Kanye West - Bound 2
After listening to Yeezus a few times this track stuck out because it is the most old school Kanye track on the whole album. I think this is a great record so far and I am all for artists moving forward and trying new things. I wouldn't be surprised if this album gets a lot of smack, though since it is certainly the most outré project he has done.
With closer "Bound 2" Kanye ends things off on a familiar note. He lets everyone know that, even though this album is full of pushing the envelope experimentation, he is still more than capable of pulling off vintage Yeezy in his sleep.
Sunday, June 16, 2013
Friday, June 14, 2013
Track of Last Week
So much going on this week before heading to NY. Sorry for missing a week!!
Lil Dicky Ex-Boyfriend
Last week I was introduced to Lil Dicky and I was fucking blown away. Besides the hilarious raps and hysterical music videos, this guy has a relentless flow. He keeps it real and is trying to change the game. In the same way that Lil B is taking the rap game model and chucking it out the coup, Lil Dicky is doing the same; minus the Based Living. Still, I think if Lil B and Lil D went on tour together it would be the most Based thing ever.
The above video is the best intro to Lil Dicky's style and message but honestly everything this guy has is golden. Whether he is rapping about how great it is to Stay In on a Friday night. Or if he is glorifying being a White Dude, he is on point every time.
I do have one complaint, though. Lil Dicky raps about being a Jewish, like, A LOT. Which is totally fine and awesome that he is one of my tribe. Mad Respect for the 6 pointed. but his use of the term "Kike", a derogatory term for Jews, is a bit unsetteling. Pretty much it's the Jewish "N-Word". Now, since he is Jewish the pervading logic would be that he can use the term but if anyone be calling he momma a Kike best believe "Ima fuck her accounting up!" (we're Jewish after all. Don't be afraid of our muscles,but our brains could seriously inconvenience your life.)
But the truth is, the logic of "N-Word" usage doesn't feel like it should hold up here. For one thing "Kike" was never a very popular word to begin with. We didn't get called "Kikes" for 200+ years so it seems almost, like, disparaging to a race that, in a weird way, has "earned" the right to use a derogatory term among their own kind.
Then again the "N-Word" is not an accepted term across the board even among Black people. The NAACP condemns the use of both terms "Nigga" and "Nigger". Their have been numerous articles written condemning the use of the term. Many prominent Black leaders (Oprah Winfrey, Maya Angelou, Cornel West, Etc..) have called for the end of the word or themselves refrain from using it. Considering the limbo state of the "N-Word" why would we, as the Jewish People, want to start using an insulting slur as a term of endearment? I believe it would sound very "Ignant" for a Jew to call another Jew "Kike". In this instance it would be an enormous backtrack for everything we Jews have accomplished in America, and the oppression we have overcome in our 4000 year history. Also, it just doesn't roll off the tongue the same way.
"Sup Kike!"
"Where you is Kike?"
"Is dat yo Side Kike, Kike?"
"Nah, dis my Main Kike, my Kike."
Not really feelin' it.
I totally understand the envy of having "YOUR VERY OWN WORD!!" Not to mention the myriad of technical uses the "N-Word" has given to rap (it is the perfect 2 syllable filler word for anything, a serious aid when creating stanzas, or "rhymes my N-Word") so having a word like Kike would be helpful. But, I figure if Eminem got this far without using any sort of magical stanza-filler-word than Lil Dicky can figure something out.
Lil Dicky Ex-Boyfriend
Last week I was introduced to Lil Dicky and I was fucking blown away. Besides the hilarious raps and hysterical music videos, this guy has a relentless flow. He keeps it real and is trying to change the game. In the same way that Lil B is taking the rap game model and chucking it out the coup, Lil Dicky is doing the same; minus the Based Living. Still, I think if Lil B and Lil D went on tour together it would be the most Based thing ever.
The above video is the best intro to Lil Dicky's style and message but honestly everything this guy has is golden. Whether he is rapping about how great it is to Stay In on a Friday night. Or if he is glorifying being a White Dude, he is on point every time.
I do have one complaint, though. Lil Dicky raps about being a Jewish, like, A LOT. Which is totally fine and awesome that he is one of my tribe. Mad Respect for the 6 pointed. but his use of the term "Kike", a derogatory term for Jews, is a bit unsetteling. Pretty much it's the Jewish "N-Word". Now, since he is Jewish the pervading logic would be that he can use the term but if anyone be calling he momma a Kike best believe "Ima fuck her accounting up!" (we're Jewish after all. Don't be afraid of our muscles,but our brains could seriously inconvenience your life.)
