Archive for the Hip-Hop Category

NEW BUSDRIVER SINGLE – No Blacks, No Jews No Asians

Posted in Hip-Hop on November 1, 2011 by

As a total copout for actually writing a new album post, which I still can’t find time for (you should see my schedule, it’s hell), I’m supplying you with the new Busdriver single. This, of course, implies that he has a new album on the way. As of now it’s titled “Beaus$Eros” and slated for a late February release. I’ve only listened to the song once but it sounds like Busdriver is as on as ever. The beat hits hard and each verse is still blazingly fast, it’ll take several listens at least to catch all the lyrics and then an undefined larger number to understand what the frik he’s talking about. Enjoy.

Tyler, the Creator – Goblin

Posted in Hip-Hop on August 16, 2011 by

 Hip-Hop; 2011


Trying the shorter review thing.

Tyler’s always talking about the bloggers he hates so much so I had to take the chance to become one of them. I’m not gonna call him Horrorcore though, he’s too self-aware. For a song like Goblin, I can connect on a personal level because of that. He thinks he needs help but his friends think he’s kidding and maybe he’s just being dramatic. He’s not insane but his thoughts are so all over the place that it does feel like he has a personality disorder at times. It’s long for a Hip-Hop album and may be hard to listen to in one go, especially since the middle tracks are weaker than the beginning and end. Yonkers is pretentious although the first line tells you everything you need to know about the song. It’s an exercise in paradoxes and is more clever than most will realize, which is the only thing it tries to do. Tyler is like what Eminem was 11 years ago – edgy and controversial but not that serious and everyone loves it. He won’t get AS big as Eminem did but he’s definitely mainstream. He kills his friends where Eminem killed Kim. He issues a Random Disclaimer where Slim Shady put out a Public Service Announcement both of them appear right before one of the crazier songs each rapper has put out. Adam Hawkins of Blind Idiot God, an instrumental Metal band from the 80’s, said that when he listened to Metal he thought “Great energy but boring chords!” Tyler thinks the same of Hip-Hop and his production is different from most other Hip-Hop, although not at all to the point where he’s gonna earn any credit as a great composer. His rapping is more about word choice than rhymes. You could call him Abstract Hip-Hop with more focused lyrics.

1. Goblin
2. Yonkers
3. Radicals
4. She
5. Transylvania
6. Nightmare
7. Tron Cat
8. Her
9. Sandwitches
10. Fish / Boppin’ Bitch
11. Analog
12. Bitch Suck Dick
13. Window
14. AU79
15. Golden

Stand-out Tracks:


Th’ Corn Gangg

Posted in Hip-Hop on July 1, 2011 by

This isn’t an album post. This is a “you need to be aware of this band even though they barely exist” post. The Unicorns. I fell in love with them when I heard them. Busdriver. Same reaction to his music. After I had had my share of Who Will Cut Our Hair When We’re Gone (the only album they released, if you look at it in a certain way) I decided to look at their EPs and Demos (a band has to be REALLY good for me to look into their EPs and Demos) and what they did after they broke up. Two bands were formed. One of The Unicorns went on to form Clues with an ex-member of Arcade Fire and some less important people. The other was Th’Corn Gangg, which was a Indie Pop / Hip-Hop crossover supergroup featuring the two Unicorns (and other instrumentalists) on instruments and rappers Busdriver, Subtitle, and Vic Booz on mic. It’s simultaneously bizarre and beautiful that this stuff exists. Unfortunately, however, it’s impossible to find studio recordings of their stuff anywhere. Th’ Corn Gangg were short-lived, and eventually those two members of the former Unicorns transformed into Islands. The Islands debut album has a track called Where There’s a Will There’s a Whalebone that was originally played by Th’ Corn Gangg and features Subtitle and Busdriver on it. That’s as close as we may ever get to a studio recording of Th’ Corn Gangg’s songs (although Wikipedia claims they exist, I’ve found ZERO evidence and the article it cites 404s when you click the link). Another Th’ Corn Gangg song, Swans, was turned into the opening track of Islands debut album but the rap parts were removed. It’s all Indie Pop. I think I’ll post that album soon, it’s fantastic. But anyway I have links to a live performance of that song, of the studio version of Where There’s a Will, There’s a Whalebone, and of a live version of an unknown song that’s my favorite of all the videos I could find of these guys making music together. Enjoy.


