Fun Stuff > BAND
The M/F Thread 2009: The Quickening
Orcusmars:
I think having a 3-4 album per post limit seems reasonable. Maybe even 2.
For the last couple months, this thread has been opening me up to new bands, and i think it's neat to find out that you like something, and then to go on a hunt to find more of it. However, having an entire discography in front of you kind of ruins the magic, you know?
Scandanavian War Machine:
--- Quote from: Ben792x on 27 Jan 2009, 15:00 ---- An implicit goal of this thread is to bring good music to the attention of more people, but it is impossible to distinguish between good and bad music, or interesting and non-interesting music.
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this, i don't think is right. if i'm not mistaken, the purpose of the thread is to share specific music that you, the uploader, think other people should hear. so it's quite easy to distinguish between good and bad because that's up to the uploader and no one else.
and, even though i agree with the logic of your other points, i still think this thread has gotten a little tiresome and could use a change, if not a break alltogether.
pat101:
Mixtape clearing time
Paper Route Gangstaz - Diplo & Benzi Present: Fear And Loathing In Hunts Vegas mixtape (2008) [320kbps]
Pt. 1
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Pt. 2
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from
Coke Machine Glow
--- Quote ---I keep seeing this word “hipster” scattered about like so much mucus (it’s flu season). If derisive friends both old and new are to be believed, I live in one of the great hipster nexuses of the megaverse, or at least of the Midwest. I buy vinyl near the Pitchfork offices. I see Flosstradamus on the train sometimes. A guy that lives across the street from me takes photographs of Joanna Newsom. You are already pissed off: “He must be a hipster.” But I don’t think I am. No hipster does, I realize. But for real! If I am, someone let me know. I see these hipsters clicking about my hood, or at least the people who technically would be considered hipsters and are actually just taller and skinnier and have better facial hair than me (meaning any). They seem to be having fun, looking like pirates as they do.
But there is this concern and correlating antipathy toward hipsters and hipsterdom, or where hipsters hang out or what the hipsters like and how that all totally fucking sucks man. This is displeasing unto me. Why give a fuck? Hating groups of people doesn’t really work unless the group adheres to a strict definition—like Cincinnatians, Juggalos or bike mechanics, my three least favorite. Hating groups of people is cool, within reason; it shows that one draws lines in the sand. (It becomes uncool when that line is around, like, Haitians or whatever, but still.) In absence of a definition, though, being a group-hater just makes you a douchebag. Hipsters like lots of things and dress like lots of different types of pirates and vampires. But I can’t just call everyone who’s skinny and has better facial hair than me a hipster and then hate them, because then I’d have to hate my friend Jon. He’s very skinny and has phenomenal facial hair. And he’d hate being called a hipster, even though he wears tight jeans.
I’m treading water here. But there’s a part of me that listens to Fear & Loathing in Hunts Vegas and sits utterly enthralled at the encyclopedic hotness on display and then hears a sniveling catcall from the peanut gallery: “Hipster rap!” What could this criticism mean? I know to whom it applies: the kingly Cool Kids, Diplo (present), Kidz in the Hall, maybe Wale (present), maybe Charles Hamilton, maybe Lil Wayne if he hadn’t up and sold a record to everyone in America. Still, the name doesn’t make any sense. If hipster rap is intelligent, fashion-conscious, and proudly underrepresented I don’t know what differentiates it culturally or critically from golden era Native Tongues or backpack rap from the late ’90s or Def Jux from the early aughts—and all these epochs of rap are cool to still like, I think, and were generally just considered “good” in their time. I have problems with the delineation hipster in the first place, since the group doesn’t seem to actually exist outside of the editorial mission statement of Vice magazine, and I have bigger problems still with those who would rail against this Jabberwocky. This notion of “hipster rap,” or even rap that only hipsters like, is the utmost extension of this nonsense. Which party did the Cool Kids not sound good at, again?
