Big Ears

On the subject of YouTube covers, for some bizarre reason there are a lot of covers of the drumming on Radar Love by Golden Earring. The best by far is this person, about whom I know nothing, except that he is a good drummer:

Antonio

Thanks alot Trollheart , really appreciate that you took out the time to read on a review that wasn't necessarily your personal taste, but I hope that it may have helped you to see how Hip-Hop has more than just the money/women/cars thing going for it.

Big Ears, yeah I find it interesting that whenever someone does covers online with a particular instrument, there's always (as an unwritten rule) that certain group of songs that get played. Could it be a tradition thing? Submissions from people who watch them maybe?

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SONGS I'M DIGGIN'
Ghost B.C.-Year Zero

Hey everyone, I know that it's been really long since I last posted on here, but I've just been getting adjusted to my new job as of late. While I won't go into too much detail, I have some new free time, but at the same time I don't, so trying to work on this thread while juggling different parts of my life. I got into this band more or less on a whim when I saw some page on Facebook about metal and one of those "whose better" things with Opeth, Mastodon and these guys. Already having known the first two groups obviously, I decided to check out Ghost, and I'm glad I did.

The best way I could describe this band is "Satanic disco rock". They have lyrics concerning the dark lord and the occult, and back it up with melodic singing and 70s style synth and a danceable groove to wrap it all together. What might be a selling point for some (and conversely a drawback for others) with this band is the vocals. They're this sort of clean and clear and slightly nasally singing that at first doesn't seem like it should belong anywhere near the music. It really works with what they're trying to do though and is one of the best parts of their music.

This comes off of their soon to be released album Infestissumam and is already a song I've had on repeat for some time. I was originally planning on doing another song of theirs (Ritual from their debut Opus Eponymous), but I can't deny how much of an impact that this song leaves me with. From the very beginning, it's dark chanting sets you up for something foreboding, but then subverts that with a more upbeat and danceable groove to support the menacing chants.

The vocals at first have this sinister side to them, but then the chorus kicks in and you're hit with this soaring melody that pumps you up and makes you want to sing along.

It's funny though, because you may be surprised at how eager you will be to sing "Hail Satan" if you're not into the dark lord already, but this song really has a certain catchiness to it. The song that I had previously planned to do, Ritual, has it's own catchy chorus, but the one in Year Zero is something so infectious that it actually made me forget about Ritual altogether, even though I had listened to the latter song 5 times on the way to work and I don't even own the former song.

The rest of this song is no slouch either; the chugging guitars set up a groove that is supported by the atmospheric keyboard which makes for a really killer track.

In essence, this song isn't the most technical, and it's structure is a bit on the predictable side, so if that doesn't sound like your metallic cup of tea then you may want to pass on this band for now. For people who like heavy music with a melodic edge though, this band can bring something refreshing to the table.

So yeah, this is a good band in my opinion, and I'll definitely look to pick up Infestissumam when it actually comes out.

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AWESOME SOUNDTRACKS
Metroid Prime

Now, when I got the idea for this, Metroid Prime was one that I wanted to do for a while, but wanted to wait until I had gotten to and completed the actual game before I talked about it. As a result though, I will say that there are some spoilers that relate to the music which I will reveal. So be forewarned if you haven't played through this game and don't want it ruined for you.

(Although I would say you should definitely play the game as soon as you can; at this point it's probably one of my top 5 games of all time)

But anyway, let's get on with it.

Metroid Prime was a game released in late 2002/early 2003 for the Nintendo Gamecube and was the 4th game in the Metroid series as well as the beginning of the Prime series. What really makes this game stand out from the titles before it was not just the fact that it was the first 3D Metroid game, but also the fact that it largely takes place in the first person view, something that was considered controversial for the time. Now, while some may argue that it made the game worse to go into first person, I'm of the camp that it made for a hugely atmospheric adventure, and personally made the game so much more engrossing, but I digress. The soundtrack for this game was done primarily by Japanese composer Kenji Yamamoto, with assistance from Koichi Kyuuma. What really makes it interesting for me is the fact that much of the music from the game was remixed from previous Metroid titles like Super Metroid, but still manages to be so perfectly fitting to the setting and the game as a whole. The remixes of natural and organic sounds such as pianos and chants with electronic and unnatural sounds such as is something befitting of the game, where you seek to uncover ancient technology that is both at odds with and working with the natural landscape of the planet. The first theme for the Tallon Overworld is basically a remix of the theme for Brinstar, but compared to the original's sense of adventure and push to go at it, this new version's rising chants and meditative majesty makes it one that is a masterful piece in it's own right.

