rush by you like a speeding car. They barely slow down on “Waking Them Up,” in which he speaks of using prayer, fasting, and meditation to move beyond his earthly trappings and how he had to cut out negative people in his life to spiritually grow.
“G11 Forever” has a ghostly tone that I like, and the message of “Break the Body Down” (how fear, depression, and hate ultimately will destroy you) is even better. “Up from the Flames” boosts this message, bringing to mind a phoenix rising from the ashes, and the flute solo on it is outstanding. “F08 Soul” is a psychedelic shout-out to black Americans to remember their history and to all of us non-black folks to face our history and own up to it.
The horror movie-lie organs of “Asia (Adrenaline)” give way to snap-crackle-pop beats and rave whistles and Hprizm warns against those who “put fame over skill.” “What’s Worth What” is a quick sample track that flows into “And Bet” – a track that will get your head nodding and toes tapping. “And still I’m standing’ after the storm,” Hprizm declares at the beginning of “After the Storm.” “Strap it, ’cause it’s a wild ride,” he says. It’s a fitting bit of advice for the entire album, not just this song. The closer, “Electric Ladyland,” has the distorted guitar riffs you’d expect, but lots of choppy beats and mentions of “talking heads talkin’ to the walking dead.” It, and the album, ends with backward-looped guitar chords fading into a sharp drop.
This is a great record full of stuff that will take you months, if not years, to discover all of it.
Dehumanization, over-reliance on technology, (un)intentional loneliness, love, freedom, sex, and the inward journey toward finding the true self are just some of the concepts covered on Janelle Monae‘s newest, and best yet, record – Dirty Computer.
The title refers to a futuristic world in which people who don’t fit into social norms are classified as “dirty” and relegated to either second or third-class citizenship or brainwashed into civility. What’s worse is that many of us do this to ourselves daily. The title track (featuring Brian Wilson, no less) sets the tone. “I’m not that special. I’m broke inside, crashing slowly. The bugs are in me,” she sings as she shuffles through a bleak, futuristic landscape looking for love.
“Crazy, Classic, Life” begins with a sermon preaching that freedom, life, liberty, and the pursuit of happiness is for everyone no matter their social status, sexual preference, or skin color. “I just want to party hard, sex in a swimming pool. I don’t need a lot of cash. I just want to break the rules,” Monae sings behind big, bold beats. “I am not the American nightmare. I am the American dream,” she proclaims. It’s a rallying cry for everyone.
The beats on “Take a Byte” remind me of Tears for Fears at first, and then they switch to sultry house beats as Monae claims she’s not the kind of girl you take home to meet your mother. She’d rather you nibble on her mocha skin. Meow. “Screwed” keeps up the sexy theme (“Wanna get screwed at a festival, wanna get screwed like an animal.”) and takes potshots at those in power who are screwing over those below them (“You fucked the world up now, we’ll fuck it all back down.”).
If you don’t think she’s serious, then consider “Django Jane,” in which Monae puts down a fierce rap about misogyny with lyrics like, “And we gonna start a mother-fuckin’ pussy riot, or we gonna have to put ’em on a pussy diet.” and “Let the vagina have a monologue.”
It’s fitting (and tongue-in-cheek…and more) that “Pynk” follows, as it’s a tribute not only to lady parts, but also to female sexuality and empowerment. As if that weren’t sexy enough, “Make Me Feel” is perhaps the sexiest song of the year as Monae boldly comes out of the closest as pansexual. Monae worked with Prince on some of the sounds of this record before his death, and his influence is immediately apparent on this track with its funky guitar, swelling synths, and dance beats.
“I Got the Juice” is Monae again claiming her freedom from expectations, illusions, and haters – including one in the White House when she states, “If you try to grab this pussy, then this pussy’ll grab you back.” “I Like That” has Monae telling us that she’s happy with who she is at this point in her life, which is really what all of us want. Her vocals on “Don’t Judge Me” are lovely, showing her versatility. She can float between serious rap chops and torch songs with ease.
She admits that she’s not perfect on “So Afraid.” She’s tentative about settling down and commitment, and her bold, to-the-back-of-the-church vocals emphasize how she’s on the verge of taking the plunge but still can’t quite make the leap of faith.
“Just love me, baby. Love me for who I am…Don’t try to take my country. I will defend my land. I am not crazy, I’m American,” she sings on “Americans” before dropping in sound bytes of a sermon on what America represents and what it has become in 2018 and it could be in the future. The last lyric on the record, as the music fades, is, “Please sign your name on the dotted line.” Is it a call to action, or a warning?
I’m not sure. That’s for Monae to know and for the rest of us to learn by self-introspection and, among other things, listening to this record.
