Announcing: The Scope

Just started a new wordpress blog. The Scope

Check out the first article. It's a little late to the game but it's about Her.

Phantogram: Voices

Full Stream of Voices

It shouldn’t come as any surprise that Phantogram’s newest effort is titled Voices. From the first ten seconds of Phantogram's now classic "Don't Move" it becomes pretty clear that the group’s secret weapon has been Sarah Barthel's tasteful vocal loop samples. Others have come to the same conclusion, and spreading her seductive tone has given them enormous genre crossover credibility. Clocking in at three songs on Big Boi’s ambitious Vicious Lies and Dangerous Rumors as well as one song on the Flaming Lips noise orgy The Terror the duo have not only spread the love but have also learned to hone in on their own signature sound.

And it’s a good thing too. Back in 2011 the groups less than stellar EP Nightlife had many wondering why they didn’t just make an EP’s worth of “Don’t Move.” Maybe they couldn't?(!) Voices isn’t that album, but it is a lot closer to the winning formula. 

Phantogram is heavier in this release showcasing Josh Carter’s exceptional ability to create lush soundscapes for Sarah to dance through. Carter holds his own as a progressively ambitious producer, creating complex and hard-hitting beats with a crispness that makes it clear why Big Boi took notice. He has certainly upped the production and the transitions in every song hits with crashing catharsis.

This structure is perfectly exemplified on first single “Fall In Love.” The duo create an ear worming melody while fattening the J-Dilla style basslines that made them so interesting to begin with. The break before the chorus raises the listener to the crest of the synesthesiac wave before hitting with all the signatures we’ve come to expect from Phantogram. There are the vocal loops, Carter’s guitar and crashing drums, and Sarah’s singing smashing all at once.

For most of the album the same ingredients are mixed at differing equations creating a satisfying tonal theme while remaining fresh throughout. On “Black Out Days” the fat bass is scaled back a bit and there is more guitar synth creating a backdrop while the track is carried almost exclusively by Sarah’s loops. The “Day You Died” is rife with guitar pop sensibility and builds on more traditional rock tonality. Then there is the sweet serene of “Bill Murray” which beautifully captures the ennui with which we’ve come to know its namesake.

Still the group breaks away to experiment on tracks like “Howl at the Moon.” A sped up drum beat puts Sarah out of her comfort zone forcing her to flow faster than we’ve seen her do previously. It works for the most part, but in the chorus she can’t help herself from singing the elongated sustains that she is known for. It isn’t a perfect experiment but you have to appreciate the attempt.

Perhaps the biggest issue with the record though comes when Josh Carter takes the helm of the vocals. After the triumphant hat trick of “Nothing But Trouble” “Black Out Days” and “Fall In Love” we are led into “Never Going Home.” Listening to the release in full on NPR’s early stream of the album, I was certain I had been somehow booted into an entirely different release on NPR’s First Listen page. When the abrasive track fizzled out, Sarah came back in and settled my fears that NPR was bullying me.

To his credit Carter recalls a certain texture similar to We Are Pilots era Shiny Toy Guns. While “I Don’t Blame You” and “Never Going Home” are produced wonderfully they seem out of place on this release. I would have been interested in these tracks if he had set them on a solo release (JeCartes might work), but in the schema of this album it feels not only disingenuous but, more importantly, off theme.

Which leads to another issue with the record, but is indicative of an overall issue with Phantogram. While the aesthetic the group creates is unarguably unique and ear catching, the songwriting leaves much to be desired. The group is able to create the dark wiry headspace that allows Sarah’s lyrics to not be overtly analyzed but it would be nice to have some new ideas or funny wordplay to mull over. Still, Phantogram has created something victorious in Voices; coming out of the dip in success of Nightlife, they have proved they are capable of ascending the mainstream. 

3 Steps Closer Get Personal On "You Taught Me"

A lot has changed since Jason Pietruszka's band 10 Seconds Later was a household staple in the Jewish Alt Rock community. He is recently married, working at a steady paying job and overall trying to give back to his community. Dude has been taking it easy.

