History of the Communist Party of Great Britain 1927-1941

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  • #1
  • Posted: 11/09/2015 21:20
  • Post subject: History of the Communist Party of Great Britain 1927-1941
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Contents (albums in bold, songs in italics)

Stara Rzeka - Zamknęły się oczy ziemi
Freddie Gibbs - Fuckin' Up the Count
Boosie Badazz - Touch Down 2 Cause Hell
Boosie Badazz - Mr. Miyagi
Boosie Badazz - Like This Before (ft. Rich Homie Quan)
Kangding Ray - Cory Arcane
Boosie Badazz - Thrilla vol. 1
Eartheater - RIP Chrysalis
Thug Life - Thug Life vol. 1
Lil Boosie - Youngest of da Camp
Lil Boosie - Same Ol' Shit
Freddie Gibbs - Shadow of a Doubt
Eddy Grant - Say I Love You (Disco Version)
Junglepussy - Pregnant with Success
Rebles - Taboo (Club Mix)
Earthling - You Go On Natural
Mr. Flagio - Take a Chance
G.A.N.G. - KKK
Public Enemy - It Takes a Nation of Mil...ld Us Back
Slim Thug - Drank (ft. Z-Ro & Paul Wall)
Joshua Abrams - Magnetoception
Heather Leigh - I Abused Animal
Acre - Better Strangers
Food - This Is Not a Miracle
Earthen Sea - Ink
J.G. Biberkopf - Ecologies
Mette Henriette - Mette Henriette
Stormzy - Shut Up
Shape Worship - A City Remembrancer
Ghold - Of Ruin
Le1f - Riot Boi
Earl Sweatshirt - solace
Boosie Badazz - I'm Sorry
Upset - '76
Björk - Vulnicura
Sunn O))) - Kannon
The Fall - The Frenz Experiment
The Fall - Frenz
Mette Henriette - Mette Henriette [2]
Erykah Badu - But You Caint Use My Phone
Busdriver - Thumbs
Ian William Craig - Cradle for the Wanting
Cavanaugh - Time & Materials
Z-Ro - Let the Truth Be Told
Z-Ro - Platinum
Ryley Walker - Primrose Green
Aidan Baker - Half Lives
Weather Report - Live in Tokyo
Kneebody + Daedelus - Kneedelus


__________________________________________________________________________________________



An introduction would be redundant. You already know what it is.

Anyway, been completely obsessed with this in the last ten days or so, falling more in love with every listen:


Zamknęły Się Oczy Ziemi by Stara Rzeka

To be honest, I didn't think anything would be able to knock Jenny Hval's Apocalypse, girl from my #1 spot this late in the year (although Freddie Gibbs has an album coming out this month, so all bets are off), but this may just have managed it. It's far less fragmented than his debut, and better in pretty much every conceivable way - its transparent, Robbie Basho-informed folk-picking moments are more direct and hit harder than before, its Tangerine Dream synth undercurrents feel more organically woven into the music, and its droning raga-rock elements are more enveloping, especially when allowed to stray into frayed (albeit far more subtle than ever before) black metal territory or slyly incorporate wailing, Ayler-style sax into the mix. Besides those influences mentioned above, there are even times when I swear I can hear The Beatles at their most plaintive or Pink Floyd at their most frazzled, without it ever sounding forced or cliched or retrofetishistic. I also find that the album works just as well when given my undivided attention through headphones in a dark room as it does whilst soundtracking the mundane shit I do around the house upon getting in from work. Really beautiful stuff, that can be either crushingly dense and claustrophobia-inducing or pleasantly ambient (depending on what you want to get out of it at that particular moment in time). I thought his debut was an interesting curio that hinted at a massive potential, and his second full-length has delivered completely and utterly on that early promise. It's a shame that this is supposedly his last release as Stara Rezka, but it's a pretty fucking astounding way to bow out.

Going back to that aforementioned Gibbs album, his latest single is a real grower. Freddie killing it with the Bone Thugs flow over the sort of beat Mike Dean might have bashed out in the mid-'90s. Very high hopes for this album - as much as I adore Piñata, I'd also welcome a return to the harder, more synthetic sound of Baby Face Killa, especially if his rapping is as focused and as tight throughout as it is here.


