Tyga – “Hotel California” – @@@1/2 (Review)

Tyga is having one of those rare bursts of creativity in music. It’s reminiscent of Kanye when he put out My Beautiful Dark Twisted Fantasy concurrently with the GOOD Fridays sessions, or Bruce Springsteen’s wealth of material that came out of the Darkness on the Edge Town recordings.

Well, okay, maybe Careless World, the Well Done 3 mixtape and now Hotel California won’t go down in history as a landmark moment in the history of popular music, but Tyga is putting in work. You can’t take that away from him. Three lengthy releases in little more than a year is an impressive output.
He doesn’t lack for new material on Hotel California, with 18 full-fledged tracks and only one track carrying over from the mixtape. He does, however, seem to have taken a step back from the surprisingly well-rounded Careless World. He’s also missing some of the energy and fun of Well Done 3.

He comes out of the gate unabashed on “500 Degrees” featuring Lil Wayne, who at this point just needs to lie down. It’s been a long time since his presence has adding anything of value to a track other than his name, including his own material. Tyga leaves no doubt, however, of his extravagant lifestyle with one over-the-top boast after another:
“T-raww, fuck y’all, money tall, dick large/Tiger in my backyard/bitcheses on my futon…Thrilla manila, I buy straight from the dealer/I’m politickin’ in Paris, I’m buying statues and pillars/All from the Louvre…mosaics from the museum…”
The money, the cars, the women, the clothes, the art pieces – Tyga leaves no doubt through the album that he’s bathing in these status symbols.

The next track, “Dope,” raises your hopes to the highest level. A sinister cocktail of bassline, synth and sample propel Tyga and Rick Ross to their bests. Ross sounds uncharacteristically nimble, though not out of character: “I done seen it all but it’s back to these broads.” Ah, the grind of being a Don.

The rest of Hotel California’s seemingly endless first half is illustrative of a major problem in rap right now. A minimalism so tinny and deadening it comes off as hollow and nearly depressing. It’s a sound personified by everyone from Rick Ross to Weezy to 2 Chainz – an almost anti-quality aesthetic with no depth, vibrancy or musicality. Its end can’t come soon enough.

“Get Loose” makes you feel anything but with its series of beeps and handclaps, and bone-headed, repetitive lyrics: “Bitch ‘cause I’m loose off the goose, goose/Loose off the goose, goose/Real shit, I ain’t never been a liar.”

The lead single “Molly” is a catchy, but murky, dark ode to a purer form of ecstasy. “For the Road” is one of the few tender moments on Hotel California, featuring Chris Brown of all people. “Show You” features the awful autotune stylings of Future and “It Neva Rains” is corny Cali sentiment, using the same effects we heard on “California Love” nearly 20 years ago now. Will West Coast rap ever let go of its undying affection for Roger Troutman’s Electro Harmonix?
Tyga seemed to be aiming to create as many versions of “Faded” and “Rack City” as he could muster on this latest record.
However, just when you’re ready to write Tyga off for his crass banality and low-brow instincts, he somehow manages to find his footing. In the final tracks, he presents a picture of the young, rich and reckless, but also the vulnerable.
On “Enemies,” he’s tormented by a secret love affair: “I wanna tell the world about you, but it’s like we’re sworn secrecy/Why do we sacrifice growing up to fall in love so fast, hope we don’t become enemies.” But later he declares, “Lies, you can’t take it, cheated before, but not much lately/Lately I’ve been so into this shit, love is amazing.”

“Drive Fast, Live Young” forgoes the clanky production quality of much of Hotel California for more of an epic scale. “Palm Trees” captures the California feel much better than the derivative “It Neva Rains,” and Tyga gives new insight to his high rolling lifestyle: “All-white neighborhood, I feel alone/8 bedrooms, let my thoughts roam.”

Fame comes at a price and the 23-year-old Tyga seems to actually realize that, even if he will dedicate track after blusterous track to denying it.

“Dad’s Letter” is even more revelatory as he imagines what he would say to his missing-in-action father: “Growing up all I wanted was a father figure/Me and mom alone every dinner…”

Hotel California is far more uneven than Careless World, but there’s just enough here to get us into the summer. You may not find much of it is very good, you may be turned off by its simplicity and profanity, but you’ll bang it anyway. It’s another interesting chapter in Tyga’s young but extremely prolific and still promising career.

