Steering away from music a bit today because I believe this spectacular movie deserves as much recognition as possible…
I treated myself to seeing Jordan Peele’s new film “Get Out” last night, and my god do I have sooo many good things to say about it.
First off the casting was phenomenal. I didn’t realize until I was waiting to buy my ticket that the main character is played by Daniel Kaluuya, the same brother who killed the lead role in the Black Mirror episode “15 Million Merrits”. I really hope he gets more recognition now because he is a fantastic actor. On top of that my man Lakeith Stanfield (of the hit show Atlanta) nailed his role; I’m so so happy that he was given the opening scene of the movie.
Even though Peele’s background is in comedy “Get Out” is not overly funny. It has a somewhat saterical premise, yet it is truly unsettling, and it masterfully manages tension and energy. Much of this can be credited to its absolutely breathtaking cinematography and editing, which perfectly captures and amplifies the emotions in each scene. Even the film’s few “jump scares” are done tastefully, with enough attention to detail to make it seamlessly gel with the shots before it.
The film’s dialogue is another big factor of the tension. Throughout the film Peele will purposely make you uncomfortable with his display of the all-too-real and often subtle/unconscious racism that suburban people often internalize. There were so many lines that made me literally facepalm and mutter “Fucking white people…” under my breath.
Still, despite being so dense, the film always gives the audience space to think about and digest what has happened. It also leaves subtle clues that don’t pay off until much later. You will think you know what is going on, but I can almost guarantee that you do not.
If you have even a sliver of interest in horror and/or social commentary then I HIGHLY recommend going and and supporting this phenomenal piece of black art. Much love to Jordan Peele for stepping out of his comfort zone and giving American culture something that we desperately needed in 2017. With a directorial debut this strong I cannot WAIT to see what this brother does next!
2016 may have sucked hard in general, but it was a GREAT year for music, especially hip-hop. We got fresh albums from legends who returned to put these wack new rappers in their place, as well as genre-defining albums from some of the culture’s brightest up and coming stars. With so much diversity it was hard to narrow down my top ten favorite albums of the year, but after a lot of consideration and re-listening I was able to pick the albums that I played the most, and that I believe are pushing the genre forward for the next generation. Thank you for reading, I hope you enjoy my list; I hope some of the music resonates with you, and that you find something that you might not have listened to otherwise. Best of luck in 2017, I hope you achieve all the personal goals you set for yourself, and are able to overcome the challenges life throws at you with ease!
-Niles
10) Vic Mensa: There’s A Lot Going On
If you remember, one of the first reviews I did on this site was for “Traphouse Rock” by Kids These Days, the former band of rising star Vic Mensa. Friends of mine know that I’ve talked a lot of shit about Vic since the band broke up, mostly because I felt he had sacrificed his artistic integrity for fame. Still, my curiosity got the best of me, and I had to check out “There’s A Lot Going On”. Even though songs like “New Bae” and “Liquor Locker” still sound ignorant to me, the majority of the EP seemed to bring back the introspective and adventurous Vic that I previously knew. “Dynasty” was a hard hitting and definitive song, while “Sixteen Shots” was deep and powerful. My favorite section of the project was the end, which included the most emotional songs “Shades Of Blue” and the EP’s title track. It was really refreshing to hear Vic talk about the split up with Kids these Days, and the emotional turmoil he’s gone through since then, especially since the pain in his voice was so clear. While the EP didn’t blow me away, it revitalized my interest in Vic, and inspired a lot of excitement to see what he can do with his next full length project.
9) Run The Jewels: Run The Jewels 3
This surprise last minute addition unexpectedly dropped on Christmas, rocking the world with hard hitting beats and raw lyrics. As an “EDM” (god I hate that term) producer, I really appreciate El-P’s heavy emphasis on grimy electronic sounds, which perfectly complement the aggressive rhymes that he and Killer Mike spit. Being the group’s producer on top of a vocalist gave El-P the unique opportunity to flawlessly capture the duo’s artistic vision, right down to the seamless way that many of the songs are link together. Despite the album’s overall raw sound, it still manages its energy really well, ending the album with a string of less intense and somewhat more emotional songs, which are refreshing after the series of upbeat bangers that dominate the majority of the album. With so little time to sit with the album, it’s hard to weigh its replay value over time, but I suspect it will be in constant rotation in 2017.
