two bottles of lubiderm and a box of condoms… this displeases Marshall
Last year, Eminem saying something like “Ain’t nothin’ but a whole lot of suckin goin on in rap” would be the equivalent to Oliver Perez saying something like “gee, the Mets’ starting rotation really sucks this season.” But this year, we get “Despicable,” a fucking jaw dropping two minutes where Em tears into fucking anything he wants to regardless of if it makes sense or not. On “Not Afraid,” Em promised he’d never suck again. On “Despicable,” he proves it. Eminem spits with the crazed desperation we remember from the albums where he’d fucking choke the shit out of his wife or drive off a bridge with his pregnant girlfriend in the trunk. Only now, we’re the victims. The indiscriminate “You” he threatens and mocks over two different stolen-but-sinister beats is probably everyone who wrote him off after Encore. And if this is any indication of the quality of Recovery, we’re all fucked.Believe him when he says “Bitch I’m as bat shit as Ozzy it’s obvious you can tell I go right off the bat. No pun intended but come any closer I’ll bite off your head.” Believe him when he compares himself to Donkey Kong. Marshall’s back, bitches.
Guess who’s back with a brand new rap? Since literally becoming the “abomination of Obama’s Nation” with the whole BEST VIDEO OF ALL TIME thing, Kanye West seems to have temporarily retired from the meme-making business with “Power,” an addictive, King Crimson sampling banger with his most ridiculous lyrics yet. Choice lyrics include:
“Fuck SNL and the whole cast. Tell em Yeezy said you can kiss my whole ass. More specifically, you can kiss my asshole. I’m an asshole? You niggas got JOKES!”
“I don’t need yo pussy, bitch. I’m on my own dick.”
Kanye’s back rapping about what he raps about best: himself. And “Power” is a track that makes us realize just how much we missed Kanye West’s opinion on Kanye West during his absence.
I’m not as familiar as I probably should be with Japanese Instrumental Hip-Hop. Nomak and the now deceased Nujabes always seemed like the two brightest stars to emerge from the Japanese archipelago, both combining smooth beats over an even smoother mix of jazz and traditional Japanese instrumentation and melodies. With his 4th album, Dynamic Meditation Instrumental Limited, Nomak still sticks with this sound, molding his country’s past with Hip-Hop’s future. On an album full of relaxed, chilled out cuts, “The Universe” just happens to be a little bit more cool, a little bit more relaxing than the rest. It is pure Nomak.
Nomak – “The Universe”
Hammock’s latest release, Chasing After Shadows… Living with the Ghosts, is a return to form from the ambient/post-rock duo. Their 2008 release, while certainly good, stripped away all of the flair and power that makes Hammock such a special group in the ambient world. As if signaling a return to form with the ellipse in the middle of the title, recalling the group’s classic album, Raising Your Voice… Trying to Stop an Echo, Hammock brings back that power with a new sense of organic growth that makes their latest quite possibly their best.
“Breathturn” is the group’s single from the album, and is accompanied with a beautiful video that you should probably watch in full-screen. The song combines the purely ambient experiments of their previous album with the beautiful, reverb-laden climaxes of their previous work.
Brisbane has a lot of great bands and Nikko are one of my current favourites. Their sound has been steadily developing over the past five years, culminating in their debut album The Warm Side, released this year. Nikko’s textured sound sits somewhere between The Drones and Explosions in the Sky. “Young Liberal” is entirely instrumental and one of the best songs from one of the best Australian albums of the year so far.
We’re generally encouraged to post new tracks here, but as I haven’t quite given Sunderland four-piece the Futureheads’ fourth record, The Chaos, a proper listen yet, I didn’t really have any relevant options. Then I remembered this supremely unique, supremely awesome Kate Bush cover (listen to the original here), which pretty much launched the band’s career back in 2004. It’s everything a cover should be – fun, tongue-in-cheek with the proper amount of respect, and arguably better than the original. The only shame is that the band still hasn’t come close to topping it six years later.
The Chaos comes out this Tuesday.
Admittedly, when I first heard Ys by Joanna Newsom, I was hardly thrilled to say the least. However, Have One On Me has an intangible aura to its three disc, two hour album that borders along a unique blend of folk and classical modern style. Needless to say, now I see Ys and Have One On Me as albums that are nothing short of incredible, and “Soft as Chalk” is a peek at what Newsom and Have One On Me can provide.
