Myriad Muzik

Reviews

ALBUM REVIEWS: XXXTENTACION “17”

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“Depression and Obsession don’t mix” this statement plays as more than a lyric, XXXTentacion seems to embody this duality. While previous tracks lean toward ‘screamo Hip-Hop’ his debut album “17” plays as an Alternative Rock album with no resemblance to his breakout single ‘Look At Me’.  As the 19 year old rapper states immediately at the beginning of the album that with this work you are “literally entering his mind” we must first look at the human, or perhaps conversely the music forces us to look at the human. Stereotyped as the ’emo kid’ of Hip-Hop, X ironically shatters the archetypal emo image. As Kurt Cobain, the iconic Grunge rocker of the 90s, embodied the teen angst and aggression of a generation of social outcasts of that day’s youth we saw Kurt as the loser, the nerd and the bullied kid. As the kid physically and emotionally tormented and withdrawn Cobain’s anger seemed obvious. X at both seems to be the bully and the bullied all at once, a quick YouTube search will reveal a kid who has been, before the fame, winning more fistfights on camera than any teenage ‘loser’ ever dreamed of. X’s only L on camera actually comes from a blindside sucker punch. How could a young kid making money on tour (prior to the success of ‘Look At Me’), knocking people out, getting girls, and having access to a level of ‘fame’ most withdrawn kids only wish for be emo? He defies his own identity, a product of the internet generation he, like many musical act’s musical tastes (with access to any genre and any time period), combines polarizing cultures and ideologies.

“Look At Me” is fueled with angst and violent hyperbole but don’t let that sonic sleight-of-hand distract you X’s depression stems from deep roots. The opening track on “17” “Jocelyn Flores” is dedicated to a girl in his life he was involved with who took her own life. Subject matter isn’t the only avenue in which X differentiates himself from his Hip-Hop peers, production on “17” doesn’t reach for the popular producers. There are no club bangers, no lit tracks, no Metro Booming beats, and the only feature is Ohio rapper Trippie Redd. X’s rebellious attitude fits right into his art, he seems to pay no mind to Industry standards. Guitar tracks, some completely acoustic, boom bap drums and dark piano chords are the only sounds the listener will get on this album, and it comes off as pure genius. No 808’s or Hi Hat 32nd note patterns, X keeps his art completely unique and true to self. With the vocals removed some tracks could easily be rider music or, ironically, a forced Drake love song filled with crooning or rehashed Pop rudiments and staples over top experimental production. ‘Everyone Dies In Their Nightmares’ is smooth, excluding the actual content which again is testimony to X’s internal dichotomy, he manages to implement a flow on top of this track that reminds the listener he is still a top tier Hip-Hop artist somewhere in his psyche.

‘Revenge’ plays as half back road blues and half slowed down demonic Pop-Punk. X, consciously or unconsciously, embraces the Punk Rock soundscape keeping “17”‘s entire running time at 22min, songs are rarely even 2 minutes and none ever touch  the 3 minute mark. For the debut of such a troubled and controversial artist he manages to release a truly unique and artistic LP that will surprise many and also convert many listeners who were put off by the polarizing sound and delivery of  tracks like “#ImSippingTeaInYoHood’. ’17’ shows tremendous maturity and growth and also a fearlessness to evolve without hesitation.

Rating 8.9/10

JAY Z ‘4:44’ Album Review

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Hip-Hop is coming of age with every release, a genre rooted in youth culture ironically has it’s first iconic worldwide star in one of it’s elders. JAY Z who most fittingly grew up side by side with the genre, born just a few years before Kool Herc threw his first party, has become Hip-Hop’s Mick Jagger or Paul McCartney. A wide reaching figure that fans of other genres, whether fond of the culture or not, know by name simply off his fame. Even more ironic JAY Z has solidified his status in a culture based on counter-culture impulses and anti-establishment angst by paradoxically, and perfectly, playing the game of capitalism and simultaneously pandering to the pavement, concrete, and streets that are naturally the home of Hip-Hop’s true residents- the people. In this pseudo-politically correct climate most would jump at the chance to criticize such an artist, contradicting oneself is the one thing the masses can attack viciously with a clear conscience today. To the contrary JAY Z brilliantly unveils a unique perspective on a system that benefits tremendously on entire communities being ignorant to the rules of society. On ‘4:44’ JAY touches on capitalism, generational wealth, Hip-Hop culture’s generational civil war, legacy and most honestly his marital infidelities.

