Rich Brian "Amen" (2018)

Amen is the debut record of teenager rapper Rich Brian from Indonesia, a former Viner who's been active as a creator from a young age. Gathering his influences from this newest generation of Hip Hop, he represents much about these times, the accessibility of music and information bringing the culture across seas through the connectivity of the internet, a place where a young Brian found his creative platform. His break out single hit a couple years back but the hype of this record is where I have first heard of him.

Going into this record relatively blind his charm and persona stuck out instantly, the deep baritone voice, his calm, relaxed pace and easy going delivery is persuasive. It sets him a step aside from other rappers, his almost spoken word style has to be far easier for skeptics to digest. Unfortunately I don't think there is a ton of lyrical substance here. A lot of the time he's caught up in the moment, divulging shallow topics of social status and occasionally reflecting on his self perception. There is however a endearing youthful air and innocence about his thoughts and tales. It comes in a moderate dose and matches his tone, most the positive energy comes from his simple and fun rhymes schemes, keen and witty links like "I need space like astronaut". When his flow matches the beat it becomes very enjoyable and hypnotic even if the lyrics aren't making the mark, however the opening track does a fantastic job of introducing himself and setting the stage for the rest to come.

I especially liked the production of this record, its Trap influences feels measured and inspired as opposed to trendy. The melodies and tone can vary from the uplifting, sun soaked vibes of Flight to the club banger Tresspass that came before it. Each track brings together a tight beat with a smart set of programmed instruments that gel together seamlessly. Tuneful synths and simple melodies on layers of subtle instruments remind me of Dr. Dre's philosophy on 2001 in a roundabout way.

I think Brian has a bright future ahead of himself. As I didn't mention it is Rich himself who handles almost all the production according the records footnotes. Thats largely impressive for this emerging talent who's got so much of his life ahead of him. Amen is a decent debut, flawed but fun and enjoyable. Lyrically I think more life experience would bring some last and depth to his words but on the other hand his instrumental game is very strong and the album flows so smooth from track to track, its a really easy to enjoy record.

Favorite Tracks: Amen, Occupied, Introvert, Tresspass, Flight, See Me, Enemies

Rating: 6/10

Logic "Everybody" (2017)

It seems Ive been set on a path to work backwards through each of American rapper Logic's yearly releases, this being his third album and his first to debut in the stop spot on billboard charts. Its as convincing as the Bobby Tarantino II mixtape, a bright, energetic album full of charisma and energy emanating from the talented MC who handles a fair amount of production with his own beats on this equally enjoyable record. It doesn't have a lot to separate it from the mixtape format other than being a little more consistent with its theme and topic.

Logic, his long time collaborator 6ix and a handful of others forge a fine selection of flowing modern beats with a healthy mix of sampling, programming and trap influenced beats, as well as a couple of pop rap tracks for the radio. They set a fine stage for the raps which totally dominate the tone with a ton of food for thought. Through story telling, point making and generally speaking his mind. Logic tackles these personal problems and criticisms head on in a very upfront, straightforward and unapologetic way. These topics are heavily focused around racism and how we as people treat one another in this society.

It can be problematic how self involved in a progressive politcal world view he is. At times the lyrics can be naive and lack nuance and certainly walk down a very entrenched path but for me the message is clear, between many of his narratives he reinforces the message of love and compassion for one another. This endearing warmth goes a long way and although his lyrical content isn't as issue for me I could see it being divisive for others who may have a different world view.

Take It Back is a mighty track, Logic engaging us with his technical delivery over a very repetitive beat that becomes hypnotic as he reminds us to take it way way back. Its a powerful song, Logic having to defend the perception of his racial identity in the face of criticism. He walks us through his life's struggles and how it relates to a much larger picture. Other features make a large mark on the record too, the inclusion of Neil Degrasse Tyson in interludes adds this fantastic layer of thought to the nature of meaning and existence. He also brings legends Killer Mike and Chuck D to the album.

