BADBADNOTGOOD defines what it means to be the revolving door in music, they can transfer over from so many different genres while keeping fresh and consistent in sound quality. Number IV is not distant from this formula as it keeps a fresh take on the dependable sound of BADBADNOTGOOD, while using some new ideas to branch out the tracks that only become better and better though each listen.
The layered quality of each song really adds to the depth of IV. Each track has so many variables that spread out each sound and make every song feel like an experience. Coming from III and Sour Soul, it is incredible just to hear how BBNG has progressed even within the last year and as the band continues to grow, so does their sound. III materialized as more than just as an album as the actual sound of the record seemed to be its own entity. I really loved the production work on III, and BBNG only seems to become better and better with each release.
IV combines all the elements of their previously released content, as each song has a bit of each album release under it wing to support the base. A song like “Lavender” which has a feature from Kaytranada who helps out on the percussion and the CS-60, have more of a hip-hop or rap vibe. The CS-60 gives the track those low, crunchy sounding synths and Kaytranada seems to be everywhere with influences and appearances through BBNG’s career.
Other songs like “IV” and “Chompy’s Paradise” have a Jazzier influence as “IV” is a sprint of a song, creating a blast of saxophone wails and quick drums beats. On the other hand, “Chompy’s Paradise” is a smoother, Jazz club sounding track with melodic synths adding to the area of the song, the saxophone solo and the soft piano keys steal the song away as they sound so perfect together and the whole track is excellent from start to finish.
While BBNG is a primarily instrumental band, they do bring in some friends to complete some vocalization on some of their songs and it was a nice addition to the traditional instrumental work. I still love the instrumental works on IV, but the song “Time Moves Slow” is one of the best songs of BADBADNOTGOOD’s discography to date. It just has such exceptional instrumentation and the lyrics from Sam Herring seem to be so personal that they almost hurt to say out loud. “Loving you was easy, it was you leaving that scarred,” I just loved this song from start to finish and it might be my personal favorite on all of IV.
IV sounds more experimental than its predecessors, but that adds charm and the fun of listening to this record. It provides a new experience and BBNG did a great job on the collaborations to bring vocalization and some different talent onto IV. I would just love to witness the studio sessions where they recorded some of these parts and made the songs into what they are now.
IV is the perfect album for going on a midnight drive as the songs vary from blazing fast jazz, slowed down soft-spoken songs, to the then thumping 808 and synth using beat style. BBNG keeps some tricks up their sleeves and while I will not spoil the album. IV is a welcome addition to the BBNG name and as their releases continue to get better and better, I can only imagine what will happen when we see the release of V. As their Bandcamp page states “IV continues their forward thinking progression, sounding something like a jam session in space between Can, John Coltrane, Herbie Hancock’s Headhunters, Weather Report, Arthur Russell & MF DOOM.” I couldn’t agree any more with this statement and IV not only brings genres together, but it breaks barriers down.
The Smiths, the legendary British Indie Pop Rock group that inspired a wave of evolution to music as an industry. They became staples in the community as The Smiths were a band that really began that indie sound. Innovative, Intuitive, and of great ingenuity, Meat Is Murder combines so many different elements of great songwriting and great personality and that it is no wonder why The Smiths and Meat Is Murder are still being talked about today.
Originally published in 1985 under Rough Trade Records, Meat Is Murder became an instant hit with the public reaching number one on the charts for thirteen weeks in the U.K. This was in relation to how The Smiths branched out their sound, refined their element, and were producing some more drastic style changes throughout Meat Is Murder. Songs like “Nowhere Fast,” and “Rusholme Ruffians” have more of a folk vibe to them while “How Soon Is Now?” and “The Headmaster Ritual” involves a more punk, or indie rock vibe. Now while indie rock is actually described simply as a band that is independent or not signed to a label, there is a sound associated with that specific genre and it has changed over the years. Now Indie signifies as mostly a lo-fi or low-fidelity sound or way of recording.
