#90's abstract hip hop

[randomvarious]

1998 San Francisco Playlist (YouTube)

Really ain't nothin' like the city of San Francisco when it comes to the music. The hippie-psychedelic Haight-Ashbury vibes of the 60s ended up getting baked into the cyber-psychonautic underground rave scene of the 90s; there's been a whole bunch of house music; a rich folk tradition; Bay Area hip hop developed into its own oft-overlooked entity; a pretty deep pocket of turntablism; and, of course, plenty of indie rock too. Quite a mix of scenes, and I'm obviously missing a bunch too!

So this week I'm giving you all something that feels like a long-forgotten CD that some college kid who was attending school in San Francisco may have burnt back in 1998. It's an eclectic, completely underground mix of electronic, hip hop, and a little bit of indie too; and it's been collecting dust at the bottom of a drawer now for over 25 years!

We kick off with a dubby deep house remix of Paris' A Reminiscent Drive's "Two Sides to Every Story" by SF native Charles Webster—14.4K plays on YouTube across a handful of uploads—and then we follow that up with a mix of UK group Globo's "Breakdown" by legendary breakbeat/trip hop pioneer Jack Dangers of Meat Beat Manifesto, who started calling the Golden Gate City his home in 1993—under 500 plays on that one as of right now. A little after that we get more breakbeat from a *very* obscure duo called Astralabe, whose cinematic, tribal-psychedelic masterpiece, "Guimbri Dub (Self-Cremating Fire of Passion Remix)," appears to be the only song that they ever released, and is included exclusively on an uncredited DJ mix called The Vertical Iris; currently sitting at a measly 92 plays.

Then on the hip hop side of things, we have some lo-fi dustiness from Double Life and Raw B called "Cycles of the Mind," as well as a 7-plus-minute medley by Sacred Hoop, DJ Marz, and Z-Man called "Not Our House," which I think can only be best described as Tony Hawk Pro Skater soundtrack vibe. Those songs have 28.8K and 6.6K plays, respectively. And then for some killer turntablism, we've got a few tunes, including something from DJ Badrok called "1-800-Coming Correct," which has a little under 400 plays.

There's also a fat, buzzy bassline drum n bass remix by a guy named DJ Abstract of "Dukes Up," the original version of which is by someone who simply went by the name of W, that has a little over 6.5K plays (sorry about the super annoying part at the end of it 😕); and a couple tunes that show the versatility of a dude named Cole Marquis, whose solo indie folk tune, "48's," only has a little over 140 plays, and his much peppier, college/indie rock, keyboard-aided bop, "Dirt Bike Rider," by his band The Snowmen, has a little over 170 plays.

This playlist is ordered as chronologically as possible.

Reminiscent Drive - "Two Sides To Every Story (Love From San Francisco Remix)" Globo - "Breakdown (mixed by Jack Dangers of Meat Beat Manifesto)" Daisy Glow - "Right On! (User Friendly mix)" Astralabe - "Guimbri Dub (Self-Cremating Fire of Passion Remix)" Rasco - "Cordless Mics" Cole Marquis - "48's" Double Life feat. Raw B - "Cycles of the Mind" Live Human - "Almost Live" Sacred Hoop feat. DJ Marz & Z-Man - "Not Our House" DJ Badrok - "1-800-Coming Correct" Apollo, Vinroc, Shortkut & Richness - "Live at Cue's" W - "Dukes Up (DJ Abstract's One A.M. mix)" Snowmen - "Dirt Bike Rider"

And here's a list of the compilations and mixes that were used to put this thing together:

Club H Vol. 2 by Harry the Bastard (2000, Statra Recordings) The Chemistry Set (1998, Hypnotic Records) The Vertical Iris (1998, ZoëMagik Records) Observation of Ruins (1998, Baraka Foundation) Cleaning House: A Devil in the Woods Compilation (1999, Devil in the Woods) Cue's Hip Hop Shop Volume One (1998, Dogday Records) Eclectic Electric (2000, eMusic)

And this playlist is also on YouTube Music.

So you've got about 66 minutes of some pretty obscure 1998 San Francisco underground music here, the likes of which I don't think anyone else besides that hypothetical college kid that I made up before would ever put together 😁.

Going back to the 70s next week with an update to a genre playlist that I haven't touched in a *very* long time 👀.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[cyarskaren52]

Check the rhyme and this playlist

A Tribe Called Quest is one of the most influential Hip Hop groups of all time, an act that paved the way for countless rappers to be simply themselves. They laid the blueprint for both quirky and thoughtful alternative rap with lyrical content that was funny, observant, abstract, and full of lightheared confidence. Sonically, Tribe’s production masterfully connected jazz and Hip Hop like no other group before them. 

