Picking Up The Slack
jugrnaut.com
“I’m just an art school grad with a God flow”, claims ShowYouSuck, the Chicago mc with a love for dense instrumentals and pepperoni slices. And so began my love affair with his newest project, One Man Pizza Party 2: Mo Slices Mo Problems. His tongue in cheek moniker is a head scratcher being he’s got depth and style by the boutique bag full.
Mo Slices is a fully realized record packed full of quality moments. Outright bangers like “Blue Lobster” draw from the heavy, boombap of the 90′s while “House Of Yes” reveals Show’s human side, the side that too many rappers cloak behind gimmicks and bags of money. Show’s more content to wander his own mazes while delivering a smooth flow full of pop culture nods and subtle boasts. Check “Yesterday’s Clothes” for a splash of that Chicago hubris. Mr. West, take notice.
Is it me, or are today’s young, hungry independent rappers serving the chart-toppers one verse at a time? I’m just saying…
Soul Brother
stereogum.com
Kendrick Lamar’s been busy booking world famous features. Compton’s Jay Rock keeps the streets in a choke hold and Schoolboy Q seems content to spark blunts and share bottles with the ASAP mob. Things are happening at a break neck pace for California’s Black Hippy crew. All the while Ab-Soul, the last of the pack to put on, quietly fucked around and dropped the most cohesive project of the entire bunch.
Ab-Soul may be the most withdrawn Top Dawg Entertainment brethren and the least “ghetto” hailing from Carson, California but he’s arguably the most talented member of the crew. Born in raised in a family owned record store, he’s been around dusty crates his whole life and is certainly well-versed in the art of the word play. Citing crafty and clever heavyweights like Eminem and Jay-Z as influences, Soul packs his verses with a careful balance of punch lines and metaphor.
Most importantly, like his mentors Shawn Carter and Marshall Mathers, Ab-Soul effortlessly contorts his cadence to fill any sound space he’s blessed with. That beat-chameleon quality pulls the stitches of his debut Control System tight. The record feels flawless and unpredictable, two stellar qualities for a rookie release. Big things coming from this young man…
This one feels real…I love that kick drum.
I’ll Have Another
daily-songs.com
Everest came to me because of my love for playoff sports. We’re consumers at heart, aren’t we? When better to advertise for cold beers than the NHL playoffs? So for the first time (and presumably last), thank you Corona. New music by way of the commercial…halleluiah television.
Everest comes off with seemingly natural power and ease. Not surprising since they’re fronted by Russell Pollard formerly of Sebadoh, Folk Implosion and Earlimart. 2010′s On Approach displays Pollard’s proficient songwriting, but the record never caught fire. The sounds are all over the place. The gloomy mood of “Let Go” is a once off-thing of beauty as the record feels packed with solid folk gems meant for slow tipping on a front porch rocker.
Hearing the album for the first time reminded me of Blind Melon’s debut. Remember the bee girl? The song was catchy as hell…but the rest of the album hinted that the single was a purposeful touch of warmth meant to draw you in. Next up is June 26th’s release of Ownerless. I’m betting on a steady dose of sweeping pop music sweet enough to make James Mercer blink a single jealous tear. Major touring and beer commercials have a way with the magic song pen. But this stuff has heart, and that’s not just the cold lager talking…
Sex and Violens
Tonight’s darling lads call themselves Violens (pronounced vy-lens) and hail from Brooklyn by way of Miami. They play synths and slimy bass like the soundtrack from the sleazy bathroom coke scene in American Psycho. Violens easily could have been playing as Don Johnson leaned against the hood of a white IROC while taking long, calculated pulls from a Winston as the closing credits rolled against a post-card perfect Florida sunset.
Instead, settle for these jams pumping from a 160g classic as you pump the pedals of your vintage ten speed. Fans of 80′s new wave who long for something terribly nerdy yet secretly hip will rejoice. Either way, it strikes a chord. But that’s not to say it doesn’t hold its own in today’s crowded sound space.
For every second of throwback flair found on their terrific debut Amoral, there’s a minute or two of scrappy, rhythmic songwriting to remind us that Violens take pride in their nostalgic neon backdrop. This band seems as equally schooled in metal as they are in 60′s garage rock. There’s a heady music pedigree here, and it glimmers. It’s a touch of Moz, a touch of The Cure…and I can’t get enough. Their second record, True, hits stores tomorrow. Buy and support independent music. I’m ordering the vinyl.
Rewind The Tape
theaceofspades.com
In 2000 a rock and roll “revival” came around sweeping radio-friendly pop rap and nu-metal an inch to the left. Thankfully, that created space for bands like The White Stripes, The Strokes and The Mooney Suzuki to rev up the garage noise, button their tight pants and light that Keef-like dangling cigarette. While many of those bands pumped out a few discs that are likely collecting dust in the depths of the dollar bin, a few still remain today.
The Walkmen pushed into the scene on the heels of The Strokes, who made it much easier to be a hipster in Manhattan. Unlike The Strokes, who built their empire on robotic rhythms and razor guitar, The Walkmen were concerned with the spaciousness of the sound. Upright pianos, plodding bass and creepy-howled vocals haunt the average Walkmen track, and it’s fantastic.
