Irish indie rock band Two Door Cinema Club presents a mixed-bag track listing on their 2010 debut album, Tourist History.
This project starts off with a very strong three track run in “Cigarettes In the Theatre,” “Come Back Home,” and “Undercover Martyn.” The first of these opens with a trilling set of guitars pinging off of one another, before the track up with a sharp lead guitar; this pairs wonderfully with a knockout drum kick. Lead singer Alex Trimble translates these elements of the music into words by detailing the infatuation phase of a relationship, which was only possible because of a cigarette. “Come Back Home” follows up with high energy by describing troubles in the same relationship, leaving the audience to wonder what happened between the first track and this one. This song features my favorite drumming throughout the album, as well as one of the more versatile vocal performances. Hearing “Undercover Martyn” again for the first time in years was a treat, as it’s a song that gives me a great sense of nostalgia for music I never knew the name of when I was young. As I’m sure was intended, this one strikes a personal chord with me as an introvert; it almost feels as though Tremble is reaching out personally to tell the listener to get out and pursue new passions, using the name Martyn as a metaphor for the relating audience. The track listing soon settles down with “Do You Want It All?” Here, the band seems like they’re going for a vibe similar to that of Jimmy Eat World’s “The Middle,” but the track appears rushed both in lyrics and instrumental. There is an awkward jump from verse to chorus at almost every instance, throwing off the listener in a way that isn’t necessarily good. The following cut “This Is the Life” is a return back to the prominence of the first few songs, with a feel good sensation and a brilliant call-and-response chorus between the vocals and guitar. “Something Good Can Work” is a somewhat bland take, not bothering to venture toward any interesting area of production or vocals. This is followed by “I Can Talk,” a decent song that appears heavily influenced by The Strokes. The opening guitar riff sounds like definition math rock, progressing logically up a set of stairs. Although I don’t feel that I enjoy it as much as other tracks, the vocal performance here certainly strikes me as the most peculiar one created for the project. It may seem like a bad thing to copy and paste tracks in any context, but in terms of the song “What You Know” including practically the same chord progression as “Undercover Martyn” except using a guitar, I actually like it. I would even go so far as to say that I enjoy “What You Know” more, out of the two. With the resourceful instrumentation, this track is an irresistible groove and would bode incredibly well in social situations. I also believe this song to have the best lyrics out of any song on the album. Conversely, the following “Eat That Up, It’s Good For You” has the worst lyrics; the track can be somewhat salvaged by the instrumental, however, with an excellent climactic outro. “You’re Not Stubborn” is a rather mild closer, with tame vocals that come off jaded as well as another uneventful instrumental. I can appreciate many of the great moments presented on this project, as the highs are high. Indeed, the greater songs here give off a wistful quality which I’ve found myself enjoying recently, like in tracks such as Phoenix’s “1901.” However, much of the remaining portion of the track listing pales in comparison to the rest of the album. In conclusion, this album is great when I edit the track listing on my own to create a more consistent version. Highlights from Tourist History to take a look at are “Come Back Home,” “What You Know” and “This Is the Life.”
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“DICKHEAD!” appears to be London based trap rapper Lancey Foux’s new favourite adlib, as he yells it on 7 out of the 11 tracks presented. Aside from his newfound proclivity for this word, Lancey manages to string together a solid track listing - for a b-sides mixtape - in FIRST DEGREE. With the hunger and desire of Kendrick Lamar to kill the competition (perhaps even literally), we see Lancey at his most energetic here, rapping over excellent and sometimes horrifying trap beats.