In a time where Snapchat, Instagram Live, and Periscope make celebrities personal lives more public than their public lives, cultural heavy weights like Kanye, JAY-Z, Beyonce and others scarcely use these apps. ‘4:44’, the title track, is a lift of the curtain, strategically piggy-backing off the ‘Lemonade’ narrative JAY bares it all in one of the most honest tracks of his career. Self-loathing, regret, and depression are not emotions we are used to affiliating with the gods of this genre, the revelation of JAY’s flaws make him, to most people’s disbelief, appear actually human. ‘Kill JAY Z’ continues this trend, JAY gives the listener a glimpse into the turmoil in his life, a genius’ mind sporadically dealing with his many multi-dimensional dilemmas. If his thoughts of ‘letting the baddest girl in the world get away’ aren’t weighing heavy enough on his mind then the apparent mutiny of his one time mentee, and present day musical icon, Kanye West add on to equate to a mesmerizing mental load. One of the underlying themes in their disagreement that may be effecting their relationship is Hov’s financial philosophy ‘what’s better than one billionaire? -Two. Specially when they’re the same hue as you’, Kanye stepping away from his Tidal deal may have cut deeper than the words he spoke while floating above fans several months prior.

‘The Story Of OJ’ finds JAY Z trying to lead his people out of the darkness, leaving a more thorough ‘blueprint’ than he ever has before. ‘Oh these people is gonna kill me! .. cause the more I reveal me the more they afraid of the real me.” The cost of truth is heavy and at the top of the game JAY no longer needs to equivocate, his view point is clear, so clear musical god Prince sat with him ‘eye to eye’ and they left in agreement. The track ‘Legacy’ plays as a farewell and doubles as the final bullet point on his financial philosophy not just his musical memory. JAY makes it clear that leaving behind wealth to his family and inevitably his people is the true mark of success.

 

Rating: 9.0

Album Reviews: Kendrick Lamar’s ‘DAMN’

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‘New Kung Fu Kenny!’ is more than just a reoccurring motif, Kendrick Lamar has returned and reinvented himself not only on this new LP but on almost every track on this LP. The DJ tag brings the raw feel of ‘DAMN’ closer to the mixtape vibe that is presented sonically. If ‘To Pimp A Butterfly’ was Kendrick reaching for artistic and musical heights in attempt to solidify his status in music then ‘DAMN’ is his attempt to reverse this idea he has been reaching for for so long. On “FEEL” he admits he ‘feels like removing myself no feelings involved’ then in the chorus proceeds to lament that ‘ain’t nobody praying for me’.  Most superstars reach a zenith then immediately shun their new position, Prince’s ‘Around The World In A Day’ is a complete 180 from ‘Purple Rain’s success and this phenomenon is no different in Hip-Hop, The Beastie Boys’ ‘Paul’s Boutique’ is knee-jerk reaction to ‘Licensed To Ill’s nation-wide success. The ultimate irony, that leaves Kendrick honestly thinking ‘DAMN’ is that he has reached a pinnacle that he no longer, with all his creativity and planning, can change with effort, ‘DAMN’s stripped down, chaotic, confusing overbearing approach is immediately accepted by fans instantly upon release.