The Smiths were one of those innovators of this style of music and “How Soon Is Now?” just sounds so spacious as the drums have a ton of reverb on them which really makes the song so much better. The song’s theme needs a spacious setting and it just has so many little things on the track that just made it such a hit. “How Soon Is Now?” was originally released as a B-Side to a totally different record but had gained so much popularity on alternative radio stations and in dance clubs that it was a great way to spark further interest in Meat Is Murder by including it in future versions of the album.
Meat Is Murder is just one of those great records to throw on while going on a long drive as night as it has some great fast paced songs but can also slow things down to a crawl with the soft-spoken Morrissey singing over The Smiths backing instrumental work. “That Joke Isn’t Funny Anymore” is just one of those songs, it isn’t quite as slow as Morrissey’s solo work but The Smiths still have some great slowed down ballads. Meat is Murder is actually for the most part a quicker style album with blazing acoustic guitar and pounding drums like my favorite track on Meat Is Murder, “What She Said.” It brings some outstanding percussion work and perfect breakneck guitar riffs to accompany the thumping bass in the background.
Meat is Murder also has a laughable track at the end simply called “Meat is Murder” that uses cow and slaughterhouse noises to illustrate how terrible eating meat really is. I don’t think it makes or breaks the album, it just is a song you hear once and while it actually has a great instrumental, the lyrics are just so funny that I can not take it seriously. I understand what The Smiths were going for, but the cow noises are just a bit over the top for me and hearing Morrissey almost break down and cry while singing “Heifer whines could be human cries” isn’t something I really could relate to.
All in All, Meat is Murder is just a lively record that has some great fast paced dance songs and some slowed down crawl songs. The Smiths came with some outstanding sounds that were intuitive and showed some serious experimentation. It helped push forward an entire genre of music and I’m sure influenced several meat eaters to see how meat really is murder.
In the book of Genesis, two cities are mentioned in its pages. Sodom and Gomorrah, two cities that are one in the same with sin and the destructive nature of the human personality. Earth Crisis captures the spirit of the destruction and the surrounding sin that we as a society face everyday. The music, while hardcore sounding and mosh pit inducing, spread a message of awareness and warning to the modern society.
The lyrics alone, while obliterating and harsh, bring clear mindedness and a clear conscious to the foreground. Earth Crisis is by no means a soft-spoken band, the blasting guitar, bass, drums, and vocals annihilate the ears and bring some daunting themes along with them. The song “Cease to Exist” has some great lines about how “humankind dies in agony,” as “Ash blocks the sun from penetrating the choked atmosphere.” The picture the lyrics paint is a war-torn and destroyed Earth, “ICBM’s (Intercontinental Ballistic Missile) scream from their silos.” There is however, no better lyrics or imagery that could fit over the instrumentals and Earth Crisis acts as a beacon of hardcore music.
Gomorrah’s Season Ends is a testament to the destruction of not just human modern society, but to the entire race. The hand at blame is of course our own race, as we struggle for not just power, or greed, but to rule the entire planet by having our hands in everything. Gomorrah’s Season Ends was released in 1996 but still shows signs of our culture even 20 years later. After sitting down and listening deep to the lyrics, I can still hear how they influenced musical artists and had some predictions about the future that came true. The lyrics and stories that are told on Gomorrah’s Season Ends reminds me of Lamb of God’s record Ashes of the Wake as it describes the Iraq war, the thoughts of civilians at home, and what could have been avoided overall.
I really like the production of this record and it has that grainy, metal sounding pound to it. Gomorrah’s Season Ends just feels like it has a thousand-pound weight attached. Earth Crisis just has this presence about them and I could only imagine how insane it would have been to see Earth Crisis performing live all those years ago. For an album that is older than I am, it still today has a serious tone, a bad attitude, but still however manages to hold up and show the cracks in the world.
This is most definitely an album for fans of metal or hardcore music only, the violence and straight up destruction is something that I know many people are not huge fans of. If you can look past all the power and destruction, you will find an album that is just as incredible today, as it was 20 years ago.