Coming hot off of his exceptional 2019 project FRIEND OR FOUX, Lancey continues to prove just why I listen to him in the first place. On “MURDRR TALK,” we hear an aggressive delivery of what’s been on Lancey’s mind over a house of horrors type beat. Although it took me a while to come around to this track, I understand that it’s integral to understanding his struggle to make it as an artist that so often gets compared to the likes of Young Thug or Playboi Carti. The strange, whiny vocal intonations presented in “DONT TALK” somehow make the track all the more appealing. The track also serves as a somewhat cynical anthem akin to A$AP Mob’s “Please Shut Up,” dedicated to those incapable of speaking the truth. This song also has some of the more slick bars presented on the project, like “Empty the sink, mouth running like water, I’m breaking the tap, don’t talk.” The following cut “WHAT U WANT” unfortunately stagnates both instrumentally and vocally, even with the appearance from Skepta (although I did enjoy his reference back to the 2016 track “Put That On My Set,” which he featured on for A$AP Mob). Not offering much new or interesting, it acts as filler on a project that isn’t exactly long to begin with. “DONT! - TRUST ME” takes a better turn, including some of Lancey’s better flows on the tape both in the chorus and verse. Next, “BASED!” acts as a sort of midway point for the record, splitting the front half of heavy, dark trap beats from the back half of more soulful and vulnerable takes. The track itself is decent, with references made both to Lil B and to Lancey being based (true to himself, not liable to copy the style of others). “CONTROLLING ME” was the first track I truly loved on the project; coming off almost as a cry for help, Lancey speaks on how his accidental rise to fame has been marked with the loss of his friends as well as his loss of control over his life in general. Turning to drugs in order to medicate and cope with these losses, Lancey feels as though he needs something to help him see clearly in order to escape a depraved cycle. This is followed up with an incredibly confident cut, “BIPOLAR BAG,” where Lancey takes an out of the box approach to his bipolar disorder over one of the better beats throughout the project. Similar to Kanye’s “I’m a superhero” take on his own bipolar disorder, Lancey raps “I’m in my bipolar bag,” meaning he’s feeling himself even through his condition. We can perhaps even see some of his instability seeping into the music when we hear how many friends he’s cut off that, in his eyes, have tried to cross him. Reminding me of some of the sticky, out of pocket bars on Paris Texas’s BOY ANONYMOUS, Lancey also states here “I’m about to delete every song I have, I don’t give a f**k,” which is just about the last thing that I expected to hear from any musician. Even more of Lancey’s bipolar disorder becomes apparent on “SEX MONEY MUDER & EXTORTION,” where he talks about his inability to speak to a therapist and his paranoia. We also see his habits of drug use resulting from paranoia, and how the cycle of becoming more paranoid from drugs takes a toll on him. Although the succeeding track “CLARITY” does meddle a bit in terms of execution, I can absolutely appreciate that Lancey tries something new here by speaking on some of the injustices he sees in the world. The track still does come off as trying to be too many things at once, however, even attempting to speak on things that seem out of place in this project. Lancey saves the best for last with “HONEST,” where he opens up about the experiences that shaped who he is today. Many of the bars here hit their mark dead on, sticking with the listener after only a few listens. This is done over my favorite instrumental on the project as well, with a brilliant drum pattern and running synth melody. Though this project is far from perfect, it works well for what it is: a mixtape including tracks cut from the finished product. Many songs here provide great insight into Lancey’s character and would work well for introductory songs to the artist. I’m beyond excited to see where Lancey Foux takes his next album, LIFE IN HELL, after hearing FIRST DEGREE - that is, if he doesn’t delete every song he has before then. My favorite tracks here are “HONEST,” “BIPOLAR BAG,” and “CONTROLLING ME.”
Emphasizing poignant deliveries on lush, astral-ascendant beats, Maxo crafts an incredibly solid record in LIL BIG MAN. An affiliate of Earl Sweatshirt, Pink Siifu, and the sound of members of the New York rap collective sLUms, Maxo has proven himself a force to reckon with in his recent appearances (most notably for me on Pink Siifu’s track “Call tha Bro (Tapped In),” which featured an incredibly smooth and confident verse from Maxo).