Coming from the last installment of this that I did with Bastion, Metroid Prime is a game who's music serves a different purpose. Where Bastion's soundtrack is one that led alot of great parts of the game, becoming something great in its own right, MP is a different beast. Prime's soundtrack is more subdued; something that works hand in hand with it's accompanying game.

Indeed, the music makes for a number of great moments in this game. One huge part that it helps with is helping to build the atmosphere. For those who haven't played the series, the one thing that makes a Metroid game above all else is exploration and the atmosphere that comes with it. As such the music has a way of setting the stage, from the majestic structures and mystery of the Chozo Ruins to the quiet serenity of the Phendrana Drifts to the toiling and boiling of the Magmoor Caverns to the twisted scientific monstrosities that await in the Phazon Mines.

Did I also mention that there are multiple tracks for each single area? For example, when you first enter the Phendrana Drifts, it's snow capped majesty is topped by a serene ambience which makes you feel as if the wind is brushing against your face from atop a mountain in deep thought. When you reach the Deep Lake Area of Phendrana, this discovery is accompanied by a track that perfectly represents the snow falling and the ice forming in a quicker way.

It's music for a number of bosses and enemies can serve as both your backup and the tool for your demise. The track that plays when you're battling Chozo Ghosts is so intense and foreboding that it fills you with a strong sense of dread whenever it pops up and the room grows dark and these unsightly spectres come into view. When you come upon a giant room with a cryogenic chamber holding the largest Space Pirate you've ever seen, the track that starts playing when you're fighting this behemoth serves only to let you know how much longer it is until your eventual failure. In a way some of the more dangerous creatures and bosses you come upon have this quality to their music that ends up sucking the gung-ho ready-for-anything mentality you have if you're not careful. I know that this happened to me while playing and led to me getting trounced more than a few times.

On the other hand as well, it can serve to be the piece that makes you want to blast that last shot into your enemies and claim your victory. This is something I felt during the fight with Meta-Ridley, a robotically modified version of your arch nemesis who's accompanied by a more electronic remix of his theme to keep you going.

In the end though, what makes this a great soundtrack is just how cohesive it is with a great game. It doesn't feel like something just anyone would come up with and it definitely doesn't feel tacked on. This is something that's really meant to be heard while playing said game. That's why I didn't try to review it like Bastion or give it a score, as I would rather have someone play through and experience the sounds the way that it was meant to be.

But yeah, here's a full playlist if you don't have the time to actually play Metroid Prime (although I would highly suggest to make some), and have some of my personal favorite tracks in here too while we're at it.

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Antonio

Here's a song that hits all cylinders in terms of chill and well executed hip-hop. Joey Bada$$ is an 18 year old rapper from Brooklyn and a part of the Pro ERA crew, a New York collective of sorts. The beat here sounds fresh and bright and at the same time calm enough to flow with the rapping. And speaking of flow, Joey and his partner on here CJ have some deviously good flows that seem to never run out of steam. This track is a great thing to have on at a barbecue or driving on a sunny day.

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Oh man, there's so many things I love about this track that I don't know where to start. For one, the guitar line here is probably one of my favorites right now, its funky foundation supporting what makes for a finely structured piece of music. When the rest of the song comes in though, that's when the real fun starts. The high energy of the vocals and the overall structure of this track is something I love; keeps me dancing even when I don't realize it.

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If you have any of a handle on music today, then I don't think I have to tell you who Tyler, The Creator is or how WOLF is his third solo release following BASTARD and GOBLIN.

The thing with Tyler's solo releases is that much of the narrative and content focus on his personal life, both past and present. What makes it different from a number of other self reflective rappers is that Tyler doesn't necessarily go out of his way to explain everything. Alot of the tracks are wrapped up in subtle references to close friends, previous albums, and the OF collective itself. This may be confusing for some people who are just listening to Odd Future now; you may be wondering who this guy he's mentioning is or if he's talking about himself but differently or if what he's talking about is something that happened on a previous album. That being said, Wolf isn't exactly the first album I'd recommend to someone trying to get into Tyler's music or OF in general. I will say though, that there's this article written that more or less explains the "backstory" if you will of this trilogy and has some interesting clues and tid bits that make listening to this all the more intriguing. While I can't completely say that everything here is true, it's still an interesting read.

