Rounding up the best of the week-end in one convenient post
All bets are off.
That which is called "the jig" has recently witnessed the expiration of its capacity to be time. It is up.
For the second Sunday in as many weeks, a major album was released late into the night; the third in total in just a that same week's time. Expectations for the music are unexpectedly high. Opinions of To Pimp a Butterfly as well as Mr. Wonderful notwithstanding,lingers on the palate. A bias is incidentally created.
But I Don't Do Shit, I Don't Go Outside is different.
The music is rooted in hip-hop, albeit the appropriately cinematic soundtrack to a dystopian reality serial. Verne Troyer is always in the house as a gallon of the finest Cambodian breast milk is chugged in just one hour. Concepts of rhythm and melody are also challenged throughout. What is certain, though, is that the delivery and presentation is identifiably rap presenting both a continuation are well as an alternative
All that remains is a sudden flash of light. Earl Sweatshirt has rolled by in golden roller blades and it just so happens that the listener has been on the wrong side of a baseball bat. The content is deeply cynical, if not nihilistic. Questions are consistently brought up regarding to the value of accomplishment. Aware of a void existence is what, if anything should be engaged in?
The album is more cryptic than dense. Full discretion, the author only claim to have heard it through thrice since its release.
But of greater interest is the occasional gambling imagery the Odd Future MC employs in his verses. Sometimes the lyrics are reflexive ("I was kinda out the game, Imma put the quarter right back in the slot.") while others are projected outwardly ("Friendly with the chosen / The rest is getting the poker hand"). Still, curiosity is difficult to tame: What does Earl's March Madness bracket look like?
Probably illegible and written in blood and hash oil.
Ranting and raving now sufficed, onwards to the selections..
As soon as the song below was released, it was virtually guaranteed top-billing. On paper, the track is a near trifecta
For the second time in three weeks, Dadifox appears as part of the "Monday Morsels." Moreover, the PDDG beatmaker maintains continues a streak of retro-chic. But rather than turn towards the 1980s Portugal, the producer's sights have wandered; and if the song's subtitle is to serve as any indication, the Dj glance has ventured well beyond the European continent into Angola and Cabo Verde.
On his newest song, titled, "Ouuu Suiiiv," Dadifox presents a face-paced funana. Yes, style is the coup de grace. Clocking in at just past four the track is surprisingly long but a far stretch from mundane. Opting for thirty-two beat bars Dadifox does not rush any of the transitions - accompanied by a cheeky interlude - between the four verses and five choruses. Regardless, the coordination is systematic; like that of any resident of the track. The beat is led by snare/kick while a shaker provides a hitch and a chain/clap combination syncopates. Melody is driven by an electric guitar, routinely chopped up on the verse. Percussion is eliminated and a digital snare becomes much more prevalent. At a later point, when drums are phased out, the gut-checking bass steps up. The bass is often in slightly slower than the overall tempo and, alongside the clean mastering, are the song's strongest features.
Without question, a very, very good song that is also fortunately available for download
The fix is place. A shot is about to be fired toward the front-runner. It is only a matter of time now until Johnny Clay shows up with the money.
Titled, "Matando O Labo," LyCoOx kills the beat. Appropriately enough, then, the TMP beat-maker revisits a horror theme from earlier in the year. Rather than using screaming samples, Dance Mamba opts for a high pitched synth melody. For its part, the bass rumbles like the gears on a Medieval drawbridge. The track is sold as a tarraxo. Tempo is slow - led by a hi-hat/snare/kick rhythm - and about as predictable and the LyCoOx drum-effect-cum-transition.
"Matando O Labo" is a solid, heavy song layed out like an EDM number. But as with KingFox last week, it is the intermittent trap portions that provide the most upside.
The typical slot machine brings with it s fixed connotation of jackpot.
One the other had exists the Wurlitzer Prize.
A Roll of quarter will play you the same old song, if Waylon Jennings is to be believed. Nonetheless, silver is allowed to escape and slide into the slot; one sad tale after another.
What follows has feels but is not nearly as emotional a tale. Released yesterday, what follows is a gangsta zouk care of SenexBeatzZ. The mid-tempo song, titled "GHETTOZOUK" is presented as a brevemente: intro, two choruses, a verse, and a bridge. Three synths, and a flute are carefully layered. Percussion-wise, the song is just as rich. Djembe, shaker, and cowbell are all heard in addition to the main rhythm.
It is as if the jukebox sells itself; nothing bad about it.
Had Terry not put in the fix, he could have been a contender.
Instead the man was left to make his way in the Waterfront.
Laced up in a pair of red boxing gloves all his own is Vybz Kartel. Performed over the Speedometer Fews riddim, the beat is made up of a kick/snare and accented by a hi-hat roll. Three different synth carry the melody. Bass falls heavier on the dancefloor than a canary from the top of a building. For his part Addi Innocent gives a traditional dancehall performance. Vocals are not shouted, though a lo register is used.
Good effort, altbough maybe not quite as good as the I-octane's cut. And as always free World Boss.
The last selection is as sneaky as Pete Rose's request to have his lifetime ban from baseball lifted.
It just so happens that Charlie Hustle's autobiography - titled My Prison Without Bars - sounds vaguely like a Jamaican music lyrics.
So, in conclusion, a roots track is presented where eyboard joins the chickenscratch and rhythm. The name of the musical accompaniment is the Retro Locks Riddim; which has received noteworthy contributions from Iba Mahr and Treesha Moore. But unlike the previous two artist, the track is question has more in common with the Runkus version. Dre Island, after all, is just as much a rapper as he is a singer. His lyrics are just socially conscious as the others, mixing in elements of Rastafarianism and caution.
Just one in a series of cuts that include noteworthy contributions, but perhaps the version that rides the crest of the bass best.
- J.N.
A Noggle Brain Trust, LLP. website
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