Well, okay: you may not feel the Cool Kids. You’re wrong, but this mixtape, cobbling unknown Georgian emcees with baleful fire via the Block Beataz and a couple better-known hipster rap DJs, is different. Indeed, if this mixtape, the production of which often makes me feel like a T-1000, superficially resembles anything, it’s that oft-flagellated emblem of hipsterdom, ye olde gacking Girl Talk. I have come out against Greg Gillis since I knew Greg Gillis existed; at Lollapalooza, which sucked anyway, I openly jeered him; when he comes up in even casual and friendly conversation, I ready my gauntlet of criticisms. But Girl Talk doesn’t suck because of whom Girl Talk appeals to (“hipsters”), because that group even includes my one friend Jason who wears Zoo York hats. Girl Talk sucks because Girl Talk sucks, lacking any ear for flow or tonal complexity and snickering malevolently at the juxtaposition of familiar white indie rock against brutally decontextualized rap lines.
There is some of that in this. Here, too, we find Sam Cooke chipmunked, Weezer twirling out familiarly beneath coke raps, Trainspotting synthesizer melancholia, Prince chintz and so on. We find again an insistence upon partying. But the difference between Girl Talk and this mixtape is that when Girl Talk references a party or partying it is exactly one thing—a euphemism for blow—whereas the undercurrent of melancholy sustained here implies a more nebulous party as a corollary to a more nebulous desperation. The frequently misogynist braggadocio of these raps draws no chuckles; rather, presented in their entirety and not as catchphrases bleated ad infinitum, the words sting with the profound ugliness such sentiments merit. The semi-screwed hook “Rollin rollin rollin / We ain’t slept in weeks” doesn’t leave the listener yearning to join the caravan but instead wondering from what desperate blankness these emcees have fled.
Instead of whatever base fashionista subjugation of hip-hop may be implied by the term “hipster rap,” this Paper Route Gangstaz’ mixtape sounds like an exploration of a solitary type of melancholy, that sort of sad way of being fly that the best of this decade’s mainstream hip-hop has rendered as code. The anger that defined this form fifteen years ago has subsided in popular thought to a constant weariness evinced by T.I., by Jeezy, by Kanye and Hova, and so many more. Only recently has that cocksure worldliness filtered into the underground and unsigned, and it’s this exact phenomenon that’s been iced as “hipster rap.” If this is hipster rap, then fine: these blankfaced hipsters are on point, where/what/whoever they are. People’s problem is not with the hipsters or with Girl Talk, it’s with reductionist logic and token appropriation. Call it like it is. The way Girl Talk subjugates hip hop’s long history into a squirrelly sequence of punchlines: backlash there. The way those skinny dudes with good facial hair lavish praise upon the Cool Kids or Weezy alone, ignoring (say) Freeway: backlash there. But where is that reductionism or tokenism here? Eviscerated by the friction blaze of hi-hats ticking against sublime rhymes, Weezer sample dancing solo nearby. Call it like it is. It’s a rap album.
Clayton Purdom :: 21 January 2009
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Killer Mike - I Pledge Allegience To The Grind Vol. 2 mixtape (2008) [192kbps VBR]
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from
HipHopDX (I don't really know the site, but it's not an awful review)
--- Quote ---He may be a around 6’5” and 300 pounds with a prefix of “Killer” on his name, but Mike is as friendly as a teddy bear if you ever happen to come across him in the A. Put a mic in front of the man’s face and you find out quick fast how he got that prefix as he raps like a hungry, caged grizzly bear. Mike is as ferocious as they come on the mic, with the command and presence reminiscent of Chuck D or Ice Cube. Just like those legends, Killer Mike is determined to enlighten the ghetto, albeit in his own way. The former Outkast disciple is more Saigon than Immortal Technique; there is plenty of sugar to help the medicine go down on his latest venture I Pledge Allegiance To The Grind II.
“10 G’s,” complete with its chopped and screwed Biggie sample, serves as a great appetizer for the rest of the LP. Killer delves into the deeper content with his double time flow on “Can You Hear Me”; “okay yeah, like most black males/I done made my fair share of crack sales/how could you not want to see me prevail?/how could you wanna see me locked in jail?/how could you ignore my people in hell?/in Adamsville, in Mechanicsville/how could you take all our honor and jobs/and expect us not to steal and to rob/…/so we took the crack and put it in rap/now your kids is high off that.”
