Back in 2003 I was fortunate enough to pick up Freeway's debut, Philadelphia Freeway. It came on the heels of Jay-Z’s The Blue Print (2001/my favorite Jay-Z album) and saw Roc-A-Fella records climb to the forefront of the Hip-Hop hype machine. They had a solid MC roster and two of the best producers in the game, Just Blaze and an up and comer by the name of Kanye West. Freeway had arrived at just the right time to take advantage of the momentum, and Philadelphia Freeway didn’t disappoint. The album featured Freeway’s distinct growl, not stopping to catch a rookie breather, and was almost entirely produced by the two dynamite sound boys previously mentioned. An impressive debut to say the least.
Now four years later he has returned with a follow-up, Free at Last, with intentions of bringing the fire back to life. The problem this time is that while Freeway was out, the home turf got a little messy. Beanie Siegel, the man who brought Freeway to Roc-A-Fella, ran into legal trouble and his State Property crew fell apart. All the chaos killed Freeway’s limelight going into a second release and he seemed to disappear off the map with his State Property peers.
On Free at Last, the big name producers are missing (the only returnee is Bink!) and have taken the hype machine with them. Bink!’s production is still strong, “Still Got Love” is one of the albums best tracks and he plays some funky live drums on “When They Remember.” Overall, the album lacks diversity and plateaus half way through, but some gems appear in the mix. The beat by Dangerous LLC on “Spit that Shit” is a solid Dr.Dre impression and Scarface* comes to the rescue on “Baby Don’t Do It.” The albums two worst tracks are the radio friendly "Roc-A-Fella Billionaires" ft. Jay-Z and "Take It To The Top" ft. 50 Cent, both executive producers on the album, evidence that Rap’s royalty no longer have the Midas touch. Free at Last, does not stand up to Freeway’s debut, but shows plenty of heart when the chips are down. He's proven he can make it on his own, which is actually something new this time.
*The new Scarface is ridiculous. It has yet to leave my rotation since it came out and should contend for “Album of the Year,” no matter the genre, more on this later.
Sunday, December 30, 2007
Wednesday, December 19, 2007
Spellbound Part 2
The Northwest. Surrounding Cascades and dense forests provide a view that never strays too long before turning up and into a bent wall trees. Most escape to the valleys to find some space to roam, but the regions trademark is the hymnal of roots that reach towards the heavens through a canopy of limbs. Then, it begins to rain. Throughout most of the year, a steady dirge of rainfall gathers the dead and rotting earth, and carries it to some swift and cold depth. The constant downpour seems to weigh on time as much as it does the land. A long grey winter soaks into your bones, the rising mist drawn in through every breath. You learn to live in a fog, wake in the night.
For Wolves in the Throne Room (and yours truly), this is home. Home, and then some, to the extent that they have decided to shed all trappings of “civilian life” and dwell completely immersed in the forests of rural Olympia, WA. Their second release, Two Hunters, is a reverent oath to their world, beyond the sight of average daily life, born from the hidden realms of a lost time. In the symphonic vein of black metal, Wolves in the Throne Room are reminiscent of Burzum’s brooding melancholy and extended composition. The production isn’t heavily tampered with, but the album sounds beautiful. The tremolo guitar work resonates powerfully without overpowering the low end, the drums aren’t triggered but audible when raining down. It gives great depth for the guitars and bass to well up from under, like a looming sky surrounding the driving percussion.
The band chooses not to focus on Satan in subject matter, relying instead on nature’s unrelenting path and force. While the emotions that stir when in the alone in wilderness have always been a part of black metal, at least the second generation, it defines Wolves', and like Burzum, Two Hunters sacrifices raw aggression for a desolate serenity. Then, there are more subtle touches in the mix, adding some corners to turn. First track “Dia Artio” opens with sounds of the forest night before a sweeping synth takes over the reigns. On “Cleansing” a brewing storm is haunted by guest female vocalist Jessica Kinney, a rarely seen aspect in Black Metal, and is one of the albums greatest moments. While there is no real new ground broken with Two Hunters, Wolves in the Throne Room have created a triumph of black metal, true to their hallowed roots.
For Wolves in the Throne Room (and yours truly), this is home. Home, and then some, to the extent that they have decided to shed all trappings of “civilian life” and dwell completely immersed in the forests of rural Olympia, WA. Their second release, Two Hunters, is a reverent oath to their world, beyond the sight of average daily life, born from the hidden realms of a lost time. In the symphonic vein of black metal, Wolves in the Throne Room are reminiscent of Burzum’s brooding melancholy and extended composition. The production isn’t heavily tampered with, but the album sounds beautiful. The tremolo guitar work resonates powerfully without overpowering the low end, the drums aren’t triggered but audible when raining down. It gives great depth for the guitars and bass to well up from under, like a looming sky surrounding the driving percussion.
