Das Racist – Relax
“Relax” is Das Racist’s first commercial release, yet it shares the dense sprawl and uncomfortable laughs of the group’s previous Internet mixtapes. First single “Michael Jackson” proves an earworm equal to Das Racist’s breakthrough 2008 blog hit, “Combination Pizza Hut and Taco Bell” — as catchy as anything by Lil Wayne, but its postmodern absurdity actually seems intentional. “Booty in the Air” suggests an R&B strip-club anthem via someone too nerdy to have ever actually gotten a lap dance, while on “Shut Up, Man,” Kool A.D. bisects a buckshot spray of surrealist wordplay evoking Ghostface and MF Doom with an insightfully pointed query: “They say I act white but sound black/ But act black but sound white/ But what’s my sound bite supposed to sound like?” He’s clearly being hypothetical: It sounds a lot like Das Racist. Read the full review on LA Times Pop & Hiss Blog
Girls – Father, Son, Holy Ghost
The first listen to Father, Son, Holy Ghost brings with it an almost eerie sense of familiarity, like these are songs you’ve been hearing your whole life even when you can’t place them, and it’s sometimes startling just how specific the references can be. The opening “Honey Bunny” has a shuffling beat and riff that is close to Paul Simon’s “Kodachrome”; “Love Like a River” has a verse structure, chord changes, and tinkling piano arrangement almost identical to the Beatles’ “Oh! Darlin”, which was itself a direct rip of songs like “Blueberry Hill”. “Magic” has bouncy sunshine pop chords that bring to mind something from a Have a Nice Day comp, “Die” has almost the same melody as Deep Purple’s “Highway Star”. Read the full review on Pitchfork
Can’t – Dreams Come True
Turns out dreams come true indeed – CANT is like fresh air from left field, brilliant and creative, indicative of Taylor’s versatility as a songwriter. Not many vestiges of the indie folk Taylor and his bandmates in Grizzly Bear engineer with such mastery are present here, nor are many sonic ties to the myriad groups Taylor has produced. Dreams Come True is humid and brooding and dark, constructed gracefully of layers of shuddering drum machine and dizzying bass riffs and drones (you’ll need headphones for this one). Read the full review on Pretty Much Amazing
Who was the man, J Dilla? Influential Los Angeles hip-hop producer via Detroit who died in 2006 from a rare blood disease only three days after releasing what many consider his masterpiece: Donuts. Famous last words, to say the absolute least. The album is a hip-hop art collage of classic R&B and soul, and feels like a 43 minute personal account of one man’s musical past and present.
If you do any small amount of research on Dilla you’ll realize right away what a huge impact he had on the underground hip-hop community, especially in his later years when he was apart of the Stones Throw collective (MF Doom, Madlib). Artists in the hip-hop community are still mourning his death and paying tribute by making use of every last measure he ever produced. Ghostface Killah doesn’t really go a release without a posthumous Dilla production, for instance. Dilla was featured on Raekwon’s most recent release, Only Built For Cuban Linx II—same goes for Mos Def’s 2009 The Ecstatic. He’s still everywhere, as it should be, but Dilla’s influence as a producer is severely understated as a part of wider electronic music. Pitchfork stated in a retrospective on Dilla’s evolution,
“…artists on L.A. labels like Brainfeeder, Alpha Pup, and Proximal Records have hit creative paydirt by siphoning Dilla’s ear for rhythmic suppleness through electro, dubstep, and ambient funk.”
Take note of that first label in there: Brainfeeder. Brainfeeder is synonymous with one Los Angeles producer, Flying Lotus. In the same Dilla retrospective Pitchfork noted,
“Flying Lotus picked up on elements of Dilla’s style for his 2006 debut album 1983– underwater basslines, stripped-down snare-tap percussion, bristling synths, textural hiss– and has been boldly mutating them into a new strain of b-boy IDM ever since, culminating with this year’s expansive Cosmogramma.”
That’s really only the beginning of what Flying Lotus has managed to do with J Dilla’s legacy. FlyLo himself marks a tangible, yet transcendent step past what Dilla managed to accomplish, culminating into a citywide beat scene, if not a sub-genre of its own. In terms of electronic music, Los Angeles has become Flying Lotus’s and the proving grounds of his influence, which makes sense since his 2008 album, named for the city, is almost single-handedly responsible.