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Dead Prez – “Information Age” – @@@1/2

No, you didn’t download the wrong album. It is certainly dead prez you’re listening to, not FloRida. Or 2 Chainz. Or like, Weezy or something. This deluxe reissue of Information Age is classic DP content paired with some melodious curiosities. Still, the physical release would have been adequately enhanced with half of the six additional tracks. No shade.

Opening song “A New Beginning” is just that – two years shy of a decade since their last album, it’s not just a chronological new beginning but a sonic one as well. Mid-tempo pop drum kits, ambient synths and sing-songy hooks back messages of freedom and revolution. You think it’s a fluke at first. Or perhaps they’re poking fun at today’s musical climate. But then the song ends sans accompanying skit signifying ‘sike,’ and second track ’“What if the Lights Go Out” begins with an equally pop-ish feel.

You do a quick scan through the remaining songs. You realize dead prez are dead serious. It’s a little jarring, a little strange – but strange in a good way. We think.

Recently added “Intelligence is Sexy” is strategically sequenced mid-album, driving things forward where they may have lagged before. As Gabby Duran of Miami based duo Duran Blu lends vocals on the inspirational “Overstand “ and Bun B spits a righteous verse on the “Time Travel Re-Mix” it’s easy to feel upgraded from last October’s digital release. But “Politrikks” and “Scar Strangled Banner” don’t up the ante, offering much of the same information and sound that was already present.

Information Age is a great studio production with crisp, well-defined highs and lows. It is mixed and mastered well. Even if the style shift is not your cup of tea, it does sound great and manages to give you the peculiar, never thought of feeling of being “zenned up and zoned out.”

Most importantly, the project sparks an interesting conversation, not just about timely world issues like spiritual awakening, corrupt government, manufactured disease and environmental woes. It evokes commentary on the mindless hooks we’re often reciting, wrapped in catchy dance-pop quasi electro beats and sing-songy hooks. Or addictive 808’s laced with uplifters. Either way, the music serves as a distraction from the shoddy content we’re fed regularly. On the contrary, when Stic and Mutulu are dropping science on politics and religion over these tracks, that’s got to be a win-win right?

Can we look toward a trend of substantial music over club beats? It can’t hurt to have a couple heavily rotated. The jury is still out however, on an entire album’s worth.

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Curren$y – “New Jet City” – @@@1/2 (Review)

The extra-hard working Curren$y defeats all stoner-stereotypes, releasing multiple projects each, suggesting that every day he is on his grind. Yet once you experience his music, you realize that sitting around, smoking weed, and just happening to spit some lyrics over beats is a big part of it. So maybe he’s found his element. With his latest mixtape release, New Jet City, Curren$y delivers more of what his fans love.

It’s hard to compare one Curren$y record to the next, as you pretty much get what you expect from each one; that is, super laid back beats and pot-Picasso’s painted by Spitta himself. He’s got a knack for this kind of thing, even if it isn’t you bag (or sack, rather), completely nailing it on tracks like the Nino Brown inspired opener “New Jet City”. Yet Curren$y is much more the customer, than the dealer.

On the Statik Selektah helmed “Clear”, he and Jadakiss, deliver three minutes of mellow madness, while the potential hit single “Choosin’” with Rick Ross and Wiz Khalifa begs the question as to why it wasn’t saved for his next album. The ridiculously produced “Mary”, which happens later in the album, is pretty much Curren$y defined.

There’s no needle-dropping on a Curren$y LP, you just let it play through, and let the more smoked out selections like “Three 60″ and “Living For The City” slowly seep into your mental. Yet it doesn’t always work; “Drive”, for instance, is almost too agressive for Curren$y’s taste, while the Juvenile-featured “Bitch Get Up” merely plods along. Appearances from less-than-stellar rappers like Trinidad James (“Purple Haze”) and French Montana (“These Bitches”) also leave something to be desired.

For the most part, Curren$y continues churning out soulful, blunted music for his fans, and despite a few missteps, for the most part, New Jet City does not disappoint.

