Anyone familiar with the World Famous Beat Junkies will know the name. This is his first release of brand new solo material – which is both interesting and incredible considering he’s been on the scene since the 80′s. I’ve read some people compare this to Donuts meets DJ Shadow. But that’s both lazy and (somewhat) untrue, with the only real commonality being that they all make instrumental hip hop. Rocc has his own vibe, tethering sounds heard from decades back. It’s a pretty chilled out record, nothing too over the top. It sort of showcases a lot of what other artists have done, but in a different way, as if he’s trying to cover a lot of ground in one album. Usually that’s a very bad idea, but in his skilled hands, he makes it work like a charm.
Grade: B+. Pretty dope and as replayable as any record in its genre. Purchase on the Stone’s Throw site.
I wanted to wait a while to let it sink in, and to not let the hype sort of cloud my judgement. So here we go…
If you’re a (semi) regular on this blog, then you probably know something about Bon Iver, so I will spare everyone the Kanye connection and talking too much about For Emma, Forever Ago. You should be up on this by now. With all that said and unsaid, Justin Vernon is on the edge of greatness. It’s not hyperbole, because this album makes that statement plausible (or fact, if you’re an Iver fanboy/girl.)
Sometimes, you have to dig into an album to find out what it is. Not Bon Iver. You understand from “Perth”…and it continues on from there, as something of a builder. The first thing you’ll notice is that it’s a turn toward (1) a larger, ensemble sound, and (2) a sound supported by electricity. It swells and emplies out with large, amplified horns and strings. It retains some folky tendencies in the individual song builds, but it’s not long before instruments slowly make their way in. Collectively, the album has a certain depth that grows, like you’re dreaming about walking into the ocean, at night, wading out into nothing (and everything). And the lyrics are….I honestly got emo with a few of the tracks. He is an A+ level songwriter.
Now for the bad part, if you can call it that. It’s a little uneven toward the end. There is a clear Roger Hornsby thing happening, which I like. Don’t get me wrong. But it sort of seemed out of place for some reason, like they belonged on a new album, with it’s own theme. I think that’s nitpicking though – because the songs are still strong, and grounded emotionally with the rest of the album.
Grade: A-. I’m feel like saying more….but I think the grade should be enough. Outstanding. Worthy of your coin.
Conor’s a long way from what I thought his home was on this album. However, the effects of his travels aren’t negative. I’ve been vacilating on this album, because I’m not sure what to make out of it, even after a couple listens. It’s just not the same guy I knew from Cassadaga. It’s not that I expected the same stuff, since he’s done a lot of work over the past four years, to include the Monsters of Folk situation. Early on, I wasn’t really on Conor’s bandwagon. I liked the lyrics, but I wasn’t a fan of the delivery, nor was I a huge fan of his brand of folk.
On this album, there is a very clear turn toward electricity. There’s not a lot of the folk stuff, and his voice seems different to me. It’s not the actual auditory experience, it’s the immediacy that I like. He rolls on this album with (a lot of Arcade Fire-ish) songs like, “Haile Salassie”, “Triple Spiral”, and “A Machine Spiritual.” The best song is “Ladder Song”, which, in the past, would have been something I would’ve gotten bored with because ALL of the other tracks would’ve sounded similar. But here, it’s fresh and refreshing, after the pace of the other songs. My favorite song is the last track, “One for You, One for Me.” It has this 80′s pseudo political soft rock feel, that somehow doesn’t sound corny in the least bit. The vocal samples tie the album together, from beginning to end. It’s a sign of growth, as a man and as a musician.
Grade: B+. It’s a very, very good record. I really enjoy the change in direction.
One of my favorite bands period – always happy to see something from these young guys….and they come through for me again.
They went back something similar to what they started out with: hard drums, screaming guitars, and Alex Turner’s songwriting. It’s a pretty simple, and winning game plan. It’s not that I didn’t like the Josh Homme version of the band, but I felt like his drudge slowed down their flow. James Ford, who worked with Turner in their side project Last Shadow Puppets, “produced” the album (and the second LP), but I’m not sure to what extent. They sound like themselves, as far as I’m concerned.
I’ve read about some Smiths and Echo… influences in certain reviews. And I suppose I see it, but if anything, it definitely doesn’t take away from anything they’re doing sonically. Turner’s lyricism certainly isn’t anything like Morrissey’s, not in tone, or…in anything. At least not to me. Their aren’t any straight up “hits” on the record, but it’s very solid through and through. They are excellent musicians, and the lyrics are still spot on, as always.
Grade: B+. I’ve enjoyed this album, almost as much as the first two.
Cults are/were an internet sensation last year with the catchy “Go Outside”, they seemed perfectly set up for a completely overhyped debut. But alas, it’s not. It’s a correctly rated summer anthem filled release, that’s just long enough to not be too long, and just short enough to not be too short – if that makes sense. It’s bubbly, and a little mischievous at the same time, like if Veruca Salt had a sunnier disposition – a good mix of obvious bedroom, 50′s, beach pop, and other reverb touched influences.
The only issue with the record. The best three (or four) tracks are first three (or four – I really like “Most Wanted”). Not that the other songs are worthy, but they should’ve put some space in between those first few. It would’ve given the album a fuller listen. (Yes, track listing is an important and highly underrated aspect.)
I think I had an expectation, like everyone else. Eminem. Royce. Has to be that piff. Right?
