Kanye West "The Life of Pablo" (2016)

 

After waves of internet hype and social media buzz, one of the worlds most popular artists drops his newest ambition exclusively through the unpopular, high fidelity Tidal streaming service. Its his eighth full length record and a distant memory of his illuminated arrival into the Hip Hop scene through record like "The College Dropout" and "Late Graduation". I was vaguely excited for this one, the promotional tracks were mediocre, my expectations were in the balance... but not what did we just get?

King Midas of Greek mythology comes to mind, everything he touches turns to gold and that's his curse. Unfortunately in Kanye's case everything he touches is not turning to gold, and he is oblivious to it. Yeezus gave us a taste of Kanye's growing ego, but on this record its stretches far beyond the over bloated, obnoxious lyrics, hollow and shameless for most of this recorded verses. The record itself shows no signs of a purpose or ambition. The records changing name, the last minute shuffling of tracks, adding an additional eight at just before release and using the outro track as an intro? Where is the idea, the inspiration, direction? It's all an apparent mess. "Name one genius that isn't crazy" says Kanye, I'm convinced he is talking about himself and this sporadic behavior is no work of art.

Track listening and last minute changes aside, its the music that counts and I'm sorry to say this was a sorely disappointing slue of unpolished and sporadic ideas that lacked flow, theme or identity. Instrumentally the beats felt average, they could hold a flow, decorate their environment and on occasions showed a spark of light but there was nothing here to challenge or surprise the listener. Lyrically... well Kanye open's with a few lines about a model bleaching herself? And well... Use your imagination, this record is a unfiltered onslaught of Kanye's over inflated ego going through some loathsome self indulgence. The track "I Love Kanye" seems like a love letter to himself, hes in love with himself, he loves hearing his own voice say his name... I'm poking fun, jokes aside I don't know the man but I want to hear some substance of thought and reflection, I don't care how many sneakers hes sold.

Alongside Kanye's raps there is a fair gripe of irritating autotune that I didn't get along with and I could go on moaning... so I will! Whats with the two Pablos? Which one? Picasso, Escobar? Perhaps this mad, directionless, unfiltered record is some brilliant expression of the obscure parallels between art and crime? There is no lyrical content to suggest it is tied in anyway to the title. I'm done, rant over.

Rating: 2/10

Abigail Williams "The Accuser" (2015)

American Black Metal band Abigail Williams has stormed through a catalog of band members in over a decade of history. Led by lasting front man Ken Bergeron, their forth full length record shows signs of stability for a band that's changed its identity a couple of times within the context of its genre. Formed as a Deathcore Black Metal crossover, Ken's true intentions have been made clear over the years having used the once popular Deathcore scene to kick start his bands career to a hungry audience. On their debut record the sound of the trending scene was lost to a lush Symphonic Black Metal sound, which has gradually shed its symphonies in favor of a rawer, darker sound.

"The Accuser" is an unfocused and messy onslaught of vicious black aggression. Furious blast beats and shredded tremolo picked guitars barrage the listener through a menacing, claustrophobic wall of noise. Dark, dingy and mammoth in scale the perpetual plunging is met with shrill hate filled screams and cries that bleed into the haze of sound. It can be uninviting for an already difficult sound and as one grows into the record its best moments are where it takes a moment to breath, slow down and try some different ideas from the atypical bludgeoning. The songs structures do enough to keep the record flowing but it does through flawed aggression that holds it back from the sparks that crop up between its hate fueled onslaught.

Its a rough, sloppy production, bleeding instruments and buried sounds don't aid the low fidelity aesthetic but through its glaring flaws, ie the imbalanced tom drum sound, it does find some charm, especially in the screams that are illuminated by their descent into the warmth of guitar distortions. As the album stretches on the diabolical-ism lets up for more interesting, atmospheric moments and the final track has to be the records best with a unique fusion of styles that offers some brilliance you wont find elsewhere. "Nuumite" lets reverb soaked acoustics moan out over oozing ethereal synths, like a cross between Ethereal Gothic Rock and Black Metal's "evil" quality. Its a stunning song, like a darker Lycia, lost in a swooning dark movement. Enjoyable but flawed record. I hope the final track defines a new sound for the next record, whenever it may be, but that is quite unlikely.