Mike teams up with rhyming hero Ice Cube for “Pressure,” and it’s a politically charged joint as you may expect. Mike puts the Killer in his name in the final verse when he gets really vicious. It also sounds like it was would have fit better on Cube’s last album than this one given the production. Another like-minded emcee in Chamillionaire joins Mike for some shit talking one of the albums biggest tracks, “Big Money, Big Cars.” “God Is In The Building” is that ghetto gospel that would make Pac proud; “god emcee boy, ex d-boy/only thing real in a room full of decoys/angel wings got a nigga fly higher/I hope my success burn you like hellfire/I hope seeing me with cars dressed fresh, torments your ass like a man possessed.”
Mike continues Outkast’s "Art of Storytelling" with the underworld classic “City of Dope.” While it’s a great song, it’s a questionable closer to the album. “If I Can’t Eat Right,” Mike’s motivational seminar, is the obvious closer in my opinion. Much like at the end of his classic “That’s Life,” Mike is as good preaching to the listeners as he is rapping to them; “Ask you a question, how you finna go to bed right now when you gonna wake up in the morning broke? How you gonna go to bed right now knowing that your kids gonna wake up hungry?...Get about your money man, if you knew better you would do better man. If you knew how much you was worth you would ask for more than you get. You understand me?”
You’ll be hard pressed to find complaints about I Pledge Allegiance To The Grind II. Sure, it could have finished better and a couple songs wouldn’t have been sorely missed (“You See It,” “I’m The Shit”), but this is a pretty easy front to back listen. While there is certainly a lot of dead presidents talk, Mike spends more time telling you how to get it than telling you what he’s got. Unlike many of his regional counterparts who are only concerned about telling you how they shine and all the rocks in their palm, Mike is unquestionably looking out for his people; even when he takes that route. There are few rappers in Hip Hop today that the game truly needs; Killer Mike is one of them.
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Catacombs:
I don't think limiting anything would be a good idea. If the uploader finds something that they think someone else should hear, they upload it. If it doesn't sound like you would be interested in it, JUST SCROLL PAST IT! Is that so hard?
However, I absolutely hate when someone uploads something without any explanation, or a "get this its good". You don't have to post a long review either, but that usually doesn't help either. A one or two sentence, "sounds like/you'll like this if you like (whatever)" review is perfect.
Granted, you can find the majority of whats posted here by other means, but what if it's something completely new? I've gotten into a lot of new bands and genres that I never would have heard if it weren't for this thread.
Besides, i often go out and buy the album after I download it here. You get to help the artist, better quality, and neat packaging. Plus, it's fun to look through a big record store. This thread kind of acts like a safety net; I've downloaded things here that i thought i would like, and ended up hating it, which in turn saves me money, which i spend on other artists...or something like that.
Nicky Thrice:
Pedro the Lion - Control (don't let the fact that he's Christian deter you, these are some good tunes, very macabre material)
AMG Review:
--- Quote ---Christian indie rock? It had to happen, what with Christian metal and punk rock having been around for a decade or longer. Singer/songwriter David Bazan of Pedro the Lion is surely devout, but rather than preach a clean lifestyle or dedicate his music to Jesus, his songs are about believing in, questioning, and challenging his faith. His fans are more indie than Christian, digging his lilting whine of a voice and his downbeat, somber tunes, which occasionally rock but more often drone. Control is in no way a departure from his other albums. Bazan, who plays guitar, drums, bass, and keyboards on Control and often handles all the instruments on his records, is joined this time by Casey Foubert on bass, percussion, and keyboards. Bazan is a fine guitarist and his tunes are strong but he's no Elliott Smith yet. Perhaps if he expands his songwriting and subject matter, he could be a future heir to the tragically vacated indie rock confessional throne Smith occupied.
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P.S. I'm debating whether or not to repost the other stuff. there seems to be some controversy which is kinda retarded, but iono, you guys have been here longer, do you want it or not
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