This allows for a sense of Humility, but ‘HUMBLE’ is another play in the paradoxical approach to this new position. Kendrick is greatly conflicted on almost every track on this album and the title and cover art, which ingeniously plays right into meme culture, showcases the melancholy state of mind Kendrick is in when weighing in on the heavy topics each track tackles. ‘DAMN’ finds Kendrick in his most depressed state on an LP fans have ever heard, it’s clear Kendricks savior complex sombers his mood when accessing the multitude of problems his community faces, while simultaneously still learning and exploring new concepts and theories on race and religion himself. “YAH” and “FEAR” are the most honest examples of this, Kendrick embraces a deeper dive into the holy scriptures of the Bible and theory that he is actually one of the lost children of Israel, a concept that subconsciously may be another attempt at ‘removing’ himself from the fame he ‘lusts’.

‘DNA’ also deals with Kendrick’s true bloodline and what attributes are innate to this and the duality of said attributes that do and don’t align with what he perceives as his higher purpose. A divine plan has always been something inherent in Kendrick’s narrative on his past albums but ‘DAMN’s finale track ‘DUCKWORTH’, Kendrick’s actual last name, is his clear interpretation of God’s divine plan in bringing about his life, all seamlessly spit over  several 9th Wonder laced beats. The production on ‘DAMN’ is far from mainstream, Kendrick’s fame allows him to take risks sonically and artistically that new artists cant afford. In it’s entirety ‘DAMN’ plays as Lamar’s most honest and open LP, the first cry for help from an artist who spent a majority of his career trying to uplift his people and culture and feels slighted in the turmoil that comes with carrying that cross and the responsibility, right or wrong, that comes with attaining celebrity and fame.

 

Rating: 9.1/10

Run The Jewels 3 Album Review.

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It’s hard to believe that Killer Mike’s ‘R.A.P. Music’ LP is basically 5 years old, the album that first brought forth the audacious pair that is now Run The Jewels. Those in the know knew that El Producto producing an entire album for Dungeon Family’s Grammy award winning slept on heavy weight would bring forth something special.  Those that knew didn’t know it would lead to Hip-Hop’s most sought after new duo, in an era where groups are virtually nonexistent and album’s production being entirely overseen by one producer is seen as even less of a commodity, Run The Jewels manage to bring these two iconic staples back from the foundation and into present-day and furthermore the future with shocking ease and much needed acceptance.

El-P’s soundscapes always exceeded the integral polarizing noise-like aesthetic that Hip-Hop sonically set out with as a means of separation and ironically acknowledgment. A student of the ‘golden-era’ El-P has described his sound as Boogie Down Productions on acid, this adherence to the roots of Hip-Hop coupled with progression and growth has lead to El’s beats being the one true sonic descendant of the original East Coast sound, a rightful evolution in a genre where many claim farce in the direction the sound has gone toward since the mid-90s. ‘R.A.P. Music’ and even RTJ2 deviated off the path and even stumbled upon melody on some tracks, especially on Killer Mike’s solo record, El specifically catering to Mike’s southern flow-driven roots, RTJ3 completely strips that down to a skeletal scarcity. Almost to a fault Run The Jewels 3 plays as pure minimalist angst, synths, distorted basslines, thumping 808s, and not much more create a haunting dystopian background. Tracks almost blend together in their scarcity only to be lifted into distinction through choruses, sung hooks, and features. Danny Brown stops by on a indistinguishable muddled bassline on ‘Hey Kids’ and  Tunde Adebimpe chimes in to bring “Thieves” up from obscurity and drill home the message of a much needed lyrical analysis of societal problems. ‘2100’ ft. BOOTS shines some sonic lights as the distorted abstraction of sound materializes as melody and guitar chords string out of the gutter and combine to bring beauty to the listener. Immediately we are plunged back into oblivion on the Trina assisted ‘Panther Like A Panther’, war drums bang and a constant percussion loop reverberates in the background.

