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Reviews

Jay Electronica’s deceptively dynamic debut. ‘A Written Testimony’ album review. @JayElectronica

March 20, 2020 by Dan Stuckie Leave a Comment

Having one of the most mysterious personas in Hip-Hop Jay Electronica remains on brand with his debut. Announced out the blue only 40 days prior and released during what some propose are the end times the enigmatic MC shocks, pleases and perplexes with his first official LP. Jay Electronica garnered massive hype among Hip-Hop purists in 2007. The allure continued to grow with is sporadic releases and growing Hip-Hop connections, befriending heavy weights like Just Blaze, Erykah Badu, Nas & P. Diddy over the years. The hype reached a fever pitch in 2009 when super producer Just Blaze leaked 2 tracks they had worked on, and perhaps never intended to release, Exhibit A and Exhibit C. Both tracks took wings and spread throughout Hip-Hop sending a shock-wave through the culture unlike anything seen before. Jay Electronica’s reclusive and mysterious persona only added to the bubbling attention. When such attention is garnered fan’s naturally want more from the artist, Jay Electronica gave less, a lot less. The standard industry rules did not seem to apply to him, the rookie hype and attention was simply left to exist, Jay did not seem inclined to capitalize on it at all. The hype continued to grow for his debut, since Exhibit C a decade passed with only a few sporadic releases and many release dates announced and pushed back and then subsequently cancelled.

With immense hype it is almost impossible to live up to expectation, expectation that is not based on anything tangible but a collection of many individual fan’s imaginations visualizing a successful version of a vague abstraction. Fan’s want something perfect and envision a perfect product but this vision is based on nothing that already exists and simply only resides in their minds. Very few options remained on releasing an album that could live up to impossible standards, on ‘The Blinding’ Jay Electronica references releasing a project ‘just so y’all can pick me apart’. Another obstacle was the overlooked fact that Jay Electronica, though on a major label with major connections, is not a mainstream artist, when creating from his core he is more a writer of incredible vision, an astute analyst and pundit, not a commercial artist set for crossover success. His previous releases were very unconventional and abstract, many neglecting standard song structure, choruses or even time length. This was sure to factor in while releasing a debut album for listeners who only know of Jay because of the hype and not the music itself. They surely would be caught off guard by an LP of world music loops, no drums, obscure film snippets, religious lectures and no choruses. Like a magician pulling off an advanced ruse the much needed sleight of hand comes in the form of Jay-Z. Jay-Z is featured on 8 out of the 10 tracks and his purpose serves many functions, his universal appeal makes an otherwise abstract album acceptable to the masses on one hand and on the other he serves as a distraction for all the potential hate due to the insurmountable hype. The criticisms that have popped up are not with the lyrics, beats, track listing, or anything else, they are with the fact that Jay Electronica’s long awaited debut album is a group project with Jay-Z, one of Hip-Hop’s most celebrated artist ever. In the Tribe Called Quest documentary ‘Beats, Rhymes, And Life’ Chris Lighty described the function of Phife Dawg in relation to Q-tip was to reach the streets if Tip was “on the moon”. On Watch The Throne Kanye plays a similar role over-emphasizing his simplistic and immature side as well as his humor for mass appeal while Hov is more philosophical, introspective and self-aware .

On A Written Testimony Jay-Z takes his turn playing the role of the social anchor. Jay Electronica in turn takes his esoteric style further into space, literally referencing aliens and other of the more fantastical elements of religious texts and NOI lore. Jay Electronica’s fingerprint is over the album a lot more than listeners consciously notice, his role as producer is overlooked, the overall feel and content is just as much Jay Electronica as are his verses. Producing 6 of the 10 tracks the criticism of not being on his own debut album enough is less accurate, from the overall tone, Jay-Z’s subject matter, samples, audio snippets, loops and release Jay Electronica is felt on his debut album more than most major label artists are. Jay Electronica’s presence on his album mirrors his persona in Hip-Hop, he is felt more than seen. Most major label debuts have every popular artist featured on every big song and high profile producers producing songs for the sole purpose of making a commercially successful product. Contrary to that Jay Electronica does not cater to any sound or formula. Jay Electronica self-produced a signature ‘Jay Electronica album’ and simply had one guest artist come on board for the purpose of making his unorthodox art easily digestible. When looking back at the work Jay Electronica did release in the years since Exhibit C it’s rare to find a track with more than one verse, or even a chorus. His debut is as true to self as all his previous work, the only addition is having Jay-Z feature to push the songs to ‘standard’ length and to be an anchor for listeners who are lost listening to music that is far from conventional.