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Lil Fame + Termanology – “Fizzyology” – @@@1/2 (Review)

In one of the most unexpected super-group/collabo records of the year, Murder Mass / Showoff emcee Termanology teams up with M.O.P.’s Lil Fame (aka Fizzy Womack), for the humorously titled Fizzology LP, for Brick Records. Produced almost entirely by Fame, the album explores what things sound like if Fame trades rhymes with a more cool and collected sparring partner, rather than his equally gruff brother in M.O.P., Billy Danze.

The end result is a raw street album, that focuses more on the duo’s lyrical skills than classic song structure. Fame’s production has it’s moments, carrying on the legacy of M.O.P. on songs like “It’s Easy” and “Family Ties”, which may as well been included on the Firing Squad LP, utilizing classic blues and soul samples. Yet despite his years in the game, Fame simply isn’t as astute a producer as some of his peers, such as DJ Premier, who shows a night-and-day difference when he steps in on “Play Dirty”, a blistering posse cut with Busta Rhymes and Styles P. The same can be said for Statik Selektah, who’s uncanny ear steals some of the spotlight on both “Crazy” and “Thuggathon”. Given that Fame’s production dominates the LP, there’s a clear difference when his more seasoned beatsmiths appear. The only exception is Alchemist’s “Fizzyology” title track, which is a let down due to it’s umpteenth use of the “Forgot To Be Your Lover” sample, which he already, most famously used on Dilated Peoples’ “Worst Comes To Worst” some years back.

While still very much of quality – we’ll put these beats up against anything on a damn 2 Chainz record – we’ve heard both M.O.P. and Termanology shine brighter on past albums helmed by the aforementioned Preemo and Statik, so we know what they are capable of. Furthermore, Term and Fame simply lack the chemistry of M.O.P., having two opposing styles that lack the synergy of Fame and Danze. Nevertheless, these two come with constant quotable lyrics, and we imagine they both had each other cracking up in the studio, trying to outdo one another with more audacious, ultra-violent braggadocio.

While Fizzyology has some things about it that let us down, this is still one of the stronger releases of the year, in a sea of half-baked albums from not-ready-for-primetime-players and over-exposed-but-less-than-skilled-rap-superstars. While the execution doesn’t match either members past efforts, it’s still more-or-less a solid release that will sit comfortably in many listeners’ iTunes libraries.

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Brother Ali – “Mourning In America, Dreaming In Color” – @@@@1/2 (Review)

The cover art of Brother Ali’s Mourning In America, Dreaming In Color is designed to draw a strong reaction. Some might find it entirely disrespectful, as there’s an unwritten law suggesting that the American flag should never be laid on the ground. Some might find it even more disrespectful that Ali, an American Muslim, is praying on top of it. But judging a book by it’s cover would definitely be a fault in this case, as Ali’s intentions are pure. Yes, this album cover shocks and gets your attention, but after listening to the LP, one begins to understand Brother Ali’s point of view.

Just as the president has had to dodge attacks of being a “secret Muslim” or someone who “hates America”, Brother Ali has most likely felt the same way at times in his career. From a man who once wrote “Uncle Sam, Goddamn”, he’s realized he loves his homeland, as referenced on the first track, “Letter To My Countrymen”, where he opens the album with “I used to think I hated this place / couldn’t wait to tell the prez straight to his face / but lately I changed, nowadays I embrace it all / beautiful ideals and amazing flaws.” This is what that album cover is about.

In the wake of the Occupy movement, Ali’s perspective is similar to many Americans; they don’t hate this country, but are frustrated with the way things are. Ali uses MIADIC to get some things off of his chest, such as “Mourning In America” or “Gather Round” which deals with how poverty inspires terrorism or tracks like “Work Everyday” that examines the plight of the blue collar worker, questioning how they can side with rich politicians.

Ali’s moves his platform from political to personal on several tracks, unveiling the human behind the lyrical freedom fighter. “Stop The Press” is an amazingly bittersweet song about the last couples years of his personal life, detailing the deaths of both his father and Eyedea. Later on “All You Need”, Brother Ali tries to explain his divorce with his drug-addicted wife to his young son, in a tale that he might one day understand.

Backed by the production of Jake One, Jake has produced some of the best beats in his catalog here, with some of them so big and apocalyptic (“Mourning In America”, “Fajr”) that they sound like they were originally meant for Detox (an album in which Jake has had input on). Other times, Jake has simply chosen the right sample, and freaked it correctly (“All You Need”).

