I have to start this review by saying that this album came out of nowhere; I had heard of Macklemore back when he was a XXL Freshman, but other than that, my exposure was pretty limited. With the aforementioned being said, this is the perfect album for an introduction into the world of Macklemore. Let’s face it, we’ve all heard the story about overcoming addiction and life obstacles to become a champion; however, no one has done it quite like this. Backed by the prodigal production of Ryan Lewis, Macklemore has created one of the year’s most honest and resonant records.
Archive for the Reviews Category
Album Review: Macklemore & Ryan Lewis, The Heist
Posted in Album Review, Music Reviews with tags Band of Horses, Ben Bridwell, Macklemore, Malcolm Gladwell, Ryan Lewis, seattle, The Heist on Saturday, October 27, 2012 by Tim AlthausJoey Bada$$: A Return to East Coast Lineage & The Wonders of Adolescence
Posted in Album Review, Music Discovery, Music Reviews with tags 1999, Illmatic, J Dilla, Joey Bada$$, MF Doom, Progressive Era Crew on Sunday, August 5, 2012 by Tim AlthausArticle by Chris Deline
If web-hype were any indication of talent or potential, Brooklyn youngster Joey Bada$$ might well be one of rap’s hottest names right now. The typical talking points seem standard across the board: Despite being only 17 he has a “sophisticated” and “confident” flow, reps hard for his Progressive Era crew (“a collective of 18 rappers, producers, graphic designers and studio engineers“), exhibits a distinct and refreshing ’90s hip-hop vibe (reviews have been tireless with Nas references), and for having just released his first mixtape with 1999, he already has everyone from Mac Miller to MTV backing his cause. In the month that’s passed since 1999 dropped for free online, the mixtape has already racked up nearly 400k combined views between DatPiff and Live Mixtapes alone. Astounding results for a kid who has yet to enter his senior year of high school. But does web-hype really equate talent?
Of course not.
But it does accurately reflect Bada$$’s potential.
Part of 1999‘s immediate appeal comes with its obvious resemblance to what real “hip-hop heads” are either already familiar with, or are desperately seeking. Take for example one of the set’s most acclaimed cuts, “Survival Tactics,” which utilizes Styles of Beyond’s eponymous track from the group’s 1998 debut. Although it isn’t exactly a showstopper as far as musical references go, it shows that he’s actively looking back — digging, if you will — while moving forward. The same goes for when he leans on Dilla and Statik Selektah. “World Domination” goes a little deeper with sample of DOOM’s “Poo-Putt Platter,” which in turn sampled a tune from the Fat Albert Halloween episode: this is the kind of incestuous keeping-it-realness that back in tha day trumpeters kill for! “Funky Hos” and “Snakes” would each sound at home on Midnight Marauders tribute LP, but it’s “World Domination” that especially speaks to where the kid’s at musically: He’s most comfortable within the previous generation’s ideal of what an old-school flow was supposed to sound like. 1999 is the scrapbook of a kid whose parents listened to Biggie, attends the same high school as Adam Yauch once did, and who discovered Gangstarr through video games.