The band chooses not to focus on Satan in subject matter, relying instead on nature’s unrelenting path and force. While the emotions that stir when in the alone in wilderness have always been a part of black metal, at least the second generation, it defines Wolves', and like Burzum, Two Hunters sacrifices raw aggression for a desolate serenity. Then, there are more subtle touches in the mix, adding some corners to turn. First track “Dia Artio” opens with sounds of the forest night before a sweeping synth takes over the reigns. On “Cleansing” a brewing storm is haunted by guest female vocalist Jessica Kinney, a rarely seen aspect in Black Metal, and is one of the albums greatest moments. While there is no real new ground broken with Two Hunters, Wolves in the Throne Room have created a triumph of black metal, true to their hallowed roots.
Tuesday, December 11, 2007
Spellbound Part 1
Black metal, or at least as it is known today, got started back in the late 80’s in Norway (This does not include the first generation, but Venom also influenced Metallica, so there you go). Seeing as I was working with Saturday morning cartoons at this time, not Pagan Occultism, I really had no chance at hearing A Blaze in the Northern Sky, and even if I did, I’m sure it would have been traumatized me for months. So, like many fans of the genre, especially in the current world of Metal, we end up rushing the gate a little bit later…okay, a lot later. I admittedly was late getting into Metal, like less than five years ago. The nineties were amazingly cruel to the genre and in my neighborhood of Beanbag hippies and Chrisitan all-stars, the bleak underground of black metal was worlds away from my ears.
A decade plus later here I am dying to talk about the genre and even getting a chance to represent my home turf in the process. A far cry from Norway, America has always taken a back seat in black metal, owning the rites to death metal instead. While this year shows that Scandinavia is still strong with releases by seminal bands like Mayhem (Ordo Ad Chao) and Marduk (Rom 5:12), there are also some great efforts made in the good ol’ U.S.A.
Profanatica is from New York and has been around since the early days, and so underground that it took them almost two decades to release an LP. There were demos and “Best of” compilations along the way, but no definitive statement to match the second-generation greats, like Anthems to the Welkin at Dusk (Emperor) or Storm of the Light's Bane (Dissection). De Domonatia is one, a conjuring of satanic worship, and oddly second, a fusion of American prog/doom. Fans that are holding on to Deathcrush “kvlt” will detest the guitar tone because it “drones,” instead of offering the scathing low-fi of traditional black metal. The album is full of classic tremolo work, but powerfully cloaked, mixed down to the extent that the guitar is almost indistinguishable from the bass, like a molten tide rising beneath Paul Ledney’s monstrous vocals. Even some of the dynamics drudge along, like on “Scourging and Crowning,” adding to the doom influence. Song titles and lyrics are pure blasphemy, with names like “A Fallen God, Dethroned In Heaven" and “Cursed Nazarene Whore.” To sum up, Ledney ends the album screaming “I’ll turn this fucking religion to the ground!!!” With De Domonatia, Profanatica is back in a huge way.
A decade plus later here I am dying to talk about the genre and even getting a chance to represent my home turf in the process. A far cry from Norway, America has always taken a back seat in black metal, owning the rites to death metal instead. While this year shows that Scandinavia is still strong with releases by seminal bands like Mayhem (Ordo Ad Chao) and Marduk (Rom 5:12), there are also some great efforts made in the good ol’ U.S.A.
Profanatica is from New York and has been around since the early days, and so underground that it took them almost two decades to release an LP. There were demos and “Best of” compilations along the way, but no definitive statement to match the second-generation greats, like Anthems to the Welkin at Dusk (Emperor) or Storm of the Light's Bane (Dissection). De Domonatia is one, a conjuring of satanic worship, and oddly second, a fusion of American prog/doom. Fans that are holding on to Deathcrush “kvlt” will detest the guitar tone because it “drones,” instead of offering the scathing low-fi of traditional black metal. The album is full of classic tremolo work, but powerfully cloaked, mixed down to the extent that the guitar is almost indistinguishable from the bass, like a molten tide rising beneath Paul Ledney’s monstrous vocals. Even some of the dynamics drudge along, like on “Scourging and Crowning,” adding to the doom influence. Song titles and lyrics are pure blasphemy, with names like “A Fallen God, Dethroned In Heaven" and “Cursed Nazarene Whore.” To sum up, Ledney ends the album screaming “I’ll turn this fucking religion to the ground!!!” With De Domonatia, Profanatica is back in a huge way.