But, as the case may be, domesticity has only allowed him to hone his sound. With his new group 3 Steps Closer, a nod towards the ritualistic three steps taken before reciting the Jewish Silent Prayer, Jason has upped the production as well as the content. While his former monikers were content to play out in the vein of, then megastars, Fall Out Boy and Incubus, 3 Steps Closer is a mature group dealing with issues of family, faith and inner strength.

The new video for "You Taught Me" is nothing short of a mission statement for the groups newest efforts. When I asked Jason what inspired the song he said "It's about family. [It's about having] someone who was always there for you and wanting to be able to grow up and let go of their hand so to speak. While still retaining their lessons and keeping them in your heart." 

The video shows Jason intimately waxing nostalgic about growing up, in a bashed out garage as a backdrop in an attempt to convey the disillusionment of memory and the disorganization of the psyche. At the same time images of a young father and son are tastefully clipped in to bring the idea of continuity to the foray. Pretty touching stuff for a dude who wrote a song about Subway Sandwiches.

Check it out below.

Spoiler Alert: Roee and Noah from almost-made-it pop-punk group Downstream Clash pops up at the end!

Bitch I'm Outta My Coma

Sorry Sorry Sorry for the long hiatus. A combination of work/school stress, bad roommate vibes and a post-2013 malaise in music was the cause. But I guess that is the general situation in the beginning of the music year, no one is putting anything exciting out in January. But February has brought some great stuff. Namely, Speedy Ortiz just released a new EP called Real Hair which I am fully immersed in. News that Thee Oh Sees is out of their 'brief hiatus' is certainly giving me hope. AND I AM GOING TO COACHELLA. Super stoked for that. Might hit up SXSW too since my tax return this year was ridiculous.

It's gonna be a big year.

Best of 2013

2013 is at a close and it is time to round up some of the best music this phenom of a year has had to offer.

I am seeing a disturbing lack of generalization in this regard so let me be the one to shout this:

2013 HAS BEEN THE GREATEST YEAR IN MUSIC IN THE LAST 3 YEARS. At least it has been for me, but I intend to make a strong case for it. 

2013 has been one of those special years where seemingly every big name in music coordinated to drop some sort of new music. Consider that this is a year where Jay Z released an album that hasn't made ANYONES top ten (or 50)  list. There have been releases from seemingly everyone: Justin Timberlake, Drake, Kanye West, Lady Gaga, Miley Cyrus, My Bloody Valentine, and of course DAFT PUNK. 

Still, one would be hard pressed to round off their respective Top Ten list with all these big names. 2013 provided a wealth of new talent from brand new names that often put many a better known act to shame. Little known groups like Speedy Ortiz and Chance the Rapper blew up this year holding the collective consciousness of the music world.

Still there was a huge soft spot for the old timers. Paul McCartney's NEW brought back the last relevant Beatle in a strong way. Nine Inch Nails got back together, leaving a trail of wreckage on the festival circuit when Reznor wasn't penning tributes to David Bowie (who also released a record this year- REMEMBER?)   

Also, 2013 has been an interesting year for the 'Album Rollout' with many acts vying for press in every possible way. Be it Boards of Canada's cryptic digital maze or Arcade Fire's long, ambitious, exciting and, at times, aggravating guerrilla marketing; this year has been a cornerstone in the proliferation of musical adverts. (Worth noting: Beyonce's surprise release made everyone sit down and recognize.)

Below is a list of my favorite releases from this amazing year. 

If you would like to listen to the longlist check out my Best of 2013 Playlist on Spotify.

Below the list are some musical highlights of mine. (que Pitchfork copycat disses - if you haven't already you only have a little while longer before 2013 is out and your jokes are stale.)

Top Ten Tracks:

1. Disclosure - "Help Me Lose My Mind"

2.DJ Koze - "Homesick"

3.Zedd- "Clarity"

4.  A$AP Rocky, Drake, 2 Chainz, Kendrick Lamar- "Fuckin' Problems" 

           (Also favorite song to Rap-along to. PS: Drake and K. Dot; please play nice. You two are amazing together.)