Favorite Song: Nuumite

Rating: 5/10

Hüsker Dü "New Day Rising" (1985)

 This record peaked my interest when reading through several "Top 500" album lists. I'd never heard of this American Hardcore group before but given my interest in the genre I gave it a try. I'll be blunt, this record was not for me, the reason behind its high praise and acclaim alludes me and I'm left with a record that I've given months too and every time I give it a spin, I full into a lull, failing to engage. You can't expect to like everything and that always feel like a loss to me, a missed experience.

The record opens with its striking guitar sound, a thin, flat, buzzed out distortion tone tinging with an inharmonious quality floods the air. Its an uncomfortable vibration piercing through solid baselines and a tight powerful drum sound. On occasion it finds a moment with some well constructed riffs but for the most part falls flat on indulgence, its comparable to primitive Black Metal distortion, but not as appealing for me. To make things worse the vocals screech and yell off key, a rawness I'd usually go for but in this instance it made for sore ears. Voice cracks and miss hit notes are littered through the record, its got passion but I can't vibe with it.

The records production is pretty rough and varied too, many songs sound like they are from different sessions and some serve the record much better than the opener. The albums second song is a mighty fine track, showing off the bands ability to write catchy pop songs, unfortunately the aesthetics and performances strip many of the tracks of what is inherently good song writing, great choruses and sing along hooks, although this could only be said for a handful of tracks in the opening half. As the record drones on the musical ideas get less and less interesting and the guitar tone gets tiring.

Favorite Song: Girl Who Lives On Heaven Hill

Rating: 3/10

Shabba Ranks "Greatest Hits" (2001)

Who is Shabba Ranks? For me he is the definitive voice of reggae music, said from a perspective of ignorance. Reggae is a genre Ive never dabbled with much but of what its name conjures is this mans voice. Deep, rugged and slick his steady flow swoons smoothly through a thick textural dialect of slang and lingo in his strong Jamaican accent. I wonder if he is actually the artist that populates my mind from where Ive heard this music before, either way the story of how i found him is mildly amusing for a music nerd like myself. Its from A$AP Ferg's "Trap Lord" "Shabba", "Two gold rings like I'm sha-shabba ranks, sha-sha-shabba ranks" and listening to my favorite A Tribe Called Quest record and a few others I caught wind that Shabba Ranks was not some trendy slang but a person. So I proceeded to youtube for a pleasant surprise and before long picked up this collection of his best songs.

Listening to an artist wildly different from my norms was a lot of fun and I picked up on a few stylish distinctions about Shabba's music. On the instrumental front the songs vary in degrees between Reggea and Dancehall but on occasions come with a Hip Hop production style of sampled beats or even a 90s Dance track in "Mr. Loverman". Although not a proper record it helped to keep the record moving and feeling fresh while showcasing the appeal of his vocal presence which could easily extend further than these styles alone. "Ting-A-Ling" was a shiner, a big spacious track with minimal sounds alongside an already bare percussive backbone that shuffles snare and hi-hat between deep base kicks that sparingly kick to emphases the the undying flow of Shabba's indecipherable word play. He notably won a Grammy for the record this lead single was from.

So who would I be kidding if I were to talk about the lyrical content? No one. It will take a fair amount of time before I learn to decode Mr. Ranks's lingual annunciations but in the mean time I am enjoying the persuasive nature of his sizable verbal presence. The shifts in delivery, pace tone don't come to often but as long as I don't leave it on repeat I can enjoy his voice and the instrumentals for the seventy minutes that make up an impressive highlight of his career in music, of which he's been silent with since.

Favorite Tracks: Mr. Loverman, Ting-A-Ling, Rough Life, Roots & Culture, Shine Eye Gal, Twice My Age

Rating: 6/10

Dead Can Dance "The Serpent's Egg" (1988)

Following up on the riveting "Aion" we take a step back to Australian duo Dead Can Dance's forth record released two years prior. The band are still in their recreational spirit, creating inspired, immersible atmospheres conjuring nostalgia of ancient civilizations and our mankind from a different time. The record plays in two halves and opens with a song that is surely their magnum opus. A low organ hums under Gerrard's voice pouring with emotion and strength, the quiet crashing of drums creeps in underneath and after a short pause we are whisked into an overwhelming moment of beauty and sorrow. Divine strings enter and illuminate her voice to another level, its a moment that resists all doubt.

