I can’t stop listening to Mighty Joseph. Vast Aire and Karniege throw down together on Empire State, and have created my favorite Hip-Hop album so far this year.
There has been plenty written about Vaste Aire’s chunky chew delivery and talent for double take rhymes, while Karniege brings his own flar to a more traditional bark. The lyrics are straight up bananas, no joke*. Ranging from the home front, “Kidz (N.Y.C.),” to the party scene, “Night Life,” to gangland on “Anything Can Happen?,” these two MC’s rule the scene from behind the wheel, while keeping respected friends in the back seat throughout, with the likes of M.U.R.S, Genesis, and Vordul Mega.
As ridiculous as the lyrics are, the production is what keeps pulling me back. The synth drenched beat on “Legend” opens with a country sample and comes courtesy of master producer Madlib. The vocal samples on “Out the Gate” and “The Dark Ages” light up the place, while creeping piano keys on “Criminal Tales,” lurk in the shadows. On Empire, the sun never sets, and there is nowhere to hide.
It doesn’t really matter which reason you choose to listen to Empire State, just listen to it now! It has not left my rotation since I got a hold of it and I hope more people start to recognize the Mighty Joseph. Bananas.
*My favorite verse is Vast’s closer on “The Dark Ages.”
Thursday, April 24, 2008
Wednesday, April 23, 2008
Tartarus Rising
There is an army forming in Greece. Last year saw Rotting Christ release another strong album, Theogonia (2007), to their catalogue and introduced me to a new sound in Metal. Press releases defined Rotting Christ as “Goth” for their synth use and approach to melody; a dramatic voyage in genre progression since it began with Grindcore. While thematically Rotting Christ can be associated with Black Metal’s tropes of the ancient world, the sound wasn’t nearly as harsh, the melodies and production values were radiant enough to break through the distortion, burning hotter than their Nordic forefathers. What about Viking Metal? While I have to admit I am not a big fan of the sub-genre, along with Folk Metal; the two share a similar relationship to Black Metal in ancestral imagery and progressive attitudes towards established melody? Eh, moving on…
I have been mulling over this ever since I got a chance to listen to Septicflesh’s (previously Septic Flesh) new album Communion. If Theogonia’s melodies stirred up enough heat to break through walls, then Communion has an army to topple them. What everyone will mention about this album is the 80 orchestral and 32 choral members whom were enlisted to back Septicflesh’s epic return. The band had split-up, and after a few years, are back with one of the biggest arrangements for an album that I have ever heard of. When this Titan raises up before you, it is truly something to behold.
The duration of the album is relatively short for such an enormous assembly, but what the album lacks in length, it makes up for by capturing the moment with plenty to spare. The orchestral work deserves repeated listenings, and elevates the melodies to soaring lengths. On the title track their Death Metal roots are expanded on when choral vocals echo after the assault like heat from the flame. Septicflesh has an amazingly diverse background as well, and an explosive attack on “Babel's Gate” shape shifts into some technical breakdowns that flaunt the bands musicianship now long recognized. Like I said earlier, the album is really all about melodies. Sung vocals on “Sunlight Moonlight,” build them like moutians, while booming horns and thunderous drums on "Persepolis,” turn them into avalanches. On Communion, all soldiers are dressed for battle, and arms, sharpened for war.
Metal’s evolution has always been rooted in its international appeal and Greece has been playing an important role for some time, while continuing to harness a distinct sound. Whatever this “Greek” sound is, it’s on par with anything being released in sibling genres, and with more albums like Communion, Septicflesh will remain casting their shadow over the land.
I have been mulling over this ever since I got a chance to listen to Septicflesh’s (previously Septic Flesh) new album Communion. If Theogonia’s melodies stirred up enough heat to break through walls, then Communion has an army to topple them. What everyone will mention about this album is the 80 orchestral and 32 choral members whom were enlisted to back Septicflesh’s epic return. The band had split-up, and after a few years, are back with one of the biggest arrangements for an album that I have ever heard of. When this Titan raises up before you, it is truly something to behold.