Musically A Written Testimony has the fantastical feel of a classic Disney score, Jay flawlessly mixes dusty loops of world music with abstract sounds and percussive minimalism. ‘The Ghost Of Soulja Slim’ kicks off the album, starting with a genius verse by Hov, fans still have to wait to hear Jay Electronica. By the time Jay Electronica comes in the song is half over and his verse is littered with double entendres referencing his label, the NOI, Tidal and Black Panther. A majority of the outside production is featured on the next track ‘The Blinding’ (produced by Swizz Beats, Hit-Boy, AraabMuzik and G. Ry) which features a very conservative use of Travis Scott in a two part track. The first half ends way too early leaving fans wondering why they did not extend the beat and have Hov and Jay trade rhymes longer. The second half gets introspective where the listener gets a glimpse into Jay Electronica’s thought process and fears. Alchemist and No I.D. also give production to the album but it’s so closely in the style of Jay Electronica that they just chop up loops and leave them untouched as finished instrumentals. ‘Ezekiel’s Wheel’ finds Jay delivering his most fiery rhymes over obscure clicks and clanks for percussion. Hov at this point in the album takes a backseat and only does the hooks if he even is on a track towards this last leg of the LP. The final track ‘A.P.I.D.T.A.’ concludes the album and strikes an emotional chord, with production by Khruangbin the overall feel is emotive, dreamy, and melancholy. Jay Electronica’s verses are delivered like poetry, a page in his diary detailing the loss of life and the impermanence of our physical form. A perfect final track for an album that perfectly deals with immense attention, giving a product that both answers and retains the mystery.

Rating: 10/10

Filed Under: New Releases, Reviews, Sub Features Tagged With: A Written Testimony, alchemist, Jay Electronica

Mac Miller’s somber posthumous album ‘Circles’.

January 21, 2020 by Dan Stuckie Leave a Comment

The first posthumous album by the late Mac Miller hits with an ironically optimistic somber tone. Originally intended to be a companion album to his 2018 Swimming, Circles was well into the recording process when Mac Miller’s untimely death occurred. In contrast to the late XXXTENTACION’s two haphazard sketchbook-style posthumous LP’s Circles flows and feels like a complete and cohesive artistic offering. Producer Jon Brion, who was originally working on the project, completed the album based on his ‘time and conversations’ with Mac Miller. With that framework and solid foundation Circles flawlessly flows, originally the sister album to Swimming the concept was ‘Swimming in Circles’ and thatoverall tone and content seeps into Circles.

The album is ironically somber, the soundscape crafted by Jon Brion at times purposefully does not match the melancholy state of mind in Mac’s lyrics. Themes consist of overcoming obstacles, mental health, optimism, the fragility of the mind, and the finality of life. Heavy topics almost all entirely sung, only 2 tracks boasts Mac’s traditional Hip-Hop delivery. Mac Miller wrestles with himself throughout the album detailing isolation, self destructive tendencies, and depression stating ‘if only I can get out of my goddamn way’ on ‘Good News’, the lead single off the album.

However the evolution of Mac Miller comes full circle on Circles, his carnal and hedonistic traits completely faded away and whats left is a deep introspection and artistic expansion. ‘I Can See’ shows an artist too aware of life’s big questions at a time eerily close to when he would transition to the next phase of existence. The transcendent feel is felt on the entire album ‘Everybody’, a cover of a 1972 song ‘Everybody’s Gotta Live’ performed by Arthur Lee, continues Mac’s existential examination. With a career spanning almost 10 years in the public eye we aren’t sure if another album from Mac Miller will ever see the light of day, as many unreleased songs are sure in the vault, but with Circles Mac’s artistic and spiritual journey comes full circle and reaches a much deserved poetic close.