Out of all of my new musical finds this year, none have captivated me as much as Noumenon. The Chicago area math rockers just released their Big Scary Monsters debut Party Mathematics earlier this month and really there is no more fitting a name for the zany, technical bliss that is Noumenon. The flippantly titled “Algoresrhythm” is an off-kilter bundle of ever shifting melodies that’s tied together by what may be one of the catchiest god damn vocal hooks of 2010. By the way, did I mention that their EP can be downloaded here?
Noumenon – Algoresrhythm
Here is a bonus track from Guilty Simpson and Madlib’s collaborative album OJ Simpson. The choruses are Motown soul smoothness, but the verses are subtle and laid back, letting Simpson’s deep, authoritative voice take over.
Guilty Simpson and Madlib – “Friends Only”
With Chamberlain Waits, one of 2010’s early punk standouts, The Menzingers have garnered comparisons to melodic punk heavyweights The Lawrence Arms and Sink or Swim-era The Gaslight Anthem, and rightfully so, as their sound seems to fall perfectly between the two. “Time Tables” is the stand out off their sophomore album and if there ever was a criteria to writing a fun punk song, they’ve got most of the boxes checked: harsh/melodic vocal trade offs, uptempo riffs, nostalgic/relatable lyrics, and sing-a-long gang vocals come together in what is surely one of the best punk songs 2010 will offer.
I would have loved to post some Janelle Monae here today, but such is the excitement around her outstanding new album that I’ve been beaten to it. Luckily, one of dubstep’s kings of utter filth has just premièred his latest sonic assault.
Diving further into the gutter than even last year’s Choke on Coke EP (and its delightfully tasteful artwork), “Disturbed” is just that. The bassline on this track isn’t even a bassline – it sound like more like the growling, gaping jaws of a demon-possessed monster of the kind John Carpenter might fantasize about in a particularly twisted moment. Hell, one of the top rated YouTube comments on the track insists that it’s ‘dirtier than Bin Laden’s wank flannel‘ – do you need a higher recommendation that that?
I’ve always had a soft spot for The Killer’s Hot Fuss. That’s why I was excited to hear “Easy Answers”. Tapping into the same electro-pop vein as the Las Vegas quartet’s debut, Paul Bethers’ new single rides a towering wave of pulsating synths and anthemic vocals to create an infectious sing-a-long vibe. With summer right around the corner, “Easy Answers” is bound to get a good work out in your car stereo.
Paul Bethers – Easy Answers
“Keep Your Eyes on the Road” is the first single from Paul Marshall’s new project, Lone Wolf, and serves to introduce the new project as the new face of Paul Marshall (mustache included!) with the accompanying music video. Marshall pays tribute to one of his musical influences, Peter Gabriel, by making the video a tribute to Gabriel’s 1987 music video “Sledgehammer.” The stop action animation mixed with claymation creates a tripped-out Fantastic Mr. Fox atmosphere, and manages to both emote Marshall’s lyrics and pay direct tribute to the animators of Gabriel’s team. According to Lone Wolf’s label, Bella Union, Gabriel and the animation team have “seen and approved” the video. The music is equally as impressive, demonstrating Marshall’s ability to take what could have been a great acoustic folk song and expand it into a fuller statement.
Remember Tony Hawk Pro Skater 2? As a 14-year old kid interested in skateboarding, videogames, and pop punk, this was pretty much it. This game was my introduction to a number of great artists including Millencolin, Consumed, and Lagwagon. My favorite track on the album was “May 16″ and I always try to make a silly point of listening to it today. My summer break after this game came out consisted almost exclusively of laughing at the ridiculous game physics, teaching myself punk songs on guitar, and getting injured trying out tricks on a home made half pipe (with maybe two inches of actual vert). I hope it invokes the same kind of nostalgia in you that it does for me.
Lagwagon – “May 16″
If there’s a band that better embodies summer than Philadelphia-based five-piece Free Energy, I haven’t found it. Driving with the windows open, hitting up the beach, lazing away on the couch with absolutely nothing to do or plan other than doing whatever the hell you want – summer is just as much a feeling as it is a season. And Free Energy’s superb debut, Stuck on Nothing, encapsulates that indescribable sense of freedom better than anything I’ve heard all year. Summer’s here: don’t let it go to waste.