5. Toro Y Moi- "So Many Details"

6.  Tyler, The Creator - "48"

7. Earl Sweatshirt - "Hive"

8. Sango- "Middle of Things, Beautiful Wife"

9. Shook - "Tonight"

10. Drake - "Come Thru"

Guilty Pleasure of the Year: Bruno Mars- "Treasure" It's hard to not like a song that feels like Michael Jackson meets Daft Punk in H&M

Daft Jackson

Top Ten Albums

1. Disclosure - Settle

2. Chance the Rapper - Acid Rap

3.  Daft Punk - RAM

4. Small Black - Limits of Desire

5. Shook- Shook

6. Kanye West- Yeezus

7. Drake - Nothing Was The Same

8. Vampire Weekend- Modern Vampires of the City

9. Arctic Monkeys - AM

10. Haim - Days Are Gone

Musical Highlights:

Bribing my way into a sold out DIIV show at the Echo. First time I ever slipped a security guard money. I recommend it. Definitely beats the hell out of paying StubHub prices.

Walking around Red Hook trying to find the Jalopy Theater listening to "Homesick" over and over and over again; not feeling the slightest bit homesick for LA. 

Finding the Jalopy and being exposed to some phenomenal organic talent. Later meeting some amazing new friends that created an entirely new dynamic to NY.

Taking my brother to the Yeezus Tour. He has been sober for one year and somehow I made enough money this year to make a present of it for him. We had great tickets and throughout the night rapped at each others faces competing for who could keep up with Ye's flow. He beat me on "Cold" and some 808s songs, but I got him on the Yeezus stuff. One of my favorite nights; so proud of my brother. The best presents are the ones that allow you to experience the giftees joy firsthand and, if your lucky, take part in. He deserves it. I love you Raz.

Listening to records at Bushystock's studio. Charles has a 5 gallon bag of cassettes and forces me to take some when I stop by. I found Dummy by Portishead in there and it is still in my car stereo. I never really listened to Portishead and just knew that girls get seriously tingly when they hear that shit. I sort of get it now but I think I'm a few embryos short of truly feeling it. Suffice to say, Dummy is incredible. 

Meeting James Murphy at his DJ set at Output and shaking his hand. His teddy bear smile is etched in my memory & comforts me when I feel like this is all a huge waste.

Riding the subway late at night through NY listening to Small Black as the lights in the window flickered endlessly.

Meeting the guys from Small Black and mutual reciprocating pleasantries. They are awesome guys.

Hanging out with A-Trak on his birthday at Club Lure.

No Filter. 

His birthday cake was a turntable

Listening to music in my new car. I haven't had a car for 2 years and just got around with a motorcycle. I listened to full albums through earbuds squashed against my auditory cavity and my helmet (NSFLife) on the way to work since I couldn't change songs mid-ride. I sort of miss that loss of control. It forced me to really delve into what I was listening to and be picky about which artist I wanted to allow in my brain for 30-40 minutes. I do not miss my aching ears, though. 

Waiting with baited breath to buy "Get Lucky" when it was released on iTunes. It is the first song I have ever bought over my phone. 

Driving from work on Fridays with the Pitchfork Podcast. It is almost exactly as long as my drive home.

Disclosures show at the Summerstage in Central Park. Somehow, I wound up at their private after party at The Wall. Dancing dancing dancing. Still wrapping my head around that night.

Slow dancing in her bedroom to "Hold On We're Going Home" as the clothes piled on the floor.

Forcing my friends to listen Lil B much to their dismay. My friend saw my sister at a wedding and told her he was worried about my 'dabbling in idol worship.' Amazing.

Freelance auditioning for Rabbit's Black  covering Culture Collide and subsequently getting beaten out by the far superior Marni Epstein. (First rejection of my printed work!!! It's exciting.)