Overall its a fantastic yet flawed album mixing a handful of ideas in the pot that doesnt quite formulate into a coherent vision yet forges some fantastic musical moments and plenty of food for thought. The most endearing aspect is the character of Logic himself, through all you can hear an honest and kind hearted person, it goes a long way to make the album feel less weighed down by its subject matter and lifted by the beats and inspiration.

Favorite Tracks: Hallelujah, Everybody, Take It Back, America

Rating: 7/10

Deftones "Koi No Yokan" (2012)

Emerging as a forerunner in the formation of the short lived Nu Metal wave, Sacramento based Deftones swiftly made artistic strides to separate themselves from the scene and grow as artists. With the years passing by as they do, the band have ended up with a stellar catalog of records worthy of much discussion and praise. I always found It difficult to pick favorite songs and records with the Deftones specifically because their music is so inviting and persuasive. After six years with this record and another recent binge on it, I am once again in awe of Koi No Yokan for its sonic and textural beauty, a moment where the bands music transcends itself with a timeless presentation of deeply engrossing music with gorgeous aesthetics.

On its surface one might link the bands former two record together. The bombastic intensity of Stephen Carpenter's eight string guitars from Diamond Eyes and the blissful, color soaked experience of the melodic Saturday Night Wrist seem to embrace one another as the record cruises through dynamic movements. Transitioning between tidal grooves on its crunching guitars and beautiful landscapes of serine moods has a record gleaming in its own reflection as all elements seem to fall together for this moment. Like icing on the cake, vocalist Chino truely finds his moment here with a performance that lasts, illuminating every song, elevating the music with his infectious passion and swooning delivery that will have you singing along with every chorus.

In its less obvious persuasion the Deftones fire up their typical formula of hard hitting riffs and melodic counterparts that stands apart from their previous work. With a tighter inclusion of subtle textural electronics fleshing out the canvas and the aesthetic influences of Post Rock and Post Metal drawing in on the guitar tones, a sonic experience unravels as the line up of riffs drift into noisy, textural places with depth and grit about them. It gives the record another dimension, one that endures repetition with these dense and matured tones feeding back into the music its sounding out.

Beyond engrossing aesthetics, grizzly grooving riffs and Chino's sublime singing, the albums mood and tone is oddly palatable to its environment. Warm or cold, day or night, sun soaked or drenched in miserable rain, the power of these songs find a way to relate, however that may be my enjoyment of the record speaking loudly as one can not deny the acoustic guitars which often bring a dark, cloudy dreariness with them. Its powerful and perhaps that explains why a string of indulgent, melancholy moments can seem fit for any occasion, Chino's voice often leading as the respite from the dark allure as he brings us in.

Upon its release, Koi No Yokan was just another collection of solid Deftones songs but over the years each return to the record has pulled me in further. It plays front to back without a weak spot and so often do I loose myself as soft and subtle instrumentation strings you in to an eruption of mammoth guitar tones grinding out sonic grooves, morphing into expansive atmospheres of energy and beauty. With time the musics graphical pallet continues to outlast itself as its textural depth is endearing to the inspiration the songs hold. Its gotten to the point where I binge in ecstasy over how glorious this band are in this moment. I believe it is their crowning moment as a group, of course it would be wonderful to hear them reach these heights again and I wouldn't be surprised if they did.

 Rating: 10/10

Celph Titled & Buckwild "Nineteen Ninety Now" (2010)

I first heard about this collaborative record eight years ago when it was first released. That was right in the prime of my interest in 90s Hip Hop, which this album its unsurprisingly all about given the record's name. I was reminded of it recently having dived into Kool G Rap's 4,5,6 album which Buckwild handles a few beats on. Finally getting around to it has been fun but given how much more open minded to music I am now, I can't help but feel I would of enjoyed it far more back when the 90s was all I would listen to. So who are this duo? Buckwild is producer who's worked with the likes of Brand Nubian, Big L, AZ, Puffy Daddy, Jay-Z and Notorious B.I.G. Celph I know less about, however I learned through this records lyrics he was part of the group Equilibrium, who's debut 7" record I've enjoyed for years.