Filed Under: New Releases, Reviews, Sub Features Tagged With: Circles

Xxxtentacion’s ‘Bad Vibes Forever’ Album Review. @XXXtentacion

December 31, 2019 by Dan Stuckie Leave a Comment

Due to his untimely death Xxxtentacion’s most recent posthumous album Bad Vibes Forever seems both more incomplete and complete than his first posthumous release Skins. Showcasing more of his range over an expansive 25 tracks Bad Vibes Forever is a vast compilation of incomplete sketches. Both posthumous albums cannot be critiqued with any validity as they were never meant to be heard in the form they were released. Over the 25 tracks on this LP most play as demos with the hooks and choruses recorded as most likely references and with barely any finished verses laid down. The first 3 tracks ‘Ex Bitch’, ‘UGLY’ and the title track ‘Bad Vibes Forever’ featuring Pnb Rock and Trippie Redd all display X’s unique versatility with sonic soundscapes very foreign to Trap and Hip-Hop. Acoustic guitar melodies and singing come as easily to Xxxtentacion as his traditional rapping. ‘School Shooters’ boasts his dark aesthetic and Screamo sensibilities. Lil Wayne, like many other big guests on the LP, stops by to pay his respect more than collaborate, perhaps a return of favor for Xxxtentacion’s contributions to his ‘Don’t Cry’ on Tha Carter 5. The incompleteness is felt as X begins his verse screaming only to have it fade out suddenly, a unique glimpse into his creative strategy and recording process. Many tracks apparently were recorded to in segments intended to be revisited later to be fully finished. Xxxtentacion seems as a guest on his own album mostly delivering hooks, the finished aspect of his recording process, only, as the ‘featured’ artists lay down all the complete verses. Rick Ross also stops by to pay his respect and strengthen the Florida connection.

Bad Vibes Forever is a great offering for the fans, a rare glimpse behind the controversial icon’s thought process and constant recording. Having just recently released his album ” ? ” before passing away it is shocking to see how much material he was already working on for his follow up albums. X’s artistic direction was miles beyond his peers, from his eclectic sensibilities and influences to his unorthodox delivery and flows. Xxxtentacion truly is an artist that found his true voice, integrating his surrounding environment -not limited to solely music- and filtering it through his being to produce original art that connected with a diverse and large mass of listeners and fans.

Rating 7.0/10 (rating not true opinion of album as the project is not how the artist intended but instead a version completed for the fans with the best intentions to hold true to his vision.)

Filed Under: Reviews, Sub Features Tagged With: Trippie Redd, xxxtentacion

Kaytranada ‘BUBBA’ Album Review. @Kaytranada

December 17, 2019 by Dan Stuckie Leave a Comment

Kaytranada’s vast knowledge of Funk, Soul, Disco and R&B shines through on his latest release BUBBA. Abruptly starting with a 70’s style drum break coupled with tambourine and bongos, ‘DO IT’ the album opener sets the tone. His signature basslines, funky drums and lush chords are all in effect while sample stabs chime in and out on this instrumental opener. ‘DO IT’ ends with a Pete Rock-like surprise interlude fading in and out giving a glimpse of rare Funk and a hint at Kaytranada’s deep crates. ‘Gray Area’ featuring Mick Jenkins takes the album to the late night dance floor vibe, with mysterious chords tucked back into the mix and another epic bassline groove with space age synths floating above everything else. The entire atmosphere of BUBBA is subtle and funky, the mix seems to give everything the feel of being in the background, a sort of hazy party with a discreet, or entirely invisible DJ. ‘10%’ featuring Kali Uchis teases the ear of anyone raised on Disco and Funk with a split second nod to First Choice’s ‘Love Thang’ s rollerskating percussion breakdown in the opening moments with the open break left unaltered. Moments like this showcase Kaytranada’s proficiency in crate digging and sampling, a skill equal to his knack for original melodies and chords. The list of amazing features continue as the album progresses, Masego, VanJess, Estelle, Goldlink and more all contribute to the LP. ‘Scared To Death’ is another instrumental track that boasts Kaytranada’s DJ skills, playing out almost as a DJ set with filtered loops mixing in and out throughout it’s entirety. BUBBA is everything a fan can expect, space age R&B fused with Disco, House, Funk, Hip-Hop and Soul. Another stellar release from one of music’s top producers.