But the truth is, the logic of "N-Word" usage doesn't feel like it should hold up here. For one thing "Kike" was never a very popular word to begin with. We didn't get called "Kikes" for 200+ years so it seems almost, like, disparaging to a race that, in a weird way, has "earned" the right to use a derogatory term among their own kind.
Then again the "N-Word" is not an accepted term across the board even among Black people. The NAACP condemns the use of both terms "Nigga" and "Nigger". Their have been numerous articles written condemning the use of the term. Many prominent Black leaders (Oprah Winfrey, Maya Angelou, Cornel West, Etc..) have called for the end of the word or themselves refrain from using it. Considering the limbo state of the "N-Word" why would we, as the Jewish People, want to start using an insulting slur as a term of endearment? I believe it would sound very "Ignant" for a Jew to call another Jew "Kike". In this instance it would be an enormous backtrack for everything we Jews have accomplished in America, and the oppression we have overcome in our 4000 year history. Also, it just doesn't roll off the tongue the same way.
"Sup Kike!"
"Where you is Kike?"
"Is dat yo Side Kike, Kike?"
"Nah, dis my Main Kike, my Kike."
Not really feelin' it.
I totally understand the envy of having "YOUR VERY OWN WORD!!" Not to mention the myriad of technical uses the "N-Word" has given to rap (it is the perfect 2 syllable filler word for anything, a serious aid when creating stanzas, or "rhymes my N-Word") so having a word like Kike would be helpful. But, I figure if Eminem got this far without using any sort of magical stanza-filler-word than Lil Dicky can figure something out.
Friday, May 31, 2013
Track of the Week
Disclosure - When a Fire Starts to Burn
With all of the comment arena bickering going on about brothers Guy and Howard Lawrence's project ("They are Future Garage!" "They are Deep House!") Disclosure has perfectly slated this track, the opener to their highly anticipated debut Settle (out June 3), as a statement to end all the uncertainty. The track opens with a preacher explaining "How do you get into your zone?" and "Everyone loves to watch the fire burn." The thesis being: as long as you are feeling this shit who cares what you call it?
The preacher continues. "One thing I have learned in my life? ... Everything changes!" As if to say, the genre doesn't matter. The Deep House sound that Disclosure takes influence from doesn't discount the Future Garage feel of these jams. The world needed to be reminded not to have any preconceptions about what these guys are trying to do, and with this track they have made it perfectly clear: They just want to rock your body!
The labeling is inevitable and bound to happen. The arguments can keep spinning around. But one thing is for sure,
"When the fire starts to burn
And it starts to spread
They gonna take that shit home"
With all of the comment arena bickering going on about brothers Guy and Howard Lawrence's project ("They are Future Garage!" "They are Deep House!") Disclosure has perfectly slated this track, the opener to their highly anticipated debut Settle (out June 3), as a statement to end all the uncertainty. The track opens with a preacher explaining "How do you get into your zone?" and "Everyone loves to watch the fire burn." The thesis being: as long as you are feeling this shit who cares what you call it?
The preacher continues. "One thing I have learned in my life? ... Everything changes!" As if to say, the genre doesn't matter. The Deep House sound that Disclosure takes influence from doesn't discount the Future Garage feel of these jams. The world needed to be reminded not to have any preconceptions about what these guys are trying to do, and with this track they have made it perfectly clear: They just want to rock your body!
The labeling is inevitable and bound to happen. The arguments can keep spinning around. But one thing is for sure,
"When the fire starts to burn
And it starts to spread
They gonna take that shit home"
Friday, May 24, 2013
Track of the Week
Michael Kiwanuka - I'll Get Along
Alright, I know this song is a little over a year old and it isn't trendy and happening right now but I've listened to it like 20 times this week so there. To quote GG Allin: "You don't get what you expect [at Ovr the Counter Culture] you get what you deserve!"