As a conceptual record Nineteen Ninety Now worships a glorious part of Hip Hops history by fully embodying the era's aesthetic and attitude. Buckwild pulls out a full set of prime instrumental beats that could mistake anyone of the decade. A keen ear can hear an increased clarity but the atmosphere, the vibes are spot on, as if they've been plucked from Lord Finesse, see Tingin', and Big L, see Wack Juice, records to name a few. These beats seriously parallel the whole approach and style that will have you hearing nods and tributes on every track. Swashbuckling runs through a few beats with heated baseline akin to House Of Pain. The previous track "Fuckmaster Sex" takes a page from the classic Doggystyle, a cut you could easily slip into that record, Celph even does the high pitch rhyme affirmations just like Snoop did. I could go on, its as if Buckwild has made a whole bunch of templates from the era's slickest beats and its all fantastic.

Lyrically I have to be critical, Celph's flow and rhyming ability is undeniable, he has really mastered his swift and well enunciated style but the amount of self affirmation and braggadocio gets tiring as his lyrics reveal a rather bitter and out of touch streak in his personality. Lots of the lyrics get drowned in homophobia and excessive gun worship between criticizing newer generations from a close minded, elitist perspective and hating on many different groups of people. It may be lyrical fun but hes lashing out at a fair few stereotypes that seems overtly judgemental and unprovoked. It could of been an annoyance but unfortunately these topics dominate the narrative. The opening tracks stirs up some fun as the two introduce themselves and praise the era but it doesn't take long for the hate train to start. Its a bittersweet record, the beats are sublime, some fantastic features too but Celph's attitude spoils the message which should of been love not hate.

Favorite Beats: Eraserheads, Mad Ammo, Tingin', There Will Be Blood, Miss Those Days, Styles Ain't Raw

Rating: 7/10

Equilibrium "Farenheit 813" (1998)

How did I find this obscure 7" vinyl release? I can barely remember, it was over a decade ago I first heard the Florida trio Equilibrium and found a download on some random, probably now defunct website but the reason I'm writing today is because another record I'm currently enjoying has a voice vaguely reminiscent if not matured and grown up. Then in the middle of a verse reciting his history over the years, rapper Celph Titled drops the name Equilibrium and it all clicks into place!

This four track release comprising of three unique songs and a remix is no gem but it is a fun release with a distinct 90s character that a pair of youthful rappers put there mark on. With young voices and enthusiastic attitudes they bring a plethora of smart, clever rhymes that may not rise to the top but you can certainly commend them and get behind their passion on the mic. The track Windows 98 embodies the charm of their inexperience as they string together all sorts of computer hardware and operating system references into a nonsensical narrative based around the latest OS of the time. The beat made from system sounds is a fantastic touch too.

The other two songs pair bombastic beats with lively samples as the duo rap impressive strings of rhymes with a snappy pace, clever rhyme schemes and intelligent word play. Critical Conditions dives deep into paranoia and government conspiracy theories that makes for an entertaining theme. The remix of that track uses the opening sample of Nancy Wilson's famous Ain't No Sunshine, a classic sample Ive heard used by Method Man & Redman, M.O.P & Lords Of The Underground to name a few. Farenheit 813 is a short but sweet record Ive enjoyed many, many times over the years, a fun listen for a Hip Hop fan.

Rating: 7/10

Lil Uzi Vert "Luv Is Rage 2" (2017)

 Of all the so called Mumble Rap that's peaking these days, Lil Uzi Vert has been the most interesting to catch my attention, his dazed and confused feature on the Migos song Bad & Boujee and an infectious "all my friends are dead" hook on the Xo Tour Lif3 single has had me put off this record for too long now. It's his debut album, a squeal to a mix tape of the same name and after a few years of building up steam he debuted at the top spot of American billboard charts, going on to turn platinum earlier this year.