Most of the release finds him spitting about girls — what would you rap about if you were 17 again? — but even there he maintains a strange lyrical mixture, balancing macho posturing with emotions: “Word to my mother/Two things I never do is leave the crib without some rubbers or tell a funky ho I love her/These broads be trying to get a brother caught up in a sticky situation, missing menstruation” (from the Steve Miller Band-sampling “Funky Hos”) follows “So tell me what the fuck I’m supposed to do/You know it ain’t too easy getting over you/I sent the postcards so you know it’s true/I promise that I wouldn’t get emotional” (Bada$$ doing his best DOOM in “Pennyroyal”). But 1999 isn’t empty in terms of showing his dexterity as an MC either: peep 3:43 to about 4:30 of “Hardknocks” where his rapid fire delivery really takes off, “This is for my niggas, killas, hundred dolla billas/On the block in the rock spot glock cocked watchin’ out for cops/All about they cheddar young girls know nothin’ that’s better…”
Speaking with Pitchfork, Pro Era producer Chuck Strangers explained his process in developing the handful of tracks he contributed to the release, “Joey had a very specific vision for 1999. I was playing him all these other kinds of beats and he’d be like, ‘These are ill, but not what I’m going for.’ So I sat and I listened to Joey Bada$$ music. People ask me, ‘Did you listen to a lot of Wu-Tang and Illmatic when you made these beats?’ I know those shits because I’m from Brooklyn and I love ’em, but to make Joey Bada$$’ tape, I listened to Joey Bada$$.” Growing up on hip-hop is a great starting point, but the ability to be so selectively focused of what it is he’s trying to do at such a young age is what might actually separate Bada$$ from the crowd. 1999 is no Illmatic, but it is a skillfully constructed tape by a minor-leaguer who’s playing at a pro-ball level. Whether you’re boom-bap’d out halfway through the mixtape or not, what you should take away from 1999 is its what-ifs: the what-ifs that have inspired the web-hype and the what-ifs that suggest his future to be bulging at the seems with “potential.” The reason it’s important to keep his age in mind isn’t simply because it’s remarkable that Joey Bada$$ appears so “sophisticated” and “confident” at only 17, but because he seems to already be better at constructing a consistent album than many who’ve been doing it since back before he was even born. Oh, the potential…
[Guest contributor Chris DeLine is a freelance writer living in Nashville, TN. Follow him or Twitter or friend him on Facebook.]
Album Review: Koncept, Awaken
Posted in Album Review, Music Reviews with tags Awaken, Brown Bag All-Stars, J57, Koncept, Royce Da 5'9", Soul Kahn, The Audible Doctor on Wednesday, July 25, 2012 by Tim Althaus
When looking at legendary groups throughout Hip-Hop history, two main elements become crystal clear: a strong in-house production team and a roster stacked with talented emcees. Collectives such as The Juice Crew and Diggin’ in the Crates exemplified the aforementioned credentials in the most incredible ways possible; however, that was the past tense, and in the present tense, cliques like the Brown Bag All-Stars are making seismic waves throughout the Hip-Hop community. Koncept is one of the lyricists that Brown Bag brings to the table, and if his debut album Awaken is a just a small sample of what we can expect from the New York City cooperative, it’s no surprise that East Coast legends like DJ Premier are giving them a co-sign.
Album Review: Purity Ring, Shrines
Posted in Album Review, Music News, Music Reviews, Reviews with tags album review, Alice Glass, Amenamy, Belispeak, canada, Cartographist, Corin Roddick, Crawlersout, Crystal Castles, Fineshrine, First Avenue, Grandloves, July 24 2012, Lofticries, Megan James, Montreal, Obedear, Purity Ring, Saltkin, Shrines, Shuck, Ungirthed on Monday, July 23, 2012 by Eric GilardiCanada is known for loving their strong bier and the sport of hockey. Lately, I have been loving the electronically hip music that they have been sending south of the border through the airwaves. Purity Ring is one of these bands that has been making my ears go fully erect. They are out of Montreal and have been slowly seducing their fans by releasing a single here and there over the past few years.
Their debut album, Shrines, comes out on July 24th but I was able to get my hands on it at their show this past Sunday night at First Avenue in Minneapolis. The album adds 7 fresh tracks to the previous 4 singles that have been floating about the worldwide web. Throughout the 11-track full-length album the elctro-pop duo provides a perfect blend of new wave digital beats along with beautiful lyrical melodies. Continue reading
Understanding Michael Angelakos of Passion Pit
Posted in Music News, News, Reviews, Writing Reviews with tags Bi-Polar Disorder, Gossamer, Kristy Mucci, lollapalooza, Manners, Michael Angelakos, passion pit, Pitchfork Cover Story on Friday, July 20, 2012 by Eric Gilardi
When I first read the message from Michael Angelakos on Passion Pit’s Facebook page about them canceling their current shows because he needed a mental health break, I thought: “What a crock of shit! Here you are in your mid 20’s, on top of the world and you need a mental health break?” Now, after reading Larry Fitzmaurice’s feature on Pitchfork yesterday, in entirety, I feel like a complete douche bag for thinking that way.