Filed Under: New Releases, Reviews, Sub Features Tagged With: BUBBA, Estelle, Goldlink, Kali Uchis, Kaytranada, Mick Jenkins, Pharrel Williams

Von Pea ‘City For Sale’ Album Review. @VonPea

September 11, 2019 by Dan Stuckie Leave a Comment

As artists grow and evolve the greatest subconsciously add the best elements of their previous work to their new efforts. ‘City For Sale‘ takes the neighborhood concept of ‘Brooklynati‘ into reality if only as a background concept as opposed to a full foreground concept album. ‘Here Come The Neighborhood’ opens the LP, a title packed with the innate subtle wit Von Pea is known for. “I’ve only been a part of one Minstrel Show/ that’s why we still are slept on” – lyrics referring to Von Pea’s skit appearance on Little Brother’s 2005 LP- rolls into the groove heavy ‘Pity Party’. The raw Soul and Funk loops of the opening tracks mask the melancholy, a catchy hook over a dance-able bassline and break-beat, combine the mood and content of his ‘Duly Noted.‘ EP with the up beat sample Soul chops of ‘Moonlighting‘.

Fully self-produced -and credited to ‘The Von Pea Ubiquity”- “City For Sale” boasts a producer whose ear for samples rivals the best, the lush Jazzy Soul of ‘Doorbell’ not only flows like a rare Q-Tip found loop on the hook but transitions into chops in the verse akin to 9th Wonder or Alchemist. Von Pea’s signature bat crack is only heard once on the album, perhaps to emphasize that every track here is laced by the MC. ‘Well As I Should’ eases in like a Pete Rock instrumental interlude with stuttering needle-drop loops of Funk featuring the underground legend Homeboy Sandman. ‘Let’s Be F’real’ has a dusty groove of gritty guitar riff chops and a crunchy drum break with live instrumentation sneaking into the hook. Coupled with ‘Round The Way Girl’ Von tells the tale of chick whose home situation meshes a little to much into his current situation. The transition of similar subject matter unfolding from one track to the next is a subtle effect rarely used on LP’s that aren’t as thought out as ‘City For Sale‘, an element first spawned on his debut solo LP ‘Peas Gotta Have It’- another positive feat subconsciously carried over.

The Flex bomb-worthy ‘Frenzy’ comes in boasting nods to the late great Tupac and Notorious BIG jam packed with witty lyrics, humor, punchlines and an instrumental made for such lyrical slaughter. If Little Brother is the little brother of A Tribe Called Quest and the whole Native Tongue collective then Von Pea is their even younger cousin, ‘The Norm’ taking a sample from the vault of ATCQ and covering content much needed in an era of mass gentrification is a stand out lead single. Tanya Morgan counterpart Donwill shows up on ‘Wild’ and a dance heavy House-like outro concludes the instrumental to this track. ‘City For Sale‘ ends with ‘No Aware For The First” a lyrical clinic, Pea displays bars that will be dissected over numerous listens, a great victory lap for an LP with no missteps in 11 self-produced tracks.

Rating 9.1/10

Filed Under: New Releases, Reviews, Sub Features Tagged With: Tanya Morgan, Von Pea

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Myriad Muzik is a music community here to bring all genres and eras of music together. Quality art has no division or expiration date and we work constantly to connect fans and creators together who share the same values and perspective. We offer “The Best Music. Beyond Labels.” for other inquires email us at MyriadMuzik.gmail.com.

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