Yes….and no…but mostly yes. I don’t need to explain the re-up and the concept of the duo, since it’s been told over and over in every music publication in print or online. They are comparable MC’s, and it’s not always clear who’s doper. Well, let me be clear – Eminem destroys. But Royce is right there with him, track for track – which is really the story of the album. I mean, let’s be perfectly honest – that is what people wanted to know. Can Royce really keep up with one of the dopest MC’s in the history of life? And he’s more than apt for the challenge. I think it’s actually time that people, to include myself, just give Royce his due as one the best out now, and the last howmanyever years.
The negative? The production leaves a lot to be desired. It’s not wack, it’s (more than) occasionally lackluster. I just feel like they could’ve went out and got different beats. I sort of wish they got Pharoahe Monch and Just Blaze to do a beat. They’ve mastered making crazy beats that don’t take away from a (super) lyrical performance – but that’s me. I really think “I’m On Everything” should have been left off. It’s not because it’s not funny or anything (it is), but I’m looking for straight lyrics….not Mike Epps.
Overall though, the album is a success. The lyrics are outstanding, and they have excellent chemistry. It’s really sounds like two very good friends enjoying rapping for their other friends, and each other. It’s a relaxed effort, and they know exactly where their collective bread is buttered – making ill bars. And they don’t disappoint. As of this review – it’s the #1 record in America – maybe real Mc’ing is back.
Grade: B. Mark one in the winner’s slot for lyrical rap.
I’m basically 6 months late in doing this review. I’m doing it anyways, because:
1. The US release was way late….as in it just sort of showed up in iTunes one day late. And I was too into whatever it was I was into, so it sort of fell off my plate.
2. Most of you have no clue who Chase & Status are anyways.
So here we go. This duo is a drum and bass outfit from England, who’ve enjoyed some success since their excellent debut, More Than Alot. It’s definitely an album indicative of where they’ve gone over the past few years. From rising talent to producers in high demand by the like of Rihanna, Dizzee Rascal, Alexandra Burke, etc. They even landed a major management deal with Jay-Z’s Roc Nation. Big things, indeed.
It’s more accessible, to mean it’s going to gear more toward a larger, Top 40 kind of audience. (This is something the purists and causal fans alike HAD to see coming, with the last release.) They have a sound tailor made for big radio hits, and there are lots of them on this release. There are some boring tracks, like “Blind Faith” and “Midnight Caller” – and they aren’t bad songs, but they just sort of drag after a couple listens. But the highs are pretty dope. ”Let You Go” (featuring good, distinct vocals form Mali) is a strong track, with the massive build-up, and nice, heavy string-assisted breakdowns after the chorus.
There is a rock twinge throughout, both electric (“Fire In Your Eyes”) and acoustic ( the actually underrated Plan B assisted “End Credits”). ”Hitz”, which featuring the young star in the making Tinie Tempah, is a straight forward Bomb Squad rap song – the bass is super heavy. It is one of the surprises of the album. I’d like to see what they could do, going in this direction with other MC’s albums, or just a whole rap album with a bunch of featured MCs. ”Heavy” is really a Dizzee Rascal song – hopefully he lets them go crazy for him on his next drop. ”Brixton Briefcase” with Cee Lo is a very interesting dub track….still not sure what to make of it. My favorite track outside of “Hitz” is “Hocus Pocus” – hard and heavy old school drum and bass. I think they added that on there, just to let people know they still know where they come from. ”Time” is another track I was surprised I’d like, because I feel like the songs with female vocals get corny. However, the flow of the song just rolls well, and the vocals blend in seemlessly.
I can see NME’s viewpoint on the album. (1 out of 10 was their rating.) But it’s a fun record…and definitely meant to be listened to with the intent on moving around and dancing, not sitting in a cubicle or some random desk (like I’m doing now.) That being said….
Grade: B. It’s not a pure record, with all the genre bending. But it’s a very strong record all round….something for everyone. And the videos deal with very serious subject matter….hard to find these days. They seem to concerned with saying important things, without being all up in the video – which gets thumbs up from me.
This band could probably be a great straight forward pop band, if they would drop the indie pretension, because they make incredibly fun music. Nothing really heavy for the palette, bouncy and effervescent. They will probably end up being a band that will craft 3-5 amazing tracks on every album they do, but may never make that one amazing album. (Nothing really wrong with that though.) But they do some dope things on this – the first track is them coming out in a blaze. But for me the surprises are the treats. The title track and “Hurting” are tracks that I give them tremendous kudos on, with the crazy 80′s funk feel – two of my personal favorites on the album. ”Show Me Lights” sounds like a Justin Timberlake song, covered by an indie band. They take a lot of chances, and for the most part, they make it work. And more importantly, it’s incredibly fun to listen to.
Grade: B+. Very solid sophomore effort. I love this album more with ever listen. Perfect for the summer jams with your (supposedly) cool and in-the-know friends. And your other friends too. Comme de Fuc Down to Earth.
Really, really, really feeling this here. Jennifer Lee’s really putting in some work right now. I read that she makes music from 2-7 in the morning – and it definitely has that insomniac (internal monologue – Guy: “I’m trying to do something to this broad”…..Girl: “I’m might let him do something to me”) feel. It’s got a certain warmth and coziness, and it’s still forward thinking, techy and bass heavy. Brainfeeder FTW.
