The first thing that I need to tell you in regards to this album is that it’s never easy to follow in the footsteps of a legend. The second thing that I need to tell you is that this album may be the best treasure trove of “Ummah era” beats I’ve ever heard, and for that alone I could give the album at least a 7. The beats that are on this album are very laid back and very omniscient of the work that Jay Dee did with Tribe and Pharcyde. The one thing that I love about Jay Dee is that he had the ability to make beats seem so effortless, and at the same time sound so complex.
Illa J is one of those cats that can rhyme and sing (as Phonte would say “Sometimes I rap, sometime I sing like the Moody Blues), and it really makes for an interesting mix. “We Here” is the first track that really kicks things off with a sly and smooth beat with Illa going off like a pistol on this beat. I’ve heard a lot of people critisizing Illa J’s flow but I don’t think that’s necissary because this kid definitely has some major potential. “R U Listenin’?” is a serious highlight for the album that has Illa J and Detroit veteran Guilty Simpson exchanging verses over a futuristic synthy beat. Guilty completely kills this track (“I cheef cheeba/sleep with divas/and serve these whack rappers like pizzerias”) and outshines Illa J a little but not too much. Frank Nitty (of Frank N Dank) gives some great insight into the Yancey family and very well may convince you that they are all aliens and Affion Crockett provides some comedic relief and spits some rhymes as well. The beats (as I’ve said before) are great, and this album may be one of the best compilations of ummah era Dilla beats I’ve heard.
I have seen a lot of people giving this album a pretty low rating for the quality that it actually has. I think that a lot of people are over estimating Illa J because they expect to hear the next Dilla. Illa J has some serious potential, and I wouldn’t be surprised to end up seeing him on the Stones Throw roster doing some serious damage in the future.
In a year that brought us the Olympics (Michael Phelps is just starting to dry off I think), a new President Elect (please get rid of the BCS like promised), and endless amounts of slightly above average rap music (yes little wayne, that means you), I present to you the most definitive end of the year list, EVER!
TOP TEN ALBUMZ!!!!!!!!!!!!
Cut Copy “In Ghost Colours”. In a year littered with disappointing releases from formerly impressive acts (see Cold War Kids and Kings of Leon), Cut Copy managed to resurrect their careers with the stellar release of In Ghost Colours. Not that the act was dead, it is just that Cut Copy hadn’t released an LP in years and seemed destined to fall off the map, but they’ve managed to do just the opposite in 2008. Touring around the globe and making people of all ages dance with their 80’s styled synth pop music, Cut Copy is here to stay. Highlighted by booming tracks like “Lights and Music” “Unforgettable Season” and “Hearts On Fire” In Ghost Colours makes a lasting and overwhelming impression on the listener. It’s hard to say enough good things about an album this polished; all that’s really left to note is that if you have not yet heard In Ghost Colours you are either 1) foolish or 2) in denial for not admitting to option one.
Vampire Weekend “Vampire Weekend”. Can Vampire Weekend save American Music? Well it’s hard to say if it actually needs saving, but the boys from out East do a mighty fine job of making sure we have some great music to listen to. From first track to last, the debut effort is the easiest to sing-along to, easiest to bob your head to, easiest to love album of 2008. Accessible and appreciated by people who don’t usually cross into the “indie” genre, this album was probably the most listened to of any on the list. A perfectly tight live performance and some enjoyable b-sides floating around the internet, Vampire Weekend made more headlines than most acts this year…and for good reason.
Hercules & Love Affair “Hercules & Love Affair”. It’s hard to write a summary about an album that just so weird, well, as far as genre goes. This, let’s call is disco-pop, album surprised many fans of their two track ep released a long year before this self-titled debut. Adding vocals, minimal yet effective samples, and an overall tempo much higher than that of the 45, Hercules & Love Affair delivered a delightful and exotic mix of dance and minimalism. Singles like “Blind” and “You Belong” are immersive tracks that repeat while at the same time build and end up exploding in the listeners ears. The opposite of Vampire Weekend, Hercules & Love Affair may be the hardest to love, but it’s certainly worth the trouble of getting use to this fine wine.