Wednesday, November 28, 2007
Current Beneath the Surface
Back in the mid nineties Hip-Hop was everywhere. In over just a decade it had crept from the streets of the Bronx, to growing in the household of Americana. Once the East vs. West thing came to a tragic ending, those in the Hip-Hop community needed time to slow down, reflect, leading to the rise in sub genre’s like "Organic Hip-Hop" and "Neo-Soul." Champion artists of this era, (Talib Kweli, Common, D'Angelo, etc.) tried to shift the spectrum of ideas in Hip-Hop, choosing a "grass roots" route over "the benjamins", on giving back to the community and culture. Even the mainstream got in on the act with The Roots teaming up with Jay-Z on MTV's Unplugged (which I love and is one of MTV's last great moments in musical relevancy.) Now with their best work behind them, the leaders of street Bohemia can be found at a diminishing well, (Mos Def/ True Magic), and trying new tricks…Peace, Love, GAP!?!? Where is a Resurrection when you need it?!! With the gangster world no longer in the dark and a conscience lost at the shopping mall, Hip-Hop is stalled looking for direction and new heroes to lead it.
The "indie" world has tried to enter the Hip-Hop ring since this decline, and from finding alternative voices/styles abroad (Dizzee Rascal, The Streets), to the hyping the explicitly absurd (Spank Rock), it would seem that eccentricity is the premium. MC's like Aesop Rock and MF Doom have landed on solid ground for some years and developed a strong following, but they own such distinct styles that holding up the same banner seems slighted and would probably be too exclusive to last.
Enter Oddisee. While calling him a hero for the next generation is reaching at best, especially since the "next big thing" has yet to really come into form, he is a fresh face that shows plenty of promise. Hailing from Washington, D.C., he got his start with DJ Jazzy Jeff and since then has taken his soul/funk-laden production to visible heights. Honestly, I am late getting to this album so you might already be up on this, but for those who don’t know, Foot In The Door (2006) delivers over thirty tracks, each goes down smooth, sinking deeper into a groove that warrants the hour plus stretch. It initially comes off as a mood album, since most don’t break the two-minute mark, acting more like beat samples more than actual songs. The longer cuts, often with guest MC’s, like “Boogie” featuring J-Live & Asheru, offer a glimpse of things to come. While this album was largely over shadowed, and rightfully so, by master producer J.Dilla’s (R.I.P.) Donuts*, Oddisee on Door has earned himself a place in line. It should be mentioned besides producing, he shows some talent for lyrics and delivery as an MC.
Until a full-length, main event, LP appears I will keep the megaphone out of your face and raise my hand from the corner, but when Oddisee gets his chance, I’ll be front-row. How many new faces in Hip-Hop deserve as much?
*If you don’t have Donuts? Get some!
The "indie" world has tried to enter the Hip-Hop ring since this decline, and from finding alternative voices/styles abroad (Dizzee Rascal, The Streets), to the hyping the explicitly absurd (Spank Rock), it would seem that eccentricity is the premium. MC's like Aesop Rock and MF Doom have landed on solid ground for some years and developed a strong following, but they own such distinct styles that holding up the same banner seems slighted and would probably be too exclusive to last.
Enter Oddisee. While calling him a hero for the next generation is reaching at best, especially since the "next big thing" has yet to really come into form, he is a fresh face that shows plenty of promise. Hailing from Washington, D.C., he got his start with DJ Jazzy Jeff and since then has taken his soul/funk-laden production to visible heights. Honestly, I am late getting to this album so you might already be up on this, but for those who don’t know, Foot In The Door (2006) delivers over thirty tracks, each goes down smooth, sinking deeper into a groove that warrants the hour plus stretch. It initially comes off as a mood album, since most don’t break the two-minute mark, acting more like beat samples more than actual songs. The longer cuts, often with guest MC’s, like “Boogie” featuring J-Live & Asheru, offer a glimpse of things to come. While this album was largely over shadowed, and rightfully so, by master producer J.Dilla’s (R.I.P.) Donuts*, Oddisee on Door has earned himself a place in line. It should be mentioned besides producing, he shows some talent for lyrics and delivery as an MC.
Until a full-length, main event, LP appears I will keep the megaphone out of your face and raise my hand from the corner, but when Oddisee gets his chance, I’ll be front-row. How many new faces in Hip-Hop deserve as much?
*If you don’t have Donuts? Get some!
