Every so often in music’s history, critics seem to feel the need to single out a specific singer/songwriter and claim them to be the “voice of a generation”, which roughly means that their lyrics are supposedly relatable to the general condition of society at a particular time in history. Overtime, artists such as Bob Dylan, Bruce Springsteen, Kurt Cobain, and Conor Oberst have been lumped with this tag. Don’t believe me? Check here! But in all honesty, the concept is pretty tired and fantastical anyhow. In spite of this however, it would be grossly unfair and unwise to not highlight how relatable the lyrics of Courtney Barnett are to youth culture currently. Her singular brand of off-kilter, Continue reading
So, after a lengthy period of sitting, teeth gritted, waiting for the followup to 2013’s Doris, fans were appeased last week when Earl spontaneously announced I Don’t Like Shit, I Don’t Go Outside and dropped the single ‘Grief’. Like many others, I was taken by surprise, after the handful of sketchy tracks he released in 2014, in hearing Earl drop something so swampy and lo-fi. I Don’t Like Shit, I Don’t Go Outside, sounds exactly like the music made by a rapper who really doesn’t like shit or ever venture outdoors. Continue reading
I Love You, Honeybear, has been described by Father John Misty, Josh Tillman’s erratic musical alter-ego, as an album of love songs, but it’s clear from the get go that his perception of love and its notions stray pretty far from the traditional. Just take the cover, for example, a chubby baby Jesus with Tillman’s bearded face, encircled by demonic beasts, just casually coppin’ some titty in the arms of a Virgin Mary with the face of his wife, Emma Tillman; any psychologist would have a field day. It’s all shamelessly honest, but romance is always a little fucked up, right, Hollywood love is a lie, so why not be honest? Continue reading
What were we expecting? Seriously! What could we possibly have expected? By far the most anticipated album in recent memory, To Pimp A Butterfly threatens to be untouchable just by the sheer pressure of the anticipation that has amounted upon it. Many critics called on Kendrick Lamar to quit after good kid, m.A.A.d city, considering that album’s brilliance and relevance was too great to top and forever unattainable. good kid, m.A.A.d city was insightful, pleasurable, courageous and new, and Lamar’s personal story arch over the course of the album was flawlessly executed. But if Kendrick Lamar proved anything on good kid, m.A.A.d city, it was that he was no ordinary rapper, and indeed, no ordinary musician. His ambition Continue reading
The first black president of the United States, the Global Financial Crisis, two Olympic games, the season finale of Breaking Bad, and the conclusion of Harry Potter…A lot can happen in 8 years, the time elapsed between albums from Modest Mouse. For those in need of a little history, let me elucidate for you. Riding off the critical and (miraculous) commercial success of 2004’s Good News For People Who Love Bad News, (helped in no small part by career-defining, inescapable charm of the jubilant single Float On), Modest Mouse recruited The Smiths guitarist Johnny Marr, and released 2007’s We Were Dead Before The Ship Even Sank, chart-topping yet fan-dividing work that, in retrospect, isn’t all that bad (Dashboard, Florida, and March Into The Sea are all stellar slices of quirky, catchy indie rock). Continue reading
I’ll try to keep this brief.
I am still astounded by how close-minded most people are to hip/hop. For over 35 years, the genre has shown time and time again that it can be a recklessly creative, experimental, and enjoyable musical artform. From the thunderous racial concerns present in Public Enemy, to Common’s soulful preaching…Wu Tang Clan, Dr. Dre, Kanye West, 2Pac, Drake, Kendrick Lamar, Beastie Boys, Eminem….The list is endless when having to identify the unquestionable passion that exists within the genre. And while I do concede that because of certain reasons, people may dislike the genre, but NOBODY has the right to deny its influence on the wider musical culture for the better.
But we are not here to talk about good hip/hop.We are here to talk about Big Sean.