Run The Jewels not only push the envelope sonically, bringing early 80s electro-funk 100 years into the future on ‘Call Ticketron’, they push the envelope lyrically and topically. ‘Thursday In The Danger Room ‘ has Hip-Hop’s new dynamic duo dealing with the reality of death and how it effects the psyche of more than those just physically going through it. The album’s finale hosts a bonus track where the crew brings back Zach DeLa Rocha on ‘Kill Your Masters’ a call to arms after an introspective look on the proceeding ‘A Report To The Shareholders’ a message to their aware fans while noticing their stock rise which doubles as a pledge to ‘remain hostile’. ‘Strike while the iron is hot’ seems to be the maxim this crew is going for so we still expect more following the conclusion-filled final statement on the last track, in under 5 years Mike and El have already put out 3 stellar albums and 2 joint effort solo albums so it’s a safe bet to say that Run The Jewels aren’t quite done with their heist yet.

 

Rating 8.3/10

A Tribe Called Quest ‘We Got It From Here…’ Review

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The Beats Rhymes & Life documentary (2011) ended with a slight hint that Tribe owed their record label one more album under their original contract from 1988. This seemed just an optimistic way to end a revealing documentary about one of Hip Hop’s greatest groups. Tumultuous times and social injustice brought the groups members back together behind the scenes and secretly the entire Tribe began recording one last album. These stories always come up with legendary bands or groups in music but with the amazing independent release of Tribe’s musical brother’s long awaited new album De La Soul broke the mold and perhaps sent shock waves through the dormant Native Tongues camp. Jarobi the “and sometimes Y” member of the group, the mysterious figure who always remained a core member of Tribe but was seldom seen and even less likely to be heard ironically was the only one of the four putting out material. Jarobi teamed up with fellow Native Tongue legend Dres of Black Sheep to release an astounding debut under their new group Evitan in 2012- 4 years after QTip’s last release. With one member getting their creative juices flowing and rumors of QTip’s solo album ‘The Last Zulu’ always rumbling their seemed be a small percentage that something tangible may actually appear out of the Tribe camp. After the Paris shootings, and a brief reunion on the ‘Yeezus’ tour, the secret recordings were kicked off in full gear- the heavy social climate of the time would only be a precursor to the social angst that would accompany the moment of the album’s release.

‘We The People’ finds Tribe in their most militant, sandwiched between two other powerful socially conscious songs that kick start the album. ‘The Space Program’ deals with a Sci-fi theory that is all to analogous to gentrification, white-flight, and the Country’s all to obvious cultural divide -highlighted by the controversial election of 45th President Donald Trump only a few days prior.  ‘Kids’ has a surprise appearance by Andre 3000, who seems to be popping up a lot more as of recently, Tip and Dre’ trade verses about adolescence and it’s accompanying naivety. ‘Dis Generation’ has all 3 original Tribe MC’s finally trading bars Beastie Boys & Run DMC style over the beat. Jarobi makes sure you know ‘dude’s nice he’s tight screwed in with some pliers’ he holds his own with legendary MC’s fans have known to kill a track, Busta Rhymes even jumps into the cypher on the second verse to take the track to an even higher level. Busta has always been linked to Tribe and always linked to surprise show stealing verses but on ‘We Got It From Here’ Busta and reemerged Tribe member Consequence arguably steal the album on ‘Mobius’, putting on a clinic for all up and coming rhymers and veterans.

On the production side the album sounds like the logical step forward from ‘The Love Movement’ with a slight mix of ‘Kamaal The Abstract’ and a pinch of Madlib-ness with sudden sample switches and vocal snippets. ‘Conrad Tokyo’ is the only track which has a ‘The Renaissance’ vibe, QTip’s more recent Jazz-based work, which fittingly features Kendrick Lamar going toe to toe with Phife. With the untimely passing of Phife Dawg this album seems to have a somber side, though fans are glad that we get to hear his final work he is not physically around to experience A Tribe Called Quest’s first number one album in 20 years. ‘Lost Somebody’ is dedicated to Phife and has Tip and Jarobi sharing heartfelt memories about one of Hip Hop’s most slept on Legendary MCs. ‘Thanks 4 Your Service’ is the perfect final lap in a journey that has produced art that will live on forever. The titled, picked by Phife, but understood by none of the members can be taken many different ways and will never actually be deciphered but whatever the meaning truly is, we are indeed thankful 4 their service.

 

Rating 9.4/10