Los Angeles is a milestone in the sense that it helped bring about a new generation of beat makers, esoteric as that group still is in 2010. FlyLo acted as a focus for a myriad of influences (the heart of which was Dilla) and became a beacon for his home city. Los Angeles as a record remains a triumph of atmosphere as much as classic post-Dilla hip-hop tinged production. From start to finish the album flows as a grounded nighttime panorama of the city for which it was named. FlyLo’s sample and synth-work combine into shiny sparkling reflections and seek to delve into something deeper and unseen, or seen only through the individual’s eyes. The record wasn’t made as an anthem for the city as a whole. It’s too small and contained for that. It functions as a personal chronicle for FlyLo’s own perspective and mindset regarding his surroundings, which makes the record such a thrilling and charismatically unique ride.
On the producer’s side of the table, Los Angeles’ aesthetics became instantly recognizable: the use of reverb and spacey synths, offbeat drum programming, and a healthy amount of sidechain compression thrown onto everything. The drum programming especially has become FlyLo’s mainstay. The aggressive and heavy use of kick and an organic style approach to snare sounds. It’s probably the most immediate influence the record gave to the world, from dubstep to hip-hop.
But while Flying Lotus’s collage approach and production aesthetics obviously paid tribute to J Dilla he brought something deeper to the table. The easiest description to give would be “atmosphere,” (as I just did) something rarely associated with hip-hip production, with perhaps the exceptions of El-P and Edan. It was responsible for FlyLo’s association to dubstep and IDM, even perhaps before hip-hop in some cases. FlyLo however goes beyond atmosphere. There seems to be a wordless subtext to Los Angeles that would suffer from anyone trying to put the feelings spinning off of the record into words. If this aspect of Flying Lotus’s music was only alluded to on his second LP, it became truly immediate on his third, Cosmogramma.
A lot seemed to happen in the wake of Los Angeles. “Copycats” would be a way sum things up. FlyLo has been vocal regarding the resentment of the immediacy of his own influence. But the record opened something up, which was almost immediately seen after it’s release in ’08. FlyLo started his own label, named for the first track on his second record, “Brainfeeder.” It seems to have sparked a blanket aesthetic, albeit subtly abstract, and maintains a masthead for the Los Angeles post-Dilla, post-Los Angeles scene. Or perhaps one could argue it’s just a place to collect artists FlyLo digs. We’ll see.
In Part Two of this feature I’ll be exploring the recipients of Los Angeles’ influence, notable Brainfeeder artists, as well as Flying Lotus’s most recent music-transcending record, Cosmogramma and where it fits in J-Dilla’s legacy and the current Los Angeles electronic scene.
When two or more creative personalities dissolve a partnership, the inevitable disparity of accomplishment between the former collaborators can be anything from slight to a gaping chasm. Consider Cheech & Chong. When the comedy duo parted ways, Cheech Marin’s success eclipsed Tommy Chong’s considerably.
Tom Hanks and Peter Scolari, a Famous Chonger
In the world of music, this phenomenon is all too common. Here are some unfortunate people who “Chonged” it.
Grant Hart
Hart was a vocalist and drummer for Husker Du. Hart composed about a third of the band’s songs, including many of their best. (Just listen to “Terms of Psychic Warfare.”) When the they split, the band’s other principle songwriter, Bob Mould, went on to achieve his greatest success with a new project, Sugar. These days, Mould’s a respected solo artist who released his ninth solo album to acclaim last year. Hart, on the other hand, has not fared as well. He was misdiagnosed as HIV positive following Husker Du’s break-up. He lived under that misapprehension for six months. His solo career, while producing some memorable and worthwhile albums, hasn’t come close to Mould’s prosperity.
Pete Wylie
Undoubtedly, many of those fortunate enough to have seen The Clash in their heyday were inspired to form bands of their own. The Crucial Three was one such band. They wouldn’t last long enough to record anything, but two of their members would go on to achieve fame and glory. Ian McCulloch formed Echo & The Bunnymen. Julian Cope would find his niche with Teardrop Explodes and as a solo artist. The other guy? Well, Pete Wylie was in a number of bands and, to be fair, he enjoyed a small degree of success. On the other hand, ever hear of Wah!? No? Didn’t think so.
Einar Örn Benediktsson
The Sugar Cubes were a sort of Icelandic B-52s, and their Fred Schneider was Einar Örn Benediktsson, an eccentric and charismatic co-frontman. The other singing Sugar Cube, Bjork, would go on to achieve massive international success and icon status. Benediktsson kept a much lower profile following his band’s break-up, writing a bit here and there and releasing the occasional, obscure album.
Johnny Marr
Perhaps the most famous musician to Chong on this list, Johnny Marr was one-half of The Smiths songwriting team, a group that influenced and inspired generations. To this day they are one of the 80′s most beloved bands. Unfortunately,they fell apart after four albums. Morrissey went solo and had no trouble maintaining his legions of fans. As integral as Marr was, writing all the band’s music, he has not been able to parlay his credentials to nearly the same degree. As Morrissey continues to release high-profile albums and embark on prestigious tours, Marr’s greatest successes have been sporadic appearances on other artists albums and the occasional stint as a sideman in groups like Modest Mouse.