Waka Flocka Flame – Flockaveli

Posted in Hip-Hop on May 18, 2011 by

Pop Rap; 2010


Rule 1: Don’t take this seriously. If you judge this by the standards of good Hip-Hop it will come up VERY VERY short. Lyrically there’s nothing of merit on this entire album. The production is uninspiring and not remotely revolutionary. This isn’t good Rap. At all. That’ll be the problem most people have with it. The thing is though, this doesn’t attempt to be good Rap. I’ll quote an article I read. “He admitted that he can’t rap or freestyle and apparently doesn’t want to.” Waka himself says “I came to get your party started. I’m like Kid N Play, I just come to get your party started. I ain’t come to make lines, that’s what rappers’ for. I’m a party starter…that’s it. If your party’s dead, I’m a come hype it up and leave.” So my question is, is it fair to call this bad rap and write it off when the artist knows it’s bad rap and doesn’t try to make it good? A lot of Metalheads say that Rap sucks because it “takes no talent.” A ridiculous argument but if you continue to talk to them they’ll go on to tell you about who Metal is better because it takes an instrumental prowess that Hip-Hop doesn’t always require. “Rap sucks because there’s no blazingly fast double bass and no guitar solos,” they’ll argue. But that’s a logical fallacy. You can’t judge Hip-Hop by Metal standards. Guitar solos are a Metal standard. If Hip-Hop was trying to be Metal it would be bad Metal but it doesn’t try to be. It doesn’t try to reach standards of something it’s not. And that’s Waka Flocka Flame. It’s a logical fallacy to hate on him for being a bad rapper because a good rapper isn’t what he wants to be. And as party music, as hype music, he’s quite successful.

The opening track “Bustin’ At ‘Em” has a bunch of people yelling “BOW BOW BOW BOW,” the beat is just spam of snare and cymbal and a two-chord melody, and in the background there’s gunshot sounds and more people yelling (“WAKA WAKA WAKA FLOCKA FLOCKA WAKA WAKA YEEUH WAKA FLOCKA FLOCKA FLOCKA FLAAAAAAAAAAAAAAAAME!!!!!!!!!!!!!!” and “BRIIIIIIIIIIIIIIIICKSQUAD”). A lot of the stuff yelled in this song is yelled throughout every song on the album. It’s reminiscent of Lil’ Jon. These songs are energetic and hard-hitting, although they’re an insult to intelligence and decency (On Hard in the Paint he rhymes “nigga” with “nigga” 37 times). I can name a lot of music like that that a lot of people actually like though so that must be pretty ok. I definitely don’t mind it. Honestly I can’t say why this appeals to me more than similar music. I’m not exactly a fan of Crunk or whatever you wanna call this. I probably wouldn’t like similar music. Maybe I appreciate how realistic he is about the quality of his music. I don’t feel like he tries to be something he’s not so I’m able to appreciate him for what he is but there’s musicians that don’t take themselves seriously that I can’t stand at the same time (BrokenCyde). There’s something about this album that appeals to my taste enough for me to listen to it along with all the Post-rock and Chopin Etudes I’ve been listening to lately. Good mix, right? I’d say just give him a chance. Don’t go into it expecting anything. Don’t go into it with any requisites on what it needs to be to be good. Just listen. Maybe you’ll enjoy it too. If not, it’s at least pretty funny how stupid some of this stuff is. I think a lot of why I like this is the pure entertainment value.