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Also, I desperately need to bump Boosie's Touch Down 2 Cause Hell up to the top ten of my 2015 chart. It's been in fairly frequent rotation all year, but especially so recently. Haven't heard a harder song all year than 'Mr. Miyagi'. As I said when it came out, there's something delightfully old school (and endearingly naive) about the way Boosie appears to have made a 2006-era major label rap album, one that has obligatory songs that cover all your standard mainstream hip-hop tropes seemingly without any awareness of the direction hip-hop has taken recently in terms of albums being mood or concept pieces that feel like pre-planned wholes. Of course, the fact that he's been in jail probably means that he is pretty unaware of this. Regardless, he's rapping his ass off, spitting with a fire and a passion that Tupac (at his best) would be proud of - even if he's always been a fairly simple, literal rapper, with major limitations in terms of technical ability and vocal prowess, he's still my favourite rapper of the year in 2015, and he's made the best album of his career. He makes you feel his pain and his anger, but never comes across as being particularly bitter (apart from a minor misstep featuring Chris Brown that I tend to skip now). There's a new mixtape out that I really need to cop; will add thoughts on that in this thread as and when I get around to digesting it. But yeah, Boosie is King.


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We outchea.
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Last edited by Skinny on 12/07/2015 19:38; edited 20 times in total
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Norman Bates



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  • Posted: 11/09/2015 21:24
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Best thread title ever.
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  • #3
  • Posted: 11/09/2015 21:50
  • Post subject: Re: History of the Communist Party of Great Britain 1927-194
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Skinny wrote:
There's a new mixtape out that I really need to cop; will add thoughts on that in this thread as and when I get around to digesting it.



Link


The Rich Homie Quan-featuring 'Like a Man' was one of the highlights of TD2CH, and they've made more magic here. This beat is insane (it literally sounds like three different beats Frankenstein'd together), and Boosie refers to himself as "that lil' engine that could ... that lil' thug from Baton Rouge". Overall, the tape definitely sounds more breezy than Touch Down so far, which is to be expected from a free mixtape, but I just had to share this track as soon as I heard it. Too dope.
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  • Posted: 11/10/2015 17:20
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Kangding Ray - Cory Arcane (2015)

Kangding Ray has been quietly and consistently releasing some of the best techno of recent years, and this album is no exception. It's still pretty minimal, as per usual, and feels to me somewhat industrial (though it's more of a hyperclean near-future industrial, as opposed to a cluttered, northern English town industrial), but I definitely feel this is a more expansive and dynamic collection than Solens Arc or OR (his two best up until now, and his two most recent full-lengths prior to this one). Endless forward motion, lots of glitchy percussive tics (as ever), but I feel like this one has the most varied beat selection he's put out possibly ever, even if he's still most definitely working from the same airdry palette as before. 'Brume' seems to be a nod to trap and even possibly grime, especially when the horror-score synthetic strings swoop in, 'These Are My Rivers' features some of his most memorable work, notably a recurring melodic motif drenched in reverb and dripping with a slightly sinister, slightly melancholy vibe that pervades Burial's post-Untrue EPs, 'Safran' recalls the deserted High Street grime of Wen, but feels far more fleshed-out and less in thrall to the past, 'Sleepless Roads' evolves from skittering glitch into pounding deep house, and the final couple of minutes of 'Burning Bridges' are the most anthemic of his career, echoey arpeggios that would sound perfect bringing the curtain down on a triumphant festival set, and certainly reminiscent (to me, anyway) of Underworld in those rare moments they caught their breath. I don't think it feels quite as of a piece as last year's stunning Solens Arc, but that's neither a pro nor a con. Of course, it's all held together by those chugging tics and those unsettling textures, which feels like cobwebs on an otherwise perfect white indoor surface. Could see a few people here enjoying it, especially those who like their club-ready electronic music to feel tense and ominous. I'm not necessarily feeling everything raster-noton is putting out these days (if somebody could please explain to me the point of Alva Noto, I'd be much obliged), but Kangding Ray has become a byword for reliability. Highly recommended.