In either case, both artists are in top form here, and have possibly created the best work of their respective careers. Whereas something like Cruel Summer turns a blind eye to the problems in our country, pretending they aren’t there, Mourning In America, Dreaming In Color examines them in great detail, over Jake’s raw, musical backdrops. The seamless combination of substance heavy lyrics and sonically pleasing production makes this perhaps the most important hip-hop album of the year.

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Azealia Banks – “Fantasea” – @@1/2 (Review)

Harlem native Azealia Banks is part of a modest surge in female rappers, joining the likes of Kreayshawn, Iggy Azalea and the ubiquitous Nicki Minaj. With her new mixtape, Fantasea, Banks makes a forgettable impression.

The first 10 tracks of the nearly hour-long mixtape are filled with non-stop frenetic, high-pitched, sped up electro-dance house beats. For some reason, this style of production is met with universal respect across genres, but it’s become so de jour in hip-hop and R&B these days that it’s taking on an auto-tune like redundancy.

It’s hard to make a fair judgement on whether or not Banks is a promising MC/singer, because she is so drowned out by these unnerving beat selections. Her personality or style really don’t come to the fore, aside from that of an electro-dance pop master of ceremonies. Oddly enough, there are short jazzy interludes sprinkled throughout Fantasea. The contrast couldn’t be more stark.

Taken alone, tracks like “F*ck Up the Fun” are actually sort of catchy. But amidst the onslaught, it’s easy to hit skip, or even just put it on shuffle so as not to get two in a row.

As for lyrical content, Banks seems content to be utterly vapid. On “Jumanji”, she invokes Foxy Brown, but it’s hard to take her seriously with lyrics like, “you’re fruity tutey and booty.”

Fantasea really only has one note, a kind of constant thumping, that ultimately lands with a thud.

Related posts:

1. Azealia Banks – “Fantasea” (Mixtape Cover)
2. Azealia Banks – “Fantasea” (Mixtape)

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La Coka Nostra – “Masters Of The Dark Arts” – @@@1/2 (Review)

Super-groups are a tough call. Most of the time these things get planted as an idea that never comes to fruition, and other times the idea is milked for all it’s worth. The Gravediggaz, for instance, released an arguably classic album with 6 Feet Deep, only to lose a member – and a degree of quality – with each consecutive release. La Coka Nostra has suffered somewhat of a similar fate, as a series of their early mixtapes boasted a line-up including Danny Boy, Everlast, Muggs, Slaine, Ill Bill, Psycho Realm, DJ Lethal, Swollen Members, and other members of the Soul Assassins and Non-Phixion crews. By the time their first album, A Brand You Can Trust, dropped – membership had scaled back a bit, and with it’s follow-up, Masters Of The Dark Arts, it’s just been narrowed down to essentially Slaine and Ill Bill. However it just so happens that these two are the group’s most lyrically able members, so this isn’t necessarily a bad thing.

That being said, there are times when these two completely nail it – such as on the opening track, “My Universe”, featuring Vinnie Paz and a brooding Rakim sample provided by Statik Selektah. The DJ Premier-helmed “Mind Your Business” also stands out, as the duo address internet fans and Twitter rumors, giving a rare glimpse into the men behind the mic. Later on “Malverde Market”, they examine the bloody drug wars currently plaguing Mexico, a politically charged topic mostly untouched in hip-hop.

However the absence of the Soul Assasins crew is felt, as Everlast’s blue-eyed soul singing added something to the group’s grim subject matter. The same can be said for that of B-Real, Muggs and Alchemist, who even if they only contributed in small doses, helped round out the sound of group. Much of the production is overly abrasive, with tracks like “Creed of The Greedier” and “Masters of The Dark Arts” just short of ending with broken glass or gunshot sound effects. This isn’t always a bad thing though, such as on the Ill Bill produced “Letter To Ouisch”, which almost has a Dre & Cube “Natural Born Killers” feel to it.

All in all, this might have been better marketed as an Ill Bill and Slaine collabo record. Both are strong emcees with enough cred to sell the album on name recognition alone, and would avoid the disappointment of a paired down La Coka Nostra. After all, it’s a brand we’ve grown to trust.