Of Montreal “Skeletal Lamping”. I’m not gonna mention the album here, okay I lie. The album is great, go listen, yadda yadda. Praise needs to be given; however, to the work that Kevin Barnes has put in surrounding the album. As I write this I’m wearing an Of Montreal t-shirt, no big deal, except for the fact that this was my Skeletal Lamping album too. The insane packaging offers that Of Montreal did for this release was a fun and different take on the usual four page booklet and otherwise boring cd case. As Barnes suggested, the listener can “wear” the album around, and I’m doing just that. Along with an Album release comes touring, and the Skeletal Lamping tour is nothing short of absolute madness. From faux-gallows to giant nerd rope looking characters, the show is a non-stop romp though the new album, old favorites, and tones of covers (I never live “Smells Like Teen Spirit until the played it for an encore). So yes, Skeletal Lamping is an amazing album that again adds to OM’s expansive and impressive catalogue, but this time around it’s everything else around the release that impressed this listener.
Girl Talk “Feed The Animals”. Any passerby may mistake a Gregg Gillis ran concert for plenty of other shows. I’m willing to bet Kelly Clarkson never had as many people screaming “BUT SINCE YOU’VE BEEN GONE” at one of her own shows as this summer when Girl Talk took the stage of various music festivals. But If that same person gets stuck on the corner of a street waiting for a light to change he might also note the immediate change in tune, the obvious draw for this mash-up masterpiece. Feed The Animals is more of a lesson in musical history than it is anything new persay, but that doesn’t mean it deserves any less credit. I have been waiting all my life to hear “I wish that I had Jesse’s girl” and “but I’d rather get some head” plastered together, and the day has finally arrived. Sure, a bit unconventional and what many people consider a complete sham of what real music is, Girl Talk delivers one thing that no other band on the list can: pure, and often (thank god) excessive fun.
Department of Eagles “In Ear Park”. Never a fan of any Grizzly Bear effort, I was skeptic before I first played Department of Eagle’s In Ear Park. The Second the album ended however, I immediately opened my MacBook, opened iTunes and easy and conveniently accessed the iTunes Store (pay me Apple, you owe me big) to try and find more material from this group. The first four tracks off of this album are the most carefully sounding songs I’ve heard in along time. Perfectly hollow and echoing music is accompanied with a scratchy vocal lead that makes for a song that could seemingly transcend time. “Teenagers” is the perfect example of this, with the slow strings, mellow piano, and vocals that can easily be confused with a sample from any early twentieth century song. The perfect record for this time of year, In Ear Park is like carefully knitted scarf around your neck- warm and immersive.
Fleet Foxes “Fleet Foxes“. High hopes from the Sun Giant ep, Fleet Foxes did not disappoint on their first full length album. Fleet Foxes features the sounds of four perfectly harmonized, beard adorning, flannel loving Seattle natives. The record can go by fast if you don’t pay attention, especially in the early-going when album highlight “White Winter Hymnal” builds more a mere 2:27 before faintly turning into the expansive five minute “Ragged Wood.” More surprising than the achievement of this great album may be the live sound these guys create. Seeing them this summer at Pitchfork Music Festival I was weary of the terrible acoustics of an outdoor show on a rainy day dragging down their beautiful sound, but Fleet Foxes still delivered and amazing performance, showing the truly unending potential this group has.
Dr. Dog “Fate”. Fate may be the forgotten, or rather the undiscovered, great album of 2008. Taking from the play book of many sixties and early seventies era rock bands, Dr. Dog put together a sound that’s not too Rock and not too Indie but is instead a perfect blend of music and vocals. “The Breeze” barely missed by top tracks of the year list thanks to the layered music, clever vocals, and effective use of those wooden block instruments you always use to use in grade school and thought were probably pointless. That aside, the Fate of this album has already been decided (terrible pun, my bad), people who don’t know about these guys already didn’t seem to hear much of this album in 2008. I hope to see Dr. Dog on plenty of year end lists, gaining exposure for this excellent record.
