@eskobts
Look man. You ain’t gonna get what you think. I’m not going into this Kanye review with a form or a format or a Beyonce’ Formation. I’m just gonna throw my thoughts at you while I listen to this album. Donald Trump is successfully running for President; I can do what I want. But anyway, let’s applaud Kanye West for being roasted as cocky every day of his life, then throw Chance The Rapper as the very first rap verse on The Life of Pablo. And, the verse is a motherfuckin’ monster. Yeezy’s beat on “Ultralight Beam” is nasty yet simplistically complex, setting two levels above a R. Kelly gospel vibe but still five steps from eternity. You feel me?
“Father Stretch My Hands” is the first moment of this experience that gives me the sense that T.L.O.P. is what I expected Yeezus to be. I mean.. my beautiful dark twisted fantasy is that he released an album that was just like My Beautiful Dark Twisted Fantasy, but I know that wouldn’t be Ye’ and I’m OK with that. There are elements of every style Kanye’s had since The College Dropout. You know that one song from 808s & Heartbreak that you loved, and that other one song you liked from Yeezus? Well, those sounds are perfectly sprinkled throughout TLOP.
https://www.youtube.com/watch?v=ZK2qZgZvUOY
Rihanna shows up for a little bit, then the ghetto opera gives everyone a big booty bitch. That’s one of the things I love about Kanye: he always throws in just the right amount of ratchet — or completely out of place — shit when you least expect it. Right after you get your big booty bitch, there’s another gospel monologue with “Low Lights”, to which it starts to become clear that (as “Highlights” comes on) this is most definitely a producer’s version of a rap album. T.L.O.P. doesn’t even feel like a rap album, but.. uhhh.. I don’t know–just awesome damn music. There are features on almost every song and aren’t always verses, as vocals are used more so as instruments to enhance the beat than merely add to it (while Kanye’s done that a few times on previous albums, that technique is super heavy on T.L.O.P.). Andre 3000 says 2 words, then drops out. I know there’s a version with a verse from 3 Stacks and Kanye on a hard drive somewhere. I need that.
Ye spends a good chunk of this album letting the people knows that he knows that they think he’s crazy. He also makes a point to let you know that he knows that he’s crazy, but also a genius. He also spends some time getting the point across that his life, mindset, lifestyle has affected his family and friends and made some people enemies. Speaking of enemies, I absolutely love that he has an official shout-out and blessing from “Mr. Wavey” himself, Max B, after all that shit Wiz Khalifa was poppin’.
https://www.youtube.com/watch?v=yDvV7kXwbeQ
I like this album. Like the name implies, The Life of Pablo is a great work of art — well balanced in areas that I thought Yeezus was too heavy with. It’s also commercial enough to be entertaining, while still giving a certain level of substance you can find if you look for it. Although the album is definitely not surface level like it used to be, some of the the substance is still there. I don’t feel that this is what T.L.O.P. is for, though, since it feels like the attention is meant to be paid to all of it at once.
Kanye channels all other Kanye’s scattered through time and galaxies to exist in the now, and gives you an album to be absorbed as a single unit of audio. In which case equal attention has been paid to all layers of each song, the lyrics tell just as much of a story as the drums; the featured singer is just as important to the atmosphere as the snair. It all works together as one. I’ve heard T.L.O.P. at least 5 or 6 times now and it sounds best from beginning to end. Every song is important to the overall presentation of the art. 4/5 Picasso Paintings.
@eyebzombie
Asher Roth and (his oft-collaborative emcee/producer) Nottz Raw join the only Rock/Rap superstar left, Travis Barker, in a blend of two artistic styles on Rawther — a chance for the trio to re-niche their own spot in the game. From Aerosmith and Run-DMC to the likes of Kid Rock, Limp Bizkit, Linkin Park, and the Executioners, this blending of genres has always had a place. But, now, it’s up to Asher’s lyrical dexterity and Nottz’ rough rhymes to glide along more psychedelic riffs and Barker’s head-banging drumplay. Appreciatively, Asher keeps his flow on point and falls over the cliff like Niagra Falls. This late-90s/early-2000s experience that could have easily screamed “Vans Warped Tour!”, also sends off more blissful memories of joystick-shitalking down buds in Street Fighter II: Championship Edition…
…ya, you know, while the neighborhood crew has Public Enemy blasting on the big block boom-box sitting on the curb. “Blow Yr Head” is that total recapture effect of legendary hip-hop, with Nottz vocally amped in the footing of Chuck D. After a few listens, it was easy to flip through Rawther like a musical yearbook. Nerd Nation should also take note of “Voldomot,” with a heavy Harry Potter-sound while the sick rhymes cast spells on a demonic dictionary. Hogwarths of hip-hop is happening, peeps, so fresh up the gypsy flair and sound of lyrical fire to a System of a Down sound. You might just feel amazing. 3.25/5 Blink 1-80-Bibles.