The White Album, quite possibly the most influential work of music to ever be produced from a band. The Beatles, while well known at this point were finally at their end, the band began to disperse through the air and it seemed the group would eventually become no more. However, there was a shining glimmer of hope, The Beatles, or more commonly known as the White Album would begin to influence millions of people around the world, and become a piece of history.
The Beatles, or The White Album had gotten the nickname from its very simple cover art, yet it is still today a world renowned cover and surprisingly despite the simple white background with grey lettering, The Beatles did incredibly well launching to the tops of both the the U.K. and U.S. charts for eight weeks in the U.K. and nine for the U.S. The album while a work of refined musical skill and outstanding production which was also a technological advance for The Beatles as this would be their first album to ever use an eight-track system for recording. This was cutting edge at the time, and now it seems silly as producers can have up to 128 tracks and higher, but at the time in 1960’s, this was groundbreaking.
With the new technology brought in to record, this also brought in new music styles to try and experiment with. The Beatles were one of the first bands to really break barriers of music and to experiment with different instruments and musicians as well. Many fans of the album are unaware that Eric Clapton, longtime friend of George Harrison played guitar on one of the track on The Beatles. “While My Guitar Gently Weeps” actually was the first time The Beatles used a new musician to play an already existing part for a song. The White Album was just a great platform for The Beatles to use to experiment, mostly with different themes and ways of writing.
From the outstanding orchestra work, the timpani, the violins, the roaring trumpets, the whole album is a journey from start to finish and while I even personally enjoy the stranger tracks like “The Continuing Story of Bungalow Bill,” and even the downright otherworldly track “Revolution 9,” The White album also has tracks that are more radio friendly or that have more of The Beatles personality that longtime fans will remember.
The White Album just has so many unforgettable songs, that vary in the speed, instruments and the overall tone. Not a single song on the entire White Album sounds similar to any degree, and the darker songs like “I’m So Tired,” and even one of my personal favorite songs “Cry Baby Cry,” are amazing additions to the complexity and ever-changing style of The Beatles. From Magical Mystery Tour to Rubber Soul, The Beatles has always evolved their sound and image along as well. It was always interesting to see exactly what they had in mind and what The Beatles would release next.
I remember being so young and finally hearing The White Album, I was blown away even as a child and The Beatles were my first real heroes of music. The Beatles White Album just stands as a testament to how creative genius, experimentation, and hard work really pays off in the end, and how The Beatles became one of the monumental records of history.
Por Vida is the breakout debut album from Colombia’s own, Kali Uchis. Por Vida while under the Uchis name, has some collaborations from several different artists including Tyler, The Creator, BADBADNOTGOOD, Alex Epton, and even Kaytranada. Quite the impressive amount of musicians to help Kali Uchis make Por Vida one of my personal favorite albums since only the first listen.
Uchis sprang into my music library when I began watching “Illegal Civilization” which is kind of a documentary, kind of a skate video, kind of a do whatever we want to do video, where one of Uchis’s concerts were shown in one of the clips. The song “Ridin’ Round” was featured and I really like the energy she had on stage and the song itself was pretty catchy. After some research I eventually found her to be doing work in the future with Tyler, The Creator on one of his music videos “Perfect.” I finally decided I needed to listen to Kali Uchis on her own and Por Vida was the best place to start.
The beginning track “Sycamore Tree” features no instrumental at all, the actual beat is just a sample of Uchis’s voice played in different keys of notes to simulate a beat behind her singing voice. It was pretty creative and I had never seen this type of sample work used to create an entire beat with no instrumental whatsoever. It benchmarks the album and her beautiful singing voice is also present throughout the album, thankfully the instrumentals are too.