Part of the alternative rap click, The Native Tongues, Tribe solidified their jubilant arrival with their eclectic, exuberant 1990 debut, People’s Instinctive Travels and Paths of Rhythms, which boasted a couple of Tribe classics and was a showcase for rapper/producer Q-Tip’s brand of playful, inspirational lyricism. 

But it was their two subsequent releases, widely regarded as two of the best, most influential Hip Hop albums of all time—1991’s The Low End Theory and 1993’s Midnight Mauraders— that cemented their place as innovators with a unique ear for linking fluid, bottom-heavy jazz, with Hip Hop drums and sensibilities. Following original member Jarobi White’s departure, their sophomore effort also served as a further introduction to Phife’s lighthearted, boastful rhyme skills, which would continue throughout Tribe’s career. 

Combined with their quirky, self-reflection, Tribe’s core sound was completely its own, and over the years has proven to be both timeless and endlessly influential.

“We’re all [Q-Tip’s] sons,” Pharrell Williams has said. “Myself, J Dilla, Kanye, we wouldn’t be here if it wasn’t for Tribe albums.” 

We’ve combed through their catalog to offer 25 of their dopest songs. 

#26

"RUMBLE IN THE JUNGLE" FUGEES FEAT. A TRIBE CALLED QUEST, BUSTA RHYMES, JOHN FORTE [BONUS SONG]

Our BONUS SONG pick is a celebrated classic guest spot! Two of the 90s greatest rap crews join forces on the "When We Were Kings" soundtrack

#25

"THE DONALD" FEAT. BUSTA RHYMES

A tribute to the late Phife Dawg, “The Donald” properly closes out Tribe’s final album, with a fitting feature from frequent collaborator, Busta Rhymes. Tip remembers his friend on the second verse: “We gon' celebrate him, elevate him, papa had to levitate him/Give him his and don't debate him/Top dog is the way to rate him…”

#24

"GET A HOLD" 

J Dilla’s longtime friend and collaborator DJ Houseshoes said it took him about 12 minutes to make what became “Get A Hold” from Tribe’s fourth album, Beats, Rhymes and Life. The beat is one on the album that helped signal a shift in Tribe’s sound when Q-Tip, Ali Shaheed, Dilla formed the production unit, The Ummah.

#23

"STRESSED OUT" FEAT. FAITH EVANS

Tensions were high by the time Tribe released Beats, Rhymes, and Life. But the group’s fourth album did have moments when everything was in tune, including on “Stressed Out” featuring Faith Evans who interpolates Anita Baker’s classic “Good Love” for the hook. 

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#22

"IF THE PAPES COME"

Experimental in both lyrics and production, “If The Papes Come” (the B-Side to “Can I Kick It?”) offers the other side of Tribe’s genius, showcasing their propensity to test musical boundaries and color outside the lines, or at least re-shape them. 

#21

"BUTTER"

Phife shines on “Butter,” a solid addition to the classic Midnight Mauraders, where he spins a familiar “back then you didn’t want me, now you all up on me” tale: “I remember when girls were goodie two shoes/but now they turning freaks/ All of a sudden (we love you Phife)/ease off ho, my name’s Malik…” 

#20

"STEVE BIKO (STIR IT UP)"

A dope beginning to a quintessential Hip Hop album, “Steve Biko (Stir It Up)” (named for the famous South African freedom fighter) is a proper reminder of the creative energy Tribe brought to the table.  

#19

"VIBES 'N STUFF"

A track that embodies the energy of The Low End Theory, “Vibes and Stuff” is a laid-back groove dedicated to Scott LaRock and Trouble T Roy, where Q-Tip shines with bars about staying true to self: “Here I am ghetto, full with a lot of steam/Think I gotta, I think I gotta, I think I gotta scream/Cause that’s how good it feels child/Let your hair down, so we can get buck wild/Do your ill dance, don’t think about the next man…”  

#18

"FOOTPRINTS"

Flipping Donald Byrd’s “Think Twice” before Erykah Badu offered her own rendition on "Worldwide Underground," “Footprints” is an early example of Tip’s lyrical prowess, and a groovy standout on their debut.  

#17

"LYRICS TO GO"

Q-Tip has never hidden his love for iconic singer Minne Riperton, sampling her work on a few of Tribe’s biggest hits, including this one from Midnight Mauraders. He samples “Inside My Love” on the track, which was the B-Side to “Oh My God.”