The themes central to this release are definitely a shift from some of the subject matter Tyler became well known for on Bastard and Goblin. There's still plenty of expletives and insults thrown towards everyone and plenty of "GOLF WANG, WOLF GANG, etc" calls that tells you you're listening to an Odd Future release. What changes here though is how much of Tyler is put in here. You can definitely map the change between the 3 albums from the more brazen and crude tracks that center around rape and cutting up bodies to the tracks that contain much more personal things like Tyler's estranged father, his past relationships and his feelings of isolation and loneliness. These were elements present in Goblin, and while some really good tracks were made it never really reached it's full potential musically. This is why tracks like Answer, Awkward, and IFHY(I ****ing Hate You) are great and the high point of this album; they really do well to convey the guy behind all the OF shoutouts and the Supreme clothing. IFHY and Answer especially, the instrumentals have this sort of broken melancholy to them, like a childhood toy that has been damaged beyond repair. That, along with his uneasiness and frustrations present in his rapping really do well to covey Tyler's sensitivity to these subjects and are two of the most introspective parts of the album.

It's clear that Tyler is a guy who makes music for himself and his friends, and whether you'll like the lyrical content of this album is highly dependent on whether you're interested or even know about Tyler's background or the inner workings of Odd Future. For people who are just looking for good lyricism though, you'll be able to find some really clever and even funny lines, but in terms of raw rapping it's a bit underwhelming compared to something like Bastard offered up. There's also a bit of overuse of those magical cursewords(f*ck, motherf*ck, who gives a f*ck, f*ggot) that Tyler just loves to use to the point of crutching it. Still, I always felt that his rapping, while pretty good in some points, was just half of what makes him who he is.

Where this release really shines is in its production. Even from the opening track Wolf, you can tell that the production has really improved and is starting to take shape with what he wants it to convey. The type of sounds you would expect from a release by him are still present(alot of synths, pianos and "cheap" sounding effects) but are more refined and have a certain cohesiveness to them. While some may see this and hate those types of sounds and find them mediocre, I find it as Tyler nailing down his own production style. Jamba comes up right after and is a pretty good following track, if not already expected, type of song befitting Odd Future. The chorus especially delivers this really cool arpeggio that really brings it together. Plus this is probably the best verse Hodgy Beats has ever done. No seriously; I actually didn't think it was him till I saw the feature, haha.

Slater and 48 both have these smooth RnB chords and sounds, and both feature OF alum Frank Ocean. Slater is a really chill, and to be honest aimless in a (good) way and 48 is something that I enjoy seeing Tyler doing; a legit RnB/rap track. While it talks about dealing drugs and it's less than good repercussions, it still has this nice feel to it that I have no problem playing in my car while I'm out on the town. Tyler has some aggression here, but in a way it's undercut by the production and really nice chorus.

A surprisingly good track on here is the 3 song PartyIsntOver/Campfire/Bimmer. Normally I'm not into multiple song tracks; I feel that most of the time the pauses between tracks breaks the flow and alot of the times the two tracks don't belong anywhere near each other, but the way these songs come together really works. They have a really nice set of instrumentals that are backed by Tyler's bassy monotone voice, as well as a few features that spice up the songs by adding some really nice melodies. My personal favorite is the group of kids singing on Campfire. At first this didn't really catch my attention but after a few more listens it really grew on me.

Now, don't think that this album is just a bunch of mellow, slow songs and that Tyler has just lost it or something. When Pigs and Parking Lot crash through, they deliver an anger laden and rough at best trip, outlining acts of violence with these sinister and almost unsettling beats. Rusty follows them up and diffuses some of the aggression, but still has it's own aggression to spare. In a way, Rusty really comes through and becomes one of the best parts of this album. Domo Genesis really delivers on his verse and Tyler has some good lines, but Earl Sweatshirt's feature felt underwhelming, where there wasn't as much of a personality that you had on his Earl album. It almost sounds like he's not really all there.

