$uicideboy$ is the hip-hop/punk rap group that comes from the 7th Ward of Louisiana. They have been having quite the successful past two years as they were and still are running the underground hip-hop scene. As they continue to release a new tape nearly once a month, $uicideboy$ seem to want to keep their throne at the top of the dungeon rap they create.
Their new tape Radical $uicide EP is a collaboration with Getter who is best known for his work with Pouya on Underground Underdog, as well as his solo work that are more focused on the EDM (Electronic Dance Music) style. While the collaboration may sound strange at first as $uicideboy$ are no where near EDM or club music, there are still elements of their sound that intertwines with Getters and together they are allowed free range to create a totally new sound or continue with the darker style that $uicideboy$ have always had.
Radical $uicide EP seems to have changed up the overall style of $uicideboy$, they rap much faster than usual and the actual instrumentation and beats behind them are much faster and more chaotic.
With their past releases, $uicideboy$ have usually had this more disgusting and grimy sounding style, while this Radical $uicide EP sounds much cleaner than in the past. That is not to say that this is not a great project as it is great, outstanding even but I would recommend starting with Now the Moon’s Rising or I No Longer Fear the Razor Guarding My Heel I or II. I just feel like these are tapes sound more at home with $uicideboy$ and while I really did enjoy this tape, I just do not think it was as interesting or innovative as their past releases.
I will say the “Memoirs of A Gorilla” was the best track on Radical $uicide EP. It hits hard, has some great verses from Ruby Da Cherry/$uicide Leopard and $crimm/Yung Chri$t. The team up and chemistry between these two cousins, produce just an outstanding team that cause destruction every single time they are on a track together.
Seriously, $uicideboy$ are some talented MC’s that have started a revolution in the underground hip-hop game.
While Radical $uicide EP was not my personal favorite release of $uicideboy$ and while I think Getter did a great job, I still think their past releases are better and have more of that dungeon rap sound that they are known for. Start with those, then come to Radical $uicide EP, then we can see exactly how Eternal Grey makes waves.
What can be said about Sublime that has not been said already? Sublime is the premiere Long Beach Californian band that stretched the limits of music, extending their tendrils into so many different genres while still being able to find success every single time. Whether it be ska, punk, reggae, rock, or the latter, Sublime would find a genre and make it their own.
40 Oz. To Freedom was the debut album for Sublime and it was Earth-shattering at the time of release but ultimately did not sell too well. The group of all white members that played reggae and punk music, that had a rapper for a front man and a care-free attitude about life. Bradley Nowell, Eric Wilson, and Bud Gaugh had some outstanding chemistry together and Sublime would eventually become a household name.
Sublime did a fantastic job of switching up their style on 40 Oz. To Freedom, from the rushed and frantic songs like “New Thrash” and “Hope,” and while Sublime had mostly original songs, they were known to cover some punk like “We’re Only Gonna Die” by Bad Religion, but also takes other influences like the cover of “Scarlet Begonias” and “54-46 That’s My Number.” Hearing a debut album that has six different covers sounds outlandish, but the massive 23-song track list bears so many rememberable and greatly written songs. While it did not originally sell very well, it eventually became the one of the highest independently selling albums of all time.
One of the main selling points of Sublime is just how interesting their sound is, I really have not heard many bands from this era that changed their instrumentation around so much from the organs and acoustic guitars, to the the deep drum kits and steel drums that became iconic with Sublime’s sound. That and of course all the songs about smoking weed or drug references like “Smoke Two Joints,” “Lets Go Get Stoned,” and the infamous “Badfish.”
40 Oz. To Freedom is one of the classic 90’s albums that have such an iconic sound and feel to them. Even when Sublime samples another track, they do so in a way that actually contributes to the feel of the new track. The quick-witted and sarcastic Bradley uses some amusing lines that bring a smile to my face every time I hear it. While the album is now well over 20-years old, 40 Oz. To Freedom continues to impress me with each listen. I love the instrumentation, the production, and of course I love the overall feel of the whole album.
The way 40 Oz. To Freedom flows from the pressed, running tracks, to the slowed down and more mellow tracks, Sublime went above and beyond on 40 Oz. To Freedom and really became the staple in Long Beach Californian music, but also as musicians around the world.
