Tonight is a full on MMG party at Shiny Glass Houses. While I’m still digesting Rozay’s very dope Mastermind LP, I decided to hit you with the new visuals and single from Maybach’s resident thinker, Massillon Ohio’s Stalley.
“Midwest Blues” gives us more of what we’ve come to expect from the Blue Collar general. He raps his ass off over a beat from Black Diamond, in the glow of muscle car headlights in a nondescript flat lands parking lot rocking a Canadian tuxedo and his trademark Cleveland fitted.
Never one for style over substance, Stalley seems to be teasing us with a little taste of what’s to come. #BCG
Schoolboy Q has been prepping Oxymoron since some of you were in middle school. It’s no secret that he had to come correct following the success of fellow top dog Kendrick Lamar’s Good Kid Maad City, an album meticulously constructed around the cinematic effects of the concept album.
Kendrick snapped Polaroid’s juxtaposing the bliss and chaos of his Compton upbringing. Oxymoron is a haunting documentary capturing one mans battle against the demons who accompany fame, fortune, and addiction while dodging the memories that sent him paper chasing in the first place.
For every moment of glitz and glimmer on Oxymoron there are three more full of heavy self-medication and escape. Somewhere in that strange dichotomy is where you’ll find Q pouring up. He couldn’t be hotter right now, and he’s barely able to keep his head above water. Oxymoron‘s seventeen tracks are delicate glimpses into a mind grasping to keep hold of reality.
Plenty of people will rage to this, and rightfully so. “Break The Bank”, “Hell of a Night”, and “Collard Greens” are tailor made for a weekend long bender. But the time Q spends turning the microscope inward is where the record shines. “Hoover Street” is a chilling narrative revealing the story of Quincy Hanley, rather than the party chasing Schoolboy. “Prescription/Oxymoron” reaches even lower, stripping away the shine of turning up to reveal the sadness ultimately paired with hitting bottom.
Oxymoron is a stellar recording from a young MC who isn’t standing on solid ground. Put your hands together for the man of the year.
My city’s very own Pig Food Records is finally set to release Horse by Giant Gorilla Dog Thing at the end of March. GGDT consists of MC’s Dezmatic, and Dood Computer, while the production is largely handled by Absolute. I’ve been waiting for this one since I heard their Eric tape about a year ago.
Giant Gorilla Dog Thing makes heady, dialed in art that’s heavy on the wordplay. It’s beats and rhymes too honest to be tagged “conscious” and too dope to wallow in the sad land of the “backpacker”. It’s rapping for sport, which is the rapping that matters. Specifically, this is art made by real live blue collar dudes with passion for the craft and definite pride for a quality final product. Plus, this two minute commercial about the album goes harder than whatever album you’re currently listening to in the trap.
Get familiar at http://www.pigfoodrecords.com. Grab this shit in digital or vinyl format on March 28th.
XXL described Peace Kehd, the new Doppelgangaz record, as “more like a compilation of never before released Camp Lo and Mobb Deep cuts, than something original.” Sure the MC/production duo Matter Ov Fact and EP cherish the waters they tread as children of the 90’s sound scape, but honestly…fuck XXL.
Gritty east coast production haunts Peace Kehd, which isn’t to say the album is a batch of songs gleaned from the archives of music history. The Doppelgangaz exist in their own cloaked dimension of ghastly sexual encounters and dumpster diving, vision blurred from straight shots of rubbing alcohol. But it’s in that realm where they carve out their niche, independent of point blank comparisons to hip-hop royalty.
Rap is swinging back towards bland, busted down to a point where everyone you know-VO-XO sounds eerily similar. The Doppelgangaz spin on an entirely raw axis; equal parts bizarre and refined. Live rugged, or keep it moving.
Beck used 2002’s Sea Change to awaken the masses to his incredible eye for sentimental detail. Before that I’d always questioned his motives. I wasn’t sure if he was a wayward Beastie Boy, or some fragile Neil Young disciple; vulnerable enough to shake and rattle, but tough enough to order one more drink before last call.
Morning Phase is Beck’s call to arms. There’s a familiar rage running throughout the record begging you to sort out the joys and pains of every day life. It’s a Sunday afternoon gaze across a gasoline sunset you’ve come to know and love. Welcome to the age of understanding, and it sounds pretty grown up.
“Diablo”, the newest offering from Mac Miller, is a clever lo-fi affair complete with a sample from Duke Ellington and John Coltrane’s “In A Sentimental Mood”. Miller produced “Diablo” under his Larry Fisherman pseudonym. The track makes use of the sparse, indie vibes left over from his last outing, Watching Movies With The Sound Off. I dig it. No word on what’s next from Miller, but this one is dope.
Fortunate kids get keys to their own whip at age 16. Some get a job from a family member after graduation to help them jump start life. J. Cole got his own imprint on his 29th birthday through a joint venture between Roc Nation and Interscope Records. Cole will now have the chance to break his very own Dreamville team to the mainstream one project at a time.
Bas, Omen, and KQuick join Cole as the core of the Dreamville camp. Instantly looking to make moves, their debut mixtape was launched this week on a brand new site, free of charge. Bas comes with the heavy narrative flow akin to that of Cole and looks like a mini-Rozay, while Omen is more withdrawn, rapping inward like Ab-Soul. “Lit” is in the running for my favorite song of the year, and it’s only February.
Click the link above for a download of Revenge Of The Dreamers. Enjoy.