Por Vida features catchy lyrics and some really dreamy instrumentation, and the two together create a killer combination. Por Vida had me listening to it constantly and only looking forward to when I could hear it again. I just loved Kali Uchis’s voice as it fit perfectly behind these almost Sixties sounding beats. “Melting” for example has this guitar strum that creates a really dreamy atmosphere, but is also a wonderful addition to the piece, the song then switches into an overdrive by not speeding up, but having a chorus where all the instruments become louder and Uchis projects her voice to sing “Melting like an ice cream when you smile, Melting, you’re a day dream, stay a while.” I found myself just falling in love with each track and after the twentieth listen I had so much faith for anything Kali Uchis had in the future and would support her all the way.
Por Vida continues with another great, more poppy sounding track called “Lottery” where it almost talks about missing an ex, or trying to put the past behind. Explaining “Love was never my profession,” it sounds like it resonates through an ex or past lover. Then from the pop sounds, Uchis jumps right into “Rush” which might be my personal favorite on Por Vida. The instrumentation from BADBADNOTGOOD is just, so perfect that it just needs to be heard to be believed, and the way Uchis switches from English to Spanish and then back again was a really great addition to the song. “Rush” has almost a Caribbean Coast feel to it with the crisp ride cymbals, and the bass in the background giving this more dance vibe. “Rush” almost sounds like Uchis getting more involved with her roots and the instrumentation is definitely a result of this.
Then “Ridin Round” which was one of the singles comes around to bring a banger style of beat behind Uchis, it has some 808 drums and a catchy chorus and verse from Uchis. I think Uchis really took some leaps with Por Vida and the final two tracks are also pretty outstanding as well. “Speed” and “Loner” both feature more somber verses from Uchis and “Loner” is a great way to bring Por Vida to an end. The overall instrumentation and the perfect vocalization from Uchis just makes Por Vida a standout project. Uchis is an artist that has a bright future and hopefully she will continue to make music for the rest of her life, or I should say Por Vida.
Hak, the newest soloist after leaving the tri-headed rap conglomerate Ratking, tries his hardest to almost abandon and adopt a new persona that leaves the scum and dirty raps of New York behind. Hak begins a new chapter of his life with a totally different producing style and rap style as a whole, though he doesn’t necessarily leave all of New York behind.
June is the newest drop from once Ratking rapper Hak, he now leaves the street sounding style to connect through a more almost sleepy club record. The change is welcome however and while it sounds strange at first to anyone expecting another Ratking offshoot. Well the first thing I can say is lose the expectations and see this as a totally new artist as Hak really brings his new ideals to the foreground. I welcome this musical change and it was actually interesting to see how Hak has progressed from one of the creative powers of a rap-group, to now the spotlight of a solo/song-writer/singer career.
While I don’t want to only talk about Ratking, it is important to see Hak’s come up in music and to see where his influences are. Being the New York “Guiana Nigga” that he is, New York is still one of the biggest influences in his music and it is still easy to grasp and see why. The only differences is, Hak changed from the alleys to the main streets and this is a tape that sounds a little easier to jump into especially if you never heard his previous work. This isn’t a necessarily bad thing, and it will definitely be able to get a bigger audience for his new tape.
Publication is a good thing, but I just don’t see Hak blowing up or becoming huge with June. I like this work and I totally will say that it is a different publication from what were are used to with Hak, I just want to see him treat June as a trial run and I am eager to see what he does with this new style in the future.
Hak is for sure a talented musician and has so many connections and powers in his hand to make an outstanding record, and there are many songs on June that I really thought stood out. Songs like “Aura”, “Hues”, “Concrete Waves”, and “432 Hz” are all really great, flushed out songs. The rest of June just unfortunately wasn’t something that I thought was monumental, or that really stood out. They could be played as more calm songs, which I don’t mind, however they just seemed to miss the mark and it was unfortunate because I really wanted to love June.
I, personally just seem to associate more with the dirty street sounds of Ratking, and that just goes for music in general. I like the dirty, hardcore, dramatic songs that have a heavy emotion tied to them. With June however, the auto tune, the simple beats, and the lackluster verses did not move mountains for me.