Run The Jewels is the hip-hop collective equivalent to peanut butter and jelly, mac and cheese, or bacon and eggs. The perfect combination between two MC’s, both Killer Mike and El-P, that lay down some dynamite tracks, bringing both electronic and classic hip-hop elements in a blend that just sounds perfect. The chemistry between Mike and El-P is like Batman and Robin, a truly dynamic duo, only this duo spits out bars about punching in faces, and taking over other MC’s spaces.
Run The Jewels II is obviously the second installment in the growing saga that is Run The Jewels. The destructive pair that is Killer Mike and El-P, both have had hip-hop careers in the past as solo artists, but after working together on Adult Swim’s Singles for The Summer, they soon found each other to work better as a team, rather than individually. Killer Mike with his thousand pound lyrics and with El-P’s outstanding production, the team together became some serious cats in the hip-hop game.
Following the release of Run The Jewels I, Run The Jewels II is a testament to the overpowering levels that two MC’s could achieve together. Run The Jewels II is eleven tracks long, each more booming in sound than the last. El-P’s production on this record is just some of the best I had heard and it was honestly a breath of fresh air to hear some electronic influence, along with the pounding and deep drums. Run The Jewels II just sounds like a warzone, the instant the album begins, Killer Mike is shouting “I’m Finna bang this bitch the Fuck Out!” its just the perfect send off into an album that is filled with violence, drugs, sex, and of course the raw authenticity of both Mike’s and El-P’s experiences with touring, the police, and the ups and inevitable downs as well.
The album also features a verse from the one and only Zack de la Rocha who is the poet/activist/singer from Rage Against the Machine. For anyone who has never heard RATM, imagine a much angrier John Lennon with a twist of Malcolm X in music form. Zack de la Rocha’s actual verse is like a full-fledged fist to the face, it is full of burned mansions, toe-tagging, and closed caskets. Rocha’s verse is actually one of the highlights of “Close Your Eyes and Count to Fuck,” it fits the breakneck speed of the beat, and it is just as frenzied and hazardous as Mike and El-P’s verses.
There is also a track, “All Due Respect” that features Travis Barker, which was another surprising addition as while he does not rap, he does have a hand in the production for this track. Barker did an amazing job as the beat switches up from a synth focused slowdown, to another fast paced almost march with the cymbals blasting along with the deep bass drum that creates such a great combination.
Run The Jewels II seems to be all about the synergy and what can be created from branching out to different artists and genres. Mike and El-P realized this with Run The Jewels I, and realized that the experimentation should not stop there.
I ended up loving Run The Jewels from the moment I heard Killer Mike spitting verses about Martin Luther King Jr., The gracefulness he portrays, and the line “Top of the morning, my fist to your face is fucking Foldgers. Mike and El-P’s chemistry makes for one of the most destructive duos in music history, and Run The Jewels II is a diamond in the mine of hip-hop.
Clams Casino, the kid with humble beginnings and who worked with big named artists like A$AP M.O.B., Mac Miller and of course The Legend Lil B, fires onto the debut music scene with 32 Levels. His name has been heard around the world, and Casino finally breaks the surface of a more mainstream audience as 32 Levels shows what Clams Casino does best, make some innovative, creative, and progressive beats that invite the audience into the genre of Hip-Hop.
32 Levels begins with a nice introduction from Based God himself as he “Leave(s) it up to Clams, He (Clams Casino) got us. Changing the game as always.” Based God being the lighthouse and beacon of knowledge in all things, including Hip-Hop means that his approval is worth more than just an average opinion. Based God and myself had a lot of hope in 32 Levels and I was looking to see just how Casino was going to come back and change his sound once more. I would have never guessed that the first half of the album, tracks 1 – 5 are more fast paced and seem like Casino’s classic song “I’m God,” the album then switches to a slower combination of songs like “Ghost In A Kiss,” and “Into The Fire.”
The switch up seems like a totally different project from Casino and I had to make sure I was actually listening to the same album. I will say the tracks I enjoyed more were “All Nite feat. Vince Staples,” “Witness feat. Lil B,” and “A Breath Away feat. Kelela.” These were just songs were I loved the features and the beats were involved and easy to nod your head to. Vince Staples’ song “All Nite” was released as a single and this track actually sounded like it could have fit perfectly on Vince’s Summertime ’06. From the seagulls or birds in the tracks background, to the low-tuned bass that rattles behind Vince’s energized voice.
