With This Old Dog, DeMarco invites the listener back into the fold with gusto, and the material connects like a punch to the gut.
You could argue that Mac DeMarco has made a career for himself through the intimacy he’s developed with his fans more than any other factor. It’s easy to think you know Mac DeMarco. His live sets are littered with inside jokes, he’s liable to play a jangly AC/DC cover at any moment, and he looks like he just climbed out of sleeping bag in a cave. He’s charming, in a goofy, off-kilter, gap-toothed kind of way. He is, by his own admission, a regular guy who likes to sing about regular stuff.
Continue reading “Mac DeMarco: This Old Dog | Album Review”
It’s almost the second month of 2017, so you know what that means. It’s time to relive everyone’s favorite year! That’s right, I finally finished my top 50 albums of 2016!
It’s almost the second month of 2017, so you know what that means. It’s time to relive everyone’s favorite year! That’s right, I finally finished my top 50 albums of 2016! This was incredibly time consuming, and I actually quit at my top 42.0 albums. That’s partially a product of me being sick of writing this, it getting dangerously deep into 2017 for me to be writing 2016 recaps, and that I didn’t really like the eight albums composing the remainder of my top 50. For the curious reader, here they are, listed:
Continue reading “Jake’s Top 42.0 Albums of 2016”
Birds in the Trap Sing McKnight sees Travis Scott trading in the vibrant layers of Rodeo for relatively muted colors, emphasis on relatively.
Birds in the Trap Sing McKnight – Travis Scott
Travis Scott has displayed two great strengths through his career. He is an expert mood curator, gracing only the most prime of instrumentals (and tweaking the lesser ones until they’re right), placing guests in the perfect environment, using smoke machines and neon lights to frame his signature mysterious and angst-dripping sound. He has also been a maximalist – think “3500” from his excellent and overflowing debut, Rodeo. Continue reading “Album Review: Birds In The Trap Sing McKnight”
Noname’s debut mixtape is subtle, nuanced, and gorgeous.
Telefone – Noname
And I know the money don’t really make me whole / The magazine covers drenched in gold / The dreams of granny in mansion and happy / The little things I need to save my soul.
That’s how Telefone, the debut mixtape from Chicago-based rapper Noname, kicks off. Those lines get right down to business by hitting on the tape’s core focuses – faith and death. Continue reading “Album Review: Telefone”
Pablo didn’t change the game. It changed Kanye West’s legacy.
The Life of Pablo is sprawling, beautiful and obscene, endearing in a kind of off-kilter way, comfortable in the sense it isn’t Yeezus and alien in the manner it isn’t quite like anything else Kanye West has made. The way the album was, and is being, birthed and presented in the public view has been the focal point for many seeking to immediately understand the legacy of Pablo. West, the notorious perfectionist, was changing the game by releasing an imperfect product with a guarantee that it would evolve into its true form over time. Continue reading “The Life of Pablo And The Many Relationships Of Kanye West”
One play through Indigo makes clear why the dark and anxious sensibilities of River Tiber are a hot commodity in the modern realm of syrupy Toronto hip-hop. Unfortunately, Paxton-Beesley’s knack for adding coat upon coat of paint is often overshadowed by the oppressive atmosphere of the album.
Who is River Tiber?
If you knew of Toronto born-and-based musician River Tiber a.k.a. Tommy Paxton-Beesley before Indigo, it was likely through diligent monitoring of the Toronto hip-hop scene. An early version of River Tiber’s “No Talk” was sampled by Boi-1da and Frank Dukes for the back half of Drake’s “No Tellin’”, a standout tracks on an album full of successes, If You’re Reading This, It’s Too Late. Continue reading “River Tiber And Fifty Shades of Indigo”