Opener “Time” entertains a contemplative lyrical set, similar to Tyler, The Creator’s 2017 song “Foreword.” Questioning whether his friends and family will remain the same after he sees success, Maxo presents a struggle that is all too familiar to those that achieve fame and acclaim. The production on the track gradually sets off on a runway straight to the stars, doing an excellent job in creating the setting for the remainder of the project. Maxo reflects on his aspirations and hard work in the next track “Strongside.” Although this track could have been expanded upon a bit more, it does prove to be one of the better songs throughout. The following track “Kinfolk” includes one of my favorite beats on the album, with an incredibly addictive drum set and pattern. It makes for an irresistible head nod, with a flow from Maxo that indicates nothing else would have made for a better fit. The song transitions seamlessly into “No Love,” a soul-sample infused track with production that might fit in well on some Knxwledge beat tape. It becomes a bit difficult here to distinguish between Maxo and the featured Lojii; though this isn’t necessarily a bad thing, a better tactic might be necessary to help Lojii stand out in order to gain a greater following. “In My Penny’s” is another remarkably solid track which details the struggles of growing up without money, having to avoid pitfalls seen in heavily black-populated poverted areas of America. The second half of the track dips into molasses completely, with pitched down vocals and a haunting, slow sample. The album reaches a climax with “Headphones,” a song that would be inspirational even without Maxo’s reflective verse. The title serves as a command - one that I was appreciative to have fulfilled - to the listener in order to enjoy the track in all its intended beauty. “605” is an interesting concept for a track: a scat-rapped verse serving as a voicemail, with the digits 605 potentially being an area code. A reference is also made to the 65 freeway in California. The track listing soon calms down with “Crown Heights” and “Quiktoldme,” which feature the most tame of performances from Maxo as well as snoozy production. Though Maxo does show some weakness in terms of lyrical complexity, this is something that I’m sure will improve with time. I feel that what is lacking in this aspect is somewhat made up for in tone and delivery as well. The negative photo of the “lil big man” on the moon serves as a great representation both for Maxo and the sound of the project overall. On LIL BIG MAN, Maxo gives the listener a reason to hope for a lucrative future for the rapper. Be sure to check out highlights "Headphones," "Kinfolk," and "Time."
Making for a fitting title to the album, $mokebreak sees Alabama native Pink Siifu and “Mutant Academy” member Fly Anakin deliver self-assured raps over hazy production. The 10-song project, sandwiched by a prelude and postlude, is dense with a multitude of jazz-rappers and underground artists, making for a good introduction to the styles of all.
Siifu and Anakin recruit Pro Era member Chuck Strangers to rap and produce on the track “Oatmeal.” Absent drums on the track make for a good sample of a few of the abstract, jazz-influenced tracks ahead. Right away, a similarity can be noticed between the voices of Fly Anakin and fellow east coast rapper Westside Gunn. However, the comparisons end at the vocal intonation with which they deliver their raps. There exists a very cloudy atmosphere to much of the production, specifically on tracks such as “3 Dope Boys” and “Shawty.” The sound presented in these two as well as in the project itself is reminiscent of the production of beatmakers such as Knxwledge and MIKE (a.k.a. dj blackpower). Like the vocalist feature list of the project, various producers also line up to contribute to the album; this includes Pink Siifu himself, who produces under the name “iiye.” “Tha Divide” is a great posse cut, which employs a smooth sample of Patrice Rushen’s “When I Found You.” The best verse here is provided by MAVI, a protege of Earl Sweatshirt who made a buzz among underground rap fans with one of my favorite projects from 2019, “Let the Sun Talk.” The following song “Remote Relocation” has perhaps the worst production here, with a dominating sample overruling anything being said on the track. The sample itself is okay at best, but drones on and overstays its welcome at worst. It is noteworthy that this track samples The Shirelles “It’s Love That Really Counts,” as The Avalanches flipped the same sample just last year for their track “The Divine Chord” featuring MGMT and Johnny Marr. Pink Siifu and The Avalanches collaborated when Siifu was featured on The Avalanches song “Running Red Lights,” which appeared on the same album as “The Divine Chord.” Just one song in the entire track listing here features Siifu and Anakin on their own, and it turned out to be my favorite track on the album: “Blame,” which contains an earworm of a sample. The song is produced by Black Noi$e, who has production credits on Earl Sweatshirt’s critically acclaimed “Some Rap Songs” with “The Mint.” The cool “$moked Outro” serves as a nice conclusion-postlude to the record. The strengths of this project include its incredible consistency overall. In terms of weaknesses, this album very rarely manages to reach out and grab my attention and force me to listen. With that being said, it excels when played in the background and you need to focus on performing some task. In other words, every song here (except “L’s”) maintains a very low key vibe. Be sure to check out album highlights “Blame” and “Tha Divide.”
