Since day one this blog has stood for only a few things, and one of them has been the unwavering support for Sacramento experimental noise hip-hop collective Death Grips. Given that I'm sure most of you were shocked and appalled by the lack of Jenny Death on this site, and I personally can't blame you. As far as excuses go I can only say that I've been busy, and the task that is this review seemed rather daunting. Do I combine it with the first volume? Do I give it it's own review? These questions pressed on my mind as I tirelessly formulated the perfect plan that would do this album justice, and I think that I have the format under control, so without further bull shit I'd like to give you a review for Jenny Death, as well as a holistic look at The Powers That B as an album. I'm pretty sure this is going to work.
Even though my (at this point, extremely) extended break is still going, you all had to have expected this. You didn't think I could wait that long to share my thoughts on a new Kendrick Lamar album, did you?
In the year 2015, there are very few rappers, if any that I get more excited for when releasing a new project than Open Mike Eagle. He's a normal guy who has a hell of a lot of fun doing what he's doing. His satyrical rhymes are filled with pop culture references, as well as obscure little comments about his own personal interests that, if you understand them, are very fun and relatable. He's a cool person making the type of music that he wants to make. There is no gimmick or greater purpose to what Mike is doing. Just a man stating his opinions on different social issues, injustices, or simple events that were significant to Mike himself. The main idea is that Mike is essentially making music for himself. Maybe that isn't the best way to garner a huge following. With the talent and endearing qualities Mike has in his repertoire, I'm sure he could sell out for more money, but it's very clear that this is what Mike wants to do, and he's not changing for anyone. Obviously he's not the first artist to try to make it by being himself, but there is an incredibly real quality to his music. He's strange, and eccentric, but not over the top in any way. Mike Eagle is a really cool guy that you met on the subway that you wish you had gotten to know better.
Today's post attempts to make sense of all the attention Drake has been receiving as of late. Sure, he's only in the news because he dropped a project out of nowhere and all, but I choose to believe there's more to it than that. Anyways, when we last the Aubury "Drake" Graham Saga, our hero was gazing into the distance, continuing to struggle with fame and fortune. Because a lot of people consider this to be the epitome of "deep", Drake ultimately sold over 1.5 million copies and took home a Grammy nomination for Nothing Was The Same, the brilliantly titled album about how his life is different now that he has discovered fame. Why has nobody ever written about that before? A real trailblazer, this motherfucker. At the end of the day, though, Drake is no dummy, which explains why he's selling If You’re Reading This It’s Too Late, a supposed mixtape, for a $12.99 retail price. Even if it isn't the real album he intends to release later this year, IYRTITL is still projected to rake in a fuckload of money from Internet sales.
It sure has been a long time since I wrote one of these, but the music was calling. As for my absence, well there isn't some profound excuse, more like life has been getting in the way. I can't promise extremely frequent updates, but I will try to step it up, seeing as how this music shit is actually something I care about. That being said I'm sure you are absolutely dying to hear what I have to say about this album given this blog's inexplicable disregard of the existence of a one Lupe Fiasco. I can't say I blame us, though. For as long as this blog has existed, Lupe has done nothing but disappoint and bore the absolute hell out of me. Lasers was an absolute monstrosity, and his last album was so indefinable that I can't even remember what happened on it. I'm pretty sure there was a song with the Pete Rock T.R.O.Y. beat, but don't take my word for that. Despite that, for no real reason I always find myself believing in Lupe. Before I get too ahead of myself let me take this as an opportunity to introduce you all to the artist in discussion.
(While I continue my somewhat extended break (the blog would be dead without these every once in a while) @Jbizzle_03 took the opportunity to spice up the dead period with a review of Joey Bada$$' debut album, B4.DA.$$)
As we come to the end of yet another year, it's time to reflect on how far our chosen genre was been able to progress, and also on how many steps back it was forced to take thanks to the quality of the output this year. But lets start on a positive note, and since I sure as hell love making lists, I'll now present you with our ten favorite albums (including mixtapes, and even *SPOILER* hip hop based instrumental albums) of 2014.
I know, I know: this is the guy you've been wanting for me to write about this month. I planned on getting to this a while ago, but, you know, shit happens.
(Today's Reader Review comes from longtime contributer @jbizzle_03, who elected to buy me a few more days and write about J. Cole's third full length album, 2014 Forest Hills Drive. Leave some comments for him below.)
As one of the more anticipated albums of 2014, 2014 (coincidence, right?) Forest Hills Drive aimed to finally kill off Jermaine Cole's doubters once and for all. Born Sinner, his sophomore effort, brought juxtaposed reviews, many loved it and many hated it. In my own opinion, it had a few songs in which Cole showed flashes of real talent. For example, the whole "faggot" spiel in Villuminati--I still see that as one of his best displays of lyricism. On to Forest Hills. Being Cole's third album, it drew quite a bit of attention from everyone from bloggers to radio listeners.
Will this be the project in which he finally establishes himself as one of hip hop's premier emcees? Let's get to it.