It’s weed day. I think it has something to do with the Grateful Dead, but what do I know. It’s only fitting that Wiz and Currensy drop their long-awaited Live In Concert, for the smokers and the squares alike. This thing is a year in the making, and while these songs have clearly been on the shelf, they’re as fresh as that sticky green in your jar.
Fans waiting for a proper follow up to High Fly better not hold their breath. Currensy’s verses are intricate and clever, and though it might come off like there’s somewhere else Wiz would rather be, he’s right at home. The rap Cheech and Chong go together like peas and carrots. But there’s just not enough ground covered on this EP to fully satisfy the inner High Times editor in all of us.
The duo flip Bobbi Humphrey’s 1975 jazz classic Fancy Dancer (Humphrey’s last album on Blue Note Records) into something entirely brand new. The jazz-funk feel is perfect for lighting what you light. The more you spin this, the more you’ll appreciate the wait on the samples (they took over a year to clear). It’s an ambitious move from a duo that shouldn’t wait so long between releases. Pass the lighter. It’s 4:20 somewhere.
Seattle rhymer Macklemore said it best when he spit, “I grew up really wanting gold fronts, but that’s what you get when Wu Tang raised you.” I second that. As a kid, I idolized the Wu. They’re the crew of crews, with more hits than misses. Check their storied history of incredible studio efforts, monster solo releases and bona fied classics. I anticipate Wu drops like kids line up for two-hundred dollar sneakers.
Ghostface’s records are hybrids of grit and class; stories of major weight pushed through the five boroughs balanced with quiet gems of love and deception. This time around we’re served up a fictional war between Tony Starks and the DeLuca crime family. The scheming and plotting is brought to life by composer Adrian Younge, compelling the listener to connect the narrative which certainly hooks us, but spends too much time playing out like the second half of a Tarantino film. Live instrumentation is a blast, but there are moments when it’s a bit overly dramatic, leading to more smirks than menacing Staten Island stares.
Lyrically, Twelve Reasons To Die is Tony Starks at his finest. Ghost’s cadence is unmistakable, razor sharp and somehow completely relevant record after record. Check the tale of the tape and you won’t find a string of glossed up radio hits. Under that thin layer of dust you’ll uncover four-star full lengths with over a decade of staying power. The deluxe edition comes loaded with the instrumentals for all you bandcamp champs. Enjoy gangsters.
Hot 97 radio jockey Peter Rosenberg gets it. He’s a New Yorker who unabashedly loves hip hop. He has insane connections in the game. What better to do than call in a few favors from Joey Badass, Action Bronson and golden boy producer Harry Fraud for New York Renaissance, a beast coast borough-spanning block party?
Thank goodness this isn’t your average tape. There’s no shouting DJ, no annoying host or numbing drops. No sirens or gun shots clapping while they spin it back. Just the tried and true formula of beats and rhymes. Rosenberg features some of the east’s brightest stars. Bronson, Flatbush Zombies and World’s Fair shine bright. Newcomers Kris Kasanova and Pro Era’s Nyck Caution could very well could be next to blow, while features from seasoned indie vets Homeboy Sandman and Smoke Dza anchor all the nervous energy.
Worth a download and certainly the spins as we enter windows and sunroof weather. When the east is in the house…oh my God.
RATKING is a crew making the type of records that cause golden-era nerds to drool, swearing up and down “New York back”, but where the fuck did it go? And how in the world did a couple of art-punks manage to bring it home? It doesn’t take a Badass to see that true soul is alive and well in the five boroughs. Everybody quiet down and let Wiki speak.
Produced entirely by Sporting Life, WIKI93 is an EP full of dense, sobering east coast racket. RATKING embodies the eclectic spirit hip hop but manages to feel as punk as Polly Wog Stew. I don’t know where this Wiki kid came from, but a nineteen year old this infatuated with Buckshot should make you laugh. Instead, he spits dizzying bars that are as dexterous as anything happening in the best cypher in your city.
If you listen to hip hop for the word play, you’ll geek out on “Sporting Life” and “Pretty Picture”. Try and remember this thing was made in 2012 because it’s going to make you dust off your old Company Flow collection.
NME sinks its teeth into any crew who leaves a chord ringing long enough to get noticed. You have to admit, it’s gotta suck to be hailed England’s “best new band”. But when they started jabbering on about Palma Violets, I listened. Then I listened again. Palma Violets boasts a combination of the dirty elbow Strummer thing and the douchey glare that’s made Damon Albarn a very wealthy man. That mix makes 180 worth your dollars and time.
The party kicks off with “Best of Friends”, which sounds like Billy Bragg fronting The Replacements at dollar beer karaoke. Save your breath and call them rock and roll, but the oddly casual moments of psychedelic pop throughout 180 remind me of British weirdos The Coral or Clinic. See “All The Garden Birds” and “Last Of The Summer Wine” for a few lessons in true bliss. This is a very worthy debut from a talented bunch of London lads.
I’ll save you a seat on the bandwagon.
Comedown Machine is another solid release from a band who couldn’t care less what we write in the glossy mags and flickering blogs. The in-fighting and egomania’s been documented ad nauseum, and it might be said the Strokes are essentially making records to tour and touring to line their pockets. Speculation aside, this is in no way a throwaway record. It’s quite the opposite.
Nick Valensi and Albert Hammond’s guitars are as nasty as they’ve ever been, Fab is drumming like he’s got those robotic wasps from the Hunger Games in his pants, and Julian is out to try something new. He’s leaving the shredded screaming behind for a post-80′s falsetto croon, crafting a heap of tracks that sound like one hit wonder b-sides from compilation discs buried deep in the bargain bin. There’s a blatant Ah-ha rip, a few nods to the Cars and even a ballad that borrows from Little Joy’s hipstery ethos. Comedown Machine plays like a return to form by experimenting with new sounds, while leaning on their trademark energy.
Sit in judgement if you must, but remember. All good bands, especially those five records into their career, shouldn’t be looking to repeat themselves release after release. As long as they can tolerate one other, and as long as they’re selling out venues from California to Spain, we should welcome what they put to wax. Love it or hate it, it’s still more clever than most of the shit on the iTunes homepage.
It seems every time we turn around Harlem’s Paper Kav is dropping another jewel. This time it’s the introspective, “In The Moment”, a laid back affair aimed at those ladies that never fail to catch our eye. Make sure you grab his recent project Ni’jels Biography at http://www.datpiff.com/PAPERKAV-Nijels-Biography-mixtape.376666.html. Check him out on Twitter @PAPERKAV and Instagram at KAVYY. Salute the kid, he’s doing his thing.