8) Mac Miller: The Divine Feminine
When Mac Miller first came out I saw him as a content-less party rapper, but over the years he has grown tremendously, proving himself to be one of the most authentic artists out there at the moment. His newest venture, The Divine Feminine, is his most surprising evolution yet, holding a Mac who has transcended his drug-fueled lifestyle in favor of one driven by love. This new focus has watered down his lyrics a tiny bit compared to his last album, but that is compensated by a new style of production, and immensely emotional verses from Mac himself. Songs like “Dang” and “Soulmate” feature prominent electronic elements, creating a lush and upbeat sound that complements Mac’s rough voice, while slower songs like “Skin” and “God Is Fair, Sexy Nasty” emulate the ups and downs of love. The best song on here hands down is Mac’s jazzy duet with girlfriend Ariana Grande, “My Favorite Part”, which is busting at the seams with soul and passion.
7) Schoolboy Q: Blank Face LP
I have had very mixed feelings about Blank Face LP, but something keeps bringing me back to it time and time again. Sure, I think it could trim a bit of fat, both in its tracklist and in certain song’s arrangements, sure a lot of the lyrics are exactly what we’ve come to expect from Q, but overall it is an experience unlike any we’ve heard in hip-hop. The album’s dark and grimy vibe reflects the street reality that Q talks about, but the diversity from song to song is almost always surprising. The features are used tastefully and always contrast Q in a way that is refreshing, while also showing off his knowledge of the genre’s history with people like Jadakiss and E-40. Plus “That Part” is fucking lit.
6) Royce Da 5’9″: Layers
The slaughterhouse rapper has always been known for his vicious flows and hard hitting punch-lines, but on his newest album he transcended all that and simply focused on making a good, focused project. The album flawlessly flows through its tracks, from the dense intro “Tabernacle”, which gives new fans a background on Royce’s beginning days as a rapper, to the self-reflective and inspirational outro “Off”. I loved how the album seemed to be broken up into three arcs focusing on his come up, his failing marriage, and the disheartening state of the country. The production across the album is diverse, complex, and predictably, layered. Each beat paints a sonic picture that perfectly companion the meticulous and varying flows that Royce deliver.
5) A Tribe Called Quest: We Got It From Here…Thank You For Your Service
Admittedly, I’ve never actually listened to a full Tribe album before, even though I’ve always enjoyed every song I’ve heard from them. The jazzy stylings of songs like “Electric Relaxation” and “Can I Kick It” have always struck a chord with me, but I’ve just never been driven enough to actually give them a chance. With WGIFH…TY4YS Tribe but together a defining project that seemed to refurbish the old school sound, turning it into an accessible, yet adventurous sound for 2016. The clearest example of Tribe’s refined songwriting is probably “Wall Of Sound”, which slowly progresses with each verse, crescendoing into a literal wall of sound. Other standouts include the soft guitar driven “Melatonin”, and the ominous but fun “Ego”, which perfectly captures the feeling of internal conflict. As an added bonus, long time collaborator Busta Rhymes also makes several appearances on the album, delivering some of the best verses I’ve heard from him in years.
4) Aesop Rock: The Impossible Kid
I’ve never really listened to Aesop Rock before, and to be completely honest the only reason I checked this album out is because I got him confused with ASAP Rocky…still, what I found was a cohesive and accessible introduction to an artist who has been previously described as needlessly abstract and confusing. The album’s dark and ominous sound is consistent across the whole project, which as I found out is because Aesop produced the whole thing himself. On top of his stellar production skills, his rapping is phenomenal. The way that he puts words together and emphasizes syllables is mesmerizing, even if I didn’t always know what he was saying. Even though the production is often similar, the subtle differences always fit the theme of the track. “Rings”, a song about Aesop’s forgotten passion for drawing, is lush and colorful, while the guitar centered “Blood Sandwich” seeps with emotion as Aesop pours his heart out about his childhood with his brothers.
3) Danny Brown: Atrocity Exhibition
Just like Mac Miller, I used to haaaate Danny Brown. Overtime I developed an affinity for his hectic, discombobulated approach to music, but that still didn’t prepare me for the extremely experimental album that is Atrocity Exhibition. Gone are the EDM influences that sprinkled Danny’s last album, and in its place is a harsh and dissonant sound that is diverse enough to allow room for Danny to expand beyond the partying drug-addict that he has previously been pigeon-holed into. From beginning to end Atrocity Exhibition is a sonic experience where Danny has meticulously managed every element, creating and perfect window into his off the walls, yet insightful brain. Standout tracks include the horn driven “Ain’t It Funny”, the calm and focused “Tell Me What I Don’t Know”, and the powerful “Really Doe”, which features an absolute MONSTER verse from Odd Future alumni Earl Sweatshirt.