I can't remember how I even found this song. If I would have to guess it was probably a friend listening to it, maybe on Spotify or something, and I was in a particularly non-pretentious mode (Read: I wasn't thinking my usual "how could they possibly be listening to something I haven't heard of yet and it be good?") and checked it out, but I honestly don't know. I do know, however; that the first thing I thought when I heard it was "Wow, who is this old time soulful African dude? I Wonder when/if Kanye* will/has sample/d him?" Yes, that is what I think nowadays when I hear amazing old music in general, in particular when said music is fronted by soul tingling African singers. Yes it makes me sound like a simpleton and a Yeezy acolyte and even borderline racist, but maybe Kanye shouldn't be so amazing and musically omnipresent and I wouldn't have this predisposition!
So imagine my surprise when I discovered that this isn't some old soul act from yester-generation but rather a very new addition to Ben Lovett's (of Mumford and Sons fame) Communion Records lineup. Dude has opened for Adele AND Mumford and Sons for like 2 years and I had never heard of him?! Am I losing my edge?! Or has something even more horrible happened: have I become pigeon-holed in the Pitchfork/Stereogum/Consequence of Sound menu of palatable music? This Michale Kiwanu-whatever is legitimately talented and he ain't gettin none of the trident love?
I try to calm myself with the notion that this guy doesn't need any sort of press. That for any of these Big 3 media outlets to write about him would be a total waste of time as he is probably going to go far with the waves of Mr. Lovett and Brothers. Nonetheless, I am appalled that I could be so naive. There is great music out there that I am not being exposed to just because of demographic politics!
In a way, I think the reason why I love this song so much is precisely because I wasn't exposed to it from a website or even on the radio or from a friend badgering me with "Listen to this song! It's the greatest song! You'll love it!" (is there any worse way to introduce new sounds to someone?). In a strange way this song had more mystique than anything new from Daft Punk. I kept up with every inch of Daft Punk's agonizing and thrilling release marketing so much so that, while I was intrigued constantly, the mystery was obvious; it was just a waiting game.
I miss hearing a song and wondering "What was that?" and suddenly a few days later hearing it again. And then once more. Until suddenly I would discover I wasn't the only one with this song in my head. It seems that in today's stream heavy, Shazam zApping atmosphere this sort of music discovery is long gone. Michael Kiwanuka has created a requiem here with I'll Get Along. Even though the times and tides are changing he sings his tone and plays his groove, certain that things will be as they will be.
*Can you believe that "Kanye" gets a red spell-check line under it?! Does GOD get a motherfucking red spell-check line?! Get with it MSoft!
Alright, I know this song is a little over a year old and it isn't trendy and happening right now but I've listened to it like 20 times this week so there. To quote GG Allin: "You don't get what you expect [at Ovr the Counter Culture] you get what you deserve!"
I can't remember how I even found this song. If I would have to guess it was probably a friend listening to it, maybe on Spotify or something, and I was in a particularly non-pretentious mode (Read: I wasn't thinking my usual "how could they possibly be listening to something I haven't heard of yet and it be good?") and checked it out, but I honestly don't know. I do know, however; that the first thing I thought when I heard it was "Wow, who is this old time soulful African dude? I Wonder when/if Kanye* will/has sample/d him?" Yes, that is what I think nowadays when I hear amazing old music in general, in particular when said music is fronted by soul tingling African singers. Yes it makes me sound like a simpleton and a Yeezy acolyte and even borderline racist, but maybe Kanye shouldn't be so amazing and musically omnipresent and I wouldn't have this predisposition!
So imagine my surprise when I discovered that this isn't some old soul act from yester-generation but rather a very new addition to Ben Lovett's (of Mumford and Sons fame) Communion Records lineup. Dude has opened for Adele AND Mumford and Sons for like 2 years and I had never heard of him?! Am I losing my edge?! Or has something even more horrible happened: have I become pigeon-holed in the Pitchfork/Stereogum/Consequence of Sound menu of palatable music? This Michale Kiwanu-whatever is legitimately talented and he ain't gettin none of the trident love?
I try to calm myself with the notion that this guy doesn't need any sort of press. That for any of these Big 3 media outlets to write about him would be a total waste of time as he is probably going to go far with the waves of Mr. Lovett and Brothers. Nonetheless, I am appalled that I could be so naive. There is great music out there that I am not being exposed to just because of demographic politics!
In a way, I think the reason why I love this song so much is precisely because I wasn't exposed to it from a website or even on the radio or from a friend badgering me with "Listen to this song! It's the greatest song! You'll love it!" (is there any worse way to introduce new sounds to someone?). In a strange way this song had more mystique than anything new from Daft Punk. I kept up with every inch of Daft Punk's agonizing and thrilling release marketing so much so that, while I was intrigued constantly, the mystery was obvious; it was just a waiting game.