After rediscovering King Krule this summer, I can say without hesitation that I’ve become enamored with his music. My taste in slow, contemplative alternative music such as that made by singer-songwriter Archy Marshall has most likely stemmed from hearing a Soundcloud remix around 2016 of a live performance of “Border Line.” When I heard the original version for the first time in May, I could feel my ears prick up in recognition and excitement. On 6 Feet Beneath the Moon, Marshall stretches his voice to its limits and creates the most intimate of musical moments using his guitar.
Kicking off the record with “Easy Easy,” Marshall presents a guitar riff that wouldn’t be out of place when played on some sort of well-surfed beach in California. Akin to that on Pink Floyd’s “Interstellar Overdrive,” this progression is remarkably sticky, not easily leaving the listener’s head. The song also previews Marshall’s unique and enthralling style of singing, prompting some YouTube commenters to beg the question “Who gave this ginger soul?” The simple yet exceptional chord progression of the following track “Border Line” allows Marshall’s voice and satisfying lyrical choice to truly shine in complement. “Has This Hit?” was a track which I, at first, felt conflicted about; although parts of the vocal passages in this one can come off as over the top and even annoying, they are certainly some of the more aspirational attempts on the album. I’ve recently come around to the vocals however, and would also say that it’s one of the more beautifully produced tracks on the record. The following track “Foreign 2” shows off one of many of Marshall’s aliases, “Edgar the Beatmaker,” utilizing dreamy lo-fi production reminiscent of many great Soundcloud tracks. The album’s focal point arrives soon after, with the immediately personal “Baby Blue” shining in every aspect. With a soft percussive backing to the track and a lush guitar piece, Marshall crafts hauntingly unforgettable imagery: “My sandpaper sigh engraves a line / Into the rust of your tongue.” Originally creating this song under his “Zoo Kid” moniker, I’m glad Marshall decided to re-record this track for the album, as it couldn’t have come out more perfect. The dark yet beautiful “Cementality” proves that Marshall can make topics as dismal as suicide sound heavenly. Likely the most bare-bones track in terms of production throughout the record, it goes to show that Marshall is at his most consistent when performing over a minimalist environment of an instrumental. The track segues nicely into the phenomenally jazzy “A Lizard State.” On this song, we hear a peppy sing-rap delivery over an impressively left field instrumental turn, standing out like a spotted zebra in the context of the rest of the album. “Ocean Bed” is another great track, fitting right in with the overall sound of the record. Though there’s not much to say about this one, I’ll say that it does seem like it would play well in almost any relaxed social situation. The succeeding song “Neptune Estate” sees Archy begging a lover to stay with him another night over similarly-toned sensual jazz production. Unhealthy habits of wanting to be “used” appear here, showing that Archy is flawed like everyone else and may not always want what will be the best for him in the long term. Next in the track listing appears an incredibly underrated song from Archy, “The Krockadile.” In chord progression, vocal delivery, drum performance, and anything else you can think of, Archy goes to lengths to ensure that this track is flawless. Another 10 on the record, this song only further serves to have me enchanted with Archy’s genius and versatility, as this again sounds like nothing else on the entire album. In the falling-action portion of the record, “Out Getting Ribs” is Archy at his best. The most depressing and exposed song throughout the album, one can draw comparisons to “Baby Blue” in most aspects. This track could have acted as an excellent closer, as it has a tremendously satisfying ending with a guitar solo piercing the track altogether. However, I understand the decision to place the more calming “Bathed In Grey” to let the listener down easy from the soundscape of the record. Weaker moments in the track listing occur on songs such as “Ceiling” and “Will I Come.” The former is a listless track with not very much going on musically or vocally, in contrast with the rest of the record. “Will I Come” is an even more limp attempt, with vocals that fall flat as well as an out of place sample near the end of the track that feels thrown-in after the fact. Many tracks throughout the album contain short passages of the duo of Marshall and his guitar. This allows for warm, introspective moments in which he confides in his guitar, as well as allowing his guitar to confide in him. The intimacy provided in tracks by Archy Marshall is something I’ve never seen before on this level, and has opened me up to many new sounds and musical preferences in general. This album is a must-listen for anyone interested in singer-songwriter music or alternative music. My three favorite tracks from this record are “Out Getting Ribs,” “Baby Blue,” and “Border Line,” although I feel that there are even more perfect songs on the album.