Unfortunately this moment of genius overshadows what is an underwhelming record in comparison to "Aion". Having taken the time to listen to it again I find a portion of songs in this track listing fall flat of their ambition to captivate. Maybe a touch on the minimal side, or perhaps Ive just experienced my share of this medieval music, either way the songs not listed below didn't grab me like the ones that are. Its an album of two halves, in two different ways. On one hand theirs an inconsistency to reach the soaring height set by the opener, on the other a record with two distinct vibes.

The first five tracks have the familiar medieval theme ripe with biblical organs, bells and chants. The second half, starting with "Chant Of The Paladin" shifts gears to an exotic, Mediterranean sound. Starting a touch dry at first the last two songs invoke mesmerizing rhythmic melodies around eerie synths conjuring images of fire, sands and Arabian mysticism. "Ullyses" is an luminescent finale, treating us to swift melodies and linear emotional progressions led by Perry's sentimental vocal presence. As a whole it has some weak moments but also produces a few on the bands best songs, well and truly worth your time, for the opening track alone.

Favorite Songs: The Host Of Serphim, In The Kingdom Of The Blind The One-Eyed Are Kings, Mother Tounge, Ulyses

Rating: 6/10

Jan Amit "Hyms" (2015)

Inspired by "Flowertraces" and unimpressed with "Around And Above" I see Jan as an artist who's vision doesn't fall inline with the quirks of his unique identity that makes his music enjoyable for me. This short EP was a mixed bag of fruits not yielding into anything solid but showcasing a few ideas. The opener is a short atmospheric track of dark unsettling eeriness, a soundscape painting the aftermath of an oblivion event with electronic glitches devising the voices of alien insectoids. Its opening moments strangely reminiscent of Burzum's "Svarte Troner", a creepy dark ambient piece.

"Enter Faceless" follows and its an atypical track of Jan's style. Glitched out spacious beats hurtle over dark, illusive ambient noises that drift in and out of focus. It follows the darker theme and with a break for fresh air in the middle it drops back into itself for a second run that leads to no climatic or significant moment. The next track shakes up the formula with some strong House and Downtempo influences forging deep looping dance grooves and simplistic linear notation leads, droning over and over while featured artist Quork lists he hates through a morphed voice that gets buried into the groove on "Flaming Youth".

The records closer "Mass" tickles the ear drum with more alien sounds, wet slippery glitches slap and sway with a watery tone over a vanilla baseline before jumping into glitched out breaks over more void like ambient noises. Once again it feels like it doesn't amount to much, I'm left with what I expected, interest in the aesthetics, atmosphere and glitched approach in the rhythmic department but disappointed with the lack of progression or direction in the songs and their structures.

Rating: 4/10

Savages "Adore Life" (2016)

London based group Savages are Post-Punk four piece band who were put on my radar by Henry Rollins. Ive already heard reviews that this record isn't on par with their debut released three years ago but this is where I wanted to start. A fair few songs from this record were played at a concert I watched on youtube. That alone convinced me there was something special about this band who labeled as "Post-Punk revival" have the sound and spirit of that era coursing through all aspects of their music, with exception to the recording quality that makes no attempt to downgrade the fidelity.

This record comes across in tones of grey, deep dark blues and browns, muted colors that reflect the records pale and grim tone. Bleak and distant on the outside much energy, life and charisma rumbles within and flourishes through the dark, drab walls they are contained within. Its a unique chemistry of contrast and subversion, like a limbo or purgatory suspended between two states. This feeling runs through the entire record which is brimming with identity and originality as not a passing moment feel stale or repetitive. Its organic and in a state of perpetual growth.

The group approach their respective instruments like weapons of noise with whaling feedback loops used for atmosphere, crashing thunderous distortions and the sounds of pick sliding down the strings soaked in reverb paint dense atmospheres. A simple riff isn't enough and beside the guitars expanded sound the baselines rock hard with bold, rumbling, burgeoning lines that make there-self known at every moment. To often in music the base mirror guitars but not here where we get the fullest extent of the base holding its own ground and being a crucial part of how the songs come together.