Andrew Ridgely
They may be nothing more than a punchline today, but Wham! were quite popular when they first hit the scene. The duo put out three multi-platinum albums in four years, no small feat. Frustrated with the teen-baiting corner they’d painted themselves into, George Michael dissolved the group and went solo, releasing one of the best-selling albums of all-time and cementing his status as pop-star-for-life. Ridgely tried his hand at racing before unsuccessfully attempting to relaunch his music career. These days, he golfs.
Rodan
KMD were no great triumph. The endearing hip-hop trio were beset by some terrible luck. For one thing, one of their members, Subroc, was killed during the production of their second album. Subsequently, their label deemed that album too offensive for release and shelved it. It would not see the light of day for another eight years, in an attempt to capitalize on the momentum of former-KMD member (and Subroc’s brother) Zev Love X’s success under his new alias, MF Doom. KMD’s other founding member, Rodan, hasn’t done anything more notable than a couple of under-the-radar releases and a handful of appearances on MF Doom albums.
Ten years ago I was enrolled at the University of Massachusetts in Amherst. It doesn’t feel like a long time ago, but looking over my haphazardly-compiled best-of-the-decade list, I’m forced to consider the range and scope of the experiences that I will forever associate with these fantastic albums. It’s been a hell of a decade.
Apparently 2003 was a particularly great year in music for me. It occupies about half this list. Also, the second half of the decade only provided me with two albums. Is that a consequence of my growing cynicism? I’d like to think it’s simply a matter of these albums not having had a chance to resonate as deeply as something like Pig Lib, which was a daily source of comfort and inspiration during a tough time.
If I were to reconsider this tomorrow, I think about half the list would stay the same. Contrary to what some might say (Casey Rea, I’m looking at you), the aughts have been a fertile decade for music. (At least the first half. The second, I think, may belong to television, but I digress.)
My favorite album’s of the decade:
Deltron 3030 – s/t (2000) – The best thing Dan The Automater, Del Tha Funkee Homosapien or Kid Koala have ever done is this early-millennium masterpiece. The production is staggering and Del is in fine-form. This is a genre-transcending hip-hop record.
Super Furry Animals - Mwng (2000) – I was pleased to see Casey The Contrarian include Rings Around The World on his list, but I’m going to have to side with its predecessor, Mwng. With their former label bankrupt, the band had a lot to prove. Rather than play it safe, SFA released an all-Welsh home-brewed triumph. They put it out on their own and managed to parlay its acclaim into a deal with a new label.
Daft Punk – Discovery (2001) – Possibly my favorite album on this list, Discovery raised the bar. Infectious, upbeat, moving and witty, there’s not really anything that compares. It towers over the rest of the band’s catalog as well as the rest of the French House scene.
Steve Malkmus – Pig Lib (2003) – With his solo debut, Malkmus demonstrated that he’d be just fine without Pavement. With Pig Lib, he almost made you forget about his former band. Everything about this record is seeped in excellence.
Kommissar Hjuler & Mama Bar-Asylum Lunaticum (Intransitive)
A couple of Danish sound poets/artsy fartsy folks who come up aces with this compilation of some of their ultra limited cdrs. Lots of mouth noises and asking yourself what the hell is going on. The centerpiece is a 25 minute recording of a bike ride Mama Bar took with her young son where she sings to him the entire time.
MF Doom-Born Like This (Lex Records)
The most evil villain strikes again. Worth it just to hear a sample of Bukowski spitting molten lava over Doom’s beats.
Bill Orcutt “A New Way to Pay Old Debts” (Palilalia)
The guitarist from Harry Pussy released a 7″ and this lp this year and both are the tits. It’s just him on an acoustic “4 string Kay.” His playing is pure slash and burn. It’s one part Sonny Sharrock, one part Lightnin’ Hopkins, and five parts awesome!!!!!
Def Leppard “Pyromania” Deluxe Edition Reissue (Polygram)
I love this album. When it comes down to it, this could be my favorite album of all time. It hits all the right buttons. It’s probably due to the fact that this was the first album I ever bought and loved. I remember seeing photos of Steve Clark playing his Flying V and just thinking that it doesn’t get much cooler than that. So not only do you get the album all cleaned up and sounding better than ever, as a bonus, there’s a second disc of Leppard live at the LA Forum in 1983 at (INHO) the height of their powers. I’m a firm believer that when Rick Allen crashed his Corvette in 1985 a lot more was lost than just his arm. Early Leppard is a wonderful combination of NWOBHM, Glam Rock (Bowie and T.Rex to be precise), and some good old Goffin-King songwriting that is catchy as hell. This live show is a testament to their powers as musicians and performers. It’s unbelievable that their new member at the time, Phil Collen, was two weeks away from his 20th birthday. What were you doing when you were 19? Get this and thank me later.