Sunday, November 18, 2007
Punks Fall in Line
It was the video killed it for me. Not in the Buggles, image trumps talent way, but because it had been floundering for some time and was going to come to an end sooner than later. By now music has broadened itself across so many mediums I wonder just how much control the individual has over the whole musical experience/consumption? Is it possible to avoid taking part in the packaged show? Would it have made a difference? I doubt it.
I was in my dorm room sometime in the winter of 03’. After a casual exchange about music with a friend from the dorms he mentioned that he had got word of this great band, “if you got the time for a listen,” kind of conversation. I would listen and keep listening but it wasn’t till the summer when the hooks had really sunk into me. For the scope of my college years I would hold onto them like my nights of Blue Ribbon. Headphones on the way to class, screamed through the early morning, sweat in the carpet floor.
a poetry spoken silently between me and the stereo
New Wave is Against Me!’s newest release and has put me to scale for the past months. I guess that everyone has a band or two that they hold onto through the years and in the process becomes something tangible to identify with, such is our post-modern world. Wave is a sign that the band is looking for a new/bigger audience. In the “Thrash Unreal” video the band plays while fake wine is poured on them, and Tom Gabel(songwriter/frontman) is shirtless like some boy-band/TRL shit! On the bands previous album, Searching for a Former Clarity (2005), the songs differed from their early work as well, but wasn’t reaching just for the sake of it. The production had cleaned up, there were songs you could dance to, new instruments, signs of a band maturing and taking chances. All these qualities are pushed to the front on New Wave. “Stop” is a straight up dance song, “Borne on the FM Waves” is a love ballad first, and “Animal” abandons Punk for Alternative accessibility. The album isn’t a complete loss, "Americans Abroad" and the title track come to mind, but I can’t deny the feeling that the glass is half empty. I have always found Punk's idealism a bit romantic, and such great intentions are probably doomed from the start.
So what now? Maybe I should write them off, another tragic casualty to the money and mob. Maybe I can forget all the times that I sung off key, forgot the lyrics, and still - remember nothing less. I doubt it.
I was in my dorm room sometime in the winter of 03’. After a casual exchange about music with a friend from the dorms he mentioned that he had got word of this great band, “if you got the time for a listen,” kind of conversation. I would listen and keep listening but it wasn’t till the summer when the hooks had really sunk into me. For the scope of my college years I would hold onto them like my nights of Blue Ribbon. Headphones on the way to class, screamed through the early morning, sweat in the carpet floor.
a poetry spoken silently between me and the stereo
New Wave is Against Me!’s newest release and has put me to scale for the past months. I guess that everyone has a band or two that they hold onto through the years and in the process becomes something tangible to identify with, such is our post-modern world. Wave is a sign that the band is looking for a new/bigger audience. In the “Thrash Unreal” video the band plays while fake wine is poured on them, and Tom Gabel(songwriter/frontman) is shirtless like some boy-band/TRL shit! On the bands previous album, Searching for a Former Clarity (2005), the songs differed from their early work as well, but wasn’t reaching just for the sake of it. The production had cleaned up, there were songs you could dance to, new instruments, signs of a band maturing and taking chances. All these qualities are pushed to the front on New Wave. “Stop” is a straight up dance song, “Borne on the FM Waves” is a love ballad first, and “Animal” abandons Punk for Alternative accessibility. The album isn’t a complete loss, "Americans Abroad" and the title track come to mind, but I can’t deny the feeling that the glass is half empty. I have always found Punk's idealism a bit romantic, and such great intentions are probably doomed from the start.
So what now? Maybe I should write them off, another tragic casualty to the money and mob. Maybe I can forget all the times that I sung off key, forgot the lyrics, and still - remember nothing less. I doubt it.
Monday, November 12, 2007
From the Shadows
It’s fall. The trees have begun to fade, light escapes us, and my socks always seem to be wet. After much anticipation this summer, the change in season has seen the release by two Metal albums that I have to mention.
First there is Nordic Death Metal band Blood Red Throne. The tag on this band is that they play Florida inspired Death Metal while hailing from Norway, a country known for its Black Metal. Their newest release, Come Death, shows the band moving towards a powerful groove element, an aspect that they had only briefly plodded in before. Bassist Erlend Caspersen’s work is skull bending, absolutely titanic. Purists looking for an early nineties production effort or boxed in neck breakers will turn away. They will miss the rare, but great, breaths of Black Metal that show up on "Guttural Screams" and Gorguts cover "Disincarnated." It should come as no surprise since guitarists Tchort and Død formed the band while playing/touring together with cult leaders, Emperor and Satyricon. I would kill to see these songs live.