The duration of the album is relatively short for such an enormous assembly, but what the album lacks in length, it makes up for by capturing the moment with plenty to spare. The orchestral work deserves repeated listenings, and elevates the melodies to soaring lengths. On the title track their Death Metal roots are expanded on when choral vocals echo after the assault like heat from the flame. Septicflesh has an amazingly diverse background as well, and an explosive attack on “Babel's Gate” shape shifts into some technical breakdowns that flaunt the bands musicianship now long recognized. Like I said earlier, the album is really all about melodies. Sung vocals on “Sunlight Moonlight,” build them like moutians, while booming horns and thunderous drums on "Persepolis,” turn them into avalanches. On Communion, all soldiers are dressed for battle, and arms, sharpened for war.
Metal’s evolution has always been rooted in its international appeal and Greece has been playing an important role for some time, while continuing to harness a distinct sound. Whatever this “Greek” sound is, it’s on par with anything being released in sibling genres, and with more albums like Communion, Septicflesh will remain casting their shadow over the land.
Friday, April 18, 2008
Death Cab
So Death Cab for Cutie has a new album coming out, and I’m sure it will be huge, if it isn’t already. I was part of the crowd that saw Death Cab move from an “indie” band to OC acclaim. Does this make them Pop? I have to admit I haven’t listened to Death Cab in a long time, but I want to say the last time I did, it was unfortunately at Starbucks.
So what’s new? You’re looking at it, but is it really any better? I saw Vampire Weekend last summer at a local bar in Eugene, this winter they played SNL. They released their debut album almost a month before, and were already hitting the prime time. I wrote about them, and so did everyone else apparently. Since these things are hit or miss, I am writing about two bands, and hoping for the best.
New Pop bands tease me from all directions these days. The Magistrates are from Essex, and I can’t stop listening to their new song “Make This Work.” This is ridiculous in one sense because they aren’t even with a label. They just have booking information and a band website, but there's something funky in the air. Falsetto vocals cry under pulsing neon keys, and make for Purple Rain anthems that won't quit. Fans of old school greats like Prince and Jamiroquai, not to mention new school names like Jamie Lidell and Hercules and Love Affair, will dig this.
If you dig Melt Banana as much as I do, and want some kick to your pop, I have to confess my affections for Glasgow’s DANANANANAYKROYD. They play “Fight-Pop,” which is basically everything Pop you would expect from Glasgow, infused with spacious breakdowns, and some noisy Hardcore Punk. They're opening for the Japanese noise crew in their hometown late June and are set to release an E.P., Sissy Hits, on Holy Roar earlier that same month. I would love to see them judging from their recorded live samplings, and from experience, I can tell you Melt Banana is unreal.
These two bands don’t deserve being mentioned in the same category. Melt Banana has been putting out splits since the early nineties and these guys have yet to hatch, not to mention fly. It isn’t fair to hope for the best when life is young, triumphs that come after early stumbles should be what leads to fame worthy of praise. Just ask Death Cab.
So what’s new? You’re looking at it, but is it really any better? I saw Vampire Weekend last summer at a local bar in Eugene, this winter they played SNL. They released their debut album almost a month before, and were already hitting the prime time. I wrote about them, and so did everyone else apparently. Since these things are hit or miss, I am writing about two bands, and hoping for the best.
New Pop bands tease me from all directions these days. The Magistrates are from Essex, and I can’t stop listening to their new song “Make This Work.” This is ridiculous in one sense because they aren’t even with a label. They just have booking information and a band website, but there's something funky in the air. Falsetto vocals cry under pulsing neon keys, and make for Purple Rain anthems that won't quit. Fans of old school greats like Prince and Jamiroquai, not to mention new school names like Jamie Lidell and Hercules and Love Affair, will dig this.
If you dig Melt Banana as much as I do, and want some kick to your pop, I have to confess my affections for Glasgow’s DANANANANAYKROYD. They play “Fight-Pop,” which is basically everything Pop you would expect from Glasgow, infused with spacious breakdowns, and some noisy Hardcore Punk. They're opening for the Japanese noise crew in their hometown late June and are set to release an E.P., Sissy Hits, on Holy Roar earlier that same month. I would love to see them judging from their recorded live samplings, and from experience, I can tell you Melt Banana is unreal.