I have been a Passion Pit fan since Manners came out and I know it had been taking some time for the band to get their new album, Gossamer, put together. I have been wondering why but it seems the reasoning was more serious than I ever would have imagined. A depressed, clinically diagnosed bi-polar Michael had been fighting his inner most demons while trying to complete an album that record execs and fans had been patiently waiting for. Continue reading
Concert Review: El-P and Killer Mike at the Fineline MPLS
Posted in Concert Reviews, Local Love, Music News with tags Cancer for Cure, Despot, El-P, Killer Mike on Sunday, July 8, 2012 by TSNThe Fineline as a venue was nothing short of amazing for an intimate hip-hop show, with a very ‘live’ crowd and even more amped performers. Impressively done, I say. Go see these acts.
I heard about El-P at the fineline about a month ago and right away I knew I needed tickets. The Fineline is, in looks, similar inside to First Ave, but a mite smaller. The best part, I got to see some really great performers for $17.50, however drinks were not cheap. The show was Amazing, here’s how it went…
Despot: Was a highlight act of the night, and was the opener? Surprise, this guy was on point. Despot came on in great fashion. His message was upbeat and he came on as very comedic, and crowd oriented. He even managed to incorporate some aerobic into his set, getting the crowd involved with some Despot (Simon) Says action. The pace of the show was set early on, and only built from Despot. Despot’s DJ resembled MF Doom in appearance and did a very good job of keeping the beats solid and crisp. I had heard of Despot by name, but I had not heard any of his music, not surprisingly because he has yet to release an album, which I now highly anticipate. Expressing that he might release an album soon, or possibly never, jokingly. Let’s hope he does. Despot came across as energetic, lyrically mastered, and was really cool to chat with after the show. He also sold some pretty “genius” merch, which he designed and touted on stage. This guy has charisma and a lyricists appeal.
The crowd at this time was great, but intensified nearing the main stage for the main acts. I found a spot left of center, right where the artists walked on. This was a great spot. I highly recommend this location at a show. Constant high-fives from your favorite artists. I was not too crowded out, only a little by some other individuals in search of my awesome spot, a few beautiful women in fine attire, and some hip-hop heads talking hip-hop. Go figure. I was there to enjoy the show, and did so effortlessly.
At this time an act came on of which I had never heard before (Mr. Mothafuckin’ eXquire) and brought the energy up a notch. Mr. Mothafuckin’ eXquire came out, one wearing a ski-mask and the other dressed like a G, looking hard and sounding hard. There beats were banging’. I think at one time someone’s hat got snatched, thrown on stage and adorned by Mr. Mothafuckin’ eXquire himself. The crowd got even more amped and the performers fed off this accordingly. By the time Mr. Mothafuckin’ eXquire got off I was completely and utterly ready to see El-P. I was ecstatic, and moderately buzzed from some beers. Killer Mike was up next.
This is right before Killer Mike gets on stage-I think I see El-P standing to my left, right next to Aaron and the crowd is going nuts. Again, I am close enough to one of my favorite artists to realize how incredible the Minneapolis music scene is. There is a lot of closeness in the hip-hop world up here. Grateful for the many supporters and artists in the locale. Maybe, if you get the chance, come up and take in the surroundings as much as you can. Even if you miss something you will still get an eyeful. This city is extensively invested and immersed in the local music scene. Its a cycle of good acts.
Killer Mike is huge and on top of his game. His message was positive and his music was produced amazingly (his new album mostly by El-P), his lyrics were well put together and made me want to party. The crowd got super rowdy for his set. Believe in your dreams and anything can happen, were the main ideas of his send off. I was inspired. Killer Mike killed the set and really got everyone warmed up for El-P.