Related posts:

1. La Coka Nostra – “Masters Of The Dark Arts” Cover Artwork + Tracklist
2. La Coka Nostra – “Malverde Market” (Video)

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Aesop Rock – “Skelethon” – @@@@1/2 (Review)

Admittedly, after the group effort of Hail Mary Mallon, expectations were lowered for Aesop Rock’s most recent effort, Skelathon. Are You Gonna Eat That? had it’s moments, but none of them resonated like Aesop’s past work on Labor Days or None Shall Pass. While we knew Aesop had his moments as a producer, the last Felt album didn’t quite deliver what the Def Jux supergroup of Murs, Slug and Aesop Rock have ultimately proved themselves capable of. Skelethon, however, is Aesop’s best work in nearly five years and quite possibly his best solo effort ever.

Some fans might have had cause to worry, as Skelethon was produced entirely by Aesop, without the assist from longtime producers Blockhead and El-P. He’s been trying his hand at production for years and definitely has proven himself capable of solid work, but Blockhead had been there for the classic anthems like “Coffee” and “Daylight.” Among the best productions on the album are opening track “Leisureforce” and standout “Homemade Mummy”, both of which feature the warm guitar fuzz and buzz heard on None Shall Pass. “Homemade Mummy” is Aesop gone horrorcore-philosopher, as he focuses on following the heart, but does it in the grimmest manner possible. “Leaisureforce” could easily fit alongside any El-P production, if not for the occasional haunting background vocals. Aesop goes hard as he describes “smash cut to a smoke bombed quarantine”, something you might imagine had this track just been an instrumental.

“ZZZ Top” is another standout, almost sounding like a lost RJD2 track from 2004, featuring a crazy drum break with snaking slow guitar riff that twists throughout the track. With references from Afrika Bambata to Led Zeppelin, this song traces the discovery of the average listener, as they open up to new sounds. “Fryerstarter” is another standout track that utilizes the Kalimba. Much like “Blast It” by Shabazz Palaces, it really proves there’s no shortage of sounds that can work with a hip-hop album. Aes also gets on Action Bronson’s emerging trend of rapping about food, bringing the listener into his world, down to the scent and ingredients of one of his hangouts. Its the type of song that might not make for a standout single, but put together into a album can give you a good idea of Aesop and where his life is at.

The biggest miss on this album has got to be “Crows 1″. Kimya Dawson is the only featured guest on this album and she just doesn’t fit. She’s modestly entertaining live, but can’t seem to get through more than a line or two without taking deep breaths. Its incredibly distracting and her part on the song just doesn’t gel with the rest of the production. They’ve toured together in the past and this may have come out of that, but ultimately Aesop Rock might be a better feature for her album then the other way around.

What was supposed to be a really down album comes out hard, strong and sometimes even uplifting. You could never really pin Aesop Rock as fake – maybe obtuse – but the man is capable of describing where he’s at. In a hip-hop culture that’s usually aimed at masking failures, its rare to hear someone come out saying “I have been completely unable to maintain any semblance of a relationship on every level.” From someone who is usually so hidden with where he’s at, a statement like this hits hard. It comes at the end of the album on “Gopher Guts”, as Aesop lays himself out bare. That’s really all you can ask from any artist. To know their failures is to know they’re human, and to be able to identify with them says that none of us are alone.

Related posts:

1. Aesop Rock To Release “Skelethon” July 10 on Rhymesayers
2. Aesop Rock Announces Second Leg Of “Skelethon” Tour

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De La Soul Presents First Serve – @@@1/2 (Review)

De La Soul’s new concept album, First Serve, follows a rap duo starting out in the late 90s, as they rise to stardom, flame out and then get back together again. At this point in their career, with a deep catalog of classic and quality releases, it seems like the right time for the legendary group to look backward. It also takes off the pressure of making a hit for today’s market–not that De La has ever been too concerned with commercial success.

Musically, First Serve, is much what you would expect from a De La album–spirited beats, clever rhymes and an off the wall, wink and a nod sense of humor. All the things that have allowed them to endure since their groundbreaking debut, 3 Feet High and Rising, in 1989. French DJ duo Chokolate and Khalid, who provide First Serve’s musical backdrops, are welcome partners on this go-round.

The chemistry between Posdnous and Dave (the group’s third member Maseo is absent from this release) is evident. These two (also known as Plug 1 and Plug 2) have worked together for so long, it seems as easy as breathing for them to trade the mic back and forth, as they do on stand-out tracks like “Pushin’ Aside, Pushin’ Along” and “Clash Symphony,” which finds their fictional characters at odds, but musically the two emcees kill the track together.