These two bands don’t deserve being mentioned in the same category. Melt Banana has been putting out splits since the early nineties and these guys have yet to hatch, not to mention fly. It isn’t fair to hope for the best when life is young, triumphs that come after early stumbles should be what leads to fame worthy of praise. Just ask Death Cab.
Tuesday, April 8, 2008
Battle Cry
I have been listening to the new Akrobatik for the past couple weeks, and for a first encounter, I am pretty impressed. Boston isn’t really the first place that comes to mind when you think about Hip-Hop from the Northeast, but Akro holds his own on his newest release, Absolute Value, while boasting battle tactics for the conscience few.
The album really caught me by surprise. I hadn’t heard about him at all going into Absolute, but did recognize parts of the album’s entourage. The most obvious attraction was “Put Your Stamp On It,” featuring production by the late J.Dilla and tag-team rhymes with Talib Kweli, but that’s just the beginning of guests that show up. Mr.Lif and Little Brother chip in on “Beast Mode” and “Be Prepared” respectively, even legendary MC Chuck. D throws down some narration on “Kindred” ft Brenna Gethers. Akro boasts, “...check the archives, back in 95” on the title track, and on Absolute, there’s a veteran crew to vouch for him.
Akro’s delivery is loud and in your face, just like his New York neighbors, but it’s the content that hits your from a different angle. He preaches that there is too much conscious Hip-Hop afraid to pull the trigger behind the mic, and too much commercial Hip-Hop selling guns not music, and on one hand I agree, but also have to take issue with the notion of an absolute voice in Hip-Hop. Akro has a style rooted in old school greats like KRS One, which is pretty much impossible to knock, it’s when his attack slows down on the R&B tracks, “Kindred” and “Rain,” that his Absolute Value seems to run out of ammo. The last track, “Back Home To You,” is a dedication to his wife and seems out of place, but I can’t hate, you should stick around anyway for the hidden electro-funk that follows.
Like I said, I can’t hate. The album is full of huge beats and Akro stands tall with them. “Soul Glo,” “Black Hell Breaks Loose” ft. Willie Evans Jr. & Therapy, “If We Can’t Build” ft. Bumpy Knuckles, and the title track rain down like angry fists and capture Akro at his best.
With the big names like Gnarls Barkley dropping this past month, and many to come in still a young year, Absolute Value probably won't claim this year's crown, which is fine by Akro; he’s got blueprints to the castle and stockpiles of dynamite. Check this one out.
The album really caught me by surprise. I hadn’t heard about him at all going into Absolute, but did recognize parts of the album’s entourage. The most obvious attraction was “Put Your Stamp On It,” featuring production by the late J.Dilla and tag-team rhymes with Talib Kweli, but that’s just the beginning of guests that show up. Mr.Lif and Little Brother chip in on “Beast Mode” and “Be Prepared” respectively, even legendary MC Chuck. D throws down some narration on “Kindred” ft Brenna Gethers. Akro boasts, “...check the archives, back in 95” on the title track, and on Absolute, there’s a veteran crew to vouch for him.
Akro’s delivery is loud and in your face, just like his New York neighbors, but it’s the content that hits your from a different angle. He preaches that there is too much conscious Hip-Hop afraid to pull the trigger behind the mic, and too much commercial Hip-Hop selling guns not music, and on one hand I agree, but also have to take issue with the notion of an absolute voice in Hip-Hop. Akro has a style rooted in old school greats like KRS One, which is pretty much impossible to knock, it’s when his attack slows down on the R&B tracks, “Kindred” and “Rain,” that his Absolute Value seems to run out of ammo. The last track, “Back Home To You,” is a dedication to his wife and seems out of place, but I can’t hate, you should stick around anyway for the hidden electro-funk that follows.
Like I said, I can’t hate. The album is full of huge beats and Akro stands tall with them. “Soul Glo,” “Black Hell Breaks Loose” ft. Willie Evans Jr. & Therapy, “If We Can’t Build” ft. Bumpy Knuckles, and the title track rain down like angry fists and capture Akro at his best.
With the big names like Gnarls Barkley dropping this past month, and many to come in still a young year, Absolute Value probably won't claim this year's crown, which is fine by Akro; he’s got blueprints to the castle and stockpiles of dynamite. Check this one out.
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