#16

"EXCURSIONS"

While Tribe wasn’t the only rap act that was incorporating jazz into their music, what they were doing was specific and unique, a vision that came to life on their second album, The Low End Theory. The album got its name because Q-Tip was leaning heavily into the bottom of his production, or the low end, bass-heavy sound that’s used on “Excursions,” the album’s opening track that signaled the direction Tribe was headed in subsequent years. 

#15

"HOT SEX"

It’s not necessarily known as a Tribe standard but “Hot Sex,” featured on the 1992 hit soundtrack for "Boomerang," was an early introduction of the group to casual rap fans.  It was also featured as a bonus track on The Love Movement years later, and helped set up the sound Q-Tip would play around with on his 1999 solo debut, "Amplified."

#14

"WE THE PEOPLE..."

The lead single from their final album, "We Got It From Here… Thank You 4 Your Service," was Tribe’s stamp on the politically-charged music that dominated music in 2016. The song dropped a couple of weeks after Trump was elected, and became even more appropriate, a rallying cry that cemented exactly where Tribe stands when it comes to socio-political issues, with Tip in top form over the grinding track.

#13

"I LEFT MY WALLET IN EL SEGUNDO"

Q-Tip’s off-beat storytelling is on display on this memorable entry from their debut album, which also is a wink at the classic series, Sanford & Son.

#12

"SUCKA NIGGA"

More than most Tribe tracks, “Sucka Nigga” gives a clear look into what Q-Tip’s solo run would sound like, especially on 2008’s "The Renaissance."

#11

"SPACE PROGRAM"

 Released in November 2016, We Got It From Here… Thank You For Your Service, Tribe’s final album, dropped eight months after Phife’s death from complications due to diabetes. While the album featured a number of high-profile appearances (Kendrick Lamar, Anderson.Paak, Andre 3000,  Elton John)it was at its brightest when Tribe kept it in-house. “Space Program” triumphantly opens the album, with the celebratory but thought-provoking sound that made Q-Tip famous. Lyrically, they’re sharper than ever: “There ain’t a space program for niggas/We stuck here nigga,” they recite on the hook, ever observant, and always on point.

#10

"FIND A WAY"

The lead single from their fifth album, 1998’s "The Love Movement" (the last album to be released during Phife’s lifetime) “Find My Way” is the culmination of everything producer J. Dilla did best — incorporating mellow, jazzy instrumentation over stark drums that hit hard. “Find A Way.” Add what was already stellar production to a catchy hook and easy, love-friendly lyrics from Tip and Phife, and you have an undisputed heavyweight in Tribe’s catalog. 

#9

"OH MY GOD" FEAT. BUSTA RHYMES

“Scenario” isn’t the only place where Busta shines on a Tribe record, as evidenced on “Oh My God,” the third single released from "Midnight Marauders." Over a sample of Kool & The Gang’s “Who’s Gonna Take the Weight,” Q-Tip offers a nice summation of who is on the track’s opening bars: “I’m a Black intellect, but unrefined…” 

#8

"1NCE AGAIN" FEAT. TAMMY LUCAS

The lead single from their fourth album, Beats, Rhymes and Life, “1nce Again” is a mellow groove and a bright spot on the album. It notably features production from J Dilla (working with the production collective The Ummah which also included Ali Shaheed and Q-Tip). 

#7

"CAN I KICK IT?"

One of the most immediately recognizable songs from their debut, People’s Instinctive Travels and the Paths of Rhythms, “Can I Kick It” is a hallmark Tribe track that offers the best the group had to offer— a groovy Hip-Hop track with laid-back rhymes. 

#6

"AWARD TOUR"

The second the opening chords drop, it’s apparent something really cool is happening with the production and when the drums beat on, it completely makes sense that “Award Tour” was the lead single from the classic "Midnight Marauders," and was Tribe declaring their place with the people but also letting everyone know they weren’t to be toyed with. Phife declares on the second verse: “Never let a statue tell me how nice I am…” which takes on new meaning when you consider they’ve never won a Grammy. 

#5

"JAZZ (WE GOT)"

One of the main reasons Tribe is recognized as a pioneering group is because more than any other artists, they brilliantly showed the connection between jazz and Hip Hop, as was the case on the second single from The Low End Theory, “Jazz (We’ve Got).” Pete Rock provided the original sample (which is why Q-Tip shouts him out at the end), although Q-Tip re-worked it to come up with one of the group’s laid-back standouts.

#4

"SCENARIO" FEAT. LEADERS OF THE NEW SCHOOL

Widely considered one of the greatest posse cuts of all time,  “Scenario,” which was the third single from "The Low End Theory,"  also served as a launchpad for Busta Rhyme’s solo career. 