2) Watsky: X Infinity
George Watsky has come a long way since “Pale Kid Raps Fast”, which he proves with his newest album. On X Infinity Watsky has refined his song writing and inflection to a point where he is able to perfectly represent a variety of emotions and ideas. Powerful songs like “Stick To Your Guns” and “Chemical Angels” reach deep into Watsky’s soul to address heavy topics, while bangers like “Pink Lemonade” continue to establish the poet as someone who can actually spit with passion and intensity. Watsky’s impeccable rapping is matched by a whole new level or production from long time collaborator Kush Mody, whose eclectic tastes shine bright, flooding the ears with a diverse pallet of colors. As a whole the album’s tracklist is meticulous arranged to manage the album’s energy, climaxing in an emotional four song story arc that blends together seamlessly. The album’s bonus track, a massive ten minute collab (including Hamilton star Daveed Diggs) that tells the story of a robot clown invasion, is an incredible highlight as well.
1) Bas: Too High To Riot
To my surprise the reviews for this album were very mixed, with the general consensus being that it was a bland album that felt too much like J Cole. I’m not the biggest Cole fan in the world, but to me this album felt more cohesive, meticulous, and inspired than anything I’d heard from Dreamville’s leader. Like many of my favorite albums, “Too High To Riot” has spectacular production, which becomes clear instantly with the album’s title track, a lush marriage of synths, pianos and nature sounds. The adventurous trend in production continues across the album, matching the diverse topics and flows that Bas delivers. The rapper’s inflection on this album feels irrefutably emotional, especially in songs like “Miles And Miles”, and “Black Owned Business”, which stray away from typical hip-hop brags in favor of positive messages and self-reflective lyrics. Perhaps the album’s greatest strength is its replay value; its short length often left me craving more, inspiring repeat listens.
Today I’d like to do things a bit differently; I’d like to start broadening the Horizons of The Funk Yard, and do more than straight up album reviews. To start I’d like to talk about something really special. As some of you may remember, one of the first reviews that I did for this blog was for a mixtape by the local Connecticut Hip-Hop artist Jahan Nostra. Back in December my buddy Steve and I also made this mini-documentary on Jahan, who at the time was in the process of recording his new album ESP. Hard work pays off, and as a reward the two of us were invited to attend the album’s listening party on Saturday.
Everything transpired at a hole in the wall juice bar in South Norwalk, known as The Vapor Well. When Steve and I rolled up (admittedly a bit early,) there wasn’t much going on, but we took a seat, grabbed a drink, and waited for the masses to filter in.
Jahan was noticeably on edge, bouncing around talking to his team, making sure that everything would come together perfectly for his great unveiling. Soon people of all shapes and sizes began pouring in, and Nostra did his part to welcome and introduce them to each other. It was then that it struck me how easily the role of a unifier came to the Stamford artist: his energy was contagious, quickly cultivating the room into one seeping with laughter and dancing.
All the while DJ Lokash rocked the wheels of steel, filling the air with Jahan’s biggest influences; classic Hip-Hop artists like The Roots and A Tribe Called Quest energized the crowd, amplifying the anticipation for Jahan’s newest artistic endeavor.
Around 10 p.m. it was announced that the album listening was about to begin. Steve and I abandoned the comfort of our seats to join the rest of the party as they gathered around Nostra, eagerly waiting to hear the album that had been years in the making. After a heartfelt introduction about his creative process and inspiration, Jahan ushered in his “Stamford anthem” Welcome Home, once more unifying the crowd under the familiarity of those first few notes.
From there the music took a turn towards the unfamiliar. In the interest of length I won’t go into detail about all of the tracks, but I will say this: the album is a perfect reflection of Jahan Nostra’s essence as an artist. It is dynamic, never coming with the same vibe twice, but simultaneously never changing so much that it feels like Jahan is simply playing into a style. It feels organic, but detailed, fun, but also at times somber and thought provoking.
One of my favorite tracks is the concept driven song Bricks and Scholarships, which felt very much like it could be a Lupe Fiasco song, but with a Nostra twist (as a HUGE Lupe fan I really appreciate this). The track featured a menacing beat and a catchy, but hard hitting chorus that sought to illuminate the illusions of the drug game. Really grade A stuff, I cannot WAIT to hear how it sounds on my stereo at home. Another stand out for me was the song A Day In The Life, an easy going track (some would call it “Ryder Music) that would be perfect for just chilling out or driving around to. Jahan’s vocals fit the track like a firm glove, with a flow that really played to the music, matching it’s laid back energy.
Jahan ended the night with a track I actually had the pleasure of watching him create. When Steve and I filmed our mini-documentary we accompanied the artist to his studio and saw as his laid down the first verse of Her/She. Hearing the finished product, however, was a completely different experience. For one the added guest vocalist absolutely KILLED IT on the chorus, and the energetic, crisply mixed beat really helped Jahan’s voice to pop. The song is a radio banger for sure, and I couldn’t stop myself from busting a move in the middle of the crowded floor (accidentally almost killing a girl in the process…whoops).