“Witness” is just overall such a powerful track as well, Lil B’s verse on the track is, well it is Based God and everyone knows just what type of verse he brings to every song. “Shouts Out to Africa, Shouts Out to Japan” is spit over what I believe is one of Clams Casino’s greatest beats he has produced so far. It is fast, aggressive, and has a ton of background vocals from Lil B that include some “Swag Swag” and “Whoop!” Overall I think that the production on “Witness” is the real star of the track as it boosts Lil B’s verse to such a higher platform than it already was.
Now “A Breath Away” is a track that I was not totally a fan of at first listen, but it finally grew on me and I enjoy the tired tone of the whole song. Kelela delivers some charming vocalization and the instrumental is a mismatch of what I believe sounds like drums that are being played under water. It sounds like an overall enticing, but strange track but I learned to love it.
Every track on 32 Levels is at least interesting and even if you do not personally enjoy the vocals, then the production will keep your attention as it changes drastically through each track. Clams Casino as an artist is just so steady and consistent with each release, and as he continues to grow, so does his overall sound. 32 Levels is definitely a must have for anyone that wants to experiment more with their music library and expand a little bit into the stranger side of hip-hop music. The Keyboard Kid strikes again and this time, he knocks down the house.
Enter The 36 Chambers is one of, if not the most well known hip-hop album to date. It is still recognized for the hard spitting members dropping bar after bar, the instrumentals bringing what spawned the classic East-Coast Sound, and an interesting speedway to getting hip-hop into what it is today. The sound, attitude, and overall vibe of Enter The 36 Chambers is one that is not only stimulating to the ears, but paints a fantastic image of the early Hip-Hop music.
The Wu-Tang Sword left its mark on everyone with 36 Chambers, as it was able to flip the game on its head and create some of the best offspring albums as well. The Artists like GhostFace Killah, RZA, GZA, Ol’ Dirty Bastard, and Raekwon were able to use sampling and some bumping beats to create a whole different sound that influenced people even twenty years later. It is incredible to think that songs like “Bring Da Ruckus,” “Method Man,” and of course the legendary “C.R.E.A.M.,” that rocked stereos everywhere from New York to Los Angeles, to all over the world.
“C.R.E.A.M.” is one of those songs that will go down in history of hip-hop art, and music in a general sense. The beginning of the instrumental with the smooth and laid back jazz influence to then jumping right into a crash of cymbals and one of the most remarkable piano pieces to ever be played. It reigns in ears even still to this day and it has been a personal favorite of new coming piano players to learn, and I know it was one of the first things I ever wanted to learn on piano. The bars on “C.R.E.A.M.” just have this struggling overtone and lines like “It’s been twenty-two hard years of still struggling,” and even the hook “Cash rules everything around me,” brings a mind-state of what it was like to be surrounded by barriers and oppression.
The tone of the album then switches from being a serious and authentic true story on “C.R.E.A.M.” to the then joke style of “Method Man” and the opening lines exchanged between Method Man and Raekwon bring a smile to my face every single time I hear it. The “Stabbing your tongue with a rusty screwdriver,” and the banging of “just your nuts on the dresser” is a conversation that is just too entertaining not to laugh at.
This isn’t all what Wu-Tang Clan is about though, other tracks like “Da Mystery of Chessboxin’,” and “Can It Be All So Simple,” are the more serious tracks, bringing some great instrumental and hooks as well. The 36 Chambers just brings hit after hit, just an insanely impressive track record to start a music career with. There is not a single song that can be argued as not intelligently produced or as a subpar song. Each track brings a bumping instrumental and just some of the most rememberable verses to date.
Enter The 36 Chambers is just overall such an influential album that has the classic sound that everyone in the 90’s came to love. Even Generations later, Wu-Tang Clan is still a household name. If you mention Hip-
Hop, you must mention Wu-Tang Clan.
The Flex is a hardcore punk band from Leeds, they draw inspiration from the heavy hitters of punk like Minor Threat, Black Flag, and even a little of Bad Religion, to bring a new era of aggression into the foreground. Their message, that they don’t need you but you sure as hell need them.
Wild Stabs In The Dark was released on Milk Run Records (U.K.) and Video Disease Records (U.S.), it brought a new wave of punk music onto a new generation of people. The Flex is just one of those bands that have such a tight sound and so much energy to each song that it is hard not to break everything in sight within the first listen.
