New Skepta is impeccably produced, if perhaps a little lyrically tame and occasionally cringeworthy, but definitely one of the better rap releases of the year. Some standout lines, as ever, and the highs are extremely high, especially in its more introspective moments or the one song which, somewhat ironically, feels least British, as Skeppy and J Hus trade effortless flows over a smart headnodder that recalls nothing so much as Dre's 2001. It still boggles my brain that putting out a genuine grime album, with no pandering to the American market or Ibiza crowd, is actually commercially viable in 2019.
New Kevin Gates EP is very good, full of the breathless paranoia, massive hooks, and aggressive oversharing we've come to expect. Gates remains that strangest of rappers: capable of producing critically acclaimed rap clinics over nondescript, minor key trap beats and occasionally managing to stumble upon a massive hit, whilst putting out a steady stream of almost boringly consistent EPs and mixtapes with no hint of hype or fanfare attached to them. Gates' guttural, melancholy, singsong street raps have been quietly but undoubtedly influential over the past few years, especially amongst rappers who rack up absurd amounts of YouTube views whilst never troubling radio, but nobody does it better than him.
New Mozzy is Mozzy. Can't remember a thing about it, but it was probably painfully real.
Pleasant surprise of the week goes to Jim Jones, once the least distinctive member of Dipset but now the only one worth checking for, and an inspiring lesson to all ageing NYC rappers on how to stick to your lane successfully, by continuing to practice your pen game, focusing on your strengths, and asking for favours from the producers who always made you sound best. The Heatmakerz' drums may not snap and crackle like they used to, but their unashamedly melodic, post-Puffy pop smarts got me feeling like I'm riding through Harlem in a foreign with the top down, summertime '02. Full of on-brand guest features (a couple of obligatory but welcome Cam'ron verses were inevitable, but it's nice to see fellow New York entertainers Fat Joe, Fabolous and Jadakiss, as well as like-minded Southern vets Curren$y and Rick Ross, all of whom are on form, while the inclusions of up-and-coming gritty NY revivalists Conway, Benny the Butcher and Dave East make all sorts of sense), the album is still all about Jones, who literally sounds better than ever, an incredibly rare example of a rapper actually getting better with age. A couple of songs could probably have been cut, and a pair of autotuned choruses carry the faint smell of trendchasing, but on the whole this album proves that even previously mediocre rappers can achieve great things late into their careers, so long as they know what they're good at and strive to be even better at it. _________________ 2021 in full effect. Come drop me some recs. Y'all know what I like.
the album art doesn't do this thing justice. this is a stunning album in the folky-singer-songwriter vein, if you're into that. her bandcamp draws comparisons to Anais Mitchell, Gregory Alan Isakov and Laura Veirs. i'd liken it more to The Blue Nile (the production and soulfulness), Susanne Sundfor (songwriting, lyricism and vocal performance) and Sufjan Stevens (musicianship). the string sections compliment Anna's songwriting perfectly, and there are some bold sounds coming out of the electric guitars as well, particularly for something in the singer-songwriter category. the first track has some cool pitch-glitch stuff (a Panda Particle, Tensor or a Count to 5?) and there's some great reverse delays on the guitar on a couple tracks as well. _________________ follow me on the bandcamp.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
2019 may prove to be a great year for classic thrash bands. First, Flotsam and Jetsam released their best in some time, and now, Death Angel have released Humanicide, probably their best since 1990's Act III.
This guy's great. His first album got a bit of hubbub on here, but his second fell a little quiet (despite being a better record), and his third is just as good. Excellent folk.
This guy's great. His first album got a bit of hubbub on here, but his second fell a little quiet (despite being a better record), and his third is just as good. Excellent folk.
Agreed.
Some other stuff I've been into lately that isn't getting much attention...
I get it. It sometimes goes as far to be youtube poop in musical form. I have to draw the line somewhere. It has to be around here.
The last two songs are the best this album has to offer, because they actually have a great progression towards something, instead of just haphazard shit thrown in every 2 seconds.
Super summery Afroswing and pop-inflected grime, full of immediately catchy, often hilarious, and inherently likeable songs about girls and clothes, largely. He's got a weird, Caribbean-inspired, offbeat flow, and he comes up with effortlessly memorable hooks. RIYL J Hus or MIST.
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