Overall, I really, REALLY loved the album and I can’t wait to get my hands on it. I can’t lie, I was beginning to get a tad annoyed, as the album has been pushed back several times since we made our film. But after hearing the full thing I realized Jahan is a true artist and a perfectionist, and if he can continue to release projects of this caliber, then he should be given all the time in the world. The album should be dropping later this month, to known exactly when, follow Jahan Nostra on all of his socials, listed below.
I need to find out who designs Griz’s album covers because every single one has been stunning.
Go ahead, say it…we’re all thinking it. For a blog entitled “The Funk Yard” there have been virtually no reviews of funk music. That all changes today, however, with the new album from Detroit’s sax playing messiah Griz. Say It Loud is not only the funkiest album I’ve heard in the past year, as far as electronic music goes, it is the also the most human.
With this release Griz set out to do something he has never done before, create an album featuring a variety of live musicians that he would record himself. From school house choirs to psychedelic guitars, every song on this album is sprinkled with an element of organic soul to differentiate itself from the synthetic track that surrounds it.
This isn’t to say, however, that Griz’s sounds are dry or boring. In fact, the few times that the producer decides to arrange a fully electronic drop are often the highlights of the song. Take for instance the album’s lead single “A Fine Way to Die (Feat. Orlando Napier)”. The near seven minute track is filled to the brim with classy trumpets, punchy drums and amazingly soulful vocals. For the first 2/3s of the tracks this and an underlying sub bass are all we hear, but the moment that distinctive Griz bass takes center stage the tune becomes even more of a dance floor anthem than it already was.
But perhaps more impressive than Griz’s sound design abilities are his arrangements. Besides its captivating bassline grooves, what makes funk sooooo good is its ability to be repetitive, but still able keep you on your toes and forever guessing what elements the band (or in this case producer) is going to implement next. This is best shown in my favorite song off the album, the definitively titled “Get Down (ft. Sunsquabi & Maniac Focus)”. While maintaining a consistent groove Griz alternates between employing organs, 80’s pop synths, delicious electric guitars and his signature sax to make sure the song never gets stale.
All these elements are tied so beautifully together by Griz’s top notch mixing skills. With sounds coming from all these different places, recorded in all these different environments, it must have been incredibly difficult for the producer to get them to all fit together. Although, Griz’s mixing abilities have never really been in question. Even with Mad Liberation, his first offering to the world in 2012, his songs were sounding as crisp as a perfectly baked apple pie. But alas, even the pros aren’t perfect and they sometimes make mistakes. With this album, the biggest thing that stands out is how soft and far back in the mix Talib Kweli sounds during his verse on “For The Love”, and how the album’s closer “Turnin’ (Feat. Orlando Napier)” ends kind of abruptly.
In the grand scheme of things, however, these flaws are easy to overlook. The album as a whole is hands down the best, most original and CERTAINLY most funky album that this Detroit native has put out so far. Considering his first album came out just a few years ago, it’s amazing to see just how far he has come. With skills like this, career longevity is ensured and I cannot wait to see what he does with the rest of it. Download Say It Loud for free by visiting http://www.mynameisgriz.com.
“B4.Da.$$ it was love, but B4.Da$$ it was tough, then came the money through a plug, it’s a shame this aint enough”
Watching an artist grow is one of my favorite things to do. People are ever changing and artists keep getting better (hopefully), but every song, mixtape or album that gets released is like a time capsule that showcases an artist’s skill set at the time. My cousin turned me onto Joey Bada$$ shortly after the release of his 2012 mixtape 1999 and since then his skills have improved ten fold. Upon listening to 1999 I was blown away by how flawlessly he pulled off the sound of 90’s rappers like The Wu-Tang Clan, Nas and Jay-Z. But while many Hip Hop heads and critics alike praised Joey for his mixtape, he received just as much flak for following the 90’s style TOO closely. Joey clearly heard these criticisms and began developing his sound over his next two mixtapes before releasing his debut album B4.Da.$$ this Tuesday.
The album sees Joey further exploring the sounds of 90’s hip hop and mixing it with the more synthesized sound of today. Most of the songs feature up beat Jazz styled instrumentation, with with a few darker vibed tracks thrown into the mix as well. These beats are repetitive enough to let Joey’s vocals shine through, but switch it up some bars enough to make sure you don’t get too bored. This serves the album well because while I enjoy most of the instrumentals, I have to admit, aside from a few gems, they’re not as fresh and enticing as some of Joey’s other releases.