Boosie Badazz - Thrilla vol. 1 (2015)

Also, the new Boosie's really great, even if it doesn't have the cohesion or the emotional heft of Touch Down 2 Cause Hell. 'Letter 2 Pac' is a far better tribute to Shakur than Kendrick managed this year. I guess one problem with Boosie is that you have to completely buy into him as a person and a character in order for his music to work, else you might find something like the name-dropping, DJ Mustard-aping 'West Coast' really quite embarrassing, but I just love how much Boosie seems to believe everything he's saying, making it easier to airbrush over moments that other rappers certainly couldn't get away with. If you haven't heard the aforementioned TD2CH, then you should definitely check that out first, but for anyone who heard that and liked it, this is a fantastic, somewhat playful epilogue that's definitely worth hearing.
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  • #5
  • Posted: 11/11/2015 18:55
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Eartheater - RIP Chrysalis (2015)

Definitely my favourite of the two Eartheater albums released this year. This one feels less slapdash, and certainly less cluttered, often adopting little more than a repeated string motif (at one point I'm sure what I'm hearing is a minimal banjo melody), some subtle synth gurgles, and Drewchin's manic pixie dreamgirl whisper. This is basically Vulnicura minus the heartbreak and plus a whole load of psychotropics. Lyrically it seems to deal with the theme of identity (hence the chrysalis of the title), but I haven't listened enough to completely unpack it. Definitely recommended to fans of the aforementioned Vulnicura and Hval's Apocalypse, girl.


Thug Life: Volume 1 by Thug Life

This one is quickly becoming one of my very favourite Pac releases, alongside The 7 Day Theory. Benefits from its relative brevity, and its concise nature, even if the songs that don't feature Pac suffer for not doing so. 'Bury Me a G', 'Str8 Ballin'', 'Cradle to the Grave', 'How Long Will They Mourn Me?', 'Pour Out a Little Liquor' all showcase Tupac at his oxymoronic best, playing the wise, sensitive thug over thick, summery, West Coast production (fatback funk and needling synth lines that were almost designed to soundtrack lowrider hydraulics). I've always tended to think of Tupac's main appeal as being his passion and his honesty, but it's quite clear when placed against the other members of Thug Life (and later The Outlawz) that he was extremely capable technically too, although the variety of voices involved here is welcome, often adding different flows and vocal textures to songs in order to help pad them out, even if lyrically the likes of Big Syke occasionally fall short. But regardless, this is prime Pac, and just a fantastic example of '90s West Coast hip-hop.


Lil Boosie - Youngest of da Camp (2000)

The Happy Perez production all over this album is just fantastic, lots of cheap synths, paper-thin skittering drum patterns, and liquid mid-2000s Nokia basslines, which mean that every track here bounces without ever feeling overly aggressive (highlights include 'It's Going Down', with its proto-Jamie xx steel pan melody, 'I Thought Ya Knew' and its relentless vocoder'd two-note keyboard melody that sounds like a pitched-up didgeridoo, and 'I Got that Slap', which sounds directly influenced by cheesy action movie scores). Boosie (at this stage only 16/17 years old) proves himself a very nimble operator with a surprisingly smooth flow, even if he hasn't quite grown into his voice yet (at times he's recognisable as the Boosie we know and love today, but at other times he feels pretty indistinct, if not overwhelmed). He sounds wise beyond his years, telling tales of drug dealing and drug taking and generally getting involved in brutal street shit, which should come as no surprise whatsoever, and he's definitely planting the seeds for the more thoughtful, morose lyrics to come in later years. It definitely lacks the gravitas of his later projects (particularly my two favourites, Incarcerated and Touch Down 2 Cause Hell), but it's a thoroughly enjoyable, occasionally excellent, very interesting project that showed his vast potential, even at this extremely early stage.

p.s. Max Minelli brings pure heat every time he hops on a track, which thankfully is pretty often.


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  • #6
  • Posted: 11/12/2015 20:16
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Shadow Of A Doubt by Freddie Gibbs