There's also tracks like Domo 23, Trashwang and Tamale which are tracks made to be the offensive and brazen OF you've come to know and love, and while I do enjoy Domo and Tamale, I fully acknowledge that the lyrical content is more shock oriented than clever or thought provoking. Still, Domo 23 is more or less a standard OF song, a la Rella from The OF Tape Vol 2, and Tamale offers a surprisingly catchy hook and the horns with the sample really add to the ferocity, especially when they go to a more sinister set of melodies halfway through. The fact that one of the first lines in this is "Tell Spike Lee he's a f*cking n*gger" really shows that this kid still has some teeth among the more reflective songs.

Trashwang is a different story. Listening to it I felt that they made it to be the Bitch Suck Dick of this album, but while BSD was a sharp and hilarious satire of rapping bravado and flashy posturing, Trashwang comes off as sort of limp. There's definitely some funny lines here, but the beat itself comes off as kind of lazy and too on the nose for something trying to make fun of "going hard" with a song.

That's not the only weak spot of this album, either. There's Colossus, which is pretty much meant to be Tyler's Stan, concerning an obsessive TtC and OF fan, but compared to the story with Stan who was obsessive to the point of fearing for your life, this fan just comes off as kind of creepy but ultimately harmless. The beat/composition of the song is nice, but the lyrics and the gravity Tyler is trying to give it come off as slightly pretentious and just ineffectual. I'm not too big of a fan of the song Cowboy either, it's beat just seems more paltry than purposefully minimalistic, and the chorus gets in your head, but I would just as soon kick it out once it reared it's ugliness.

There's also a point where a couple of songs aren't really that great of a fit for this release. Treehome95 is an RnB track that features Erykah Badu, but it's tone compared to the rest of the album is too different in my opinion. I like it, mind you, but it feels like this would have been better as a separate single. The closer Lone is an interesting track too, the production is much more jazzier than previously and almost seems unlike Tyler, but hey, that just means he's really spreading out his influences, right?

In the end, I really enjoyed this album. This wasn't a mindblowing release though(listen to Chance The Rapper's Acid Rap for that *wink wink*), but this was definitely a fine release from Mr. The Creator.

So I give it an 7/10.


Favorite Tracks-Jamba, Awkward, Domo 23, Answer, 48, PartyIsntOver/Campfire/Bimmer, IFHY, Rusty, Tamale
Least Favorite Tracks-Cowboy, Colossus, Trashwang

And of course here's some tracks to sink your teeth into

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Antonio

Man, I'm not too sure how to start this off....

I guess I'll let you know who this guy is. Chance the Rapper is Chicago native Chance Bennet, a 20 year old rapper/singer who wrote his debut "10 Day Mixtape" when he was on 10 day suspension from his high school. Acid Rap is his sophomore release and where 10 Day was more of him getting his name out there, Acid Rap is Chance really coming with his own style. What's also interesting to note is that as per the title, LSD or Acid was a good part of the production. When asked about how taking it effected his rapping, he said that it helped him to think outside of the box for alot of his lyrics as well as his singing.

Now you can say what you will about that, but I felt that even without hallucinogenics, there's alot to love about this release.

The one thing that really sells this for me is the fact that Chance The Rapper is not only a rapper, but also a singer too. While not the most unique quality in an MC today, the way he goes through songs really keeps you on your toes, switching between rapping and singing at unexpected points of a track, where during a verse the odd sung note would pop up and give you a hook to hang on to for the rest of the track.

Not only that, but when it really comes down to it Chance actually is a really good rapper and a really good singer. He has this real uncanny ability for good hooks that get into your head without you realizing it. As I write this review in the silence of a room I can still hear many of the choruses and sing them exactly; it's been a few days since I last heard a number of these songs. His rapping is also a deceptive sort of thing. While he sports something of a broken flow peppered with his "nanana's" and "AGH! AGH! AGH!'s" you can find some deft wordplay and meditativeness intermingling with his signature calls.

That's the thing with Chance and his off kilter, sing-songy rapping; it's just so damn endearing. I know it's kind of hard to explain, but I see it like this: Chance's odd voice and strange melodies, his almost schizophrenic, offbeat flow and just the general way he goes through a song really hits me because he's NOT perfect, he's NOT precision cut and it's NOT the usual standards that one would be used to in Hip-Hop and RnB. This is not the most experimental rapper mind you, far from it even, but the fact that he can have these sorts of qualities on some beats that would befit any run of the mill young "swag" rapper is really interesting. It's that contrast that really works; the fact that he can have these sorts of qualities that shouldn't work and still sings his heart out and puts all of himself into his lyrics makes this more soulful and genuine than any Drake, Frank Ocean, or even The Weeknd tracks I've listened to.

