I can see this record achieving “Funeral”-like levels of devotion. Owens’ lovelorn, overtly innocent, more-heart-on-sleeve-impossible lyrics and catchy melodies have what it needs to make him an indie icon. Me, I wish the “inspirations” (Black Sabbath, REM, Beach Boys, Mercury Rev, Pink Floyd, Everly Brothers) weren’t so clear, and that it moved beyond holding hands. It gets really quite boring in the last four tracks.
Yelawolf ft CyHi Da Prince “Gangsta Of Love”
Impressive display here. This guy can do the double-quick flow that his mentor, Eminem, has made his own, seemingly with ease, and bring some of his own charisma to the table. The lyrics are mostly concerned with bitch-slapping haters, regardless of the “love” part of the title, and Yela is convincent in his claimstaking. The southernplayallistical atmosphere is duly brought by chords of thick, swampy and hot guitar carving spaces between the beats. Maybe he will be providing the grit while Em is out making duets with Rihanna?
Tom Ewing’s text about trance’s incorporation into pop in The Guardian got me testing this. Somehow, it’s as if someone chopped a little bit off the explosive part of a trance song, and sent it into outer space for a lonely orbit. Come to think of it, it’s not too different an operation from what other guys are doing with new-age synths, is it?
OK…I like ONE song here. And it isn’t the most voted one!
Matter of fact, I happen to think that Most Voted One is annoying as fuck, homicidal lyrics or not. So what if they’re homicidal? It’s not like that song about cradles and babies falling plays on the radio!
Summer here kids / All of them awful lies / Tourist info said / I’d have a good time
Tinie Tempah feat. Wiz Khalifa “Til I’m Gone”
Tinie is one of those rappers who won’t let his talent get in the way of a radio-friendly chorus. That, unfortunately, is the reason why his singles have failed to excite me, following the initial enthusiasm for “Pass Out”. You can tell by the way the guy rhymes, no matter how simple and straightforward those same rhymes are, that he is a talented rapper, with a confident flow. It’s just that I’d very much prefer to see him surrounded by echoing bass drops, and heavy atmospheres, rather than what sounds like the keyboards from a 1986 stadium-synth-pop hit. I got nothing against that particular genre. It just doesn’t suit Tinie, like the MOR rock meets trance of “Written In The Stars” didn’t. And Wiz? Wiz is on the chorus and nowhere else, therefore ruining any chance of chemistry between both.
|—||Alexis Petridis nails it!|
What? You still exist? Didn’t we stop caring over 20 years ago? Why is anyone still using one of the most annoying, sugar-overdose, dumb-sax ridden 80s songs ever made to advertise anything?
[Third Worlds; 2011]
Find it at: Insound Vinyl | eMusic | Amazon MP3 & CD
Energy without insight is monotonous. Insight without humor is preachy. Humor without frustration is toothless. Frustration without humanity is destructive. And humanity without energy is defeatist. If an album operates with the purpose of being a big noisy fuck-shit-up machine, missing just one of those elements can leave you with an overbearing mess, where every speaker-rattling burst of noise or cathartically screamed hook turns you back instead of getting you all riled up.(…)Exmilitary avoids any of the flaws outlined above, but it’s still a potentially alienating album: unnerving when you’re not on its aggro wavelength, inviting when you are, and transfixing either way, thanks to the aggregate work of Death Grips’ core.
|—||Nate Patrin had this to say about Death Grips’ mixtape on Pitchfork. I agree with most of what was said, except the fact that I don’t see why it’s necessary to be in the same frame of mind as the MC to enjoy the album. I’d like to know exactly for which musical styles/mindstates that is true. Perhaps it occurs for aggression, but not for heartbreak? Is it true of avant/punk hip-hop, but not of the street/gangsta/dopesmoker style? I’d like to know, because, to be honest, I never really needed that “empathy” to enjoy a particular piece of music.|
Curren$y feat. Trademark The Skydiver & Young Roddy “Still”
There’s nothing Curren$y has done so far that I haven’t loved, and this wasn’t the first time. “Weekend At Burnie’s” is high on my shopping list. This is a barebones track, supported by naught more than a fizzy synth, a couple of bass notes, and a simple boom-bap beat. It works so well because Curren$y’s charisma seems to increase with every passing day, as he simply lays back and takes command of the whole mood of the beat. Even if Young Roddy is not as good a rapper as his “leader”, or even as Trademark, the overall feel is of a perfect slouchy jam. Oh, what’s that “mood” I was talking about? Curren$y’s lyrics all about girls and weed, obviously!
Noooooo, I’d been looking forward all day to listening to that Lloyd song everyone’s going nuts for but it’s fucking Cee-Lo redux, lazy retro + cursing + wedding disco catchiness (not a compliment) = guaranteed OTT praise. Where were y’all when the way superior “Private Dancer” and “Be The One”…
This! I’m getting really tired of songs who seem to exist only to provoke DISCUSSION rather than actual PLEASURE OF LISTENING, or you know, some other feeling based on what the song is rather than what it represents or whatnot. Controversy over content basically can fuck right off.
I’m gonna follow this guy’s advice. Except to ask Lloyd: Are you taking the piss? What the fuck?