Jan 12, 2016 I'm bored so I decided to make this. Any comments/conversation would be appreciated. First off... The Bucketheads (Kenny Dope) - All in the Mind Released August 8th, 1995 by Atlantic Records. During one of KDAY's holloween mixes back in 2012, I first took a hit of These Sounds (Fall Into My Mind) and I got hooked. I decided to do some research and found out that this was a side project of Kenny Dope's. One that combined hip-hop with tropical sounds and electronica. What you're seeing above is the US artwork. The UK version has different artwork that I don't really like and I feel like this album artwork fits the album perfectly. Most of you will have heard of this project through the single. However, the core lies within the album's other 11 tracks. These Sounds is only a piece of the painting that just happened to be popular; it is good in it's own right with it's horns and it's tropical flavor but it's just the appetizer. Something to get you hooked for the main course much like Daft Punk's singles like "One More Time" and "Around the World" The real meat lies further down... The samples are smooth, funky, frenetic and interesting at the same time creating an atmosphere that calms you yet makes you dance. It varies from track to track to. "Time & Space" contains samples that range from the shout-outs to yesterday to the soothing sonics of unexpected vocals that fit in with the track perfectly. So much so in fact that it makes that original track which the sample came from pale in comparison. "Sunset (New At)" is a calypso of xylophones and tropical instruments combined with low-pass filters so perfectly timed that it makes you feel energized and alive. It's more than just tropical sounds, the horns on "You're a Runaway" and "I Wanna Know" are jazzy, old-fashioned and modern at the same time giving an atmosphere unheard of in today's times. It's Caribbean in a sense but it also appeals to modern jazz fans at the same time by including Wurleys and Rhodes to even things out. It's melodic but at the same time has a dance feel to it. There are instances where the two worlds collide. In "Jus' Plain Funky", the Caribbean influences mix with the jazzy influences to create something unique and genre-defining in Electronica. I could go on about the songs but I'm going to detour here, if you actually know the samples being used by heart then you'lll have a greater appreciation for the album. If you listened to DJ Jazzy Jeff & The Fresh Prince then you know where the sample on the 2nd track came from; alot of times you can't tell what's original and what's sampled which makes for a fun listen every time. It's an intriguing puzzle for producers who want to replicate that style and what Kenny Dope does here is forward-thinking. Much of the album is lightning in a bottle combined with cohesiveness. I say much because 1 song doesn't exactly match up with the rest. The outro could be better and yet it is still considered a good song nonetheless cause it wraps the package up nicely with a bowtie. This album may be known for one song but it should be known for 12; people who work on Electronica are known for making very cohesive works and this is no exception. Though Kenny Dope is known more as a hip-hop producer, his steps into Electronica are ultimately successful and it's a shame more people don't know about it. It's tropical, it's jazzy, it's groovy, it's dancable and best of all, it has replayability. Even though this came out in 1995, it still has the toes to stand in 2015 and it has aged admirably much like Daft Punk/Prodigy/Aphex Twin albums. In short, this one is a must have for electronica fans and music lovers alike. Rating: 10/10 Want an album reviewed by me? (including your own), just post your request below.
Jan 12, 2016 Never heard of that album before. Might check it out eventually. Can you review Monster by Future next?