1. Bustin’ At Em
2. Hard in da Paint
3. TTG (Trained to Go)
4. Bang
5. No Hands
6. Bricksquad
7. Fuck the Club Up
8. Homies
9. Grove St. Party
10. O Let’s Do It
11. Karma
12. Live by the Gun
13. For My Dawgs
14. G-Check
15. Snake in the Grass
16. Smoke, Drank
17. Fuck This Industry

Stand-out tracks:
Hard in da Paint
O Let’s Do It
Snake in the Grass

Side note: Watch these. James Davis’ parody of the song and the president is gold.


Doseone – Ha

Posted in Hip-Hop on March 24, 2011 by

Abstract Hip-Hop; 2005


Did you see my post about The Taste of Rain by Deep Puddle Dynamics? That supergroup was my first exposure to Doseone and it was a good one and he stuck out more than any of the other three rappers. I found them while I was looking for similar rappers to Busdriver on I was interested in Doseone’s nasally tone and his focus on flow more than rhymes… or sense. He goes on that trip again on this album. It’s hard to call it a Rap album for most of it. In fact it’d be a blatant lie to call it that. The only song that really has what we could easily consider rapping would be My Horoscope I&II. And even that doesn’t have rhymes in the way we would traditionally expect them to appear. Maybe this album is about breaking traditions. It’s Hip-Hop maybe only because it doesn’t fit anywhere else better. None of the beats are heavy or hard-hitting, there is no bass focus, all the bass is light, the production is musical but not focused on melody exactly. It’s all very sweet. Blurring the lines between music and rhythmical ambiance. He sings a lot. Nasally. Like he raps. He talks a lot. Also nasally. The Universe in 6 Jumps has bird sound effects. The self-titled track has clock sound effects. There’s quite a bit of autotune, used musically. This is right before it got really big, remember. It’s hard to say what this album is focused on. The lyrics are abstract so there’s not much point in trying to understand them. The music is minimalistic but captivating in a soothing way. It’s alien, in the sense that it’s something we’re not used to and in the sense that it sounds like it’s from space. The songs weave in and out of each other and are maybe hard to tell apart. This isn’t the exact same Doseone as the 1999 Deep Puddle Dynamics Doseone. Maybe it’s this album, I have to listen to more of him. But I feel like this album could be an enigma in his discography. That’s always more interesting, right?

1. Ha
2. The Tale of the Private Mind
3. The Universe in 6 Jumps
4. My Horoscope I&II
5. Axejaw
6. Lullaby #2418a
7. Enter Ed’s Head
8. Wind Machine Lining
9. Of Going

Stand-out tracks:
The Tale of the Private Mind
My Horoscope I&II
Wind Machine Lining


Deep Puddle Dynamics – The Taste of Rain…Why Kneel

Posted in Hip-Hop on November 25, 2010 by

Abstract Hip-Hop; 2000


Deep Puddle Dynamics was a group of obscure white rappers from random states. Sole and Alias from Maine, Doseone from Idaho, and Slug from Minnesota. If they were to reform, I would call them a supergroup but in 2000, they weren’t established enough to earn the title.

The production value is relatively low here, it sounds like the drums were recorded live, not on a machine, so the quality is pretty poor and all the beats sound a bit muffled. This doesn’t affect how all four rappers’ voices sound, they’re clear enough to understand (except maybe Doseone but that’s just cuz of his voice). Unlike Busdriver, what earns it the title “Abstract” Hip-Hop isn’t the production, which is fairly run of the mill, so it relies entirely on the lyrics. From the first track, you can tell you’re in for a trip. Deep Puddle Theme Song is 7 minutes of seemingly random lyrics with some lyrics that zoom over your head with ease. “Row, row, row your reel gently down the stream. Merrily, merrily, merrily, merrily, life is but a sinking feeling” they all chant in a creepy round for the last minute of the song.

Lyrically, all four rappers are just about on par. They all have distinct voices and styles, again, Doseone sticks out the most. He’s extremely nasally and he takes time saying his words. The way they work together is interesting. In some songs they’ll each have verses and just take turns going, while in other songs they’ll each say a line in turn and kind of split a single verse between all four of themselves. They also frequently rap different lines at the same time or all rap the same lines. Given more time with this album, I’d love to check out if there’s any connection between the lines that they all rap or just kind of figure out some of the similarities between each rapper’s parts on different songs to help figure out some of the themes on this album. This album has some really high intellectual value and I always enjoy listening to intelligent rappers, these are some of the most intelligent I’ve heard.