Probably one of the more underappreciated albums of the current year, Minus the B******t Life’s Great sees producer Nascent managing to bring together the sounds of various rap and R&B artists in order to create a cohesive and mesmerizing project. Though these different vocalists appear uniquely throughout the record, giving it ever-changing ideas and feelings, the artists featured each are able to contribute in an incredibly effective manner to the instrumentals given and to the project as a whole.
Opener “Got Fired” takes a soulful approach, setting up the listener’s expectations production-wise. On the following track “Bottom Dollar,” a scat-influenced feature from C.S. Armstrong takes place over a likewise jazz-influenced instrumental. With the drums and the piano taking command, this one becomes an easy head-nod and a great vibe. Instrumental tracks pop up every now and then throughout the album, floating in between those backed by vocals. These songs are great not only individually, but also as interlude tracks or prelude tracks. For example, the two-parted “Lover Boy” plays great in sequence with the album and relieves the listeners ears in anticipation of a track including a vocal performance. I perceive this checkered manner of the record’s track listing to be an attractive and engaging quality, providing soothing excursions for producer-focused tracks. Admittedly, however, these are indeed some of the weaker tracks presented, with the audibly uninspired and directionless “I Be Doin Too Much (Interlude)” acting as an invariable skip. The smooth, warming singing of Orion Sun on the track “Forever” plays in beautiful contrast to the trap-focused, cowbell-enlisting production of the song. The most exciting track is the one which introduced me to the project itself, “Lock It Up” featuring DUCKWRTH and Saba. Being a huge fan of Saba’s incredibly introspective and personal 2018 album CARE FOR ME, I’ve followed his releases and features closely in anticipation of his next record. The progressions in production as well as first-rate execution by both DUCKWRTH and Saba on the track creates a recipe for one of my favorite songs to be released all year. Many of the rest of the songs are great chill songs, such as “Straight Forward.” The track “Caught Up” featuring Hamzaa, however, presents perhaps the most admirable and alluring singing throughout the album. Hamzaa’s tone of being unable to steer clear of toxic relationship partners (and feeling helpless as a result) carries weight, effectively serving as a message to listeners that may feel alone in thinking the same things. All in all, this project is excellent in previewing the skills and qualities of many performing artists, most notably of which is Nascent. Here’s to hoping that this project as well as notoriety from producing SZA’s “Good Days” will help Nascent become more recognized in the hip-hop community. Choice tracks from this album include “Lock It Up,” “Caught Up,” and “Forever.”
Indie rock band Japanese Breakfast brings their A-game on Psychopomp. Though I feel a bit late to the game in listening to this record, I certainly feel glad that I discovered it at all. In just 9 tracks and 25 minutes, Japanese Breakfast showcases their ability to stun the listener with the beauty of their production as well as with the vulnerability of their lyrics, provided by band frontwoman Michelle Zauner.