For example, when I'm hearing a good Drake song the thought that's usually running through my mind is "Oh I really like this melody, I'll probably have it in my head later." When I listen to CtR on the other hand, I FEEL his anxieties, I FEEL his like I'm on the trip with him, I FEEL his melodies and the strength behind his singing and damn it I want to sing WITH him.

Anyway, let's get down to it. The album opens up with Good Ass Intro, and this may be the point where it can deter some people from the rest of album. The backing music is really good, and the callback to Chicago Juke music with the upbeat tempo and horns halfway through adds a new dimension to this, but on here Chance kind of sounds like Lil Wayne(probably not purposeful but that's how it comes across), so if you can't stand Wayne's style or rapping then this may turn you off from the rest of this. Still, it's an upbeat and fun introduction.

Right after is Pusha Man, and what's probably the most interesting about this is the pause that comes right after the first part of the song. Compared to other multipart songs where they usually last long enough to know that the first part is done, this goes on just a bit longer. While this may be am odd thing or even an annoyance to some, Chance insists that you listen to the song with the pause as it adds to the effect of the whole piece. The first part, Pusha Man, is more of a straightforward track that with a really well done chorus that is what you expect from the title(selling and doing drugs of many varieties). The second part, Paranoia, is a more reflective piece with a sort of beat that just wipes away at your brain. This goes into alot of the recent gang violence plaguing inner city Chicago, and I must admit I knew nothing about the situation over there before hearing it from this album. It something that when you really listen to it at the end you feel for Chance and the people in the midst of this situation right now.

Up after Pusha Man is Cocoa Butter Kisses, and HERE's where the album really opened up for me. The hook on here is absolutely gorgeous and the instrumental touches give you this smooth RnB feel that makes it one of the best tracks on the album. This song here is about the effects of doing drugs, both to a person physically and to their relationships with family and friends who don't really share the same pastime. Twista does the last verse on here and really delivers on his end, providing not only his signature fast style but also some cool lyrics to wrap your head around.(no pun intended)

Juice follows up, and it along with Cocoa Butter Kisses are probably my favorite tracks on the album. From the very beginning he has this head in the clouds singing that gives way into a fierce rapping that's at the same time relaxed enough to flow with. It's this sort of off-kilter feel. The pounding chorus of "JUICE! JUICE! JUICE! JUICE!" and Chance's backing it with "I got the juiiiice, I gooooot the juiiiiiice" is guaranteed to be one of the most unlikely earworms you will get any time soon.

Lost is a really dreamy piece that basically creates this image of a relationship fueled by drugs that almost seems romantic in a way. This whole song is just so relaxed and almost cleansing with it's subdued beat and calmed down Chance compared to how he was really hyped up previously. With Everybody's Something The two things I love about this song are the chorus and the idea behind it. The sentiment that "Everybody is somebody's everything" really put a smile on my face and will cheer up anyone who's feeling down or unloved. The way it's sung and rapped gets away from the beat slowly as it goes on only to come back near the end. There's a really good flow on here that goes well with it's instrumental which is a bit of a midway between melancholy and happy go lucky, kind of like how trying to find love can be.

After that, the Interlude(That's Love) showcases some of Chance's best rapping, where he mixes alot of his smart wordplay with an unusual but on point flow that gives way into some very beautiful singing. This song differs from what a number of other young MCs would talk about where Chance is saying that things like how much money or twitter followers you have couldn't compare to the feelings of being with those you care about and just being in love.

When it comes to Favorite Song it is the most poppy song on here, but it really works to the album's advantage. The beat is minimal in production but really shines through to the rapping and chorus, which is one of my, well, favorites. Childish Gambino has a verse on here, but in all honesty I felt that it was a bit weak, and in a way mirrored a type of flow Kanye West would do without really trying years ago. Still, this is a pretty fun song. NaNa is a bit different. While some people may find this song in general to be a big goof or kind of stupid(I know I did the first time), especially with using "nanana" as a chorus, it really gets in your head, at first ironically but then for serious. Action Bronson delivers a hilarious and enjoyable verse that's brimming with personality and the way that the "nana's"sort of devolve and become completely different by the end is really enjoyable. It's kind of dumb fun, but it's alot of dumb fun.