Weighing in at…I have no idea, actually, but she can’t be more than a featherweight, Miss Red has unloaded an album worthy of its title – K.O.
I described Miss Red’s music to a coworker as “Jamaican dancehall by way of Israel and Germany.” He claimed not to understand it, but his head was bobbing and his hips were moving before he realized what was happening.
Collaborating once more with beat master the Bug, Miss Red throws out “Shock Out” like a quick jab testing her opponent’s guard. When it lands at the 43-second mark, it about splits your nose open. Red’s rapping is fast, smooth, sexy, and dangerous. Bug’s beats are like a growling, prowling bear emerging from its den ready to devour anything in its path. “Give me the money and pass me the mic,” Red sings on “One Shot Killer.” “One move wrong and you’re gonna see me bite,” she warns / tempts before her vocals take on a smoky quality that is difficult to describe but wonderful to hear.
She bobs, weaves, and shuffle steps with amazing speed on “Money Machine.” I don’t think she’s keeping up with the Bug’s thumping beats so much as they’re keeping up with her. “Alarm” is a short banger, almost like a blitz of punches that disappears as quickly as it begins, like a set-up for a stronger blow. That stronger blow is “War” – a dub mind-trip that feels as punch-drunk as it sounds. “Come Again” has Red claiming her heavyweight (in terms of skill) title from people who can’t match her game. The synth-bass on it is some of the biggest on the record, too. “Big” has her letting everyone know she’s far bigger than her size would have you believe. She might be small, but Miss Red is a giant throwing lighting bolts from thunderclouds once she grabs the mic.
“Clouds” is another trippy dub track, and the electronic beats on “Dust” bubble into a wicked brew. “Dagga” is the first single off K.O., and it’s a good choice. It highlights Red’s vocal chops and the Bug’s wicked beats well. As good as that is, however, “Slay,” is downright jaw-dropping. It’s an instant floor-filler and one of the hottest club tracks of 2018. I can’t wait to hear this live. Red brings a kinky swagger to her lyrics (more than usual) and the Bug’s beats and breakdowns almost aren’t fair to practicing DJ’s like yours truly. The haunting “Memorial Day” belongs in a modern-day giallo film. Red opts for more singing than rhyming, and the Bug’s beats crackle like a bowl of your favorite cereal. The title track closes the album, and it’s a quick fadeout with Miss Red mostly chanting, “K.O.” throughout it. It’s like having your bell rung and seeing the lights go out as you fall to the mat in blissful stupor.
Miss Red is a fierce opponent. I wouldn’t want to face her in a rap battle, let alone in a street fight. She’d probably seduce you with her agile vocals and then break at least one limb while your guard was down. Still, you’d have a great story to tell afterwards.
Detroit rapper Danny Brown wasn’t on my radar until I saw him listed on the 2017 Pitchfork Music Festival lineup. I went online to research him and hear some of his stuff, and I was intrigued by his voice (sort of a high-pitched, nasally punk rock vocal) and flow and stunned by his brutal honesty about himself, his addictions, his neighborhood, fandom, and the music industry.
Starting with “Downward Spiral” (the title of which essentially describes Brown’s journey throughout the record), the album opens with warped beats that somehow mix dub, psychedelia, and industrial doom. Brown openly discusses how his drug use keeps him from getting an erection during a threesome, nearly burning down his house after falling asleep with a lit cigarette in his hand, and how “Your worst nightmare for me is a normal dream.” “Tell Me What I Don’t Know” builds like a Bloc Party track with its electronic beats and dancehall whistles as Brown laments (in a deeper vocal range, no less) how drug dealing is a “Never ending race, chasing cash. One lane going wrong way ’til I crash.” and “Shit is like a cycle. You get out, I go in, this is not the life for us.”
Brown lets us know that fame isn’t all that it’s cracked up to be on “Rolling Stone” (“Bought a nightmare, sold a dream. Happiness went upstream. Blame myself, I had no control. Now I’m living with no soul.” “Really Doe” is a who’s-who of modern day rap stars with Earl Sweatshirt, Kendrick Lamar, and Ab-Soul all contributing verses. “Lost” details how Brown has gone from dealing cocaine just to get by to now using it for fun after being famous enough to afford it.