@TheBelser
What up, folks. The Belser, here, trying out a new venture in GHG: music album reviews for #GeekSwag. The first selection I’ve been “awarded” to break down is the latest from Macklemore & Ryan Lewis entitled, This Unruly Mess I’ve Made. Now, when I first got this assignment, I was like “Why?!? I’m black, over 30 and I don’t listen to nobody’s Macklemore” — especially after he was chosen over Kendrick for Best Rap Album at the Grammy’s 2-years ago. However, I was told I was chosen for my open-mind (doesn’t always pay off, now, does it?). But… I figured “What the hell? Might as well give it a shot”. Thankfully, not all is bad–not great; not bad…
Production-wise, Ryan Lewis does a commendable job at giving This Unruly a grimy, old school hip-hop flavor which I dug. I also enjoyed Macklemore’s rhyme delivery, as it was smooth at times, and a little more hardcore in others. Lyrically, however, is where he loses me. Most of the subject matter deals with the plight of white boys in America, which (un)fortunately this Ringside Apostle can’t relate to. I understand Eminem did the same thing back in the day, but there’s no doubt the Man from 8 Mile was more hood with it. At least the album comes packed with a couple of bangers, with my favorite being “Buckshot” with the legendary KRS-ONE and a strange-but-enjoyable “Dance-Off” with the new likely-007 himself (or better known as Stringer Bell from The Wire), Idris Elba. To no surprise, the track that completely loses me is “White Privilege”, a possible suggestion for my Caucasian brethen–but not for me. 3/5 Bibles.
@ShawnPuffy
If you didn’t get your fill from their first serving Studies In Hunger, then Jacksonvile- rapper/beat-maker/cook, Dillon Maurer, and Boston-native rapper/producer/DJ, Paten Locke (aka Therapy) are back with a feast for their second helping. From start to finish, Food Chain is filled with aromatic sounds and saucy beats. The album starts out with the spicy “Sound The Alarm” that lets you know that Dillon & Paten Locke are still hungry and ready for more. Songs like “Nothin’ With Nobody” and “Modern Man’s Waltz” get dressed up with a chic trumpet riff and a sophisticated piano line, respectively, that make you feel like you should be in black tie (or black dress).
Meanwhile, Dillon adds a dash of his signature humor on tracks like “Bourbon” (feat. Von Pea), “Hamsammich” (feat. Tone Tank & Homeboy Sandman,) and “Humdinger” feat. Supa Dave West & Dres from Black Sheep), just to lighten up the course. “Fall Back”, featuring Atlanta’s Boog Brown, is a hard-hitting banger with an electric riff that raises the temperature; while other cuts feature a vintage “golden age” sound accented by record scratches. In all, D&PL showed a massive hunger that gives us no reason to doubt their journey towards the top of the hip-hop… you guessed it. 4/5 Hot Dogs and Hamburgers.
@stigmonus
Hip-hop Supergroups — superduets? — are all the rage these days. The first major one of the young year is Ron Jon Bovi, a collaboration between Midwest legend Phat Kat from the Slum Village crew and Westcoast legend and Heiroglyphics veteran Casual, along with Unjust having editing and production credits on the entire almost 34-minute album. The lead single and opening track for the album is the previously released (and aptly-named) “Time Tunnel” that feels like a trip to a different era of lyrical hip-hop. It’s a heavy-hitting, grit of a banger that highlights how great these guys can be when they’re running on all creative cylinders. The next two cuts “Get it Poppin'” and “Jump” are solid too.
Unfortunately, seldom does the album reach these highs where all the aspects of the tracks are in perfect harmony. Some tracks just don’t blend as well as they should, as Neaux Mursi unevenly stumbles off and on throughout much of the rest of the way. The whole quality of the project seems to rise and fall with Unjust‘s production. When he’s on, it’s very good hip-hop, and carries the duo through; but when he misses, the EP suffers. A void of top-shelf punchlines leave many tracks forgettable. Even then though, there are some good moments scattered throughout from the duo and from its hand-full of guests: Guilty Simpson, Phesto, and Saafir all turn in solid spots. 2/5 Bibles.