Jan 12, 2016 Future - Monster Self-released October 28th, 2014.First time I've heard of Future is when I listened to "Where Ya At" on repeat; that and much of "What a Time to Be Alive" (which I will review soon.) I have been interested in listening further since "Where Ya At" is the epitany of next-level trap but from the snippets I've listened to, I didn't get what the hype was all about. Maybe I was missing something. Trap is definitely not my style but I like to try new things so I listened to this mixtape in full. Now as a rule I generally don't allow mixtapes in my discography. For one the songs could be freestyles or remixes or even other songs which don't fit in with a cohesiveness of an album, two it doesn't have the polish or officialness of an official release which I can be sure will fit in with the rest of my collection and three, I want to have real music in my collection. That's why I only collect albums. However, this mixtape sounds cohesive and is apparently part of the ongoing hunger fueled by his breakup with Ciara. This mixtape is not for everyone though, for one the beats don't flow properly (again, mixtape) or mesh together with each other creating a sense of isolation for each track and Future's voice can be grating for some plus if you're not into trap then you're going to hate every minute of it. It's all based on your tastes and this is the ultimate in taste; the drums have that 808 kick and those hats which have 8-time as is atypical in trap music. The snares also have that bounce and the Atlanta flavor is there. The synths are there and present and that feeling of majesticy is also there which is unusual for a trap album. I've listened to Young Jeezy before so I'm no stranger to trap, however in it's early stages trap was more or less a subject matter thing and didn't have the distinctive style that it has now. It was mostly about rapping about d--- dealing and using catchy punchlines in order to deliver emphasis and hook the listener. In 2005 it sounded like a subset of southern music, in 2014 however it sounds like it's taken a road for it's own. In comparison with Young Jeezy. Young Jeezy is better in that he has a worldview that's ever maturing and lyricism that's above average, however Future is sort of like a hybrid trap&b rapper/singer in that his verses have no flow but manage to be clear and concise without missing a beat; his lyrics are much like blues in that he raps about his down and out life, his addictions, his pain and you can definitely feel his pain. While his use of autotune may be gimmicky, his grit shows through the autotune. Trap can be tough to listen to (much like EDM/dubstep) as it requires a discerning like for the genre and a discerning taste; I know, I don't listen to the first half of "The Recession" because it's tough listening, all of the beats have to appeal to you or else it doesn't work. The beats here have a certain Atlanta grit to them and some of them do manage to be distinctive, "f--- Up Some Commas" and "Wesley Presley" do mange to stand out in terms of that but still, taste. Still there is a bright side, Future's voice and lyrics are clearly the star here as he manages to rip up tracks as if it were nothing; his lyrics though simplistic have meaning and soul and he knows how to utilize a beat to his advantage. He knows which producers to work with and he knows what he sounds good on and in Monster, he uses that. Metro Boomin' may not be my favorite producer (same goes for the others on the tracks) but when they work magic, they definitely work magic which is evidence by the song "Where Ya At" being a superhit on the radio and of course, "Jumpman". This mixtape was good in unleashing the raw energy that Future has; he's not a rapper in a traditional sense but a songwriter/singer who has basically invented the genre of trap&b. If you were expecting something traditional you might be disappointed but take a listen, it's basically magical really. It's not for everyone though, much of it isn't for me but it could be for you. It has good production values, good singing, good energy but a lack of consistency and quality holds it back; ultimately it's up to you whether to treat it as background music or not but you will appreciate Future's vocals, efforts and work ethic. Rating: 6.5/10 If I offended anybody, I'm sorry. Just saying this in advance. DS2 up next.
Jan 12, 2016 Future - DS2 Released July 17th, 2015 by Epic Records You'll be surprised if you're one of the ones who read the "Monster" review. I actually fell in love with this album; I know, it's trap but wow... the production on this is magical, polished, professional and unexpected, all at once. Trap has become very boring and very generic but this is like a wake up call to all of the trappers out there; what has become monotonous is turned on it's heals and made fresh again, 9 of the tracks are absolute bangers with it's atmospheric production and creativeness. "Where Ya At" is my personal favorite in that Future uses the track to resonate with listeners who wonder where people were during their downpoints and even though Drake outshines him, Future still comes out the winner. In fact, having him as the only guest is smart because this album shows his songwriting talents. Much of this album is him playing the character while at the same time showing his true side; it's escapism but at the same time it relates to the listener. You can feel his pain in many of the tracks as he talks about being addicted, selling drugs, trying to survive, having a good time and of course, Ciara. These remind me of the songs in the 70's that talked about love as well as social issues and getting down. Sure they sounded the same but the soul was there, it's evident that Future has soul. I'm sorry but I'm really surprised by how good this album is, while 3 of the songs in the beginning are clunkers with plodding production (not Future's verses), the rest of this album is a trap&b masterpiece. In fact since it hit the pop