I still recommend checking out June as it comes with some really interesting and creative songs, the lyrics from the single “Aura” still resonate in my head and it really gave me high hopes for the rest of the record. I still want to hear more from Hak, it is just June was not really my favorite tape, I did not hate it but I also didn’t fall in love. I recommend it, and hope it does more for someone else, but also want Hak to willingly come full force and will be able to make us see the sun again.
The 1970’s, a time where disco and flashing lights ran rampant, a time where the Vietnam War still raged on, a time where Rock and Roll officially became what it is today. Iggy Pop and The Stooges while still an underground band at this time, would release one of the most influential records of this modern age. Raw Power is the pre-cursor to what is now known as the Raw Rock Sound. The Stooges broke ground and still managed to keep a low profile even after this cult classic hilt shelves all the way back in ’73.
Gone were the peace-loving 1960’s, where the hippie culture rose, in came the dirty, edgy, and raw Rock rebels that wanted to get a rise out of the public. To oppose the government and to form their own rules, to become their own unique society with their own style and set of ideals. Raw Power while not an entire commercially successful album, still shocked the airwaves, thrilled the youth, and was able to show the underbelly of the Rock scene.
Produced by none other than Iggy Pop and David Bowie, it became the loudest record to ever be produced at the time, and Iggy Pop himself even laughed at the re-mastered vinyl and CD editions, “Even after the remixing, everything was still in the red.” This would spark new life into what would become one of the best and biggest Rock and Roll records of all time. Kurt Cobain would even claim it as his favorite album and I would say it is a record that stands as a monument for the culture of the 1970’s, but also in music as well.
Raw Power has so many amazing, hard-hitting tracks that just blow the production of most records today out of the water. The album just acted as its own entity, it was ferocious, volatile, and most importantly, just straight up raw. The album is still considered the birthplace of punk rock, and was a way that a band could experiment and turn every amp up to eleven. I fell in love with the album from the first listen simply of how it captures the raw essence of Rock and Roll and the power that came along with it.
The animalistic nature of Iggy Pop on Stage with the Stooges backing up his insane movements was such a sight to see, going to see them perform live was like seeing a different breed of human. They were truly a preforming band and their music still shows that today. Each track is just an Assault on the ears in such a great way, and it leaves so much to the imagination about the writing process for the lyrics and the music as well. Raw Power is just an album that is so much fun to listen to, and I’m still catching new things about the record even after 100 different listens.
Each track as they progress get more and more hyped up, blaring insane guitar solos, pounding drums, and catchy lyrics that makes people wonder why it wasn’t such a success at initial release. Raw Power gained a cult-following rather than springing to the top of the charts, but this could have been how different the album was and how utterly strange and insane the band was as well. Raw Power is just an album that every Rock and Roll or Punk lover should hear if they have not already. It creates images of the dirty streets in the 1970’s, the power-hungry people, the fans of music, and the thrill-seekers.
Raw Power formed the Rock and Roll genre into what it is today, it was an influential, destructive animal that shocked audiences and made people release their inner power. The
Stooges created one of the biggest albums of all music history, and Iggy Pop was right as he stated in the song “Raw Power”, “Raw Power It’s a More Than Soul, Got a Son Called Rock and Roll.”
BADBADNOTGOOD’s III is a testament to how jazz is still alive and well. The genre is still shown the respect it deserves, while integrating a fresh take, allowing BADBADNOTGOOD to create one of the most interesting and exciting jazz records to date.
III is obviously their third album release following BBNG2 which had some cover songs featured like “Earl” and “Flashing Lights” which are both songs on two different ends of the spectrum. One by the at the time grimy rapper Earl Sweatshirt from his debut mixtape Earl, and the other by Kanye West from his album My Beautiful Dark Twisted Fantasy. I first found out about BADBADNOTGOOD from their work with Tyler, The Creator on some covers of his songs and ever since then I have been a fan. I loved their covers and eventually began to love their original work.