Earlier this year I did get the chance to see the Doom/Stoner beast High On Fire. Their newest release, Death is the Communion, is a continuation of the break in sound inspired Steve Albini on Blessed Black Wings (2005), which new producer, the legendary Jack Endino (Nirvana, Soundgarden), sharpens instead of rounding off. High On Fire at first sounded like Matt Pike’s Sleep hangover*, familiar doom and gloom, while growing new teeth. For those truely stoned-cold, still waiting for Jerusalem to end, this will probably kill your high. Communion rocks barrel-fisted anthems that thrash and flaunt some major chops in their murky depths. The opening riff in “Turk” is a blistering ode to Megadeth and the album pack-leader “Fury Whip,” digs up the past like an exhumed South of Heaven. New double-kick currents, acoustic interludes, and Motörhead lovin’ soul come as a welcome whiskey shot to the chest. On Communion High On Fire builds a massive Metal alter, then burns it down to the ground. Check these out.
*Great Doom albums but you Sleep fans know what I mean.
First there is Nordic Death Metal band Blood Red Throne. The tag on this band is that they play Florida inspired Death Metal while hailing from Norway, a country known for its Black Metal. Their newest release, Come Death, shows the band moving towards a powerful groove element, an aspect that they had only briefly plodded in before. Bassist Erlend Caspersen’s work is skull bending, absolutely titanic. Purists looking for an early nineties production effort or boxed in neck breakers will turn away. They will miss the rare, but great, breaths of Black Metal that show up on "Guttural Screams" and Gorguts cover "Disincarnated." It should come as no surprise since guitarists Tchort and Død formed the band while playing/touring together with cult leaders, Emperor and Satyricon. I would kill to see these songs live.
Earlier this year I did get the chance to see the Doom/Stoner beast High On Fire. Their newest release, Death is the Communion, is a continuation of the break in sound inspired Steve Albini on Blessed Black Wings (2005), which new producer, the legendary Jack Endino (Nirvana, Soundgarden), sharpens instead of rounding off. High On Fire at first sounded like Matt Pike’s Sleep hangover*, familiar doom and gloom, while growing new teeth. For those truely stoned-cold, still waiting for Jerusalem to end, this will probably kill your high. Communion rocks barrel-fisted anthems that thrash and flaunt some major chops in their murky depths. The opening riff in “Turk” is a blistering ode to Megadeth and the album pack-leader “Fury Whip,” digs up the past like an exhumed South of Heaven. New double-kick currents, acoustic interludes, and Motörhead lovin’ soul come as a welcome whiskey shot to the chest. On Communion High On Fire builds a massive Metal alter, then burns it down to the ground. Check these out.
*Great Doom albums but you Sleep fans know what I mean.
Sunday, November 11, 2007
Variety Pack
So after much delay I have got this thing going. From here on out look forward to me making pledges and not actually following through with them. On that note...
Vampire Weekend. They are a quartet from New York and after listening to them now for some months has brought me to a small conclusion. Canada is getting tired. It seems like every year our northern friends put out clusters of pop/indie bands that really are just building off the work that Broken Social Scene and The New Pornographers established years ago. While these bands are by no means a waste of time, their sound never really comes off tremendously original. While this middle of the road appraoch will always bring in enough fans by just being new to the scene, Vampire Weekend blends in some new touches and colors. On songs like "Cape Cod Kwassa Kwassa" bongos are played behind some guitar who's rhythm's have a reggae bounce to it and call and response vocals are shared on "One (Blakes Got a New Face)". Their affection towards an African-style beat and melody coupled with great placement of strings and keys round up to a "larger than the sum of their parts" pop appeal. Singles like "Mansard Roof" and "Oxford Comma" are worth a listen if you want something to sink your teeth into.
Vampire Weekend. They are a quartet from New York and after listening to them now for some months has brought me to a small conclusion. Canada is getting tired. It seems like every year our northern friends put out clusters of pop/indie bands that really are just building off the work that Broken Social Scene and The New Pornographers established years ago. While these bands are by no means a waste of time, their sound never really comes off tremendously original. While this middle of the road appraoch will always bring in enough fans by just being new to the scene, Vampire Weekend blends in some new touches and colors. On songs like "Cape Cod Kwassa Kwassa" bongos are played behind some guitar who's rhythm's have a reggae bounce to it and call and response vocals are shared on "One (Blakes Got a New Face)". Their affection towards an African-style beat and melody coupled with great placement of strings and keys round up to a "larger than the sum of their parts" pop appeal. Singles like "Mansard Roof" and "Oxford Comma" are worth a listen if you want something to sink your teeth into.
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