Judging a new Freddie Gibbs album in 2015 is, for me, an extremely difficult prospect. I first discovered him in 2010 (ish), around the time his single 'National Anthem' was blowing up on blogs. I went back and discovered his fantastic midwestgangstaboxframecadillacmuzik and The Miseducation of Freddie Gibbs mixtapes, and realised he was one of my favourite rappers currently working, matching cold-hearted street tales (à la Scarface) with virtuosic sharpshooter flows (à la Bone Thugs) and an honest, passionate bark of a delivery (à la Tupac), adding a keen eye for detail and vivid specifics that I subconsciously look for in rappers (it's the obvious common thread that links most of my favourites, old and new, from Ghostface and Raekwon through to Roc Marciano and Kevin Gates). For the next couple of years, he outdid himself with full-length mixtapes that displayed obvious progress and stood out as his best up until that point - firstly 2011's Cold Day in Hell, and then 2012's Baby Face Killa, which I listened to more than any other album that year. 2013's ESGN was my first taste of disappointment with Gibbs, a record filled with too many generic trap beats and too many pedestrian guest appearances from no-name Gibbs associates, but it was soon followed by Piñata, easily my favourite album of last year, a collaboration with Madlib that instantly felt like an old friend, with Gibbs rapping at a level previously unseen, his street tales painting an unforgiving portrait of life in the American ghetto with more nuance than he had ever managed before, even at his very best. It was the culmination of everything Gibbs had been working towards in the time that I'd been enjoying his music, and stood out as his masterpiece, the record that would be looked back on as the pinnacle of his career. The question, then, is one of expectation. Surely even an eternal optimist can't expect Gibbs to match Piñata, let alone surpass it. So... what exactly would constitute a strong Freddie Gibbs release in 2015?

(These are initial thoughts, based on two listens, so take them with a pinch of salt.)

What we have here is a good album, but I can't shake the feeling that I've heard much of it before. Many of the beats share the same luscious, hazy, 60-denier synths that helped to make Baby Face Killa so coherent, and Gibbs is primarily rapping about selling coke and fucking hoes, which has been his forte since day one. There's a brief but significant out-and-out trap sojourn during the album's mid-section that recalls the stronger moments of ESGN, and the bouncy hook of 'Forever and a Day' would've slotted comfortably into the last third of Cold Day in Hell. Even Dana Williams - whose smooth, mid-range vocals laced Gibbs classic 'The Hard' - returns to lend her subtle talents to album highlight 'McDuck'. (I feel her and Gibbs are natural artistic bedfellows, evoking the suave gangster (note: not gangsta) vibe of Reasonable Doubt-era Jay-Z whenever they link up.) So, what separates this from the rest of Gibbs' canon is quite simple - never before has Gibbs experimented with his vocals in this way, or shown such a variety in terms of flow. Where this album occasionally falls flat lyrically (never going as deep as on Piñata, except perhaps on the self-critiquing 'Freddie Gordy'), the slack is picked up by his impressive vocal workout, with Gibbs stretching his voice like never before, often going higher-pitched and more manic, occasionally threatening to break into a straight-up DMX bark, pulling off a more-than-serviceable Future impression on the hook of 'Packages', and even autotune crooning (with, I think, tongue firmly in cheek) his way through 'Basketball Wives'. Don't get me wrong, Gibbs hasn't gone Young Thug here, and you certainly won't find him screeching and squawking and SKRRRRTing his way through songs - his commitment to razor-sharp flows makes that an impossibility - but we're definitely hearing a Gibbs invigorated by the recent trend towards a more fluid, melodic vocal style in hip-hop.

Beyond that, this record is pretty varied in terms of style and beat selection. Even though most songs here share those aforementioned blunt-smoke synths (that give everything a bleak sheen, even when the songs seem otherwise pretty bright), not to mention that en vogue trap snare roll, there is a lot of hopping between styles here. 'Fuckin' Up the Count' evokes those gritty, piano-led Mike Dean beats that Scarface used to sound so great over, 'Extradite' (featuring two brilliant guest verses from the perennially underrated Black Thought) takes a welcome left-turn into 1970s jazz-fusion, 'Packages' features 808 Mafia at their gloriously unsubtle best, '10 Times' is a skeletal take on DJ Mustard's ratchet bounce (and contains a disarmingly lyrical verse from none other than Gucci Mane), and 'Cold Ass Nigga', the album closer, is the most sonically abrasive Gibbs song I've ever heard, built on ascending buzzsaw synths and a single-note battering ram of a bassline, leaving absolutely no breathing room whatsoever. It's slightly too clean (and probably too basic) to call it a post-Yeezus beat, but I'd certainly but them in the same ballpark. It also makes for a strangely unsatisfying end to the album - for a start, its aggressive nature is more typical of an out-of-the-blocks album starter; secondly, the entire vibe of the song is largely at odds with the rest of the album; thirdly, it's just lyrically such a massive step down from the preceding 'Freddie Gordy' - but I guess that's largely representative of the (frankly quite odd) pacing of the album. That four-song trap section in the middle could've been more evenly spread in order to stop the album falling into a (slightly) monotonous rut, just as the first four or five songs of the album are probably a little too similar to be easily discernible for casual listeners. (Then again, even the best Gibbs' albums feature questionable sequencing - Piñata begins with a forgettable instrumental and ends with a Mac Miller verse.) It's not as though the order of the tracks here is a massive hurdle, but it makes for a somewhat disjointed listen.