The Walkmen “You & Me”. Styled much like the already mentioned Department of Eagles album, the Walkmen’s “You & Me” is an empty and yet beautiful lp. When used effectively, You & Me is dominated by guitars that sound miles away, and drums that come to the foreground and paint a picture of fall evenings done by. Look no further than “On the Water” and you will hear exactly what I mean, the guitar draw out and the music all slows while the listener is engulfed by the echoing cymbals. This formula is used on most every track for this album, not necessarily a bad thing for how well it is executed.
MGMT “Oracular Spectacular”. The Justice of 2008, MGMT have been remixed, edited, and covered by more acts than anybody else this year. Not a big surprise though for any listener of Oracular Spectacular. Tracks like “Electric Feel” and “Time To Pretend” just beg to be chopped up, and praised by all patrons of the dance floor. Plenty has already been said about this duo, but I’ll just have to reiterate what the world has already agreed upon- MGMT pretty much rocks, on tons of levels. Oracular Spectacular never lets up from the first synth hit to the last drop, and the countless number of re-works won’t allow for this album to be forgotten anytime soon.
The date was November 17, 2008, and Deerhunter were in Minneapolis with their friends in Times New Viking and Disappears to play a blissful set at the Triple Rock. I was there to witness the magic and see how huge Deerhunter really sound in person. Here are some photos that I took during the night; click on one to access the whole photo album.
Posted in Music Reviews with tags the bronx on Thursday, November 20, 2008 by Ryan Buege
There’s something that I’ve always liked about this band; the weird thing is that I never really understood exactly what it was that I truly admired until I gave their new album, their third self-titled full length, a couple of spins. With III, the Bronx has released an unbridled statement of hardcore ‘n’ roll bliss that proclaims their domination of their game.
This is an an album that bristles with a kind of haughty swagger that is rarely seen contrasted so beautifully with a riotous, jagged backdrop of hardcore punk dissonance. At any one time, you’d be hard pressed to decisively call the sound either “hardcore punk” or “rock ‘n’ roll”, and I think that’s where the beauty of the execution of this album lies. Moving from Kyuss-reminiscent whisky and weed soaked grooves to anthemic Snapcase-esque rhythms with ease, The Bronx have created a seemless album of the most enjoyable and likable good ole’ fashioned hard rock that I’ve heard in a long time.
On The Bronx’s third full length release, they deliver an exceptional collection of songs that will bring a confident smile to your face no matter your mood. III embodies the true rebellious spirit that has been accrued over years of hard earned experience in the the punk rock underground; it oozes with songs that are massive, groovy, catchy, and heavy as a steamroller. After an excellent sophomore release, The Bronx have once again raised the bar that only they set for themselves. Cheers to them for writing a record that defies the genres to create something that everyone can enjoy – something that rocks!
The date was Saturday, November 15th for experimental metal (underground legends) band Today is the Day‘s headling performance at the Turf Club in St. Paul with local crust/grind stalwarts Ambassador Gun and psychedelic doom prodigies Count Vesuvius. Despite being vastly underattended, the opening bands were AMAZING (..seriously, check them out)..) and the main set was a brilliant showcase of Today is the Day’s most recent album Axis of Eden set to feature film directed by David Hall. For nearly 2 decades, Steve Austin and Today is the Day have been redefining and expanding the definition of music, and even the performance that night redefined how a metal band can present a new album to its audience. The videos played throughout the performance were shockingly realistic, stark, and beautiful – the perfect mindfuck to complement the music of Today is the Day, a band that has embodied and defined this imagery ever since their early days on local AmRep.
The world of psychedelic disco house has been heating up as of late. Kings of new-era mid tempo disco DFA and their partner record company Death From Abroad have been busy as of late, releasing singles from new and old acts alike. Starting with the new guys on the block, Runaway, Panther, and Yacht have all releases 45’s within the past few months and I’m just now discovering them (thanks iTunes Store (not)).