Really though, this is a hip hop album and while I love a good beat, the star here is Joey’s actual verses and on this album he brings some of his best yet. Lyrically Bada$$ is good, but not the greatest ever. Yes his story inspiring and his rhymes often complex, but these are things many rappers posses. What really makes Joey stand out above the rest is his raw technical skills, which he has perfected since the release of 1999. Joey has a very unique voice and the way he enunciates words is audibly captivating. Furthermore, on this album he breaks out flow after flow after flow, bringing something different to each song. While the album’s beats might not be that amazing on their own, Joey fits each one like a snug glove that is oh too comfy.
But here’s always one last criteria I like to judge albums by and that is how well it showcases a musical journey. By this I mean, how easy is it for you to just press play on an album and quickly become submersed in it from front to back? I think that when a release does that it truly becomes an album instead of just a collection of songs. Unfortunately B4.Da.$$ falls a little short in this category. While all the songs are good, there is no clear progression between them, no foreseeable reason WHY Joey chose to arrange them in the order that he did. Does this take away from the quality of the songs themselves? No, but I often found myself jumping from track to track after my 2nd play through as nothing really kept me invested enough to just let the album play. Regardless though, this is a high quality album that delivers on song after song. So even if I probably won’t be sitting down and listening to this album straight through a lot, you can be sure cuts from it will be making it into my playlists for a long time to come.
This years Vol. features a cast of some of horrors biggest monsters incuding Pennywise The Clown and Jason Voorhees
As much as I love summer and wish it were longer, the month leading up to Halloween will always be my favorite time of year. As the leaves begin to fall and the spooky decorations begin coming out, even the most rational person is given a little more reason to keep glancing over their shoulder when walking alone in the evening. Many people share a love for the eerie holiday with me, but no one more than the mysterious Figure. Each year in the month of October this horror obsessed producer releases a collection of haunting bass tracks that are sure to make your heart beat faster. Complete with songs sampling huge horror hits such as A Nightmare on Elm Street and The Evil Dead , this year’s Monsters Vol. 5sees Figure returning to his signature sound as well as paving the way for future releases with smashing new ideas.
As a hip-hop head, one of the reason Figure resonates so much with me is because even in his much heavier tracks you can hear him apply techniques he learned from his early days as a Hip Hop producer. The perfect example from this album would be the track “Pennywise The Clown” featuring the lyrical talents of longtime collaborator, Cas One. This tune’s powerful brass melody paired with the live drumming during Cas One’s verse provides the listener with a killer breakdown to spice up an already steller track.
Of course you can’t really talk about how Figure spices up his songs without talking about how many different directions he can take a single drop while sticking to relatively the same sounds. I don’t know how Figure designs his basses (though it probably something to do with FM synthesis), but I’ll admit it: if you’ve heard one figure bass you’ve more or less heard them all. The draw to his music, however, is not in the difference between his bass sounds, but more in how he utilizes modulation and samples in his drops to make these synths sound fresh time and time again. Take for instance the Jason Voorhees inspired track “Friday The 13th”. By adjusting different aspects of his basses and splicing in the right samples, Figure was able to create four drastically different sounding drops with essentially the same five sounds. Now, this isn’t to say Figure can’t be original with his sounds, because he actually suprised me with several new sounds I didn’t expect from him, such as the main bass in “Creature from the Black Lagoon” or those highly distorted basses on the outro of “Freddy Kruegar”
But alas, this album does have a few short comings that last years Monsters Vol. 4 seemed to do just a tiny bit better. Around this time last year Figure was working with Universal Studios to provide the soundtrack for their “Halloween Haunted Nights” experience, and as a result, last years Monsters had a bit more of a cinematic aspect in both it’s interludes and in some of the samples used. While it is nice to see Figure returning to his heavier sounds, this years interludes don’t really give me the same kind of goosebumps. Furthermore, some drops seem awkward, almost as if they didn’t match up with their buildup. Both these issues can be seen in the album’s opener “House On Haunted Hill”. Yes the song does an alright job of setting the tone for the album, it’s drop seems really out of place and I would have been happier if it had just been a stand alone cinematic track.
Despite this however, the album in general is better than last years and most of the songs are powerful bangers that are sure to be heard in many sets this Halloween season. So go grab yourself a copy or at least give it a listen on soundcloud, because when it comes to creating eerily dance-able sounds of the season, no one does it better than the mysterious Figure. You can catch Figure on his TerrorVision Tour this fallwhere he will be cueing clips along side his music in a similar fashion to the above video
These mix cover arts keep getting cooler and cooler…
Did I accidentally go another six months without posting a review? Sorry guys, life keeps getting in the way. But anyway, today we’re gonna do things a bit different as I’m here to review the newest edition to the legendary bass producer Excision’s Shambhala mix series. This hour and a half mix is something fans of dubstep look forward too every year where Excision throws down new tracks across all genres from him and his label Rottun Records.
