I had started writing a review for Future’s sophomore album, and I realized while writing that the tracklisting I was working off of did not match the tracks themselves. Somehow, the song names got all jumbled when I transferred the album to my iPhone. Making matters worse, I transferred the 18-track deluxe edition, and I’m not sure if some of the songs are even on the proper 12-track release. So, please bear with all the generalities as I speak about Honest.
Continue reading “Future Review: Honest”
It’s been a steady shift over the past few years, but I believe 2013 was finally the year dance music (more specifically of the electronic persuasion) took the throne from hip hop as the most dominant genre in music today. There were multiple signifiers to me throughout the year that this shift has finally occurred, and below I will lay out the four biggest signs the robots have finally taken over.
Continue reading “2013: The Year Dance Music Became King”
The big release of the week, at least in our minds, was Nine Inch Nail’s Hesitation Marks. But this has been a pretty full week in music. One of Justin Vernon’s “non-Bon Iver” projects, Volcano Choir, released their sophomore effort to mostly positive marks. Neko Case (aka the next best thing to Jenny Lewis) released her first album in four years. The perpetually underrated Okkervil River released another solid effort. I was also introduced to a new artist (for me) called The Julie Ruin, which I was rather delighted with. And finally, wait for it, I give some love to an artist who released my most hated album of 2012. All in all, an overwhelming week in music, and since we won’t be able to give every one of these artists their full due, here is a little Friday snippet of each. Enjoy y’all.
The Julie Ruin – “Oh Come On”
This song is so damn fun. Kinda like a lower-fi Sleigh Bells and a little bit looser. “Oh Come On” is a quick two and a half minutes of blustery mayhem, and one of the ballsier additions to my iTunes library in 2013. Can’t wait to hear more.
Continue reading “LxListening: A Very Full Week in Music”
I began writing some sort of weird farcical review for A$AP Rocky’s upcoming album, LongLiveA$AP. The premise was the album has already been delayed twice (the first time for a month until October 31, and most recently to early 2013), and I was ultimately going to bitch and complain a lot about delayed albums and how that typically doesn’t bode well for the album. In particular, it doesn’t bode well for an artist who hasn’t released a studio album yet and is the musical equivalent to a rookie quarterback in the NFL. Sure, you saw him dominate in the lower ranks, but the jury’s out until we see where the big label influx of production money lands our Fabergé egg talent.
I decided to scrap above premise because I couldn’t exactly figure out what track to take with the whole thing. Instead, I decided to do a big ole’ boring song review of a track that gives me hope that LongLiveA$AP still has a legitimate chance to propel my favorite young unestablished hip-hop prospect into superstardom.
Continue reading ““F*ckin’ Problem” Song Review: A$AP Rocky (ft. 2 Chainz, Kendrick Lamar, & Drake)”
“King of Hearts” (Kanye West Remix)
Here at LxL, you’ll be hard pressed to find bad words directed towards Kanye West and I’ll be damned if that changes today on my watch. However, I certainly won’t be singing as of high praises as I normally do. Recently Kanye released his new remix of Cassie’s newest single, “King of Hearts”. The original is a decent enough club song, with minimal lyrics, but a thumping-good-time beat behind it. You can listen to that here:
Continue reading “Cassie – “King of Hearts” (Kanye West Remix) Review”
WZRD (Kid Cudi & Dot da Genius)
Kid Cudi has been systematically trifling away any amount of goodwill that I may have originally had for him (meaning I am not a member of this fanpage). First, Cudi followed up his take-the-world-by-storm debut with a lackluster, albeit not terrible, sophomore album. Then, maybe through no fault of his own, Cudi’s character on HBO’s How to Make it in America became simply intolerable in the second season. I mean, come on, who wants to watch a respectable hip-hop artist portray a pot dealer for Manhattan’s elite who delivers said weed under the guise of a dog walker. He also transitioned from a smooth operator to a whimpering puddle of emotion who decides to date one of his best friend’s exes, which is pretty incestuous and sad. And now, Cudi has brought us WZRD to complete his transition to a Drake-like cautionary figure of the wussification of hip-hop.
Continue reading “WZRD Review: Pronounced [wiz-erd]”
The amount of venom spit by Todd and Wes toward Dr. Dre’s late-millennium masterwork The Chronic 2001 had me all kinds of worked up last week. In fact, there was a lot of hate aimed towards Dre that was simply baffling to me. Despite the wide-ranging barbs directed at Dr. Dre, I would like to limit the scope of this post to The Chronic 2001, the main reason being that I think this album is the true culmination of all of Dre’s talents and far superior to The Chronic (1992 edition). So instead of writing ten thousand words, and including arguments about how the careers of Ice Cube, Eminem, Snoop Dogg, 50 Cent, etc. essentially sprouted from Dre’s fertile loins, I will try to stay on point. Not that there would be any appreciation by Todd or Wes of Ice Cube. Cube didn’t get killed by firearm like Biggy or Tupac, so white kids in the 90’s didn’t pay attention to him (note: blows Tupac out of the water). But, I digress. I’m also going to try to stay away from arguments about why Dr. Dre is still musically relevant. I think the 2010 killer single, “I Need A Doctor”, speaks for itself.
So what I’m going to do is start addressing particular comments, starting with the most fair, and advancing to the most absurd, trying to limit my comments as much as possible to The Chronic 2001 and ripping on Todd and Wes.
Continue reading “In Defense of: The Chronic 2001”