III has now become the perfect album for driving in the car with absolutely no direction, the perfect album that requires headphone to hear every single note that is played. BADBADNOTGOOD did an incredible job preforming this album and I could only imagine how much of a great time it was recording and mastering the album as well. The different saxophone work, the piano keys that switch between hardcore wailing and slow melodies, and the drums. I can not go on enough about how outstanding the entire band is and it really is just something you have to hear to believe. The progression of BADBADNOTGOOD even just over three different albums has come so far from their first recording and they only become better with each release.
Following this record, they also did some work with GHOSTFACE KILLAH called Sour Soul, which is another album that is just so musically sound and has some really challenging beats from not just BADBADNOTGOOD but GHOST as well. The album primarily focuses on GHOSTFACE but is a welcome addition to their discography.
The production of a record or album can make or break the piece. If the production is terrible then almost no one will listen to the album if everything is mixed wrong or not properly mastered, João Carvalho did an incredible job with the mastering and really while the musicians made the groundwork, Carvalho made it sound outstanding.
The work from Alexander Sowinski, Chester Hansen, and Matthew Tavares who are the three main members on III, create one of the most just genuinely fun albums to hear to and to be a part of through the listening process. Even if you aren’t a musician or into jazz there are still songs that don’t primarily focus on jazz music. The whole album is more of a compilation of lounge songs, and everyone should hear the song “Kaleidoscope” at least once in their lifetime. I thoroughly enjoyed III and I can not wait to hear IV, which just came out earlier this week. BADBADNOTGOOD is a band that had a bright upcoming, but they have an even bigger and brighter future ahead of them.
Skepta has had quite the impressive year following the release of several editorials on him from companies like The Fader, Masked Gorilla, and Vice, where they featured an actual documentary on his rise from the underground streets of London to the top of the music world touring sold out shows all around different countries. With the release of his newest work Konnichiwa, it appears that Skepta is not just here to stay, but here to rule the game as well.
Konnichiwa is a 12-track album that is packed with some really interesting uses of frequency instruments like 808 drums and synthesizers. The combination creates some dark and grimy beats which is what Skepta is primarily known for as the “King of Grime.”
Skepta is a breath of fresh air to the hip-hop genre, he brings some hard hitting banging beats that rattle subsystems that still reside in my head even now. The production on Konnichiwa is just so well flowing with the skits weaved into the songs to bring some downright laughable moments with Drake’s “Trust me Daddy” and even an interview focusing on the 2015 BRIT Awards where a reporter explained how it became “A bunch of young men all dressed in black dancing extremely aggressively on stage…”
Konnichiwa is more about his personal life and how he much he has gained and unfortunately lost in the come up of his career. He reflects on how he “Came a long way from sittin’ in the flats,” and is doing a substantial amount of times better than he could have been without music. Even the album cover art represents Skepta on a stamp with the words “First Class London” to represent he is now a part of London Royalty. I have always been a fan of grimy or dark music, but I would have never expected to see exactly where someone could go with that genre. Skepta has reached new heights with his music and seems to not show any signs of slowing down.
I really only have one problem with Konnichiwa, and that is just that one song in particular is just something I couldn’t get into. The track “Ladies Hit Squad” is just not a song that I could honestly feel and the first time I heard it I actually laughed because it feels so out of place. It is a club sounding song while the rest of the songs on this album is a barrage of loud bass and aggressive lyrics. The final song, “Text Me Back” is also a slowed down love-style, but I actually liked this and I thought it was a welcome closer to the album. For some strange reason I just was not a huge fan of “Ladies Hit Squad,” but honestly I am not a huge fan of the radio-friendly love songs.
Konnichiwa as a whole is just such a substantial album with only one track that I wasn’t a huge fan of. It turned me onto the London Rap Scene and allowed me to experiment more with my music taste. I seriously recommend this to anyone who is a fan of rap music as it has some great production, great lyrics, and some of the coolest uses of sampling for just skit purposes that I have heard in a long time. Skepta is an artist that people should really look forward to, and see what the King of London has in the future.