#3

"BONITA APPLEBUM"

Sensual and chill, “Bonita Applebum,” the second single from Tribe’s debut album, "The People’s Instinctive Travels and Paths of Rhythm," was a sexy-cool love letter that hit at the core of what Tribe offered. It was original, sweet but not corny, and different from what everybody else was doing at the time. 

#2

"ELECTRIC RELAXATION"

A classic entry in Tribe’s discography, “Electric Relaxation” was the second single from "Midnight Mauraders," and is basically a perfect song. Phife recalled walking into his Grandma’s house, where Q-Tip was in the basement working on the beat, which samples Ronnie Foster’s “Mystic Brew,” and immediately recognizing it was something special. It’s Phife and Q-Tip at their best, trading back-and-forth verses that birthed classic one-liners like Phife’s endlessly quoted opening: “I like them brown, Puerto Rican or Haitian…”  

#1

"CHECK THE RHIME"

“Check The Rhime” isn’t just a quintessential Tribe song, it’s an essential Hip Hop song. From the slick sample of Minnie Riperton’s “Baby This Love” bass line, to the lyrics, which are chock-full of famous one-liners (“record industry rule No. 4080” chief among them), and the smooth back-and-forth between Tip and Phife, this is a classic example of the energy, charisma, and chemistry Tribe brought to music.

Sent from my iPhone

[culturechaos-hq]

Creative Chaos: Artist Spotlight --------------------------------- May 2023 Artist: Maha Sattva

Website Twitter ---------------------------------

__As I was searching for the perfect artist to feature in our first Artist Spotlight, I was lucky enough to stumble upon Maha Sattva - a Wisconsin-based artist shrouded in mystery. __With their unique and captivating artwork, I was drawn in and quickly fell into a rabbit hole of pop art, 90's nostalgia and hip-hop culture. __The mysterious artist has a passion for hip-hop, rap, and pop culture, which is evident in their mesmerizing works.

Maha Sattva's Website

__Maha Sattva often incorporates well known figures and cartoon characters in strange, but inspiring combinations, using oil paints and digital media to create pieces that are truly breathtaking. __Despite preferring anonymity, the artist announced a face reveal for August 28, 2023, building anticipation among fans and followers alike. __Maha Sattva's extensive portfolio is a testament to their versatility, with everything from captivating portraits to abstract pieces that leave a lasting impression.

__Their website showcases an impressive collection of themed artwork, ranging from anime and hip-hop portraits to the colorful and vibrant world of Loteria. __Their "album art" collections are unique blend of iconic shows like Pokemon, Dragonball Z, and South Park combined with a wide selection of classic hip-hop albums, creating a nostalgic trip down memory lane for viewers.

__What truly sets Maha Sattva apart is their stylish clothing collection. Each design is a remix of one of their original artworks. Whether you're a fan of bold colors, intricate designs, or subtle nuances, Maha Sattva has something for everyone.

__To get in touch with this talented artist, reach out via their professional contact information:

contact@maha-sattva.com PO Box 532, Janesville, WI, 53547 ----------

----------

__Don't forget to check out their website for an extensive look at their impressive portfolio and be on the lookout for the upcoming face reveal.

__Maha Sattva is an artist to watch, and we can't wait to see what they create next!

[kicksaddictny]

Adidas x IVY PARK “PARK TRAIL” collection

According to Adidas

Adidas and Beyoncé’s IVY PARK announce their latest collaborative collection called PARK TRAIL; a new rule-breaking, trail-blazing expression of performance wear from adidas x IVY PARK . PARK TRAIL is inspired by the resilience of the outdoors, the spirit of the streets, and the possibilities of the future.

As with the previous adidas x IVY PARK offerings, this latest drop features distinctive looks with inclusive and gender-neutral sizing in fashion styles, performance gear, footwear and accessories. The line is available in adidas stores andonline at adidas.com/ivypark on February 9th and February 10th in selectpartnerstores, globally. PARK TRAIL is a destination you want to explore no matter the setting . Whether scaling that summit you’ve been training for or exploring inward to reach a peaceful state of mind, it’s clear that the path down the PARK TRAIL is an expedition worth taking. PARK TRAIL celebrates the great outdoors as well as an urban adventure. The Trail will lead you through the concrete jungle or the mountains in style. With the new PARK TRAIL collection from adidas x IVY PARK , both the journey and the destination are celebrated with looks that function equally as fashion and performance.

The Campaign The campaign is centered around embracing exploration and adventure to the fullest and guides us to a place of wonder and revelation through time, space and self-transformation. This experience depicts both the natural and the metaphysical, which can be as literal as an exhilarating walk down a nature path or a city sidewalk or more abstract, exploring inward and discovering new dimensions.