This year’s mix surprised me in many ways, one of the biggest in the fact that it was almost entirely Dubstep and Drumstep. While Excision did throw down Moombahton, Electro House, trap and Drum n Bass as expected the ratio of those to Dub/Drumstep was much less compared to last years mix and the last time I saw him earlier this year. In a scene where more and more artists are changing their sound to be extremely trap heavy, it’s nice to see Excision going back to his roots a bit (although I wouldn’t mind if he went back further and brought back the “deep” sound from his early work).
On the technical side of things, I think that last years set was a slightly cleaner mix. This isn’t to say that the mix is sloppy by any means as Excision’s been in the game for a while and he knows how to make shit sound gooooooood. I did however notice that a lot more of his transitions were hard cuts, especially in the beginning. This didn’t really phase me too much and I doubt it will the average listener because Excision’s track selection for this mix is fuckin’ prime. I’ll admit it, last year’s mix greatly help shape my taste in drum and bass and drumstep and I stole quite a few tracks for my own mixes. I’m sure I’ll end up downloading a lot of stuff from this mix as well because Excision couldn’t go 5 minutes without dropping something that audibly made me say “wow”. Some of my favorite tracks from the mix would have to be this year’s version of Excision’s anthem “X-Rated” (which he somehow manages to keep fresh every year), the Danny Bryd remix of Niggas in Paris or the COMPLETELY unexpected Rudebrat remix of RL Grim’s “Tell Me”. That last example might have been the highlight of the mix for me…I don’t want spoil it for anyone but Excision took me from thinking he messed up big time to making me go hard to a genre I’m not even a real fan of.
For me, this mix came at the perfect time because I’ve been listening to so much Liquid Drum and Bass and Psybient lately that I almost forgot how much I liked it when music got on the heavier side. While I literally told my friend a couple days ago that I probably wouldn’t see Excision again next time he came around, I’m now sure that next time he’s playing at the Oakdale you will definitely see me raging hard in the back. If you’re still unsure about devoting an hour and a half of your life to listening to this mix, check out the first 8 minutes live below and then go download the full set in higher quality on Excision’s soundcloud.
One of the things that happened to me over the last year or so that I haven’t written on here is that I got much MUCH more into electronic music and one of my favorite electronic producers at the moment is Vaski. I’ve seen him play a couple times in the past year and both times he delivered and amazing experience with his unique style of dirty dubstep.
Since then Vaski been hard at work making his nearly released EP The Explorer (2014). On most of the EP Vaski steps away from the dubstep side of things to explore more elements of house and hip hop but don’t worry there’s still a couple halftime bangers for you bass heads. Get ready for this track by track review on The FunkYard!
Jumpsuit: The albums intro is very nice. It starts with soothing chords and some well designed synths before employing a dirty bass synth to get you hyped for the drop. Besides a little beating on an industrial drum in the beginning, the buildup is completely percussion less which I think is pretty cool. It’s nice to start the EP with an intro that is all atmosphere. The actual drop is massive and hard with an epic kick drum slamming that house beat into your head and a nasty syth stabbing at it. The song then progresses into another calming atmospheric bit that is acts as the songs outro.
Game of Cards (Ft. Betty Borderline):Another banger house song that this time employs the vocal talents of Ms. Betty Borderline who delivers a very nice vocal melody that gives this song a little bit more of a festival feel. But hey if we can get more house like this played on the Ultra main stage I wouldn’t complain. The 2nd drop sees Vaski bring back is classic Dubstep sound that reminds me of one of his other bangers Insane (ft. Ava).
The Nile: Perhaps my favorite song on the EP the Nile is a wonderful Hip Hop track that throws you straight into the middle of Egypt with it’s main melody and spooky chords. The song has excellent progression as well, adding something new every section and staying fresh for the entire track.
Can’t Bring Me Down:Vaski’s first real dubstep track on the EP shows the much grittier side of him with extremely heavy bass synths. The rhythm in his bassline is absolutely pumping and it really makes me get hype. Dubstep DJs this is defiantly one for your library.
Radium:Is an Electro House song with a bit of a Progressive House buildup and a little bit of cool breakdown at one point but over all it’s not that stunning of a track. I liked it but it didn’t really wow me at all….BUT I’m not really an Electro House guy and a song has to be absolutely outstanding for me to like it. So if Electro House is your thing be sure to check this out because I’m sure you’d like it.