Overall, this album feels like a return to the more straightforward coke'n'hoes rap of Cold Day in Hell and Baby Face Killa - in fact, it's the exact Freddie Gibbs album I was hoping for in 2013. There's some really strong songs here ('Fuckin' Up the Count', 'McDuck', 'Extradite', '10 Times', 'Freddie Gordy'), but it's easy to conclude that Gibbs has fallen back into his comfort zone after giving everything he had over Madlib's psychedelic soul meanderings. Of course, taking a step back, Gibbs in his comfort zone is still better than 99% of other rappers. So... what exactly would constitute a strong Freddie Gibbs release in 2015? To be honest, fuck knows; I'll take another Baby Face Killa over ESGN, though, and that's basically what Shadow of a Doubt is. Good Gibbs = great anybody else, and so this album is probably cause for minor celebration (even if, at the moment, it feels like a bit of a letdown following the transcendent excellence of Piñata).
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PsychologistHD




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  • #7
  • Posted: 11/12/2015 21:06
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Skinny wrote:

Shadow Of A Doubt by Freddie Gibbs

Judging a new Freddie Gibbs album in 2015 is, for me, an extremely difficult prospect. I first discovered him in 2010 (ish), around the time his single 'National Anthem' was blowing up on blogs. I went back and discovered his fantastic midwestgangstaboxframecadillacmuzik and The Miseducation of Freddie Gibbs mixtapes, and realised he was one of my favourite rappers currently working, matching cold-hearted street tales (à la Scarface) with virtuosic sharpshooter flows (à la Bone Thugs) and an honest, passionate bark of a delivery (à la Tupac), adding a keen eye for detail and vivid specifics that I subconsciously look for in rappers (it's the obvious common thread that links most of my favourites, old and new, from Ghostface and Raekwon through to Roc Marciano and Kevin Gates). For the next couple of years, he outdid himself with full-length mixtapes that displayed obvious progress and stood out as his best up until that point - firstly 2011's Cold Day in Hell, and then 2012's Baby Face Killa, which I listened to more than any other album that year. 2013's ESGN was my first taste of disappointment with Gibbs, a record filled with too many generic trap beats and too many pedestrian guest appearances from no-name Gibbs associates, but it was soon followed by Piñata, easily my favourite album of last year, a collaboration with Madlib that instantly felt like an old friend, with Gibbs rapping at a level previously unseen, his street tales painting an unforgiving portrait of life in the American ghetto with more nuance than he had ever managed before, even at his very best. It was the culmination of everything Gibbs had been working towards in the time that I'd been enjoying his music, and stood out as his masterpiece, the record that would be looked back on as the pinnacle of his career. The question, then, is one of expectation. Surely even an eternal optimist can't expect Gibbs to match Piñata, let alone surpass it. So... what exactly would constitute a strong Freddie Gibbs release in 2015?

(These are initial thoughts, based on two listens, so take them with a pinch of salt.)

What we have here is a good album, but I can't shake the feeling that I've heard much of it before. Many of the beats share the same luscious, hazy, 60-denier synths that helped to make Baby Face Killa so coherent, and Gibbs is primarily rapping about selling coke and fucking hoes, which has been his forte since day one. There's a brief but significant out-and-out trap sojourn during the album's mid-section that recalls the stronger moments of ESGN, and the bouncy hook of 'Forever and a Day' would've slotted comfortably into the last third of Cold Day in Hell. Even Dana Williams - whose smooth, mid-range vocals laced Gibbs classic 'The Hard' - returns to lend her subtle talents to album highlight 'McDuck'. (I feel her and Gibbs are natural artistic bedfellows, evoking the suave gangster (note: not gangsta) vibe of Reasonable Doubt-era Jay-Z whenever they link up.) So, what separates this from the rest of Gibbs' canon is quite simple - never before has Gibbs experimented with his vocals in this way, or shown such a variety in terms of flow. Where this album occasionally falls flat lyrically (never going as deep as on Piñata, except perhaps on the self-critiquing 'Freddie Gordy'), the slack is picked up by his impressive vocal workout, with Gibbs stretching his voice like never before, often going higher-pitched and more manic, occasionally threatening to break into a straight-up DMX bark, pulling off a more-than-serviceable Future impression on the hook of 'Packages', and even autotune crooning (with, I think, tongue firmly in cheek) his way through 'Basketball Wives'. Don't get me wrong, Gibbs hasn't gone Young Thug here, and you certainly won't find him screeching and squawking and SKRRRRTing his way through songs - his commitment to razor-sharp flows makes that an impossibility - but we're definitely hearing a Gibbs invigorated by the recent trend towards a more fluid, melodic vocal style in hip-hop.