The drums are equally in a creative air, each moment interesting and inventive. The kits sound lacks reverb which works well against the mammoth guitars and the snare compression gives the harder rolls some serious punch and power. In front of it all singer Jehnny Beth brings a subdued attitude through her soft voice with a delivery that doesn't strive for big notes or showoff theatrics but finds a poetic, artistic expression with the occasional scream buried under the other instruments. On "Surrender" she shows her range with a passionate delivery for a memorable hook on the records best song. "Adore Life" is stunning for its variety, consistency and characteristics that demand a full play through from the listener, which each song offering up something you cant pass on.

Favorite Song: Surrender

Rating: 8/10

Between The Buried And Me "Coma Ecliptic" (2015)

This post will be short and sweet.. Or short and bitter? Its been about a month or so since I last gave this one a listen and I still find myself emotionally distant from it and that's a real shame. Between The Buried And Me are an American Progressive Metal band from North Carolina who just under a decade ago transitioned from a generic Metalcore, Deathcore band to into a Progressive outfit that made waves with the release of 2007's "Colors". With shades of their Metalcore days lingering the band have been sharpening their tools over the years and producing better and better records, refining their sound. I was excited when the release of "Coma Ecliptic" was announced and its been quite the disappointment.

I could comment on the intricacies that make up the compositions, the details in the aesthetics and instruments but it would all be in vein as little of is inspired by the events that transpire through this seventy minute Prog fest. There's a plentiful amount of transitions between the chugging heavy guitars and lighter melody led leads with a a whole host of playful music ideas in between. They move from one to the next and between a couple of swooning moments there's very little to connect with. It all feels a touch uninspired, mediocre and like a band going through the motions. There's nothing to be found that's unexpected or jumping out of the speakers to grabs you. I don't know where the passion is, and often it drifted off into the distance, unable to hold my attention. There's nothing offensive here, plenty to nod along with but it left no lasting mark past one or two leads or vocals. Disappointed but I don't fault the band, I just couldn't connect with this one.

Rating: 4/10

Kauan "Sorni Nai" (2015)

Browsing the catalogs of record label Blood Music, which I found through Dan Terminus, I could not miss the praise that was being lavished onto this record. Having fallen in love with it, I can firmly say its justified and possibly the best record I'll hear this year. Doing a little research on the record today I have learned its based on the Dyatlov Pass incident, an unsolved, mysterious death for a group of seasoned snow hikers who lost their lives in Soviet Russia 1959 during the hike. Learning of the records inspiration has added a new sense of clarity to the events and moods the record drifts through. I could always hear its voice, but now I know of the tale it cry's. Unsurprisingly the band are Russian, however the bands name is Finnish for "A Long Time". It's their sixth full length and the bands maturity shines bright on this stunningly crafted piece of music.

Sorni Nai is a serene and lush journey to experience as these pale soundscapes calmly sway through inspired leads and indulging atmospheres of the beautiful cold. With the pace of Doom Metal and atmosphere of Post-Rock the record finds a blissful balance in slow suspended states for gorgeous musical moments to erupt and blossom from. Dense guitar tones meld and fade under sensuous choral synths the paint the winds with pale colors for melodies to dance through. The record can smoothly shift between its lighter moments and Black Metal inspired darkness with snarly, contained screams and ripening of distortion guitars when the times call for it. Every moment this record experiences us with is a continuation of the previous moment, even the tracks seamlessly transition, barely noticeable as another natural shift occurs, changing and turning through its deep inspiration.

And now for my favorite moment in the record. In "At" we hear the cries of a native spoken woman, her words carry much emotion under a beautiful piano melody and I now believe she represents the female hiker on the expedition. This slightly tragic moment leads us into the records dark and evil moment which now I know represents the unknown death these souls faced in freezing cold temperatures. The swaying hums and acoustic guitar fades into black as a crunching guitar penetrates the silence with its unwelcome presence, striking out with force. Hellish synths eerily descend with a menacing tone and before you know it the most theatrical moment paces into a melodic, unsettling limbo.

Its a brilliant moment that is also one of the most indifferent in what the album offers, but it summarizes the genius at work throughout. Its stunning, rich in atmosphere and littered with magic as we drift through the snowy, frozen mountains of mother Russia. Its inspiration could be felt through the music alone and I love it even more now I know the tale behind this brilliant record I have been enjoying continuously for weeks. Its hard to call a 10. It takes time, but I feel with age ill grow to love it more and more.