world, it (along with The Weeknd) also ushers in a new era of pop, one where explicitness is the norm and crazy s--- like this (though censored) gets a pass because it's just so fresh and unique. Pop is loving Future's perspective right now and I'm pretty sure other pop artists are copying him as we speak. Future doesn't go pop on this album but the fact that it broke into the mainstream says something about the quality of the album. It still depends on whether you like trap or not because if you don't then the only song you'll find yourself listening to is "Where Ya At" and that's a big if. In fact if you listened to "Groupies" then well, you might think that the album will sound like that; plodding and generic. Trust me, it's not. I have to say, this is a wonderful turnaround; I don't know how they did it but they did it. Metro Boomin, Southside, Future, those are the ones you should thank. If it weren't for those 3 then Future wouldn't have the stature he has now and if it weren't for this album than he wouldn't be as big as he was; in fact it inspired me to listen to Dirty Sprite in it's entirety. Regardless this works as a standalone product and could be the retail professional version of Dirty Sprite with edgier beats, polished flow and confidence. Rating: 9.0/10
Jan 12, 2016 Great reviews and the overall structure of your posts are GOAT Looking forward to more in the future! Spoiler That Monster rating though
Jan 12, 2016 Okay, one last Future related review before I do something different. Drake & Future - What a Time to Be Alive Self-released September 20, 2015 When "Where Ya At" hit it big, something happened that surprised hip-hop and divided hip-hop as a whole. This album; of course it isn't the first time they collaborated (which was back in 2012) but something had to come to fruition right. This dropped out of nowhere and became a big success... or a big failure if you're on the other side. This album was made in 6 days and is technically a mixtape (but released as an album by UMG/Sony) but it doesn't sound like a mixtape. In fact it sounds like the best of both worlds. Future/Metro Boomin/Southside represent the cockiness while Drake and his producers represents the confidence. While it would be consistent if one producer did this, it wouldn't allow us to explore both sides just like people switching identities in a movie. On the Metro Boomin tracks, Drake showcases a sense of cockiness that nobody has ever seen before while on the other tracks. Future showcases a sense of confidence and vulnerability that again, nobody has ever seen. Many of the tracks (while not the best in their discographies) are straight up fun. "Big Rings" may have that chorus but the delivery, it took me a while to adjust but you can't help but to shout out in enjoyment; "Big Rings" also showcases a side of Metro Boomin that isn't seen, mostly the lighter side which he also showcases on "Jumpman", one of the album's best tracks. It is designed to be the anthem to any person and people go crazy when they hear it, especially when you sing the Karaoke version (yes they do exist). It's a perfect mixture of glitz and urgency, same goes for "Big Rings". Of course, that doesn't mean he can't bring the gritty. "Live from the Gutter" showcases the low for the artists and how they represent that low even though their high up now. This sounds like something you'd hear out of DS2 and it's amazing how it fits in to the whole theme of the album as well. This also goes for "Scholarships" which contains lighthearted lyrics containing lots of bravado and "Plastic Bag" which is the classic ode for getting high. On the Drake side of things; it's not as gritty but his producers really come through for him. "I'm the Plug" contains a phenomenal beat which Drake uses to his advantage and "Change Locations" is the low-key love song that you can't help to bump when the night is getting settled. Of course, both songs manage to fit the album and manage to make a consistency unseen in mixtapes/albums today despite their being more Metro Boomin' produced songs. There are two faults though. It should be all Drake & Future just like how "Watch The Throne" was all Jay-Z & Kanye West. There are two songs where they tackle it solo and while they're good songs, it just feels so isolated and jarring. I liked what Future did and I liked what Drake did but why did they have to showcase the difference so drastically? Other than that, this is a fun record that proves itself to be worthy. The whole web of album sales or consistency or whether or not you like one or both or none of the artists is thick but don't let that get in your way; this album is 2015's (and maybe 2016's) soundtrack for however long they play it. It's sheer entertainment all the way through, a blockbuster record without all the pizazz, a message from two people just trying to enjoy life and the fact that it was made in 6 days is an example of how they took time preciously. Rating: 9.0/10
Jan 12, 2016 Earth, Wind & Fire - Heritage Released January 30th, 1990 by Columbia Records Trap could be constituted as a trend in the pop charts much like New Jack Swing was at the time; you've got everybody trying to be trappers as much as people were trying to have the harmonies of Guy or Keith Sweat and people incorporated a lot of elements from both into other works of art. So what happens when you've got one of the most revered R&B acts of our decade and combine them with New Jack Swing. The result, a mess. Of course, it wasn't fully predictable; "Boogie Wonderland" was a riff off of Chic and The Trampps and everything that made them popular except done in their own style. It's sort of inbetween for me in terms of whether it's a bad song but it did show chinks in their armor. If that chink drew overtime than well... 1987's "Touch the World" must of been the last time they were truly themselves, yeah it showcased a new style but it still sounded like them. This sounds nothing like them. The 808s and 90's synths are there