What almost ruins “Clash Symphony” and really the whole album, is the “comic” skit littered behind this and other songs, as the overbearing mother of one of the group’s members screams in the background.

This mother character, who chastises them at the beginning of the album for pursuing rap rather than a traditional job, is obviously being voiced by a man, probably Pos or Dave, and is so embarrassingly unfunny it makes you cringe.

Part of this wackiness is to be expected from De La, but it’s so brutal it makes your skin crawl, impeding your enjoyment of the rest of the album.

It’s a shame because it takes some of the air out of yet another very credible, consistent De La Soul album and defeats the believability of a fairly compelling hip-hop concept album.

When the fictional group in First Serve reunites on “Tennis” and “The Top Chefs” it sounds as if they’ve never been apart. The same can be said for the real life artists.

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Lee Bannon – “Fantastic Plastic” – @@@1/2 (Review)

Lee Bannon released the seven track, eleven minute Fantastic Plastic EP in September of last year on Plug Research, and talk about a teaser! For fans, it was only right he came back this February with a full length album of the same title. At first listen, it’s hard to believe Bannon hails from The Golden State’s capital. The Fantastic Plastic LP is a conduit to space exploration, hinting he’s a visitor from light years away.

Bannon packed an array of sounds into Fantastic Plastic’s first release, ranging from instrumental loops to effects, to sound bytes about 8 track cartridges and what could translate as an autobot frequency. The lofty vision is actualized in record time with a track featuring the Wu’s Rebel INS. The LP more than doubles the track listing and triples the running time, but don’t expect an explanation of the original aural gallimaufry. Instead, expect more of the same. Still, for an album so fleeting, the content is palpable.

Futuristic is an understatement as Yu raps “astronauts rock this while they’re pushing through the clouds” on the opening track. Remaining from the EP are the virtually untouched “Peace,” “Phone Drone,” “Grey,” and “Space Glide.” We miss some of the more melodically driven tracks like “Master” and “Thumbs” but clearly Bannon had an underlying theme to stick with. Also missing was what might have been the EP’s universal draw, “Something Higher” featuring Inspektah Deck. But the LP makes up for it with ample features.

Chuck Inglish offers smooth storytelling over the sinister “Search & Destroy,” before a robotic Allegro sets in, ending with distorted keyboard. Del the Funky Homosapien makes his first of two appearances with Sol, contributing to the head-nod inspiring “PG&E” laid over a 60’s psychedelic rock-charged sound we hear again throughout the record. “In Color” featuring Poor begins laid back but its cacophonous ending will jolt you out of the zone of that beginning groove.

There are a few instrumentals like “Lord Gnarlon” a somber cut featuring vocal clips of Sacramento street performer Down Town James Brown. The succinct “Plastic Man;” pulling from English rock band The Kinks’ 1969 song of the same name, showcases funky guitar riffs and classically jazzy piano, all overlaid with those darn robots again.

Del the Funky Homosapien shines on “The Things,” and “The Noise in Color” picks up right where it leaves off rhythmically, hinting at a representation of the visual through sound .

Bonus track “The News” featuring Stones Throw family members MED and Oh No, along with Roc C ends the album traditionally with beats and rhymes. We can’t help but feel, however, that after deciphering the project’s messaging it’s a bone thrown to those who didn’t quite catch on.

Overall, Bannon scores with eclecticism reminiscent of Oxnard Green, adding unique electronic sensibilities. There are traditional moments of clarity within Fantastic Plastic but this isn’t an album you skip around on. Listening in succession is recommended to comprehend his artistic commentary on what technology has become versus what we predicted of it in the past. Many if not all of the songs begin one way and end the polar opposite, trading the past for the future between sample driven production and mechanized sound effects.

Bannon’s courage to experiment beyond the norm and reach higher than the depths of the “hell they call stagnant” as Yu mentioned on the title track is necessary and worthy of applause. That being said, this album is the opposite of easy listening. The soundscape he’s created is fascinating and the messaging poignant, but keeping up with the constant and at times sudden musical changes can become tiresome. Something tells us this will shoot straight over the head of the average listener.

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