Hanging out with Ghost Wave at Culture Collide. Hadn't seen them for a while and it was awesome to pick things up right where we left off. 

Drunkenly trying to figure out "Everything In Its Right Place" on piano with that blonde girl from Bleached.

Witnessing the spectacle that is Death Grips at FYF. As well as getting my ears blown off by My Bloody Valentine. 

Cooking to Toro Y Moi every Sunday.

Watching Shut Up and Play The Hits on Netflix 2 days in a row.

Every Kanye West Interview.

Falling in lust with a panther rug while dancing barefoot to Darius' "Maliblue" in a high rise apartment in Alphabet City.

Having Lil B follow me on Twitter.

Interacting with some of my favorite writers over Twitter.

Putting on Disclosure's Settle at a friends birthday party and just letting it play over and over and over front to back. It had just been released on Soundcloud as a limited promotion or something, so few people had heard it. Everyone just kept on dancing and dancing.

The best highlight of this year, though has to be starting this here blog. Thank you for everyone's support and to the artists on twitter that sent me stuff to listen to and making me feel   

Like a real boy (courtesy of Riff Raff's Instagram)

Till next year!

Dolla Dolla Bill Y'all: An Effort to Pinpoint the Origins of Rap Materialism.

         Some people have wanted to read my Term Paper regarding Rap's Materialism. So, here it is. Fair warning: It is a bit long and it is Finals Week. I would be honored if you procrastinate with this, but I do not support it.
         Also, Copying/Pasting onto Blogger is like trying to do arts and crafts with a cast on both hands. I apologize in advance for any format errors and blame it all on Google. Fuck this for real. I am going to Tumblr.  
       There has been some editing as far as links, but the content is pretty much verbatim.

Since its inception Rap music has been a live wire upon which the laundry of the ghetto was hung to dry. Besides the issues of social injustice voiced in such classics as N.W.A’s “Fuck Da Police” Rap has provided an intimate contextualization of generational climate. Be it in male chauvinism in the ghetto, the lack of opportunities afforded  . But probably the most recurring theme in Rap would have to be: the need to acquiesce and display material gain, a mindset which, I believe, is an extension of Booker T. Washington’s ideals of monetary success as a means to gain socio-political rights. 

          In no way is this a feeble attempt to be condescending. I doubt that Washington could have ever foreseen his ideas of economic growth evolve into such a tangible and powerful culture as the world of Rap has become. But, you’d be hard pressed to say Rapper’s don’t love talking about their money. Not only is this apparent to the passive listener but, this sort of monetary self-aggrandizement is evidenced in the statistics.

           
           RapGenius, an open source lyrics website providing crowd sourced annotations on rap lyrics, shows the prominence of any words through the history of rap music with their clever algorithm “RapStats. When we search the word "Money"?

Feel free to cross reference ‘Money’ synonyms: Peso, Cake, Bread, etc…

In 2013 the word ‘Money’ makes up for nearly a quarter of a percent of the words used in all of Rap. To give some context, when I searched the word ‘The’ it hits a little under 4% of all the words in Rap. And we haven’t even gone into the similes (See: “I’m out for Dead Presidents to represent me.”) Such a topical frequency specifically in the genre of Rap must have a basis. I mean, you don’t hear Led Zeppelin howling about losing their gold chain to some Lady of the Night (though they do make mention of a woman that ‘drank all my wine’ somewhere in the canyons of California.). And the Beatles most famous line is “Money can’t buy me love.” I guess if you count Tears for Fear’s classic “Everybody Wants to Rule the World” as sort of bridging the gap between White people and Rap via Nas’ “The World is Yours” then you certainly have the makings of a compelling think piece on the singularity of the universe and all. (Get back to me.) But, Just why the genre of rap loves their ‘Stacks’ so much, may be evidenced by the impact of Washington’s take on social class invasion eluded to in his speech The Atlanta Exposition Address.
        