in full force along with a couple of fairlights and MC Hammer. Everything has been intricately constructed to sell as many records as possible with very few tracks... scratch that, no tracks standing out. If you were in the 90s and have listened to Earth, Wind & Fire before; you might have a feeling that music as you knew it was dead and there goes the music of old which contained instruments and actual organic sound. To be fair, there is some good 90s R&B out there. Surface along with much of New Edition and Jimmy Jam and Terry Lewis have been masters at making definitive replayable songs much like DS2 is filled with definitive replayable songs. Take a listen to "Sensitivity" then take a listen to any of the ballads like "Daydreamin'" or "Welcome". Ralph Tresvant easily blows away a bunch of legends who should be able to hold their own on an album like this because of the sheer years they've been in it. This is painfully generic to the point where you could apply any R&B name on there and nobody would notice the difference. I come from the 90s, I appreciate 90s music but when the sounds here are just... trying to sound like "hey, we're one of us, come listen to us, we're hip and modern and cool." then it's just, wow... Now I know what I feel like when I shift through the music of today, any era really. Having MC Hammer on the album may of seem liked a wise decision but they end up being cheesy and regrettable; it's like the touch of death knowing that the guy had limited talent and a limited timeframe to exploit that talent. Perhaps if he went the B.o.B. route. Seriously though, with his popularity at the time; it further showcases how desperate EW&F was. I want you to do an experiment. Take a listen to any of their albums from the 70's up until 89'. Don't you hear the sounds, don't you hear the influence that was passed down to other rappers, don't you hear the soul? I'm sure people in 1990 would be calling me out saying that my tastes are bad and that this album is good; it's not about defending something you love, it's having high standards for music as a whole. Just because anybody can do this type of sound does not mean they can do it masterfully or creatively. Modern Earth, Wind & Fire records would rectify this mistake somewhat by staying true to themselves later on but that's another story for another time. Take it from me, do not buy this album or download it. This makes "new jack swing" look like a fad due to it's lack of innovation or quality. If only they looked into the future and did what Future did in DS2. Then we'd have more "new jack swing" records. I'd like to dedicate this sentence for all of those shifting through the music, whatever gems you find; please showcase them so we can show what real "next level music" is like. Thank you. Rating: 2.5/10 That's it for now. Check back tomorrow for more reviews.
Jan 13, 2016 Sauce Money - Middle Finger U Released May 23, 2000 on Priority Records Sauce Money has always been one of the underrated gems of our time. He was a part of the Roc-A-Fella empire during it's early days, he was a writer (and still is) for Diddy and others and he put out this album which really showcases his talent. From the first song onward, you can definitely feel Sauce Money's energy as he runs through what he knows. Marcy, his constantly ongoing life, backstabbers, money, living the high-life and of course, boastful lines. The lines here are hard-hitting and sometimes funny; he paints the larger than life image of the titular character in an effortless way, and since he's writing the product himself, you know that he is certain about what he wants. The lack of guest appearences enhance his certainty, as he doesn't need anybody to show him how great he is; he can do it himself. Of course with greats like Jay Z backing him up, who needs anybody else? The only downside is Memphis Bleek which people will either hate or love. His ability to take a boastful instrumental and take it into a street anthem almost instantly is also in play here as many songs have that bravado similar to rap albums at the time but taken to a whole other level. Every line comes at you without giving you a chance to breathe and if you have this on repeat then you will remember the lines. Of course, that doesn't mean there isn't a somber song, "Section 53, Row 78" is amazing in that he's able to transcend the production and tell a story about his mother behind bars and how much he appreciates her during his life. It's a sweet moment that manages to stand out as one of the album's best tracks. Sauce Money's voice is relatable in that listeners can connect to it almost instantly; it's low tremor helping matters beautifully. Though many of the songs are boasts, his advice comes through loud and clear and can actually help you in life; it's that sort of thing that transcends a persona, very few people are actually able to do that and to see Sauce Money doing it will possibly inspire you to do it yourself. That's why Sauce Money himself is underrated, because he himself has to be truly appreciated by the people who are listening to him not because of Jay-Z or Diddy; but because they're lovers/appreciaters of the culture as a whole. The only thing missing is the production which while fitting Sauce Money like a glove, could be better. Many of the songs here feel like they don't stand out from each other; it sounds like generic 2000's era rap which may have been the reason the album didn't sell as well. Don't get me wrong, I like the production and Sauce Money uses the production to massive effect but it seems like they were trying too hard to get on the radio and make this a success, which is a shame since much of this could of reached a wider audience. Also it has the feeling of not being up-to-date enough; it was fine if it were released in 1996 but by 1999, the rap game had changed so much that it wasn't even funny. Other people will mind, other people won't but it does present a problem. Sauce Money is one of the greatest of all time and with this underrated release it shows. His persona is relatable yet larger than life at the same time and the lyrics on here are fire, especially "Pre-Game". Though the production may be missing a bit, Sauce Money rocks like no other out there and it's a shame that this is his only release because he should be making another album, he should be showing these cats how it's done but instead he's in hiding which is a shame because Sauce Money is a real talent. Go show your support by buying this album. Rating: 8.5/10