Although Yacht has releases various material on other labels, their first release on DFA is much different than material from their past. Most fans have heard “See a Penny” a fun electro-pop tune, but their new single “Summer Song” is a more low-fi, hand-clapping, droning vocals mix. Supposedly a track dedicated to James Murphy and the LCD Soundsystem crew from when the two acts toured together, “Summer Song” may come as a surprise to longtime Yacht fans, but the release has definite potential for fans of other acts from this great label. Runaway, the work of Jacques Renault and Marcos Cabral, have released their first single on DFA as well. “Brooklyn Club Jam,” the electrifying seven and a half minute romp, starts as a minimal disco dub and then transforming into an up beat club banger much the likes of anything heard in Brooklyn these days (how convenient). The duo has been getting play around the globe with this hit, most notably Lindstrom and Prins Thomas’ essential bbc 1 mix, while other labels have been taking note as well. Runaway has released singles on Cosmo Vitelli’s I’m a Cliche label and European heavy weights Rekids company as well.
As for the recent releases from prior acts, Mock & Toof, The Juan Maclean, and Holy Ghost have all issues great tracks.
It’s hard to give enough praise to the New Mock & Toof effort “Underwater.” What starts as a pretty basic disco track from any other DFA act, Underwater soon takes off thanks to vocals that sooth more than blow away. The music slowly bends and builds in the six minutes, creating landscapes that relax and at the same time make you want to get up and grab the girl next to you and boogie the night away. Turning the corner at the three minute mark, Underwater takes on an entirely new element- the piano. After a short bit of silence and ambiance, the piano comes back and grabs the listener to create a beautiful and amazingly overwhelming sound that never looks back. Mock & Toof have done it again with this track, and one can only hope a full length will be released eventually instead of the usual two or three track 45s.
The Juan Maclean, busy as usual between full length albums various 45s and Djing constantly, released “The Simple Life” with the help of various friends. Nacy Whang, long time DFA partner and part of LCD Soundystem, lends vocals to the track that spins at a consistent tempo and rhythm. A fan of any other Juan project will find this track to be expected, and a nice layover until the release of his next full length.
Mentioned earlier as well, Holy Ghost has been busy, or rather their fans have been busy. Recently releasing a 45 with two great remixes on it, both remixes of last year’s surprise hit “Hold On.” Mock & Toof lend their hand to both mixes, a remix and a mod mix, both tracks are dance ready and worthy of play for any fan of the original track. On another note for Holy Ghost, Cut Copy‘s latest single is slated to have a remix of “Hearts on Fire”, the horn-friendly track off of their 2008 release In Ghost Colors.
Well for now that’s all I have in DFA related news, more should be expected when it comes about. Hopefully next time I’ll have some new Shit Robot material to talk about but that only seems to be on a year-to-year basis, so I’m not getting my hopes up just yet.
mp3 of these are hard to come by so just hit up the links ive got on their names to find the tracks mentioned. You can find most of the tracks on iTunes as well if you use that or you can buy the 45s from the DFA webstore, for all you vinyls lovers out there.
I have to start this post off by saying that this album is very close to me. This Philadelphia trio changed my entire perspective on music with their sophomore outing Violent By Design. The first time I heard Vinnie Paz, Jus Allah & Stoupe I was instantly hooked and I needed more of their music like a fiend needs rock. I have to say that this album can not and does not stack up to Violent By Design (because in my opinion nothing really can), but next to Servants In Heaven, Kings In Hell it might be their best work since. I do feel however that Jus Allah might have fallen off a little bit since the VBD days. I had heard about Vin and Jus being in the studio again with that same dynamic as VBD and was overcome with joy, I just didn’t get that feeling when I heard Jus this time.