Spanning only about twenty minutes, Wild Stabs In The Dark is the perfect length for this style of music, its fast, destructive, and most of all fun. I just had so much of a great time listening to this and it is surprising to see that The Flex is not shown more love online or around the United States. This is most definitely an underground punk record and The Flex is still on their way up from the flats and apartments in England to the festivals and stadiums they deserve. This could also relate to how The Flex is still a newer band, as their first release The Demo sprouted online in 2012, so they still have plenty of time to start playing more and more shows as time goes on.
Wild Stabs in The Dark has that classic punk sound, and after seeing some of The Flex’s live concerts they look like the energy levels are at an all time high, as crowd surfing, mosh pits, and stage diving all takes place in these small basement like shows that look barely able to support the raging crowd.
The Flex consists of five separate members and their names might be the most interesting part, The Boots is the vocalist and can be heard screaming over Foxy Bingo and The Egg Man on guitar. Bones is the bass player and can be found creating a banging rhythm section with Pimdog who is the drum player. Together they make up the personality of The Flex and create some of the more laughable persona names. The names do not coincide with their sound at all as The Egg Man and Foxy Bingo are two things that I would never expect to hear as they rip apart their instruments and slam down some pounding chords over the rest of The Flex.
The Flex while destructive and overly aggressive, still show structure and a spine to their music. Their attitude is certainly the best part of their presence and songs like “Left To Die” and “Waste My Time” have these quick, breakneck speed riffs along with pounding drums, but they also have these really sweet breakdowns that give the mosh pit a rest and allow for some much needed downtime. They break up the action as in the near twenty minutes that Wild Stabs In The Dark lasts, each song flows into the next and does not really allow for much relaxation in between tracks. This adds to the rapid fire attack that is The Flex and it allows them to go into the situation with a get in and get out style that is still so prevalent in punk music today as it was so long ago.
Wild Stabs In The Dark is available for free on The Flex’s Bandcamp so there is no reason you shouldn’t be able to check out this band. A really great band from the U.K. and a really great hardcore band overall.
Radiohead, the ever-changing, ever-adapting United Kingdom Rock band strikes back after a five-year hiatus from King of Limbs. A Moon Shaped Pool shows a more mellow but still impactful sounding Radiohead and as time progressed, their shifting sound only continues to astound and amazing with each release.
A Moon Shaped Pool has a startling beginning with the first track “Burn The Witch,” this track was also released as a single and it sets a fast paced environment of violins, quick guitar strums, and an electronic hi-hat tap that coincides so well with Yorke’s voice. The track also has these synthesizer chords that have this feeling of being watched, or being superstitious. I loved “Burn The Witch” simply because of how different it feels from the rest of the album, A Moon Shaped Pool is primarily a slowed down, graceful waltz that relies primarily on acoustic instrumentation and piano work.
The second track “Daydreaming” has such a crawling, but beautiful beginning as it starts with piano work then eventually moving into some synth leads and Yorke delivering some sleepy sounding vocals. This was released with “Burn The Witch” in a music video series and while the video is interesting to watch as it compliments the song, the actual track itself feels so daunting at the end as the growls take over the soft piano which then leads into the next track, “Decks Dark.”
“Decks Dark” feels spacious with the keys of a piano echoing over a soft-noise synth, which then leads to some great background vocalization from The London Contemporary Orchestra. There is also a pretty low tuned bass part that hums behind the voices and guitar that creates a great rhythm section along with the drums.
A Moon Shaped Pool feels like such a step in the right direction as every element of the album feels like it has weight and is a drastic puzzle piece to A Moon Shaped Pool. The instrumentation feels so tight, not stiff, but tight in every instrument is mixed and produced so well and the overall tone of the album while dreary and spacious, still has moments that shine.
This is the perfect album to relax to, and it demands to be heard with headphones from all the subtle but important elements. A Moon Shaped Pool also while being primarily acoustic, still has songs like “Ful Stop” that sounds like it belongs in a John Carpenter movie. The bass line along with the drawn out horns create this creeping feeling that could most definitely fit any horror movie. The suspenseful and slowly rising instrumental that A Moon Shaped Pool creates keeps every album feeling like a totally different experience and I feel that the spacious theme of this goes along with the Moon or body of water that the
Space is A Moon Shaped Pool’s biggest ally as it relies on the reverb and space to illustrate a slow moving journey through the world’s biggest area. I just fell in love with the way Radiohead changed up their sound to go for a more halting approach and the experimentation adds something new to A Moon Shaped Pool, it makes listening to it an experience and a journey, something more than just music.