I miss hearing a song and wondering "What was that?" and suddenly a few days later hearing it again. And then once more. Until suddenly I would discover I wasn't the only one with this song in my head. It seems that in today's stream heavy, Shazam zApping atmosphere this sort of music discovery is long gone. Michael Kiwanuka has created a requiem here with I'll Get Along. Even though the times and tides are changing he sings his tone and plays his groove, certain that things will be as they will be.
*Can you believe that "Kanye" gets a red spell-check line under it?! Does GOD get a motherfucking red spell-check line?! Get with it MSoft!
Wednesday, May 22, 2013
Invest In Bushystock
The Westwood Brewing Company has been a lot of things to a lot
of people. Just a quick glance at their Yelp page shows an outpouring of
adoration for the many memories made and lost in their 20 year run. Though they
no longer brew their own beer and may have an unabashed reputation for STD
contraction (A sign behind the bar reading "What do you mean? Lots of
people have gotten Crabs here!" was proof enough) the recent news of the
locales shut down, happening after the summer, has saddened many. Saturday nights performance by UCLA locals Bushystock however; showed that while BrewCo's
run may be ending, Bushystock's rock marathon is just beginning.
From the
moment Bushystock arrives I am taken by this groups openness. During their on
stage sound check you could sense that they were resisting breaking out in full
jam. Once all was ready they hit the monitors like a battle drum. This band is definitely in it,
believing in the rock; and the feeling is contagious. By the time they finish
up their first number they have locked you in the Jaws of Rock and refuse to
let go.
Throughout
their set Bushystock transmits the feeling of being in a beer and candy sloshed
late 60s rock club. Indeed, the comparison to a male fronted Jefferson Airplane
is not without legitimacy. On a trip to the restroom I fully expected to be
offered a hit of acid by a Dr. Gonzo character, an offer I would have readily
accepted; it would have been an experiential crime to refuse. However, my retro
fantasy was disturbed by two dude-bros meeting for the second first time,
("Didn't we drink together? I know
you bro, we definitely drank together!") This is UCLA after all.
The most
shining moments of a Bushystock performance is their improvisational jams.
Moving on the fly through licks and riffs the band remains poised and tight.
The group is led mostly through Gal Bushy's guitar twang and Jake Fields
bombastic drums. All the while peppered with the stream of conscious vocals of
their swagnificient frontman (self note: Charles-Shlomo is a sight to behold.
Rocking blue tie dyed jeans and a Bob Plantian hair doo, with Bonham mustache
to boot, it's hard not to become immersed in his retro presence.) These guys
are feeling it and before you have a chance to decide, so are you.
Suddenly
out of nowhere, as if to completely mindfuck the competition, the group breaks
out, mid-song, in a cover of Daft Punk's Get
Lucky. The effect is immediate. The crowd insatiable. Josh Sebo's bass line
confidently moving the groove of the master's creation. Kevin O'Neil's lush
synth work modernizing the entire
Bushystock experience; he nearly recreates Daft's modulated vocal performance
of that golden hook penetrating every air wave in the world right now. In that
moment you realize Bushystock is in it for the long haul. They can make you
feel like your dad's favorite band while at the same time bursting forth with
21st century pop sensibility. The Brew Company will be shutting its doors after
the summer, but Bushystock may just be gearing up to burst out the gate.
Wednesday, May 15, 2013
Ear Catcher
I felt that I needed to bring some attention on this new guy
Chance the Rapper. He has been generating a crazy amount of buzz, being lauded
as the Second Coming of Kanye West, needing police escorts from high school
parking lots and other such fanfare. To think that this transformation could
occur just a year after dropping his mix tape 10 Day , which was recorded over a 10 day suspension from his high
school, is a testament to just how quickly this kid is going to blow and to the
tumultuous music environ we are living in.
The production on this single is gorgeous, as is most of the
entire mixtape, tellingly titled Acid Rap.
Starting with a spacey synth lead and "YeaAhhh" sample and driving
into crisp 808 high hats this track definitely shows why Chance is garnering
all of these comparisons to his idols. His flow on this track is also a great
introduction to the whole package of Chances rap/singing delivery as he switches between
the two with confidence.
Definitely feeling this one.
Subscribe to:
Posts (Atom)