Stoupe’s production on this album is some of the most impeccable work he has done. I also want to mention that Vinnie Paz is on a completely new level when it comes to rhymes. I remember on VBD (Even though I still love Vinnie on that album) it would seem like Vinnie would be rhyming about nonsense, on this album that is not the case. Vinnie’s verses are full of metaphors and similes like you wouldn’t believe.
the first track on the album is “Deathbed Doctrine” and Vinnie comes out right away spitting fire over the impecable cuts of DJ Kwestion and the hard hitting murderous Stoupe beat. If you listen to the track you will know what I mean about Jus Allah, he still has some good rhymes but his flow has totally changed from the VBD days. “Deadly Melody” is a track where Vinnie really shines when it comes to the metaphor aspect: “I’m your worst nightmare/the reversal of Christ here/the only thing you seein’ is a shadow and knife glare… Y’all are pussy, watered down like a light beer/I don’t run from it I embrace it I like fear/Call me Texas Chainsaw Massacre I invite fear/Call me Leatherface motha fucka’ I’m right here/Call me any other person that’s an evil killa’/Pazienza Pontius Pilate they call me Jesus Killa/Call me Richard Ramirez because he spill venom/I’m Mark David Chapman before he killed Lennon…”. That trend continues for the rest of the album, and although Jus doesn’t sound as “fluid” as before he doesn’t greatly affect the album in a negative manner. The shining jewel of this album is “Trail of Lies“, which in my opinion might be Vinnie & Stoupe’s shining moment as a duo (Jus is not on this track). The beat on this track is mesmerizing and the sample is absolutely beautiful. Vinnie goes off on the current trend of fathers managing their daughters and “pimping them for cash and money” and “what’s gonna happen in like 50 years, when Hannah Montana turnin’ into Britney Spears?”. If there was one reason I wouldn’t watch TV and listen to the media at all it’s because of this song, it’s very on point and very powerful.
This album is very good, like I said before Jus doesn’t really sound the same at all, but it doesn’t throw away the replay value of this album for me. This is definitely an album worth picking up and giving a really good listen to. Vinnie Paz does some of his best rhyming to this date, and Stoupe gives an excellent performance behind the boards.
In Flames, All That Remains, Gojira, 36 Crazyfists
Wednesday, November 12, 2008
Maplewood, MN at the Myth
The temperatures may have finally taken a dip here in Minnesota, but none of that mattered last Wednesday at the Myth in Maplewood, as In Flames and their touring partners set the venue ablaze to some roaring metal classics. While I have nothing good to say about my experiences with the overly cautious asshole security guards that blanket the Myth, I was highly anticipating seeing some of the bands playing that night, especially Gojira, so my spirits couldn’t be killed.
In Flames sets off the mosh
It had been nearly 6 years since I had last witnessed a live set from 36 Crazyfists. In April of 2002, I was lucky enough to attend their album release show for their debut Bitterness the Star when they opened for Chimaira, and I saw them again later that year at the Warehouse in La Crosse with Candiria. At that time, I had been really impressed by the dynamic nature of their music, and they really struck me as a band that had limitless potential. Fastforward 6 years, and this is still the same band that I saw in high school. Although they might not have progressed in the ways that I hoped and thought they might, they still play an extremely catchy brand of melody laced metal and punk that has more to do with bands like the Deftones rather than Atreyu (despite what some of their fans might lead you to believe). I only wished that they had played more songs from their older albums because these were the only ones I knew, but sadly I was only familiar with about 1 of their songs that they played.
Gojira's Duplantier brothers reverse the rotation of the planet with their groove
Gojira came on stage next. These guys have been favorites of mine for quite a while and they are just coming off the release of their colossal new album The Way of All Flesh so I was really anticipating the show. On Wednesday they brought the massiveness of their new songs to an entirely new level. At the beginning of their set, Gojira sent the crowd into a frenzy that didn’t stop until they left the stage. Their heaviness is something that is almost hard to define until you hear it; while Mario Duplantier’s drumming is mind-boggingly technical and the riffs are devastatingly heavy, a psychedelic, unnerving melody takes underlies the heavy barrage and entrances you. These French masters of progressive death metal easily put on the best performance of the night. I strongly suggest to any fan of music – especially metal heads – check out these guys on youtube or at their myspace.