Chris Corsano “Another Dull Dawn” (Ultra Eczema)
Mr. Corsano is a master drummer, trained in the art of fire music. Over the last few years he’s applied his skill to creating homemade instruments that squeal and rattle and cause you to check you ears. Dennis Tyfus owner/operator of Ultra Eczema provides incredible artwork as usual to stimulate your vision as well.
Dugites “Gay Guys”
When Toby and Greg, Stellar Om Source, Oneohtrix Point Never, and Mark McGuire came to town they put on a hell of show. The strange thing is the highlight for me was discovering this track. It came on in between sets and the whole room bobbed their heads along and many even danced a jig, it was infectious. I had to ask Christelle, of Stellar Om who it was. I managed to hunt down a copy of this lp, and have played it for as many people as possible. I’ve yet to see anyone stand still.
Knight Action “Single Girl” (Drone Disco)
Another techno/house/disco whatever you kids call it these days track from back in the day. Real clean and simple, and with some great dialogue in the beginning about how this girl’s friend has a man and and a curfew. The song is a celebration of being a single woman out on the town. Another out of nowhere discovery that had many spins over 2009.
Tarnished Thighs “Butterball Rock” and The Andrew Allsgood Experience “Macho Wizard” (History Clock)
Aside from having the best titles this year. This re-edit label put out these monsters either in 08 or 09. Butterball Rock has some coked out guitar, heavy disco beats and incredibly stupid lyrics. That’s a winner in my book. Macho Wizard is a re-edit of Heart’s Magic Man. It extends all the right parts and when the vocals drop in it hits you like a bomb.
Alpha 66 “Pax Sovietica” (KSV)
Tom Smith from To Live and Shave in LA has quietly been putting out some of the most challenging and life affirming releases over the past year. I’ll let the man explain this one “…this paean to Cuban-American paranoia was hatched in Miami Beach during an impossibly muggy, appropriately ominous June afternoon by yours truly, and quickly filed away after an ex-girlfriend implored me to burn the tapes, lest I be murdered by anti-Castro extremists. I merely plopped a cassette into a boombox, tuned the unit to a local AM station specializing in overdriven salsa and merengue, and edited the proceedings in real time.”
The results are spectacular.
Josh F is 1/2 the of noise damaged black metal garage punks “Black Beauty”
DOOM, previously known as MF Doom, Victor Vaughn, King Geedorah, Zev Love X and Daniel Dumile, released his last proper solo album five years ago. At that time, he was incredibly prolific, releasing multiple albums a year with an astounding quality-to-filler ratio.
Consider: In the span of three years he released MM.. Food, Madvillainy (as Madvillain), Take Me To Your Leader (as King Geedorah), The Mouse and The Mask (as Danger Doom), Vaudeville Villain and Venomous Villain (both as Viktor Vaughn). Four of these albums are truly great, and the rest are pretty damn good. Since then, Mr. Dumile has kept a considerably lower profile with a smattering of production work, a few guests spots and a handful of tracks.
Given his relative silence, his latest, Born Like This, is like the welcome return of an old friend. The question remains, does it measure up?
The short answer, is almost. While Born Like This does not match the quality of Doom’s best work, it’s a satisfying listen with all the standard DOOM elements in place. His rhymes are as surreal and associative as ever. The production, most of which has been provided by Metal Fingers himself, delivers.
DOOM’s best albums usually contain reoccurring themes, as in the case of MM.. Food’s preoccupation with consumption, or they are held together by a playful immersion in a particular persona, best exemplified in Take Me To Your Leader. Born Like This sort of amalgamates those two. Its theme is an immersion in the DOOM persona. That may sound like a cop-out evaluation, and it is. The truth is, whatever whimsical force shapes Born Like This, it’s not as apparent or striking as we’ve come to expect.
One track needs to be mentioned, as it has in every review I’ve read. “Batty Boyz” comes off as an ignorant and anachronistic tirade against homosexuality. I’ve scoured the ‘net in the hope of finding a lucid justification for a song focused on the gay subtext of superhero comics, but try as I might I just hear a string of gay jokes. Please, someone enlighten me, because it’s got a great beat and I don’t want to have to skip it every time I play the album.
That said, Born Like This is DOOM being DOOM (or MF Doom being DOOM, I suppose.) Fans shant be dissapointed, and he may well continue to expand his audience with this mostly great album.