“Ain’t It Funny” was one of the wildest singles of 2016. In it, Brown raps about how drugs have screwed up his life, the Devil is always whispering in his ear, and how many of his fans love him for having such a screwed up life and secretly hope he never kicks the addictions that he wishes he could ditch. “Golddust” continues this theme (and even brings in some rock guitar) as Brown raps, “Myself I don’t know no more. Numbing up with drugs to suppress these feelings, praying to the heavens, letting these devils get the best of me.” and “Got to the point ain’t gotta buy drugs. Niggas just give ’em to me. Yeah, they think they showing love, and that’s what’s up. Kinda fucked up. Now I do it way more than I used to.” “White Lines” has Brown confronting the real possibility that he’s going to die of a drug overdose any day now. The beats on it stumble around like a drunk and the weird synths reflect his state of mind. “Pneumonia” is a thick bass track about partying in New Orleans, getting laid, and getting high (in no particular order).
Brown keeps partying with “Dance in the Water,” in which he gives directions for a twerking contest. It has the most danceable beats on the record and proves that Brown can write a floor-filler club banger if he wants. Kelela sings in the hook on “From the Ground” while he raps in his mellow low tones about how far he’s come from writing his rhymes on a paper bag to now touring the world. “When It Rain” is one of Brown’s biggest hits off the album, and he’s downright dangerous on it. He raps about the dangerous of inner city living in Detroit, being lucky to be alive, and drawing a line in the sand to challenge lesser MCs. That being said, “Today” has Brown admitting that he knows he can die any time from either his drug use or violence in his hometown.
If you’re not sure what “Get Hi” is about, then you haven’t been paying attention to the rest of the album. Brown openly admits how much he loves weed and uses it to eliminate the stress of money problems, girlfriend problems, landlord problems, or any other problem, really (although the hidden message is how Brown’s love of the herb only contributes more to how screwed up his life is). The addition of Cypress Hill‘s B-Real on the chorus is a nice touch. The album ends on an up note with “Hell for It,” with Brown rapping about how hard he worked to get where he is (“I was hustling, scraping up, and saving just to catch a twelve-hour bus to NY, sleeping on the floor in studios asking God ‘Why?'”) and how he won’t give up despite knowing that fame might kill him.
I don’t want you to read this and think I condone drug use or dealing drugs. I don’t. I do, however, condone honesty and truth. Danny Brown delivers both with unflinching detail on Atrocity Exhibition. Truth is often missing from music in return for a fast buck and a one-hit wonder. Thankfully, we have artists like Brown to keep us real.
Replacing Earl SweatshirtPitchfork Music Festival , who has cancelled his upcoming performance at Chicago’s (possibly due to recent depression issues over the death of his father, some sources say), Tierra Whack is a welcome addition with her experimental hip hop and visual artistry. She has a lovely voice, fine mic skills, and a neat aesthetic that combines hip hop culture with 80’s retro, glam, and soul.
Hometown artist Open Mike Eagle will be working the Blue Stage on July 20th at this year’s Pitchfork Music Festival in Chicago. Mr. Eagle has a good blend of electronic beats and a smooth flow that discusses issues serious to him, his hometown, and the world in general. I haven’t heard much of his material, but I do like the few things I have heard. It should be an interesting set.
Keep your mind open.
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Blending members from Chicago, NYC, Texas, and Scandinavia, the Young Mothers have created Morose – a wild mix of hip-hop, jazz, and house music that hasn’t been heard since the likes of Digable Planets and Jurassic 5.
Starting with “Attica Black,” the sweet drum groove by Frank Rosaly leads into a sharp rap and downright fierce trumpet jam by Jawaad Taylor and wild saxophone by Jason Jackson that sounds like something off a rare Captain Beefheart record. Jackson’s sax is soulful and then sad and then angry on “Black Tar Caviar.” The track turns into a funky, crazy one in the second half, sounding not unlike a Faith No More tune. Jackson’s sax bubbles alongside Jonathan Horne‘s guitar and Stefan Gonzalez‘s vibraphone on the instrumental “Bodiless Arms.”
Chaos reigns on “Untitled #1,” which sounds like a drunk jazz band in a car wreck with a truck hauling a bunch of Theremins. I mean this in the best possible way. I actually wish it lasted longer, but “Jazz Oppression” is a fun follow-up and is probably one of the few songs that can induce a mosh pit at a jazz show. The title track is something as dirty and funky as a Jon Spencer Blues Explosion record, and Gonzalez’s vibraphone work on it is outstanding.
“Osaka” is another bizarre instrumental, but it’s tame when compared to “Untitled #2.” Remember that drunk jazz band in the car crash? Well now they’re fighting an army of killer robots. Again, I mean this in the best of compliments. “Shanghai” gets back to the band’s love of rap, but still drenches it in distortion, reverb, and sonic oddities.
It’s hard to describe Morose. The album’s title is also a bit of a mystery. The psychedelic jazz freak-outs on it are anything but morose. It’s an album that will get your blood pumping and freak you out a bit. It’s dangerous, and we always need dangerous music.