Finally, El-P, what can I say? I am a huge fan, I love his music, he is a production virtuoso and his lyrics make me wish I could write music of such a caliber. I at the very least envy his delivery, with confidence and conviction, and approach to mind expanding ideas. Dude tells it how it is. This is the first El-P show I have been to and I was not disappointed. He gave 110% and kept the crowd happy.
El-P is solid on his game, doing what he loves and it shows. His attitude was business and party, he was a crowd pleaser from word one on the mic. Slug came on stage brandishing a stuffed animal (Killum*) from the Full Retard video, which was pretty sweet. Before he did his set he came on stage numerous times and pumped up the crowd, most of the time carrying a bottle of Grey Goose. A preview of what was to come, you might say. The crowd was out of control when El-Producto jumped on stage. He claimed he was doing Cancer4 Cure in its entirety from front to back, and he made it happen. By the time he did songs from Fantastic Damage I was completely sated. The show was great, if you didn’t get a ticket and you are an El-P fan you missed a very impressive show.
After the show at Pizza Luce, we noticed we left our credit cards at the bar and had to go back and pick them up. We got inside and pretty much were able to chat with all of the acts, I even got into a one on one conversation with Tony Bones about hip-hop in Minneapolis, about Prof and other musically inclined people from South (MPLS). Got to see El-P again, running around with the stuffed animal (Killum*), saw him run down the street towards downtown and then we left.
Hands down this was one of my favorite shows. For price and venue, it couldn’t have been better. The crowd (full of a lot of local celebs) was great and all of the artists put on a top tier show with little to zero snags throughout. Check them out if you can. If I could have had one more thing I would have asked that Slug do a song with El-P, but the show was excellent sans. I approve of the Fineline for any show, this was some great stuff. If you get the chance to catch these acts, do so, you will not regret it. Tell your friends.
Photos by Terry Scott
*Thanks Aaron for the correction on the name. (“El-P(‘s) stuffed animal is the Killum, not a muppet bro.”)
Movie Review: Cameron Crowe, Pearl Jam Twenty
Posted in Movie Reviews, Reviews with tags Cameron Crowe, Mookie Blaylock, Mother Love Bone, PJ20, Ten on Saturday, July 7, 2012 by Tim Althaus
I have to admit, I slept on Pearl Jam for a long time; in fact, I just woke up from my twenty year slumber. Some people tend to say that it’s better late than never, and in the case of Pearl Jam’s music, I definitely agree. My buddy Steve is one of the biggest Pearl Jam enthusiasts I know, and after hearing about his experience at the Alpine Valley leg of the PJ20 tour, I had to find out what he was so passionate about. The first time I listened to Ten from front to back, I couldn’t believe what I was hearing; I felt like Ten was the equivalent of Tommy, just twenty-two years later. I just watched PJ20 for the first time on the fourth of July; I was absolutely blown away by Cameron Crowe‘s attention to detail and his desire to tell Pearl Jam’s fascinating story through incredible concert footage and exclusive interviews.
tUne-yArDs do not disappoint at Summerfest
Posted in Concert Reviews, Music News, News, Reviews with tags Briggs and Stratton Stage, Concert Photos, concert review, July 1 2012, Merrill Garbus, Milwaukee, Summerfest, Tune-Yards, Tune-Yards at Summerfest, Who Kill on Monday, July 2, 2012 by Eric GilardiThe tUne-yArDs’ album, w h o k i l l, was an album that was in my top 5 of 2011. It may have even been my favorite album of last year and I have been in the market to attend one of their shows for the past year and a half. I finally made it happen at Summerfest for my birthday. July 1st, 2012 will go down as one of my better birthdays of recent memory.
Merrill Garbus is an unreal and unusual talent. When you listen to
w h o k i l l you wonder how this will play out at a live performance. It plays out in a perfection that is surreal to the human brain. Merrill loops and recreates the album to the T. Making the live performance a more enjoyable experience than going to get ice cream at the local dairy with your grandparents on a hot summer day. In all honesty, I may just be a prisoner of the moment, but it was one of the best performances I have witnessed in a long, long time. If you are a fan of the album, go out and just witness what Merrill can provide you with at a live show.