They’ve got five records floating around yet I’d suggest you look no further than their debut, Everyone Who Pretended to Like Me is Gone. Heavens, their newest batch of gems hits stores the end of the month. It’s mopey and full of attitude like the Cure, but not poppy enough for the dance floor. It took a decade to trim the fat, but they’ve done it. I can’t stop listening to this one…
El Producto Magnifico
pitchfork.com
I will always remember hearing Company Flow’s Funcrusher Plus for the first time in 1997. That record epitomized the hustle and flow of New York City. Spray cans. Fat tip markers. 40′s. Everything my tiny city wanted to be, but couldn’t. Too many cows, not enough train cars.
El-P made my jaw drop. His wordy B-Boy attack was equal parts brash confidence and calculated thesaurus page flipping. Nerds rejoice…on the beat. Def Jux would go on to fight battles with Def Jam resulting in the formal name-shift to Definitive Jux, but still hung on as a staple of alternative and independent New York hip hop.
El-P’s solo records have ranged from good to better to best. His last full length, I’ll Sleep When You’re Dead, was a heady, angry banger packed to the brim with more syllables than a Greek wedding guest list. This month will see the release of the highly anticipated Cancer For Cure. I’m ready for the return of the 30 point word MC. And his latest single features Killer Mike. Enough said.
Paperchaser
Meek Mill can probably get used to all this. He’s riding high on the success of his signing to MMG, Rick Ross’s Warner Brothers empire. His tapes are regularly blasting from slow creeping cars with windows and roofs open and they’re crashing servers too. Dreamchasers 2 has been downloaded almost two million times since Monday at 3 pm, in fact, datpiff couldn’t handle the traffic.
Meek came smashing into my consciousness with the ferocious “Tupac Back”, from the Self Made Vol 1 record. I wasn’t impressed with what he had to say, but was captivated by the way he said it. There are artists with the mastery of the language, which is arguably is the most important aspect of being an MC, and then there are artists with the ability to command attention…Meek is the latter. His ego is turned to twelve twenty-four hours a day. He’s constantly flexing his most important weapon…his persona. And let’s face it, rappers have been making a living on rep long before anyone had the balls to call it “swag”.
Meek’s rambling, energetic flow is a perfect fit for the team of weirdo’s that is MMG. They’ve got a stylish poet, a bearded thinker, a boss with a mink and pinky ring and Meek Mill, the young go-getter. Neck full of gold. Head full of flows. Can’t wear skinny jeans because his knots don’t fit. This sport is based on the boasts and this kid has got a rack full. Dreamchasers is worthy of the hype, simply on the strength of Meek’s ever-growing confidence.
Now Or Naver
Western Tink is on his very honest grind from Austin, Texas. I caught this dude on Mishka’s blog (www.mishkanyc.com) a few weeks ago and I’ve been spinning his Chilling Like A Civilian tape non-stop since. Tink and rapper/producer Beautiful Lou are readying MOBBIN NO SOBBIN, their upcoming project that’s got a ton of buzz all over the web. They’ve got my ear…
Western Tink has a laid back Wiz Khalifa flow, leaning on an off-kilter nonchalance and cadence. But that’s where the mainstream comparisons stop. He’s perfectly content in his own skin, minus the glitz and glamor. And Tink has the goods to stand out, even in a city where you must compete for your airtime. In Austin, the talent pool is deep.
He reminds me of the hungry DIY types making waves in NYC like The Doppelgangaz, Action Bronson and Mr. MF eXquire. The best part about Tink, he’s young and just starting to dial in on his incredible talent. Sometimes I plug my earphones in and this current wave of beats and rhymes reminds me of the early 90′s again…and that’s a glorious feeling.
White Heat
www.2.bp.blogspot.com
If Brother Ali isn’t mentioned in a list of top-whatever rappers today, disregard the source. The dude is raw, no two ways about it. If you play basketball, you know that once you step on the court it’s go time. We’ve all seen that dude get out there who dribbles like he’s got no thumbs…stumbling and fucking the entire flow up. I feel that way about hip hop. Some people just got it. And Ali, he’s simply got it.
His records pulse with soul of vintage hip hop. His pedigree is that of the working class midwest and his Rhymesayers roster is a testament to artists who know what it means to grind. Single after single, record after record, there’s been nothing but consistent output from Ali and his camp. If you’re looking for a place to start, check out his LP, Shadows on the Sun. Keep your eyes peeled for Mourning in America and Dreaming in Color this summer.
Less Is More
bananahill.files.wordpress
In White Men Can’t Jump, Sidney Deane (Wesley Snipes at his very best) tries to convince Billy Hoyle (the always wily Woody Harrelson) that although he might be listening to Jimi Hendrix, Billy cannot truly hear him. An argument ensues, but they were on to something. Do we actually hear much of what we listen to?
Aaron Jerome wants you to hear his music. He knows you can listen to it. You can click a link or spin a record, but it’s the hearing that concerns him most. Rather than mug for the cameras and answer handfuls of questions regarding life and love, Jerome creates textured, clever electronic music under name SBTRKT. Subtract the bullshit and let the music stand alone. I dig it.
SBTRKT’s self titled debut is a testament to turning down and vibing out, and it’s damn good. He two-steps all over this thing. The drums kick off beat and the vocals shuffle in and out unpredictably. Electronic music is my new flavor of late, but SBTRKT isn’t a run of the mill dj. He samples vocalists or features a singer on nearly every track. House music tends to pound you over the head with that 4/4 intensity, but the difference here is the song structure. There’s something to be said for perfectionism, and that mask definitely doesn’t hurt.