Success aside the music is the most interesting aspect of course and Lil Uzi marks his presence as an emotional voice centered in the heart of the aesthetic. Although they call it rap, he blurs the lines, often singing infectiously with a wealth of auto tune and dreamy reverberations to abstruse his words and let the feelings flow as dissonance and "mumbling" often makes for many incoherent sentences that aids it to feeling over clarity. When in the rhymes its often simplistic, overtly repetitive and so ones attention might drift into the chemistry that's beyond the words, however when singing the record really illuminates as a plethora of memorable hooks and singing charms each of the songs.

Despite being trendy and currently "mainstream" these instrumentals come across as esoteric and dystopian, in an oddly warm and inviting way. Images of rain soaked neon light cities come to mind but that is my personal experience. Lil Uzi raps his way through heartbreak and pains on an open, emotionally lead journey that has its moments of braggadocio focused on wealth and lifestyle but mostly offers something rather different from the norm. Around him washy, deep and swooning beats create an airy atmosphere that's constantly lost in its own haze. Its indulgent, relaxing and often memorizing as exotic synths bleed with reverb over tight, contrasting trap grooves.

Each of the songs create a distinction and a few stand out. On the stripped back and gritty For Real, Lil Uzi drops back on his rap skills for a track that feels of a totally different temperament. Early 20 Rager does something similar and the flow is broken up as a couple of tracks pull away from what really works and that is Lil Uzi singing, getting into his zone and lighting up this strange and wonderful place that's emotionally honest and yet feels out of space, like a never ending drug trip.

Favorite Tracks: The Way Life Goes, Feelings Mutual, Malfunction, Xo Tour Life
Rating: 6/10

Author & Punisher "Pressure Mine" (2018)

California musician and one man band Tristian Shone caught my attention with his recent documentary on the popular Noisey channel. Hailed as "Industrial Doom Metal" the more intriguing aspect of his music were the live performances, marked by the use of custom built controllers which are normally simple knobs, dials and sliders. In Shones case hes hand built big, weighty metallic contraptions, industrial in nature, that require some sweat and phsicality to manipulate as he pushes and pulls these machine like contraptions to forge the details of sounds formed by the VSTs on his DAW. Unfortunately its not obvious in audio form, his custom controllers are used in the composition and recording of the five tracks on this EP but they make no audible distinction from an expectant range of sounds that grace this short record. I wouldn't call it novelty, in fact I think its a fantastic approach to make the music more physical and involved but that only comes across in the live show. 

Pressure Mine celebrates a lack of comfort, wellness or embrace. Its textural journey travels through sterile dystopian soundscapes into the crevasses caught between darkness and evil. The mechanical grinding and whirls of truly Industrial machinery sound rich and detailed in construct yet spacious and devoid of intent. They mull away, acting as the percussive line while saddened, lost, catatonic melodies drift though, comatose and absent from surroundings. Tristian's voice lays bare and vulnerable in a soft small room reverb. Its cold, icy and distance from the other elements and initially seemed to lack some power. The chemistry makes more sense with repeated listens, as one gets their head around the atmosphere and abstract source of melodic value, his voice really becomes like a light drowning in the lifeless machinery its surrounded by.

The whole record works as a textural treat, the slow punishing drive of Doom Metal guides the rhythm to focus on its mechanics, never drifting into grooves or breaks and going slow enough to let each hit strike with shape and aesthetic. The music has a drone like quality as the pace crawls away steadily, obscure, haunting sounds drifting like echos and forming some notation to stir bleak emotions in this chilling environment. Nine Inch Nails have a a big and obvious impact on the constructs of this sound but its just an influence. Although the ties are strong and clear Tristian takes that inspiration to very interesting places within these five unforgiving songs.

