I’m feeling rather magnanamous today, so I thought I’d spare everyone the arduous task of reading this. Just listen. These are songs that have found their way into my head recently, and if you’re not careful they’ll find a way into your consciousness as well.
The Arcade Fire: We Used to Wait
From the new album ‘The Suburbs’. Highly recommended. Head and shoulders above their previous stuff IMO.
Modest Mouse: Bury me With It
The Gaslamp Killer: Sitar Ride (recommended by Shikha, acclaimed music aficionado)
Kanye West, Bon Iver, Nicki Minaj, Rick Ross, Jay-Z: Monster
Kanye West is an annoying megalomaniac, but it’s hard to deny that he knows how to put a song or two together. Nicki Minaj’s performance, however, is by far the most impressive.
There is nothing like a good live performance. I personally prefer the intimacy of a small venue to the raw energy of a packed arena or stadium (although I did thoroughly enjoy Metallica at the ACER Arena this weekend) because I love being able to actually hear the music and see the people performing it on something other than a big TV screen while craning my neck to avoid Shaq and his 7ft NBA buddies who just happen to be standing in front of me. I don’t think that there’s a live venue in Sydney that matches the uniquely welcoming yet bizzarely unearthly environment that is the original Qirkz in Marrickville. Of course, the powers that be had to spoil our fun and close the place down, but the owners occasionally have a private party and invite some of us back. I recently attended one of these parties and had the immense pleasure and honour of seeing the venue’s owner perform with his own ARIA winning band, Monsieur Camembert. Their music is an eclectic riot of Jazz, Gypsy, Eastern European Folk, and a raft of other influences and genres all rolled in to one. I’m not sure I’d dig this sitting at home with the headphones on, but they epitomize why we bother shelling dosh out for live performances. Sadly, there isn’t a great video of them at Qirkz, so I have included a clip of another live performance of MC.
I’m sure the folks at Qirkz would appreciate the combination of imaginative, boundry spanning production and spitfire lyrical style of Detroit based producer/MC Black Milk. BM has released his follow up to 2008’s superb Tronic with the pugnaciously named Album of The Year. Such a title almost begs the critics to sharpen their knives. Thankfully, even though the album may not fully live up to its name, its pretty damn nice. Black Milk’s soul and boom bap inspired production (reminiscent of other midwest production heavyweights including J Dilla and the highly annoying yet undeniably talented Kanye) is back, but this time it includes more complex influences (string and horn samples and guitar loops are far more prominent this time) that make this record satisfyingly challenging. I’ve heard it in its entirety three times, and I like it more after each successive listen…always a good sign. Black Milk’s flow is good…characterized by a rapid delivery that works well with the production, but cameos from the likes of Royce Da 5-9 and Elzhi clearly surpass Black Milk’s ability, elucidating that he’s still a producer on a mic rather than the other way around.
As the title (gleaned from the his highness late Old Dirty Bastard) this post is heavy on the hip hop. The weeks most anticipated and high profile release is undoubtedly Eminem’s Recovery, a decidedly underwhelming attempt to regain the lustre that wore off in 2003 after The Eminem Show and 8 Mile. It strikes me that almost every reviewer desperately wants Eminem to regain his place on top of the hip hop mantle, and many give him a pass because this album is slightly more bearable than the atrocious Encore (2005) and even less inspiring Relapse (2008). His decline is truly unfortunate, because EM is definitely one of the most talented rappers to emerge in the last decade. The sad reality is that his songwriting over the past 5 years careens wildly from desperately self indulgent and unimaginative attempts at self reflection and self pity to absurdly juvenile and stale attempts at wit and humour or equally puerile and cynical efforts to be provocative (another Elton John being gay joke? really?) His over the top tales of violence, homophobia, and misogyny worked in the Slim Shady LP (1998) and Marshall Mathers LP (2000) because they were executed with rapacious wit and a firm tongue in the cheek. Unfortunately, “You can get the dick/just call me the ballsack/i’m nuts/Michael Vick in this bitch” really doesn’t cut it. Oh, and the production is horrid.
Wow, that must be the most I have ever written about an album that I don’t like. It was just supposed to be a segway into the stuff I DO like…
Artist: Rhymefest Album: El Che
Rhymefest has been around for years, helping the likes of Kanye West and Wale create some of their signature tracks. A Chicago native, Rhymefest incorporates dollops of the Chi flavour in his music (particularly those nods to midwestern soul). The most striking thing is his off the wall sense of humour. Rhymefest is clearly a guy fairly comfortable in his own skin, and he eschews braggadicio and hard posture raps for more day to day tales that are interspersed with random jokes and thoughts. “Who the fuck is driving my car/ I don’t know where the hell we are/ all that I know is that it is far/ Wisconsin!/Oh shit thats FAR!” love it. The production is varied and interesting enough to hold the (rather long) album together, and it does justice to Rhymefest’s style and ambition. I’m not convinced that the entire album maintains a consistently high quality, but there is enough here to justify a nod.
Top Songs: Prosperity, Last Night
Artist: The Roots Album: How I Got Over
9 albums in and the Roots just keep cracking out superb, intelligent, jazz infused hip hop. They are firmly in the underground, but their influence and the respect they have accrued transcends across hip hop, and indeed across genres. Their organic approach to music (they are a band in the traditional sense of the word) allows a level of texture that compliments their refined lyrical cadence. How I Got Over continues 2008’s Rising Down’s move toward bleak and politically infused lyrical themes, however with less palpable anger and a hint that brighter days may soon emerge. The production is also less jagged, with an emphasis on melody and mood. The Roots’ interest in different genre’s is highlighted by the fact that they recruit members of The Dirty Projectors and Monsters of Folk in this latest effort.
I’ve always felt that the Roots represent the more refined and grown up side of Hip Hop. Regardless of whether it is your cup of tea, it is difficult to deny the artistry and talent that this group contains.
I’m still familiarizing myself with this album, and honestly I’m not sure I can recommend top tracks, but here is a small sample of what is on offer (follow link for first one)
Artist: Strong Arm Steady Album: In Search of Stoney Jackson
The underground California Hip Hop vets collaborate with the great Madlib to create a dense, lyrically driven album that will be appreciated by those who like Hip Hop for the lyricism and a more old school vibe. Prominent guests include Talib Qweli, Planet Asia, and Guilty Simpson. Again, I wont pontificate on ‘top’ tracks, but here is a taste…
FROM THE VAULT
remember this awesomeness????? When Eminem was actually good?
Musical Musings 