Mars:Vaski’s other dubstep banger acts as the EP’s closing track. And what a closing track it is. Bringing back the same spooky atmospher from the albums intro, Vaski writes and absolutely beautiful chord progression and main melody before throwing you into an aggressive drop that would absolutely kill on a dance floor. The song ends by bringing back those spooky chords one last time before the final notes echo away into silence for an very fitting end to the EP.
Overall, The Explorer is a fantastic new EP from Vaski and completely made my week, especially since it just showed up in my news feed without me having any knowledge of it prior to it’s release. If you don’t already be sure to follow Vaski on facebook and soundcloud and go pick up this new EP today.
Aaaaaaaaannnnnnnddddddd we’re back! Wow, it’s been over a year since I’ve written on here. I’ve grown and changed a lot over that time but one thing that hasn’t changed is my love for Rapper/Actor/Comedian Donald Glover AKA Childish Gambino. Back in December Gambino released his sophomore album on the label Glassnote Records along with a 76 page screenplay entitled “Because The Internet”. The story tells the tale of a boy’s disconnection to his friends and people in general as he tries to decode the phrase “Roscoe’s Wetsuit” that seems to be showing up everywhere. The script is fantastic and is absolutely an essential read if you want to understand the entire theme of the album and the character the Donald has been portraying for the media over the past year. That is not to say, however, that the album is not stand alone AMAZING. Donald delivers all the things that make a hip hop album great. Diverse, well produced instrumentals, a large arsenal of interesting flows paired with clever lyrics and most importantly cohesiveness. So lets look at each of those in a little more depth.
Production: “Because The Internet”is Donald’s most well produced project to date and once again Donald and Ludwig Goransson produced 90% of the album without help from any other producers. The album starts out with hype beats with Crawl and Worldstar but the further into the album you get the trippier the beats seem to get with songs like Flight of the Navigator and Zealots Of Stockholm. There’s also a decent amount of RnB style beats with songs like Shadows and Urn. Some of my favorite productions on this album though are the instrumental intros to every chapter on the album. All are drastically differentbut no mater the kind of sound Gambino is going for he creates a 10/10 experience on every track.
Vocals: Outstanding. With this album Donald has found his voice. If you remember, on his early projects Gambino had that nasely voice that was slightly annoying no matter how sickboi the lyrics were. When he grew out of that on EP and Camp he had a little bit of an “angry rapper” thing going on but on Because the internet he has really improved and his voice and delivery fit every track on the album. You have songs like Pink Toes where he has a smooth RnB style flows and then you have songs like The Party where he raps extremely fast and aggressive. No verses sound even mediocre and even if Gambino’s lyrics weren’t all that great his combination of beat and delivery would keep me locked in anyway. But oh yeah, his lyrics are awesome too.
Lyrics: The reason Gambino has always been great in my eyes is his absolutely outstanding lyrics and punchlines. Take for instance The Party, which paints a very vivid picture of the wild parties that take place at the boy’s house and how the boy lost his mind during one of them (see the connection to the script?). In that 30 second verse Gambino had me believing I was at the party myself. But no song is better to showcase Gambino’s fantastic lyricism than his 5 minute no hook album closer Life: The Biggest Troll. This song quickly became one of my favorite all time Gambino tracks because of how he addresses themes of self doubt, depression all while deleving clever lines such as “Text say I’m wet I say hold up wait a minute, H20 plus my D that’s my hood I’m livin in it”. Just think about that for a minute
Cohesiveness: The best thing about this album is how much it feels like one big hour long journey. From the intro before Crawl until the last few seconds of Life: The Biggest Troll, it hard to turn the album off. Because that’s how Donald designed it, as one big experience incorporating the Script, the “Clapping for the Wrong Reasons” shortfilm and the life Donald has been living for the last year. And that’s why I think Because The Internetis one of the best hip hop albums of 2013 and you need to go buy it today!
So it has been completed. The epic double album New York’s prog rockers have been hyping up has now been officially finished. “The Afterman: Descension” hit stores February 5, 2013 and does everything but fail to live up to the hype that its been getting. Since Coheed albums are difficult to really review as a whole I’ll do a track by track like I did with “Ascension”.