Afterwards is Smoke Again, and this track is a bit different compared to previous ones. The beat here is less RnB influenced real instrumention mixed with hip-hop beats and more your par-for-the-course trap beat, but Chance does come through on this. The singing/rapping is pretty catchy and sort of feels like a drifting point to the rest of the album. Other than that there's not too much to say about this track...

I had to give a few listens to Acid Rain before I really decided how I felt about it. I definitely like the samples used here, and the rapping is definitely on point, but I guess what turned me off to this compared to previous tracks was that this was much less singing than what I was accustomed to by this point. Still, after a few listens, this is a pretty good pure rap track that shows that while Chance can definitely sing, he can rap pretty damn well.(I guess he's not named "The Rapper" for nothing eh?) It really is a reflective track too, talking about his life in general, so it really works. Next up is Chain Smoke, and this has a really nice sample that backs the hook, which of course is just catchy and really well done. The rest of the instruments are in really good places here too, and after multiple listens you really notice some of the nice touches that come through.

Everything's Good is the closing track of the album starts off with this beautiful piano serving as the backdrop to a nice intro where Chance is talking to his father, and goes into a really interesting melody and some more reflection by Chance with how he used to be more of a troublemaker and how he isn't the best person but still working towards his goals in life. This track once again features some really fresh horns near the end, and sort of breaks off into that sort of Chicago Juke style that was present in the Good Ass Intro, essentially bookending the album.

What can I really say about this overall? I absolutely love this mixtape/album/whatever. I've been listening to this since I got it, going to and from work, walking the dog or just randomly and I can't really say I'm tired of it yet. Even listening to this again for this review didn't feel like a chore at all. You can tell that alot of this music is from the heart and is someone who really values alot of the non material things in life. That's something you rarely find in alot of hip hop anymore and it makes me appreciate this even more.

The only real faults I can find with this is how some songs have less of a deep meaning as much as some of his best tracks, that and at a few points his "na's" and "AGH!'s" can be a bit misplaced and overused. Still, I sincerely hope that this isn't Chance's last effort, because I feel like he's still got alot to say and he has a ton of potential to do great things. Only in the future can we tell if this stands the test of time, but if you ask me I could really see this opening up a new type of hip hop, for everyone. And it's free, so unless you have an unexplainable fear of computer downloads I don't see why you shouldn't check this out.





Favorite Tracks-damn near all of it, except for...
Least Favorite Tracks-Acid Rain

But hey, here's some music from it, and let me know what you think if you decide to check it out

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I remember back when my old guitar teacher had told me about these guys and how good they were, and me (being a f**king dumbass at the time) just snubbed it off like whatever. It wasn't until recently when I checked them out that I'm kicking myself cause I didn't hear it sooner. Captain Beyond is a 1970s rock band made up of former members of Deep Purple, Iron Butterfly, and the Johnny Winter band, respectively. While having gone through several line up changes since it's inception, their self titled debut is still a fine example of Classic Rock and the intro track is one of the best in the genre.

One thing I could say about this tune is that it brings the RIFFS! The numerous catchy riffs are what is clearly central to this song. In a sense, this song feels like a locomotive, it's constantly in motion and maintains a certain rhythm even when it changes the tempo and even the time signature. The vocals really work well to keep you grooving, and the rhythm section ties it all together.

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For this installment, I bring another artist who I just found out about recently. RA The Rugged Man is a Long Island rapper and this is from his newest release Legends Never Die. What's probably the most interesting thing about him is that he started his rapping career back in the early 90s, even Biggie Smalls himself said at one point "...and I thought I was the illest" when having heard him. The thing here too is just how even coming from so long back, RA shows no signs of fatigue lyrically.

The beat here has a nice battle-rap feel to it, but RA's lyricism, wordplay and flow are just absolutely mental. He's tears up whole generations of rappers in a few lines, and some of his verses are just flat out hilarious. My personal favorite comes at about 3:01 and is one of the best closing lines in any track I've ever heard


While some people may be turned off by the oldschool vibe that this has, it's definitely worth a listen to hear some lyrical destruction.

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