Rating: 6/10

Drudkh "Їм часто сниться капіж" (2018)

Hailing from deep within the endless forests of eastern Europe, Ukraine Black Metal outfit Drudkh release a full length album named in their mother tongue, translated it reads "They often see dreams about the spring". With five lengthy track of bleak, chromatic droning I got more of a sense of looming death at the hands of mother nature than the blossom of spring. Its long sprawling riffs shred shrill tones in a constant tumble of bleak grinding that when put in focus seems all to abrasive. Little charm emerged from its foundations, moments of respite through acoustics and the calming entrance of synths sparked some interest in brief shifts of tone but mostly its a drab and pale affair.

In the right mood this chromatic droning can be rather indulging and relaxing. The constant rumbling of the drums and the high tremble bass guitar plodding away becomes hypnotic as the textural shifts and directional changes seem to magnify with a sense of epic proportion. Stepping back from its harsh and ugly aesthetic doesn't leave one with many impressionable moments other than its break aways, like a singular moment in the middle of the third track. The harsh, angular grinding of steep riffs seems to fall wayside to a deep uprising of male choral voices upon soft synth that buries the guitar and elevates the music to a wondrous place. The following track dabbled a little with this too and the penultimate track has an epic conclusion as synths help elevate its climactic end to soaring heights.

Unfortunately for me, too much of the record is based around its harsh, unforgiving approach to atmosphere and so my attention doesn't serve it well. The most enjoyable moments came from synths and choral sounds that would overwhelm the guitar, soften the tone and elevate the mood but it was far and few between. I hold this band in high regard, I appreciate their approach to the genre and I will continue to be curious about their records even if its not quite for me it has been worth my time.

Rating: 5/10

Winterfylleth "The Hallowing Of Heirdom" (2018)

Hailing from the city of Manchester, Winterfylleth have harvested a reputation as being one of English Black Metal's more exciting bands, maybe even the UK's Metal scene in general as they have made a name for themselves, embracing the lands heritage with their music. I'm somewhat ignorant to them, having only briefly listened to some of their previous records. I thought I'd give this new one try and It was not what I was expected for they have done what many bands before have done and entirely removed all of the Metal from their sound, leaving them to explore their influences and inspirations with lush instrumentation of acoustic, cultural instruments that echo visions of eras gone by.

The Hallowing Of Heirdom is a transformative listen, its earthly, mellow choral chants underline and uplift these songs with its heathen roots as worrisome stringed instruments sing the blues and hardships of rural life. With serine acoustic guitars and an inspired composition of cultural instrumentation the atmosphere becomes vivid with the mild and moody weather of England's restless shores. Across these twelve songs we travel through different temperaments, exploring imagination as these beautiful and quaint melodies inspire visions of natural beauty and the mythic culture of simpler times ravaged by the cruelty of mother natures embrace.

The opening track The Shepherd makes a remarkable entrance as the albums most gorgeous and charming song, it is also the records most involved and "complex" as we explore this world through songs that mostly become somewhat stripped back in comparison, perhaps leaning on the acoustic guitar or singular instruments. It feels fitting of the albums vision to not always lean to the most engrossing moments where the music essentially crescendos as all the voices line up together but through the record it finds its way to these peaks a fair few times.

Although a wonderfully indulgent experience it is not without its lulls, moments where it drifts off into itself however that feels unavoidable given the select handful of instruments that make up this clear and potent sound. Initially I was in awe of its beauty but then it hit me, I have visited this pagan realm before. The Nymph sparked my memory, its composition very akin to Agalloch's The White record. Both are wonderful listens but this one stretches itself a little thin in comparison however that's no reason not to enjoy this wonderfully scenic and soulful music.