All That Remains came out next and gave the worst performance of the night. In all honesty, I don’t see anything redeeming about this band; their singer is a self-indulgent doucebag who didn’t even know what town he was in, and the scrappy band sounds like a trend-hopping bastard version of every popular style of metal from the last 4 years. To me it seemed very amusing that a second rate Gothenburg metal ripoff band was playing direct support to the Swedish death metal innovators of In Flames. Thank God they weren’t headlining or some bullshit.
It was my first time seeing In Flames live, and they certainly made it worth my wait. Their set was surprisingly short, but it was packed tightly with some of their best songs from their catalog – both old and new. While it was most fun to headbang to the likes of “Pinball” and “Behind Space”, newer anthems like “Cloud Connected” and “Take This Life” drew the biggest response from the crowd. Anders and the band were full of energy and were feeding off the crowd and they made it a very interesting and varied performance. All in all, it was great to see In Flames show All That Remains fans how Swedish death metal riffs were supposed to by played.
For a photo album from the night, click on one of the pictures or visit MetalInjection.net.
i must say….. damn son. I dont know what to call it… a Mixtape… whatever…
I really dont know what to write…. Classic INS plus some. Feel the ol’WUstyle baby!….. I need many many more listens to truly be able to post a good review…
thus far, all i can give you is that ‘The Resident Patient 2″ is off my charts… despite all the criticism i hear about it…. i still think INS keeps it deep, hard, true, with supreme lyrics… and laces it all with unimaginably perfect visions…. fits perfect.
these are the tracks as i recieved:
1: Monster
2: Feel Good
3: Streets
4: Queen
5: No Words At All
6: Ya’ll Niggaz
7: Who’s Who?
8: S.I.
9: Gotta Luvit
10: Certified
11: U Know U No G
12: Monster 2
13: Everybody Ride
14: A Rebel
15: Wooden Soldier
16: What’s it All About?
17: Nobody But You
18: Hood
19: N.Y.C.
20: Do it 2 Def
21: Sometimes
22: How I Get Down
23: Swaggin
Ahhhhhhyessss….. Finally, two weeks of midterms are done with and I am free to write at the infamous mind inversion once again. So… “what should I write about this time?” – this is something that I often ask myself. With every one of these posts, I get to choose the topic; right now I feel like telling you about the best sludge metal band that I’ve heard of recently.
Josh Graham’s strikingly bleak outlook and unwavering artistic effort have always been the perfect visual complement to Neurosis’ likeminded visions of despair. With Red Sparowes debut release, we saw that he could translate the majestic beauty of his visual images into an aural soundtrack with ease. In A Storm of Light, we see Graham and his band of cronies charging the way in one the of the most innovative, engaging, and interesting doom metal bands in recent memory (..notice I said charging, and not plodding – this is music on a mission!). This is a band that draws influences from every aspect of life; I won’t even begin to drop band names, because that won’t even begin to do them justice. As I said, just blaze and listen in. I strongly recommend their album And We Wept the Black Ocean Within, and if you’re having a hard time finding it, hit me up privately and I’ll be glad to share.
If you aren’t convinced yet, I’ll just say that former members of Swans, Tombs, Satanized, and Unsane joined Graham to complete this band. From my point of view, ’nuff said’. This shit is massive…
…and now I’m off to see Gojira, In Flames, and 36 Crazyfists! Thank God midterms are done!
The first thing that I need to tell you in regards to this album is that it’s never easy to follow in the footsteps of a legend. The second thing that I need to tell you is that this album may be the best treasure trove of “Ummah era” beats I’ve ever heard, and for that alone I could give the album at least a 7. The beats that are on this album are very laid back and very omniscient of the work that Jay Dee did with Tribe and Pharcyde. The one thing that I love about Jay Dee is that he had the ability to make beats seem so effortless, and at the same time sound so complex.
There’s something that I’ve always liked about this band; the weird thing is that I never really understood exactly what it was that I truly admired until I gave their new album, their third self-titled full length, a couple of spins. With III, 
MIND INVERSION 