Since 2012’s mixtape “Nehruvia” and hype from the likes of HOT 97’s white boy-famous Pete Rosenberg, Rockland County native Bishop Nehru, unqualified or not, has been deemed the prodigal harbinger that will spur hip-hop’s retrograde back to the wistful golden age. Much like his 90’s-resurgent “quasi” contemporaries Joey Bada$$ and much of the Beast Coast movement, lyrics that lack in coke price references and lust-crazed nightclub scenes are made up for in Nehru’s slick wordplay and syncopated delivery over DOOM production. Common to many prophecies of second-comers, the expectations bestowed unto the promised one are near impossible to fulfill. These expectations are exacerbated by a herd of rumor-grazing sheep, drum beating their follower to a platform of unattainable enlightenment. Mention an MF DOOM sighting, and total pandemonium ensues.
STN MTN/Kauai is the latest release from Atlanta rapper/actor/writer/producer Childish Gambino, aka Donald Glover. Over the past few years he’s blown up as an actor for roles like Troy Barnes on Community and as a rapper, dropping some mixtapes including Culdesac (2010)and R O Y A L T Y (2010), an EP entitled EP, and two albums: Camp and Because the Internet.
Up until Because the Internet, I was not a huge Gambino fan, to say the least. This is unlike a lot of the other writers here, that have been huge Gambino fans since day one. I thought his rapping had potential, but in my opinion it was wasted on an awful voice and some really corny lyrics. With Because the Internet though, he finally stepped up to the plate for me. His rapping was improved like toning down his voice a few notches, shucking some of the corn, and getting some really, really great production. With STN MTN/Kauai, how does he follow up such a surprisingly great project? Well… Continue reading Mixtape Review: STN MTN / KAUAI | Childish Gambino→
It’s hard to believe that The Game’s debut album The Documentary, was five albums and almost ten years ago. In that time we have seen the rise, fall, and re-union of G-Unit (without Game’s participation of course). We have seen the end of The Game’s relationship with Interscope and finally we have seen a number of decent records by The Game that still don’t come close to his debut. Blood Mood: Year of the Wolf, Game’s first studio album by his newly founded Blood Money Entertainment record label, is yet another album that doesn’t quite come close to the quality of The Documentary, only difference is Jimmy Iovine (of Interscope) doesn’t get a cut of the sales, and this album is a reminder that some rappers need the guidance of a major label.
Vince Staples has been on the radar of many every since his stand-out feature on Earl Sweatshirt’s ‘epaR’, off Earl’s critically acclaimed self-titled mixtape. Lately many have started to take notice of the young rapper’s skills, including none other than Common who recruited Staples for his latest single ‘Kingdom’. Common not only recruited Staples for a feature, but spoke high praise of the MC and described him as a “testament to the diversity of hip-hop.” And while you may know Vince originally from his associations with Odd Future, he has certainly hit the ground running in the past couple of years. From recruiting production and features on his last two mixtapes from Mac Miller, SchoolBoy Q, Ab-Soul, Earl Sweatshirt, Jhene Aiko, and No-Id up to his most latest work with Common, Vince has released his shortest yet most concrete and quality project yet, his Hell Can Wait EP on Def Jam Records.
Yung Lean first caught my attention upon randomly watching his video for‘Hurt‘ on YouTube. At least for me, it was a match made in heaven. What I saw was a 16 something year old kid who was rapping about Nintendo 64, Louie Vitton duffle bags full of heroin, Arizona Iced Tea, and feeling sad emotions over a cloud rap/ vaporwave beat. The visuals were nice too. One reason why I liked Yung Lean in the first place is because his music married trap with vaporware, a weird world filled with slowed down Muzak samples, 90s corporate nostalgia obsession, and absurd artwork.
With the release of his fifth studio album, Flying Lotus once again proves that he is not only consistently pushing the envelope, but always impressing with his latest exploration into the afterlife,You’re Dead!.
The internet boom of the early 2000’s seemed like the perfect platform for Richard D James’ Aphex Twin persona. Becoming increasingly technical and calculated, Aphex’s albums were a soundtrack for those obsessed with early internet culture in the late ’90’s. However in the blink of eye after releasing 2001’s ambitious Drukqs, the artist known as Aphex Twin was gone. While the electronic music pioneer didn’t quite disappear into obscurity over the past decade, having released work under different monikers, thirteen years is many lifetimes when it comes to the musical landscape in the internet age. Coming out of his cryogenic sleep, Aphex returns with Syro, a work that doesn’t quite pick up where he left off as much as reaffirms us why we’ve missed him. It may not be the revolutionary album some were expecting, but it demonstrates James’ effortless ability to create a fluid, dynamic work encompassing thirty years of dedication to his craft.
Two stellar EP’s later, Banks finally blesses us with an LP, Goddess, that unfortunately proves to be another “safe” release to add to the shelves of the incredibly average and dull year of 2014.
Though Skrillex and Flux Pavilion may be selling out arenas around the world, we are living in a post-dubstep world. The rise in popularity of heavy bass drops and candy-painted EDM festivals in the United States over the past half-decade has unintentionally spawned a counter-culture of sorts across the Atlantic. With the massive success of UK duo Disclosure, the London dance scene is back on the map and artists such as SBTRKT and Burial are seeing similar results despite remaining frustratingly enigmatic. Wonder Where We Land may be the most exhibited we’ve seen the masked UK producer. After 2011’s self-titled grimy, haunting assortment of underground club tracks, SBTRKT has returned with a bouncy, jazzy take on his signature sound.
The Early Registration 