         In the oft referenced Address; Washington called for the emphasis of African American communities to be foremost based in the instruction of labor skills. Namely, menial skills that could be utilized for money making ventures. To Washington this was the most effective path by which to gain civil and social rights. Despite his opposition from such greats as W.E.B Du Bois, Washington’s theory holds as much legitimacy as the cliché: ‘Money makes the world go round.’

And as far as Du Bois goes; he argued that "The Negro Race, like all races, is going to be saved by its exceptional men. The problem of education then, among Negroes, must first of all deal with the ‘Talented Tenth.'" Du Bois believed by educating the masses in matters of social and political upheaval Blacks would gain the equality that they so desperately sought.     

               However, this ideology begs the question of what to do with the ‘Untalented Ninetieth?' Could the masses lacking the skills for educational prowess still have the ability to effect change? Maybe Biggie Smalls said it best in the preface to his classic “Juicy”, wherein he calls out “All the teachers that told me I’d never amount to nothing" Though it is true that the most impactful decisions for the race would be settled with a gavel, would not the raising of said gavel only be facilitated by the collective efforts of a people? To raise the social conscious of the country to a point of taking action Blacks would have to reach a socio-economic standing which would legitimize their cry for equality.

Since the time of these great leaders we have seen the invaluable impact of both ideologies. Du Bois helped fund the NAACP, a group who works tirelessly for the rights of the Black minority. While, Washington founded the National Negro Business League an organization that, in 1915 "influenced . . . national advertisers to use Negro publications in reaching this importantly valuable group of people with its tremendous purchasing power." Who is more influential and important is ripe for debate.

However, an interesting offshoot of Washington’s influence can be seen in the Black community in the vein of financial acquisition. So much so that the mode by which the majority of Blacks were inculcated to surpass social restrictions has always been connected with monetary gain. Jason Chambers makes mention of this ideology in his article Equal in Every Way where he states, “Whites were torn between the need to sell to blacks and the desire to restrict their access to goods that spoke of status or comfort. Blacks, in turn, correctly identified access to goods as both a fundamental tenet of equality and a concrete measure of status and place.

               Rap music, like all music, is nothing if not a direct reflection of the feelings of its listeners and creators. One of the most singular drives throughout Rap’s canon is to find acceptance and attain the ‘American Dream’ that, by all rights, should bear no restrictions from African Americans. And in the modern era this bravado regarding attaining the ‘Dream’ is the single most prioritized issue in rap. As Janet Testerman writes in her thesis The Language of Rap and Wealth regarding the likes of Jay Z and Kanye, "As modern rappers become extremely wealthy, their message has transformed from class discontent and demands for justice in African American communities, to a declaration of amazement at the rapper's ability to escape poverty and fulfill their desires for the American Dream"

Probably the clearest example of this credibility acquisition would be Jay Z. The man known as the ‘Warren Buffet of Rap;’ Hov himself. Specifically, let us examine the Jay Z curated Budweiser Made in America Festival last year. An event that tallied over 80,000 attendees over its two day weekend. During Jay Z’s headlining performance President Obama, who was up for reelection at the time, made a virtual appearance and spoke on how Jay Z is the embodiment of the ‘American Dream.’ 

           A bit of context, if you will; Jay Z began his career by selling drugs in his neighborhood in the late 80s. (just listen to Reasonable Doubt. The whole thing is a Jay Z Drug Co. infomercial, and that isn't a bad thing.)  He accumulated so much capital that by the time he began to explore other professional alternatives, particularly in the vein of making Rap music, he proceeded to open his own rap label; Roc-A-Fella Records. That was over twenty years ago and now the Leader of the Free World is endorsing him. If that isn’t the American Dream than I sure as hell don’t want to go to sleep.

          We could delve into the similarities of Harriet Jacobs’s inability to attain the ancient standards of the Cult of True Womanhood and that of Jay’s own struggles in ascribing to the modern day Cult of True Businessman; how the ghetto does not allow for Black males to get off their feet without getting their hands dirty. But, regardless of justifications, the transition from ‘dope slinger’ to White House affiliate is nothing if not remarkable.
           