Favorite Tracks: The Shepherd, Elder Mother, The Nymph

Rating: 7/10

Izioq "Hey Listen!" (2018)

Within the space of a week we have been graced with two new, short but sweet Izioq records! Late Night Golfing ventured into the spacey, nostalgic world of vaporware and the cutely named Hey Listen! brings us back to familiar territory. Its another selection of warm, fuzzy and carefree songs arriving here, set to relax and wind us down with colorful melodies that breeze through fields of innocence. Much of this record hits on the familiar childhood feels, the mixing of retro textured Chiptune VGM instruments and soft synths with warm piano melodies is as vibrant and characteristic as ever. Another round of youthful and spirited songs play us through the wonders of imagination, Its much of what Ive said before that applies again and so its probably unsurprising that my focus turns to the moments of difference.

The title track erupts with some spice as Latino guitars bustle warm cultural chords, somehow mixing right in with splashes of sound that introduce bright, cheerful melodies on chirpy waveform instruments, the chemistry is wonderful and unexpected. Hermits gets a nod for its wonderfully quirky opening tune that swiftly finds its way into a warm and spirited place as the music so often does, its opening goof diverting expectations. The Album will perk ears with a sampling of Lisa Simpsons voice, the song itself slow and dreamy, drifting in a precarious, slightly dreary but free of danger atmosphere. The final track Happy Meal sounds almost like another project altogether, its deep and rich atmosphere pulling on emotional strings similar to the likes of Sigur Ros, its welcome but feels like a different avenue of mood. All in all its another fine collections of melodies with a couple of sparks from rewarding experimentation.

Favorite Tracks: Hey Listen!, Hermits

Rating: 5/10

Logic "Bobby Tarantino II" (2018)

Its another case of "I keep hearing that name" and in Logic's case I may deserve a slap for not getting around to the Beverly Hills rapper sooner. At almost ten years into his career Logic has graced every year with an album or mix tape, of which this is the latter, a squeal to his 2016 mix tape of the same name. The intro track alone lets you know he has fans in cultural places, a feature from the fictional characters Rick and Morty play out an amusing narrative of the two debating which Logic project they wish to enjoy together on their intergalactic travels.

To start of with some unapologetic praise, my experience with Bobby Tarantino II leads me to believe that Logic may just be the amalgamation of Hip Hop's past, present and possibly future as the young rapper seems to have a master on the prominent styles and techniques associated with spitting rhymes on the mic. Across the fourteen tracks he displays a mastery of his own ability as words arrive in all manor of deliveries. From relaxed, laid back, half sung and auto tuned lines to rapid technical flows delivering a torrents of rhymes in choppy rhythms, Logic also hits on many mid paced flows too, showing hes got a wealth of style to pull on.

There aren't many moments of pure originality but whatever technique is brought to the mic, he owns it. When in comes to topics a lot of the album lyrics revolves around self relevance, the hard work and hustle to establish himself and defiance at his critics. Its all wrapped in smart and sleek, sturdy rhyme schemes that generally hits a reasonably high bar of quality without too many exceptional moments. As much as I enjoy his rhymes and flow they wern't responsible for the moments that stood out the most to me on this project.

Behind his voice we have a equally high bar of entry for the instrumentals which have a wonderful balance of older sample driven styles and modern trap influenced production that keeps things flowing fresh and fun from start to end. Indica Badu's laid back, summer and sun instrumental peaks the vibes at the records midpoint but its Logic's singing in the chorus and on Boomtrap Protocol that elevates the music. This plays into what I was talking about at the beginning of this article, hes mastered a lot with his voice and its special when he bounces between rhymes to singing the hooks.

 Overall I feel like this was a fantastic introduction to a very talented individual, however I get this impression he can do better. There's little to criticize but a lot of the topics he rhymes about feel a step behind his technique. Id also point out 44 More sounds very similar to Kendrick Lamar's DNA. One thing he has got down is the singing and use of auto tune. The songs with strong choruses really light up from the passion he brings through his voice. Fantastic record! Gonna have to work my way through his back catalog now!

Rating: 7/10

Favorite Tracks: Boomtrap Protocol, Indica Badu, Warm It Up, Everyday