Jan 15, 2016 @Cyreides - Autumn Storm Self-released November 28th, 2015 I was going to get to member-created albums eventually, might as well make this the first one. Now this album I became interested in when I saw a screenshot of it in production; the complexity it has but the simplisticy it beholds, never have I seen so many things get used; I thought, this guy is a pro or something. Then it turns out, this guy is a pro or something. Much of this album is instrumental with very few lyrics littered throughout, which makes for an interesting listen as much of the time you'll be listening to what appears to be a mix of atmosphere, electronica and dubstep; professionally produced, mastered and sealed. The variety here is amazing, with one song you get melodic symphonies and with another you get harsh pleasing sounds that make their mark. It's almost ecliptic in it's moods and the moods work together to paint a story that truly represents the album title. At one point you get aggression and yet at another you get contemplation; as if the music had a sense of manicness to it, which again makes for an interesting listen. At some points it's as clear as the rain and yet at some points there's grit and distortion; it would get boring if it were the same thing over and over again but here's the thing; it's not the same old thing. There's even sound effects littered throughout to give it a cinematic feel which it deserves since this is technically a concept album with a story, a story you fill in the blanks to but a story nonetheless. Many producers feel intimidated to create an instrumental album, Cyreides does not. In fact due to his numerous skills in the game, he knows how to do effects normal human beings do not know how to do. I'm still trying to figure out how to do this myself so to see a producer up the game for the rest of the people is pleasing in that it shows there's still a sense of competition out there. It'll take 2, no 5 or more listens in order for you to full understand what is going on here. Is it a straightforward story, is there more to the story or is there more to the sound. That's what makes the album so amazing, it's replayable to no end. This makes for good studying material if you're looking to be a producer because there's just so many sounds, so many tricks, so much mastering that went into this album and to get them all at one sitting, it's just really impossible to do. Cyreides, you have created an album that is possibly the best out there, congrats. Rating: 10/10
Jan 15, 2016 Thanks for listening to it, wasn't sure if you did after you posted in the thread. And thanks for reviewing it haha, felt like I was reading through what is sometimes my ego tho lol
Jan 15, 2016 Well i'll be d---ed.. I have to listen to your LP now since its a certified tpk classic Where dem links?
Jan 15, 2016 you can listen to it all through that or go into the page by clicking the song name and it'll have the same full playlist on SC @tpk951 i would recommend hyperlinking a stream of the albums in question to their posts somewhere
Jan 15, 2016 Keep up with this thread! You raise to decent points about Future - Monster but I can't agree with rating, especially if WATTBA is rated higher.
Jan 15, 2016 I'll consider it, considering since other reviewers have a link to a spotify playlist or something other than that. I understand, I just thought it was underwhelming.
Jan 15, 2016 you might also like this @tpk951 https://cyreides.wordpress.com/2016/01/06/as-breakdown/
Jan 18, 2016 Kanye West (ft. Kendrick Lamar) - No More Parties in LA Released on Soundcloud January 18th, 2016 You know how hip-hop has evolved from samples to electronic from samples back to the electronic sound? Well there's always a pioneering force that pushes Hip-Hop in different direct directions from The Sugarhill g--- to LL Cool J to Timbaland to Jay-Z and Kanye West and back to Kanye West. Why is Kanye listed twice, because he went from soul to electronica and surprisingly back to soul with this track. I don't know what it is but when I first heard it, I instantly felt the old Kanye come back to life and I had the feeling that sampled underground music would make a comeback; this seriously feels like 90's New York rap except made in the modern times. There's a certain agressiveness to the beat but there's also a mellowness to the beat and that's courtesy of the two producers working together. Madlib and Kanye West. I'm guessing this is the first time those two have worked together and man is it magical. The two rappers on the track trade fresh and inspired verses. Kendrick delivers yet another top 10 verse that his fans will go into but there's something in Kanye we haven't seen before (or in his spur-of-the-moment recording "FACTS"). I don't know if it's the presidential campaign or the fact that he's focusing on the thing that made him famous (his music) but he sounds really inspired. We have never seen Kanye this hungry since The College Dropout and Late Registration; this is not the Kanye obsessed with art, this is the Kanye who is obsessed with the Roc, with rap, with performing and it shows with lines so quotable you can't stop saying them. If this is what SWISH is going to sound like than I'm instantly anticipating it. Only insignificant problem is that the song is a bit long but hey, if it contains a lot of good verses than I'm willing to give it a pass. Kendrick x Kanye x Madlib = pure fire. Nuff' said. Rating: 10/10