1. Deep Puddle Theme Song
2. The Candle
3. Thought Vs. Action
4. Where the Wild Things Are
5. June 26th, 1998
6. Rainmen
7. I Am Hip-Hop (Move the Crowd)
8. Heavy Ceiling
9. June 26th, 1999: A. Slight
10. June 26th, 1999: B. Exist
11. June 26th, 1999: C. Purpose
12. June 26th, 1999: D. Mothers of Invention
13. Rainmen (Remix)

Stand-out tracks:
Deep Puddle Theme Song
June 26th, 1999: C. Purpose
I Am Hip-Hop


Yelawolf – Creek Water

Posted in Hip-Hop on November 13, 2010 by

Hip-Hop; 2005


I’ve been absent for awhile due to a fire which destroyed a lot of the area I live in. My house and internet service were damaged in the incident, but I am back now so I decided to spit a quick review of an album I’ve been listening to lately to you.

Okay, well I believe we all know who Yelawolf is by now. He’s had a feature on Big Boi’s album, spit with the likes of Raekwon and even Jay Electronica (who was signed by Jay-Z a few days ago), and he’s been well know in southern states. I’m still trying to decipher if I like him though, so this is my review of his “Creek Water” album. First off, I’ll start by saying the introduction is great; it starts with some spoken word, continues on with some singing and leads into the first “real” track by Yelawolf entitled “Creek Water”. His style is probably the closest to OutKast, lyrically though he’s more of a Big Boi than Andre 3000… “Creek Water” is a great introduction to this album though. He spits about the south and the horrible events that go on down here, it’s a very nice song. Next track… “G.A.D”, it’s a simple track about money and where he’s from and the good times, a simple southern rap track.  The next is a spoken word track straight from the vein of Big Rube. Amazing. The next track, “Won’t Stop” is great, from the chorus to the chill flow and lyrics. I really think Yelawolf could fit into Dungeon Fam without a doubt, this track just screams them. I can’t stop thinking about how he would sound over Organized Noize production. Anywho, on to the next… “DareHeGo” is a track where Yelawolf introduces himself, it’s almost a G-Funkish sounding song… maybe it’s the beat or just Yela’s flow (he sounds a lot like Warren G on this), none-the-less it’s a dope track. After such a chill song, “Make Up” comes on, which is optimistically heartfelt, Yelawolf speaks about his saddening experiences. Next is an interlude, which is just that… an interlude… so I’ll skip it. “Breathe” is the next track, it displays Yelawolf’s fast rapping skills. Technically, it’s not “fast” but a fast song compared to his first few tracks. Anyway, it’s nice… I have nothing bad to say about it but nothing good either. The next track “Ridin’ Down The Highway” I really don’t care for, I skip it everytime it comes on… it’s just filler to me. After that though, “Bible Belt” comes on and it’s back to what I believe southern rap should be like if you’re going to rap about the area. Then back to another spoken word interlude/track… it’s not like the first one this one is nice though too… it shows how much Yelawolf likes lyrics, they are amazingly detailed in this track. “Sleeping Beauty” is the next treat after the poetry slam interlude… Yela speaks on his life and how he started rapping… REALLY saddening if you listen into it. Next is the track is “Fifty” which is just a nice track to bang in the car. I love to do what I said it’s good for, banging in your ride. Then we get close to the album ending with “Soul Everyday”, which is a nice track with a R&B chorus. Yela, again speaks in his strong-suit… life. I love this track, probably the most off the album. “It Ain’t Over”, is ironically the ending track to the album… which I mean, it isn’t… his career is still going strong today and he’s gotten crazier to me on more than just this album. But overall, this album is amazingly a great freshmen debut southern rap album.

Rating: 8/10