1. Pretelethal – An opener track in the vein of 2007’s “The Reaping”. It comes as a full band song, beginning with serene acoustic guitars and Claudio’s ghostly falsetto vocals. It really accentuates the pain Sirius Amory is feeling at this point in the story and really shows that this album is going to hit you hard with the painful, but beautiful songwriting and delivery. 9/10
2. Key Entity Extraction V: Sentry the Defiant – This song was released on youtube in acoustic form well before “Ascension” was even announced and really stur up the fans. It instantly garnered positive reviews and really hit me hard about the situation with their ex bass player. The song starts out similar to “Domino the Destitute” from the previous album but in my honest opinion hits a little harder on how hurt Claudio and Travis were about Mic’s leaving and continues the hard hitting start every Coheed album has had. Fantastic vocals and musicianship Travis’ leads are brilliant and Josh never fails to impress on the drums. 10/10
3. The Hard Sell – This was released a month or so before the album along with the first single “Dark Side of Me” and I fell in love with this song instantly. It continues the hard-hitting nature this album really started with “Sentry” and is a better third track than the previous album’s. The chorus is catchy as anything you’ve ever heard, and the guitar work is fantastic and even catchier. Its supposed to be based around how Coheed’s manager likes to troll Claudio about writing more radio friendly songs, which then gets him to write some really awesome angry song thats even better than anything the radio could have. Great track. 9.5/10
4. Number City – Okay so imagine if an epic hard rock/prog rock album suddenly turned into a Peter Gabriel cover album? Well thats what happens with this track. It’s so damn groovey and is my personal favorite on this album. So different from anything they’ve ever done and yet still so Coheed! The chrous “Honey release my heart, do not let me go” got stuck in my head instantly and the outro with the gang vocals counting the beat was so awesome. The little breakdown where the music stopped really added to the weird factor on this one but its still the grooviest track they’ve ever done! 11/10
5. Gravity’s Union – Now here’s where we get into the classic side of Coheed. This sort of heavy but catchy side that shifts to clean quiet bridges and builds the intensity throughout the song and breaks out all over itself in a total array of epicness in the final chorus. Chanting, big choruses, distorted guitars, clean guitars, raspy and melodic vocals, this song feels very much like if “In Keeping Secrets of Silent Earth: 3” and “The Broken” meshed together and made something so magical it could only be beaten by Chuck Norris’ fists themselves. 10/10
6. Away We Go – I feel like I and many of you have heard songs with this sort of feel. But I feel like Coheed had to have a song like this eventually. Its poppy, but really feels like a Coheed love tune. It really breaks away from the heat of the first half of the album and sort of begins the softer poppier edge to the album, and gets stuck in your head quick. Catchy riffs and melodies, the bass in this song is wonderful as Zach Cooper always is. 9/10
7. Iron Fist – One of the only songs everyone knew was written while both Chris and Mic were still in the band, and the song has really changed since we first heard acoustic demos of it some two years ago. It really has this nice acoustic/electro ballad feel with the beauty and simplicity in the lyrics with the soft instrumentals that really hit hard in your heart as you can feel and see what Claudio is singing. The bridge is fantastic and the song has really progressed. I love this version so much more than the original demo versions. 9.5/10
8. Dark Side of Me – The album’s first single and probably the one song I didn’t love at first. While I could definitely tell why they chose it as the single (it’s chorus is so catchy and radio friendly, and reminiscent of “The Broken”‘s chorus) but I was disappointed with them not choosing “Sentry” or “Hard Sell”. It was premiered live on Conan and thats when I found the song’s beauty. You know how there’s a song you dont like until you hear it preformed live or at least in a more raw fashion? Well thats what this song is for me. It has slowly become a favorite for me and is one of the most solid singles Coheed has released. 9/10
9. 2’s My Favorite 1 – my favorite song next to “Number City” on this album. This is such a fantastic love song with one of my favorite choruses ever written. This song will be played at my future wedding (provided I ever have one) and Ill rock out hard to it. Great piano work to match the fantastic guitars, but the drums in this song makes it for me. Josh really makes this songs’ slightly above average guitar work sound more complicated and beautiful. This song really closes off the album well and makes you feel like you’ve just made it home after a very long trip, much like Sirius Amory coming home to his wife and realizing that she is all he needs and finding comfort in their love. Brilliant way to close this epic double album, and a much better closing song than Subtraction! 10.5/10
Overall this album is a little stronger than its part 1 and really helps to partner it and complete one hell of an epic double album full of grade A material. Listen to both Ascension and Descension to get the full effect of The Afterman though. Dont listen to them as seperate albums, because to fully feel complete you need to listen to it as a whole. Its well worth the hour and a half listen time. I give Descension in itself however, a 9.5/10 and thats only because it doesnt feel complete unless precedented by Ascension to me.
Buy Descension on iTunes – https://itunes.apple.com/us/album/afterman-descension-deluxe/id585827464
The Funk Yard 