Here are some more photos from the performance last night at the Briggs and Stratton Stage on the Summerfest grounds in Milwaukee, WI.
The Streets, Computers And Blues
Posted in Album Review, Life Perspectives from T.S. Niebeling, Media with tags Brixton, England, entertainment, grime, Hip-Hop, Lock the Locks, london, Mike Skinner, Music, Original Pirate Material, Rap, sound, Sound System Banger, the streets on Friday, June 29, 2012 by TSNMike Skinner is one of my favorite artists hands down. Why? Basically, because Mike Skinner (The Streets) is unique, original, and you can follow his paper trail to where he is today. He started at the bottom and worked his way to the top of the food chain. Incredible. We can actually see an artist evolve from a garage type setup, to a studio, to a super-studio facilitated album.
Evolution of The Streets is apparent and refreshing.
The Streets have done 5 albums, all of which are different, all of which are excellent, and all of which are incredibly interesting, conceptually, and aesthetically. I prefer Original Pirate Material, A Grand Don’t Come For Free, and The Hardest Way To Make An Easy Living.
I now agree that Computer and Blues is up there with the best of their albums.
With only 3 days of non-stop listening, I prefer this album to the others. This album is fresh, relevant and very personal. The Streets’ last album is a sound-system banger and an artistic send off for Skinner. I feel he wants to end on a good note, and I appreciate the respect for fans and music. So many bands milk it to the very last drop and fizzle out while pumping out shit. I respect The Streets and Mike Skinner; however, I hope sometime soon he can pull a reunion tour so I can catch the music live.
Apparently, he wanted to do 5 albums, that’s what his contract was about, and that’s it. He has stated in interviews that he was satisfied with this decision because he wanted to find more time to spend with his family.
Dan gave me this album, mentioning that at first he did not dig it as much as the other albums. This seems to be the case with most of The Streets albums for me, there is definitely a first listen and blah. After a bit of thinking the album is thrown back into the mix and listened to over and over again. Always a cult classic and a heavy listen. Since Original Pirate Material I have been a Streets fan. Most all of their albums to date are inspiring, completely original and massively progressive.
One thing I take away from The Streets is they make music that sounds like The Streets, they are not ripping off, copy-catting to hit the charts up, or going trendy. The Streets just transpire and it comes out sounding amazing. I love The Streets and the music they make, and the inspiration they flood the speakers with.
***
For days I have been listening to this album on repeat and I was trying to get a perspective and give you something in detail, but after listening I feel this CD deserves a listen. Lyrics are spot on, the songwriting is out of this world. The beats are heavy when needed, also, soft and chill when necessary. I found my roommates awesome sound set up and took full advantage of it. This Streets album is worth a buy, and definitely a good listen. Streets fans won’t regret Computer and Blues and it is on par with, if not better than all his previous albums but Original Pirate Material. You deserve to listen to this album on a really good sounds system. The positive message is solid and the beats are innovative. Mike Skinner did create a sound system banger, and an artsy bon voyage. Cheers! This Streets album has me with a smile on my face.
Album Review: M.i, The Coldplay Sessions
Posted in Album Review, Music Reviews with tags M.i, Prep Time, The Coldplay Sessions, The Jack Johnson Sessions, Tyler Keyes on Wednesday, June 27, 2012 by Tim AlthausI’m the type of guy that really likes a jack-of-all-trades; if an artist is capable of rhyming and producing their own music, then I’m most definitely going to be a huge fan. Michael Maldonado (aka M.i) is a perfect example of my aforementioned statement because he literally does everything (emceeing, producing, mixing, engineering) himself. The Austin, Texas native has been on his grind for quite some time now, and The Coldplay Sessions is actually the fifth project that he’s released; back in 2010 M.i released The Jack Johnson Sessions (which featured a Jack Johnson sample on every track), and last year he released the superbly stellar album Prep Time (Produced almost entirely by musical genius Tyler Keyes). Continue reading




