Favorite Track: Khot

Rating: 9.5/10

Incubus "Make Yourself" (1999)

Browsing through my collection a record caught my eye, one Ive maybe barely thought of in the last decade. In the midst of Nu-Metals rise Incubus dropped this fine record that brought the healthier traits of its sound to an inviting Alternative Metal style rich in a colorful tone with a plentiful helping of melodies and sing along vocals. It was American rocker's Incubus third full length and one I don't think I gave it enough praise at the time of its release. Its quite remarkable to spin this one again and find the words fresh in my mind, I found myself singing along with Boyd's infectious approach.

With tinges of Pop Rock and Punk Rock they almost come across like an atypical band of the time, however the constant waves of bright and colorful melodic accents give their music an inviting depth. Between the bouncy, heavy guitars that lead the way they drop in to fill the music with a gentle vibrance the distortion guitars don't offer. There's plenty of decent, mosh friendly, Nu Metal riffage, even some vinyl scratching thrown in over the break down moments but its counterpart is what makes the all difference in raising the bar. From a perspective of how this record has aged, its the dropped tuning guitar distortion and DJ scratching that feels tired, but the rest is brimming bright.

Aesthetics aside, where the record really finds itself is in its spirit, message and purpose. In retrospect there's a lot of deep and thoughtful substance to introspect. As the title says, "Make Yourself" and a lot of whats discussed through the lyrics are fantastic for a young person to engage with. Positive, considerate and critical, Boyd's lyrics avoid the teenage angst you might except in favor of strong, rational messages of introspection and using ones mind to think about whats going on. At a couple of moments he needless cuts the mood with some unnecessary swearing which I'm not opposed to but in this case it took the edge of the spirit in favor aggression. Listening back to these lyrics I wonder how much they impacted me as a lot of it feels quite relevant to me now.

Favorite Songs: Privilege, Nowhere Fast, Drive, Battlestar Scralatchtice, Pardon Me

Rating: 8/10

Deafheaven "New Bermuda" (2015)

American Black Metal or "Blackgaze" outfit Deafheaven from San-Fransisco have been both critically acclaimed and at the center of hate fueled controversy with Black Metal elitists and keyboard warriors of the web who believe the bands music taints the supposedly puritanical nature of Black Metal. Jokes aside I never find myself offended by music, which is what many comments, articles and online ramblings would suggest fans of traditional BM are when it comes to this band. Their breakout record "Sunbather" in 2013 was one I cared little for and despite its praise I found myself somewhat puzzled to what the "magic" was, however this time around its hit me like a firm slap across the face. I don't care much for the debate as to if this band is "true" or not, I came here to enjoy some filthy dark music.

The bands sound is somewhat deceptive, harsh, threatening screams penetrate the pummeling, rattling blast beats and menacing guitars that glaze through darkness at a racing speeds. In the bleak, cold and unforgiving sound there is a sense of something warmer that steadily emerges with each passing phase of the song, blossoming into a gorgeous Post-Metal soundscape of transcending serenity. This was my experience of the first song. In breaking it down I felt a lot was to be learned about what makes this record tick and much of the same can be said for the following four songs that make up the record.

Aesthetically the relentless drumming, dark distortion tone and vocalist Clarke's sharp, sinister screams create a harrowing black accent but the guitar work transforms them with Shoegaze and Post-Metal / Post-Rock ideas, techniques and song structures. They create quite the enigmatic experience as the dark and light are held in a unique, original balance. They toy between one another, stretching, elasticizing as songs themes move back and forth in a singular progressive motion. Not all the songs move on the same path. "Baby Blue" starts with acoustic guitars, shadowy blues in color and cuts rather immediately into its dark counterpart. I especially like the mysterious synth at the end with a woman making an announcement about the George Washington bridge. Its eerie and unsettling, seemingly because the message shouldn't be? Its odd and I like it.

The record sounds fantastic, the guitar tones are especially dense, magnetic and immersive. My only quarrel were the vocals, although fitting and powerful, the cut like a knife and never let up, sometimes it felt a little much with a singular delivery style. The five songs have zero filler and take us on a unique journey that fades out with a satisfying melodic climax. The heart of this music is traditional Black Metal and I see how it gets some fans up in arms but that attitude of elitism and "true" is only holding a listener back from an expanded experience. A stunning record which I've barely put down in recent days.