On opener track “In Heaven,” Zauner speaks on the recent death of her mother, using heartbreaking imagery of their dog sniffing her now empty room and walking around confused. Juxtaposed with these lyrics, however, is a wonderfully upbeat tone taken with the production, with dreamy chimes and an up-tempo drum rhythm. The following cut “The Woman That Loves You” features perhaps the most emotional tone taken by Zauner on the entire record; begging the listener to do “as little harm” as possible to the woman that loves them, the lyrics read as incredibly personal and captivating. Taking inspiration from bands such as Silversun Pickups (specifically, their song "Kissing Families"), “Rugged Country” takes a more country/folk-sounding turn. The girlish, high-pitch falsetto provided in the album’s centerpiece “Everybody Wants to Love You” reminds one of childhood, immediately causing the listener to reminisce upon happier, simpler times. It also features a vaguely Oriental-sounding guitar riff to start off the track (and throughout), setting a great mood for the song. With further rotations of the song, it becomes difficult not to chant the lyrics to this one, either aloud or in your head. Title track “Psychopomp” serves as an interlude, splitting the record into two halves. Aside from being a great spacy, atmospheric-sounding track, it successfully sets up the following song, “Jane Cum.” Though it is likely my least favorite in the entire track listing, it is by no means a bad song; it contains admirable elements in not only vocal performance, as it is one of the best throughout the album, but also in use of violin strings. “Heft” is a more accessible song that would be great for introducing the listener to the overall sound of the album. With an opening reminiscent of the introductory riff in BROCKHAMPTON’s “SUNNY,” the song creates another lovely ambience. The beautiful production is again contrasted with dark lyrics, this time with Zauner begging the question if her efforts to become a better person will work, or if the same darkness will come. Again serving as a sort of alley-oop prelude for the following song, “Moon on the Bath” previews the mood of “Triple 7” quite well. Perhaps the one track I underestimated the most on first listens, “Triple 7” is a stirring letter to a lover that does not share the same intensity of passion towards her. She draws comparisons between herself and a slot machine, as she is being used merely for temporary pleasure and consequently is left unfulfilled in her relationship. Simply put, I can’t think of a way to make this one more perfect than it already is. Michelle Zauner develops themes of love, loss, and misery as a result of failing relationships throughout the album in an engaging and relatable way, making for one of my favorite listens all year. Standouts from this project include “Everybody Wants to Love You,” “The Woman That Loves You,” and “Triple 7.”
The duo of Louie Pastel and Felix caught my attention this summer when they released “FORCE OF HABIT,” an aggressive rap track hailed by some as being the hip-hop equivalent of shoegaze. This track, along with singles “SITUATIONS” and “HEAVY METAL” did an excellent job at previewing the experience of their forthcoming record, BOY ANONYMOUS.
For fans of rap and experimental music, Paris Texas does not disappoint. With incredibly sticky verses, hooks, and bars in general featured all over the project, the duo maintain the attention and energy level of the listener from the front of the record to the back. In terms of lyrics, Louie and Felix manage to shine both individually and as a unit, making their mark using their unique personalities. Proclaimed “hook-man” Louie Pastel includes unconventional lines certain to make the listener do a double take (case in point, “I used to cum in a sock,” from “CASINO”). In addition to this, Louie takes on the bulk of the production for the group. Felix, the main lyricist of the two, also includes his fair share of ear-catching bars throughout. Rapping about topics such as the groups imminent ascent in the rap game, future aspirations as a result of success, and more, Felix shows incredible promise in becoming an elite lyricist of the new school. In terms of production, BOY ANONYMOUS covers ground largely in experimental rap. Calling back to the production of artists such as JPEGMAFIA, songs like “PACK 4 DA LOW,” “HEAVY METAL” and more clearly deliver on the promise of great production, utilizing buzzing guitar riffs, droning synths, and crisp drums. No other song brings more satisfaction in a sonic sense than “FORCE OF HABIT,” however; kicking off the track with a distorted punch-in-the-face of a guitar riff and heavy hitting drums, the song proceeds to take a more reflective turn with the ambitious verse delivered by Felix in the latter half. Straying away from the more aggressive side of things, bouncy, catchy drum rhythms are also provided in the form of “SITUATIONS” and “AREA CODE.” The production all over the record provides a breath of fresh air, making it so that the tracks do not take very long to create their identity and catch on with the listener. Paris Texas shows an incredible amount of promise for their future with this project. Although BOY ANONYMOUS keeps it short and sweet at just 8 tracks and 22 minutes, it’s quite enough to deliver the message: Paris Texas is here, and they’re only on the way up from here. Hopefully, a rise in popularity and exposure will come from their upcoming tour with BROCKHAMPTON in spring of 2022. Highlight tracks from this record for me are “FORCE OF HABIT,” “PACK 4 DA LOW,” and “AREA CODE.”