Beyond that, this record is pretty varied in terms of style and beat selection. Even though most songs here share those aforementioned blunt-smoke synths (that give everything a bleak sheen, even when the songs seem otherwise pretty bright), not to mention that en vogue trap snare roll, there is a lot of hopping between styles here. 'Fuckin' Up the Count' evokes those gritty, piano-led Mike Dean beats that Scarface used to sound so great over, 'Extradite' (featuring two brilliant guest verses from the perennially underrated Black Thought) takes a welcome left-turn into 1970s jazz-fusion, 'Packages' features 808 Mafia at their gloriously unsubtle best, '10 Times' is a skeletal take on DJ Mustard's ratchet bounce (and contains a disarmingly lyrical verse from none other than Gucci Mane), and 'Cold Ass Nigga', the album closer, is the most sonically abrasive Gibbs song I've ever heard, built on ascending buzzsaw synths and a single-note battering ram of a bassline, leaving absolutely no breathing room whatsoever. It's slightly too clean (and probably too basic) to call it a post-Yeezus beat, but I'd certainly but them in the same ballpark. It also makes for a strangely unsatisfying end to the album - for a start, its aggressive nature is more typical of an out-of-the-blocks album starter; secondly, the entire vibe of the song is largely at odds with the rest of the album; thirdly, it's just lyrically such a massive step down from the preceding 'Freddie Gordy' - but I guess that's largely representative of the (frankly quite odd) pacing of the album. That four-song trap section in the middle could've been more evenly spread in order to stop the album falling into a (slightly) monotonous rut, just as the first four or five songs of the album are probably a little too similar to be easily discernible for casual listeners. (Then again, even the best Gibbs' albums feature questionable sequencing - Piñata begins with a forgettable instrumental and ends with a Mac Miller verse.) It's not as though the order of the tracks here is a massive hurdle, but it makes for a somewhat disjointed listen.

Overall, this album feels like a return to the more straightforward coke'n'hoes rap of Cold Day in Hell and Baby Face Killa - in fact, it's the exact Freddie Gibbs album I was hoping for in 2013. There's some really strong songs here ('Fuckin' Up the Count', 'McDuck', 'Extradite', '10 Times', 'Freddie Gordy'), but it's easy to conclude that Gibbs has fallen back into his comfort zone after giving everything he had over Madlib's psychedelic soul meanderings. Of course, taking a step back, Gibbs in his comfort zone is still better than 99% of other rappers. So... what exactly would constitute a strong Freddie Gibbs release in 2015? To be honest, fuck knows; I'll take another Baby Face Killa over ESGN, though, and that's basically what Shadow of a Doubt is. Good Gibbs = great anybody else, and so this album is probably cause for minor celebration (even if, at the moment, it feels like a bit of a letdown following the transcendent excellence of Piñata).


Great digestion, but I'm incapable of critical thought. How about a numerical ranking?

seriously though, this was a great read
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  • #8
  • Posted: 11/12/2015 23:15
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Skinny wrote:
Good Gibbs = great anybody else

I thought you might conclude with something like this, and I think I'm inclined to agree at this point (especially after devouring most of his backcatalog). Excellent write-up that remains honest while still managing to get me psyched to listen later today. Will be interested in seeing where my thoughts overlap
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  • #9
  • Posted: 11/13/2015 02:30
  • Post subject: Re: History of the Communist Party of Great Britain 1927-194
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Skinny wrote:
An introduction would be redundant. You already know what it is. Been completely obsessed with this in the last ten days or so, falling more in love with every listen:


Zamknęły Się Oczy Ziemi by Stara Rzeka



Just gave this a first listen. Damn. Just as incredible as you say.
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  • Posted: 11/13/2015 22:06
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