Rating: 9/10

Kate Tempest "Everybody Down" (2014)

This record was a gift I received at Christmas and that first, instantaneous impression was not flattering. Disjointed of-kilt beats droned underneath a monotone Londoner's voice talking the story of when Harry met Becky. Things u-turned quickly and within a couple of tracks the magic shone brightly through this brilliant sound like an epiphany. Unique, authentic and original within the context of what I've heard, Kate Tempest is an English poet, rapper from Brockley, London who has so brilliantly deconstructed the foundations of Hip Hop and rebuilt it poised between spoken word and poetry. Retaining the core elements of beats, rhymes and social commentary its spirit is in the same place yet it cannot help itself but come across as truly different.

Kate delivers her rhymes through a strongly spoken, casual tone accompanied by slightly sung lines for hooks or choruses and impersonating voices for the characters that crop up in her stories. A lot of the lines are rhymed but the casual spoken style lets them drift by as if they are unnecessary as we are locked into to the narrative Kate has us following with series of social stories. They link up through the course of the record, characters drift in and out of the songs before they all converge on the final track. These tales are told with a grit for reality and avoidance of glorification. Observational and blunt, Kate find room to inflect the emotional perspective between the events her characters go through as we follow them on their ark.

Behind her the soundtrack of suburban dystopia drones through moody, dinghy synths that glow like luminous lights through muffled aesthetics. The drums keep pace with unconventional beats that shuffle back and forth, paranoid, between sounds that resemble kicks, snares and cymbals. Off-kilt baselines wobble and groove under the two. It comes together without a big moment, phat groove or memorable melody, playing into a perfect subtlety that lets Kates stories stay in focus as these claustrophobic sounds and tempered beats build a grimy, paranoid atmosphere. The record has been a real experience, unique and original to my ears, defying expectation through a remarkable chemistry between beats and rhymes and a sharp, keen talent for engaging the listener.

Favorite Songs: Theme From Becky, Circles, Happy End

Rating: 8/10

Dan Terminus "The Wrath Of Code" (2015)

Browsing through upcoming releases for games on steam I came across NeuroVoider, a fast paced rouge-light top down shooter with a dark, atmospheric and synth heavy soundtrack. My ears immediately perked up and with a little research I found the soundtrack was made by one man band, French musician Dan Terminus. It was this record, "The Wrath Of Code" and if it was composed with the games soundtrack in mind? I am unsure but my impression is that this is another record, his third, in his discography that the developers picked up to use as a soundtrack for the game.

What was initially striking about Dan's music was a lack of predictability. Despite being relatively mild and traditional in composition style for modern music, I found myself mostly at the mercy of uncertainty to the direction it was heading. I found this experience extremely enjoyable and now after many listens I can put my finger on it. The "Dark" side of this music isn't what I'm used to, normally I gravitate to emotionally darker music, where minor, pentatonic and other such scales prevail. In this music we find a playful retro fantasy of dark cyber realms where the atmosphere create visions of movie-like heros adventuring through the electronic landscape.

The music itself is well realized with lush electronic tones oozing retro buzz saws and sine waves with a balance of harsh and softer tones that meld together in a smooth array of reverb. The atmosphere creeps through from behind with quiet ooh and aah choral synths playing in the distance and cueing the biggest moments between the the songs lead instruments. The drums are quite contrasting, with highly compressed, cutting snares and thudding kicks that lack reverb or cushion. They cut through the mix and it ends up serving as a key component in the records chemistry, the contrast in style holds the music in a unique balance.

Another notable distinction is the manipulation of dense snarly synths that roar and moan like demonic monsters, they crop up in some tracks and do wonders the further enforce the fantasy cyber world scenarios these songs conjure. I feel i should also mention this is an instrumental record, something I neglect to do as it feels irrelevant, it wasn't until writing this that it crossed my mind. "The Wrath Of Code" has been a fresh and entertaining listen however with familiarity it has lulled somewhat. It was nice to find something new, but despite being a well rounded record, there is a lack of gems or stand out moments to ascend this release into something great.