A s someone that follows music closely on social media, I have always wondered why music reviewers don't wait until the following year to begin a recap of their favorite albums of the past year. Doing this, any one album released at the end of the year could have been one to make it on to a list like this, had the reviewer waited to make their list. Albums like BUBBA are the exact ones I’m talking about.
Even from 2016’s 99.9%, I was able to tell that KAYTRANADA was an energetic soul that wouldn’t be leaving the music scene any time soon. From the first listen, it was a hypnotizing experience of instrumentals made to make you dance. It had an impressive set of features, too, including Anderson .Paak and Goldlink, among other notable artists. However, the album was certainly not without its flaws, and did not make it up quite as high as other albums on my list of favorites of that year. One thing that the album did leave me with was the anticipation for his next project, whatever it happened to be. With 2019’s BUBBA, the electronic-producer hones in on his most desirable qualities, and it is everything that one would hope for following his 2016 release. One of the more attractive elements of his now nearly four-years old release was how each song appeared to go hand in hand with the one following it, making for a unique listening experience. KAYTRANADA turns this dial up to 11 in BUBBA, and it emerges sounding as if each song were a match made in heaven. The transition from one track to the next is pleasant and entirely appropriate, and has you going, “Damn! That was crazy,” at a few points. The album begins with the track “DO IT”, an opener akin to that of his last album in both instruments used and overall sound; from this moment, however, it is evident that the producer has hammered away at his craft in the three-and-a-half years following his last release, shifting even further towards the dance-vibe that he created before. Though we know what to expect by now from KAYTRANADA, BUBBA still manages to surprise with outstanding instrumentals on tracks such as “2 The Music” and “10%”. Here, dancing feels irresistible, at least to someone that loves to dance. Even if one doesn’t enjoy dancing, the atmosphere created by tracks like these is undeniably exciting. The features in the track list are perhaps more impressive than before, with artists such as Kali Uchis and Mick Jenkins teaming up with the beat-maker to deliver on creating excellent music. This album, like his previous effort, however, is not perfect. Though it is easy to think little of these blemishes, there are indeed blemishes. The track “Midsection” could have been kept out of the final cut. Although likely intentional, Pharrell Williams’ provides drowned out, distant vocals; they do not mesh well with the production. What’s more, the singing on the verses of this track is, to be frank, slightly irritating. To give it some credit, it does go along with the overall production theme of the rest of the album. Another problem that could be taken up with the album is how the vocals outshine the instrumental at times, like in “Freefall”, with Durand Bernarr, or “Taste”, featuring VanJess. This problem, however, is a good problem to have when making an album as a producer; it is something that is not necessarily a bad thing, and is even considered to help contribute to the album’s greatness. Overall, I believe this to be one of the better albums of 2019, and a must-listen for anyone that listens to electronic music or dance music, even for anyone that likes to dance in general. The wide variety of artists included on the project is a bonus that provides for a new turn with each song, making for an entertaining listen and a high replay value. |
AuthorEnrique Cardenas III Archives
November 2021
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