            This sort of transition is by no means unheard of in the industry of Rap, in fact, for a time, it was seen as a rite of passage. Rather, Shawn Carter is the epitome and most publicized of this transformation yet to be seen in music. Arguably, this sort of strategy is exactly the one recommended by Frederick Douglass in his work Narrative of the Life of Frederick Douglass when he states “I centered all my efforts in the area of making money.” For Douglass this did not mean selling drugs, but in its own way his efforts were just as illegal.

           Of course, this is not the only path by which a people can attain the ‘Dream.’ Rather it is just the most prominent example on display. And that display of financial excess is important, as Margaret Hunter points out in her piece Shake It, Baby Shake It, when she describes, “The practice of ‘making it rain’ serves several functions toward accomplishing a performance of masculinity. First, it shows that the rapper has access to lots of cash, presumably in larger bills. It is also a public display of cash that communicates his status to others." This display is essential in exhibiting one’s own raise from the ‘rags to the riches.’

           It could be argued that in the modern era there is no more transparent and reflective source of Black culture than the outlet of Rap music. But, even that would be quite the understatement. As Testerman mentions, "92% of  black males knew that Surge Knight was the co-founder of gangsta rap label Death Row Records— only 31% knew that Kwesi Mfume was the director of the NAACP. Clearly a powerful English language for influencing American youth is rap. Jay-Z and Kanye are the most influential Shakespeares of modern urban culture.”

          Just how influential? Well, if you don’t believe that Rap has already crept into every nook of American culture look no further than the VMAs a few months ago. The much GIF’d about ‘Foam-Finger-Fuck Seen ‘Round the World’ (ala Miley Cyrus) is probably the clearest indicator of Rap and ratchet cultures (‘Ratchet’ is a culture now? Ugh) influence on every facet of American society (ages 13-30) regardless of pigment.

Get it gurl

             But, if the materialism in Rap is the direct product of African Americans trying to elevate their socio-economic status within their cultural norms, then with the credibility of acquiring the ‘American Dream’ these rappers have not only raised their own socio-economic standing but also the identity of the entire race. A special responsibility has been placed on these speakers to embody the image, and voice the concerns of, their people wherever they can.

        Some would go so far as to argue that by raising this identity so effectively Rap has taken on not just Black issues, but also American Issues across the board. In fact, even in the Norton Anthology of African American Literature's introduction to the topic of Hip Hop the author states “But… if the themes of hip hop lyrics are often brutally violent, self-destructive, nihilistic… and hollowly materialistic – ‘Gimmie the loot/ gimmie the loot’ one performer blankly repeats – do they not also echo such themes in U.S Culture at large?” 

         The most extreme example can be seen in Kanye West, who uses the cultural power he's achieved to push for further reform and acceptance within various art industries. Kanye has always been a poignant descriptor of the modern era’s obsession with possessions. Back as far as 2004 he pretty much summed up this entire treatise in his Top Ten Hit “All Falls Down” when he raps, “She’s so precious with the peer pressure/ Couldn’t afford a car, so she named her daughter Alexis.” Since then Kanye has gone on to push the boundaries of what a Rap Artist is capable of.

         In Kanye’s infamous BBC interview earlier this year he passionately lashed out against the Fashion industry. Throughout his career Kanye has had an eye for fashion and has, among other credentials interned at Fashion mega company Fendi. His most affecting quote regarding his struggle to break through the world of fashion: “I look around and I say, 'Wait a second. There's no one around here that looks like me, and if they are, they're quiet as fuck.'” West, like his predecessors before him, is trying to break down the walls of racism in a sector that seems as strange an arena for the conversation as the courthouses did all those years ago.

         The question is though, if Kanye West hadn’t established himself as a money viable product would anyone think twice about what ‘The College Dropout’ has to say regarding racism? Clear proof of what Washington said years ago, “No race that has anything to contribute to the markets of the world is long in any degree ostracized.”  It would seem that Rap has become just that: a massive market contributor, breaking down class boundaries; one beat at a time.