Some Rap Songs.
Earl Sweatshirt’s therapy album, Some Rap Songs, serves as his chaise longue and we, the listeners, the ever attentive therapist. Earl’s third album, his first for three years, is a stripped bare record that utilises very few producers, uncommon in the modern hip-hop industry, keeping the sound simple, accentuating the subject matter of the themes conveyed. Musically, the album has a strange, nostalgic feel complete with lo-fi samples, simple basslines and drumbeats, resulting in a chilled atmosphere, some distance from contemporary mainstream hip-hop acts. Earl’s rap style throughout is equally as relaxed, as his lyrics naturally pour from his mind, there is a feeling of almost meditative nirvana present within him. Earl’s father, one of whom’s poems is sampled on “Playing Possum”, died in January 2018, Some Rap Songs is Earl’s form of coming to terms with his loss and the grief and depression he suffered as a result. Showcases one of the best rappers around in a wholly unique way. A seriously intimate, personal piece.
DAYTONA.
Kanye West’s production on DAYTONA is nothing short of masterful, stripping back to catchy samples and minimalist instrumentation, allowing Pusha T’s lyrics and rapping ability to come to the fore. While Pusha briefly takes time to discuss the murder of his friend on “Santeria”, the theme that dominates the album is that of Pusha’s exploits in the drug game. Making no excuses for his drug dealing past, glorifying it in fact, Pusha taunts the police and the justice system at large for their inability to punish him. The final track on the record, “Infrared”, is a thinly veiled swipe at other rappers, Drake in particular, as Pusha questions whether they write their own songs; a rapper with a ghostwriter, what the fuck happened? The track “Come Back Baby” had a profound effect on me. The quiet, low, nauseating instrumentals during the verses create an overwhelming sense of claustrophobia, which is welcomingly relieved when the George Jackson sample kicks in for the chorus; to fully appreciate the beautiful highs, one must endure the horrifying lows. A remarkable record of drug poetry by a skilled rapper at the top of his game, accompanied by a master producer embarking on a streak of influential hip-hop albums.
Joy as an Act of Resistance.
One of my favourite albums of this entire project. Idles’ loud, noisy punk rock exudes an angry, frustrated energy while the lyrics are laden with detest for the state of society in 2018. The distorted droning guitar on Joy as an Act of Resistance are remarkably close to shoegaze on some tracks, however it is Jon Beavis’ drums that drive the contagious rhythm of the album; fair play to anyone who can keep still while listening, because my right leg was bouncing like a motherfucker, my head likewise. Unlike other punk bands however, Joe Talbot’s vocals are sharp, clean and always heard: the importance of his lyrics clearly a consideration. This album is essentially my echo chamber. I could happily listen and agree and never talk to anyone else again. Not a bad idea. Talbot discusses politics, Brexit and immigration, masculinity in modern society, the toxicity of female beauty standards in television and magazines, while also finding time to grieve over his stillborn daughter on “June”: the heartbreaking Hemingway line “baby shoes for sale, never worn” has never been so apt or crushing. While Talbot focusses on the politics of division, it’s only right that he repeats the need for “unity” throughout, a reminder that regardless of political opinion or race or by whatever means they may wish to segregate people, it is important that we remain as one. JAAAOR is relatable for approximately 48% of the population. Reckon the others would still appreciate it.
Crumbling.
A random assortment of musical sounds coalesce and build to a glorious, euphoric crescendo. Soft, acoustic instrumentation lay you back as your soul rises from out of your body. Mid-Air Thief’s Crumbling is a variety of things: it can relax and rouse in equal measure. Some of the tracks are gentle, minimalist melodies with softly spoken vocals, while others are sonically reminiscent of R2-D2 embarking on a tantric sexpedition. There is an ethereal, angelic quality to the album, Crumbling could well be the music that plays in the queue to the pearly gates as we await the word from Saint Peter. I never thought I would hear an album that can simultaneously produce imagery of the majestic kingdom of heaven and a robot busting a nut, but here we are. Mid-Air Thief can create music from seemingly anything. Electronica at it’s best.
Twin Fantasy.
Car Seat Headrest’s Twin Fantasy began life as a 2011 album back when CSR was Will Toledo’s solo project. Having found a new perspective from which to view the experiences that inspired the original album, Toledo re-records the entirety of the material and expands on the concepts discussed during the original recording. I must admit, I wasn’t overly impressed after first hearing the album, but I appreciated it much more the second time: it’s an album that grows and requires time to fully process, owing in no small part to Toledo’s lyricism. This generation’s Stephen Malkmus, Toledo utilises obscure imagery that at first is difficult to interpret, but given time will be recognised for its poetic beauty. The melancholic themes that run through Twin Fantasy; dissociation and alienation from society, cynicism, loneliness, toxic relationships; will be as relatable in the world of indie music now as they will for years to come. The instrumentation behind Toledo’s words also demands attention. If this were released by a more established indie rock band the tag of “masterpiece” would be thrown around like a Kleenex at a snot party, everything is played to utter perfection. An album I will no doubt return to. Also intrigued by the 2011 original; may include that too when the time comes.
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