Favorite Song: The Chasm

Rating: 6/10

Redman "Dare Iz A Darkside" (1994)

Reggie Nobel, or Redman as he's known, is an American rapper who I was introduced to through his acting career, noticeably his lead in "How High" with Method Man of the Wu-Tang Clan. Although familiar with his hits, It occurred to me Ive never really given a record of his a proper listen. Noticing the album covers inspiration from Parliament's "Maggot Brain" I thought why not this one? Very quickly I found myself deciphering the albums chemistry and quirks while enjoying the bombastic, braggadocios battle rap style of Redman who track after track reaffirms his substance with an array of humors lines, crafty lyricism and hyped delivery.

Not long into my first listen it became very apparent this is the rapper who Craig Mack emulated his style from. When Mack dropped this flavor it felt rather lack luster and tame in spots, but Redman has the style in the balance, although too many spins it can get a little tiring which is understandable considering ninety percent of the content is about self affirming his flow and lyrical format. Its fun, playful and Redman is full of energy, spitting tight rhymes with a grooving flow that continually bounces off the energy of the instrumentals. He's light on his toes, throwing punch after punch, left hook, right hook, throwing forth the rhymes like a boxer. In between the steadier verses Redman brings the hype with some effective techniques, double tracking the rhyme words, using echos, reverbs and on occasions a love/hate pitch shifted Chipmunk like voice that's unmissable for its blunt presence.

Behind his voice a unique instrumental style plays, underwhelming in immediacy but genuinely grooving and unique for its loose feel. There can be much chaos between layers of samples and a lack of continuity gives the sound its mark. Sometimes the samples will clash a little and underneath most tracks on the record a deep baseline rocks out to its own accord. Its an unusual chemistry that gives itself a lot of leeway and flexibility and ultimately sounds atmospherically bombastic with a touch of boom bam in there too. Defining for Redman's style and a solid record with little to criticize, however apart from a couple of preferred tracks, like "Rockafella" sampling Snoop Doggy Dogg, there's no surprises or ground breaking raps, its a safe album that sticks with what works.

Favorite Songs: Rockafella, Basicly, Wuditlooklike, Sooperman Luva II

Rating: 7/10

Izioq "New Songs For Old Kids" (2016)

The new year has finally landed! Our first record of 2016 is none other than the wonderful Izioq who has been injecting a healthy dose of smiles into my time-lapses and livestreams with the playful and spirited music that plays tribute to the wonder of the childhoods of my generation. I was undoubtedly excited to see this record released and once again suffered from a little of first listen confusion. It is a curiosity to how first impressions can be telling for some and in the case of this record, misleading. Since the second listen I have be loving this one, another warm and welcome dose of soothing, delightful melodies to fill the soul with good vibes.

What this record has going for itself, compared to the previous two, is a current of continuity, a steadier sense of theme and mood which flows from track to track breezing with a calmer and settling vibe, reflected in the shorter track listing and an average of longer songs. The album doesn't encroach on many new ideas and sits firmly in the comfort zone of its predecessor "My Own Private Video Game", with the track "My Cereal Box Song" indulging us in a playful, mischievous throwback to the nostalgic 8-bit sounds of "Retro Life" although its "break" or transitional mid phase lavishes us in an ethereal wash of swirling synthesizers. 

It kicks off with a burst of energy and the cracking "Welcome To Izio Qlub" that delivers the charming, inspired melodies we love with a chirpy upbeat punch and chunky bass-line. Its followed by stunning and dramatic strings narrating the swiftly paced traveling song "Epic Grandpa". Not long after the record calms itself into the quieter, atmospheric songs the other half of Izioq's style explored much on the predecessor. It concludes with the songs most inventive track "Song For Robin Williams". A personal tribute that drifts through an unusual, lost dimension between sorrow and wonder. Its quite the emotion jerking song when you think about who its for.

This record came together well but fell a little short of expectations, a few brighter, energetic melody driven numbers in the latter half would have given it a familiar feel, drifting between two styles but the atmospheric numbers didn't have quite the same spark. That being said, this was a very enjoyable record, that fits right into my Izioq playlist and shows there is more to be enjoyed from this universe of music.

Favorite Songs: Welcome To Izio Qlub, Epic Grandpa, My Cereal Box Song, Song For Robin Williams

Rating: 6/10