Album Rating: 4.5
Literally every song on this is great
|
| |
Album Rating: 5.0
Yeah doom seems so comfy on these beats, like I know he had fun making this one
|
| |
Album Rating: 4.5
This is getting pressed for RSD part 2 in June
|
| |
Album Rating: 4.5
one of the best hip hop albums i ever heard, every beat is hard, and the rapping is just brilliantly done and super clever, all the best mf doom traits are on this album
|
| |
Album Rating: 5.0
dumile rly had such a cool voice. as if the cleverness of his rhymes and delivery weren't enough, his voice just sounds good i like listening to it yknow
|
| |
I forget how long he lived in the UK, but I wonder if that served to inflect it with some unique ineffable coolness
|
| |
Album Rating: 5.0
totally
i know those cats dont like v, and if they took my head off they'd get off most likely
|
| |
Album Rating: 4.0
Best Doom
|
| |
“This development is worth commenting upon if only to point out prominent counterexamples throughout hip-hop, in which the female addressee, as it were, talks back. Perhaps the most historically significant of these is the 1984 single “Roxanne’s Revenge,” in which the teenaged Roxanne Shanté delivers a fiery response to the casual misogyny of U.T.F.O.’s single “Roxanne, Roxanne” (“But man oh man, if I was grand, I'd bang Roxanne”). A more cogent contrast can be drawn, however, between Lil Wayne’s track [“This What I Call Her”] and “Let Me Watch,” a song released in 2003 by the British rapper Daniel Dumile, performing under the name Viktor Vaughn. Here, Dumile engages in the same kind of misogynist come-ons as Wayne—“How about a nightcap, maybe a bottle of Moët? / So V can bite your titties like a baby toddler, hoe”—but is soon fiercely rebuked by the woman to whom he addresses them. The verse that follows Dumile’s lewd comments, performed by the woman rapper Apani B Fly, is the most robust and engaging part of the song, exactly the kind of intervention missing from “This What I Call Her”: “Oh no, you didn't! You called me a what? / Don’t make me wig out; how you gonna let some shit like that slip out your mouth?” Contra Lil Wayne’s song, in which the female figure is silenced entirely, on “Let Me Watch” she speaks even louder than the male rapper on whose track she is ostensibly “featuring”. I bring in these counterexamples to demonstrate that, in the complex province of a hip-hop artist’s masculine self-presentation, even a reflexive narrative turn like that of Wayne’s introduction does not preclude his full-bodied engagement in the tropes thereby unmasked.”
19 year old me, college essay
|
| |
Album Rating: 4.0
sorry but i am not reading that.
Saliva, Raedawn, vaudeville villain, let me watch are literally perfect
|
| |
Listen man I’m on a crazy Christmas bender it’s truly incredible
Let me watch is probably the most memorable in some sense but saliva too
|
| |
I forgot it goes raedawn let me watch saliva back to back to back. Sheesh
|
| |
Album Rating: 4.0
raedawn has one of the most filthy beats of all time
|
| |
So Martian, too: expressive of whatever kind of thing, like, karlheinz stockhausen (or less forbiddingly, idk, boards of Canada?) is, just bizarre and bloopy and so cool
|
| |
Album Rating: 4.0
raedawn sounds like autechre tried producing hip hop and I love it
|
| |
Gotta look more up about those behind the production of this album
|
| |
damn, why did i ever miss this till now
|
| |
Album Rating: 5.0
welcome : )
|
| |
Album Rating: 4.5
HOLY FUCK
|
| |
Album Rating: 4.5
This is insane
|
| |
|
|