Cast members are depicted in a contrasting urban environment that features natural and unnatural elements infused with inspiration from hip-hop 90’s culture. Images from the campaign are realized with enhanced lighting, bold production design and elevated styling aesthetics. The brand utilizes this narrative to convey the idea of getting lost, then discovering yourself through your own PARK TRAIL.

The campaign stars entertainer and global superstar, Offset and his son, Kodi, supermodel and actress Devon Aoki and rising star rapper/singer Ice Spice. Japanese Instagram star and fashion icon/model, Coco Princess, American NFL Football sensation Jordan Fuller, NCAA artistic gymnast Nia Dennis and professional American soccer player Dani Weatherholt, and professional skateboarder, Diego Nájera round out the diverse cast who bring this amazing campaign to life.

The Collection The PARK TRAIL apparel collection serves as inspiration for how to create your own journey and find your park. As gritty as they are glamorous, these versatile apparel looks re-think classic outdoor styles and interpret them through elevated fabrics, powerful iconography, prints, sequins, camouflage, incorporating utilitarian convertibility. Layering and on-body storage are emphasized throughout the collection, which is conceived for function and fashion. PARK TRAIL will empower you to feel elegant yet equipped for any trek. The palette excites with colors that include Sol Ange (solar orange), Mojave (focus orange), Lake-Her (legacy indigo), Denali Green (wild pine), Yosemite (purple), White Sands (cream white), Pynes (pulse lime) along with a signature Canyon print (camo print).

PARK TRAIL’s footwear elevates well-known IVY PARK classics while adding distinct newness. Taking cues from iconic styles from the adidas archives, PARK TRAIL footwear is thoughtfully transformed through the IVY PARK lens. The IVY PARK TT2000 basketball shoe makes its debut in this collection and is available in two exciting colorways. PARK TRAIL’s footwear is locked down by modern textures, exclusive prints, graphic modular accents, and vibrant colorways, ensuring you’re ready for the formidable journey ahead.

Accompanying accessories for the PARK TRAIL collection are elevated to a new level with transformative, stylish, and versatile pieces. Fully convertible backpacks, bags and hats are all beautifully crafted with utilitarian accents, including carabiners and fastenings that channel the great outdoors. A mixture of colors, prints, and finishes merge these statement pieces together, so you’ll stand out on the trail. Taking cues from the line’s signature adult styles, the IVY PARK kid’s collection features stylish and versatile sportwear, outerwear and accessories – all thoughtfully transformed through the IVY PARK lens.

Notes to Editors

The adidas x IVY PARK “PARK TRAIL” collection consists of:

Fashion highlights including the Camo Sequin Jacket, Camo Fur Coat, Camo Canvas Track Suit

Active highlights including the Circular Knit Camo Crop, Tight, Zip Hoodie

Foundation highlights including the Knit Camo Jacquard Sweater, Camo Hidden Pocket Crew Neck Sweatshirt

Footwear highlights including the IVP Top Ten 2000 (TT2000)

Accessory highlights including the Camo Reversible Bucket Hat, Camo Convertible backpack

Fabrics including camo cotton canvas and cotton twill, camo sequin, camo faux fur, nylon + stretch woven

56 apparel styles (including Inclusive Sizing), 12 accessories, 3 footwear styles (with one tyle, the TT 2000, in two colors)

Unisex Regular and Oversized fits

Men’s Regular and Tight fits

Women’s Tight, Regular and Oversized fits

Sizes from XXXS-XXXXL

Prices from $30 US to $600 US

KID’S COLLECTON

12 apparel styles, 4 kid’s accessories styles, 1 footwear style

[luuurien]

billy woods & Messiah Musik - Church

(Abstract Hip Hop, Boom Bap, East Coast Hip Hop)

Stepping away from expansive album concepts and looking inwards towards a narrative of heartbreak, politics and faith, billy woods' second album of 2022 explores a vulnerable side of him rarely seen in his expansive discography. It's a thrilling change for a rapper so often shrouded in such mystery.

☆☆☆☆½

Church is the most we've ever learned about billy woods on a single album of his, and that alone is something to get excited about. One of underground hip-hop's most elusive figures, everything about woods comes solely from his music, yet there's an emotionality and warmth to it all nonetheless: his explorations of Blackness and the African diaspora on this April's Aethiopes hid delicate personal moments in the densely packed writing of songs like Remorseless ("The chain say envy, but PTSD keep me countin', never spendin' / My accountant is a head full of bad memories and sad endings") and Asylum ("Downstairs I hear my mother breaking dishes, my father trippin' / It's been quite bad lately, high tension"), and 2019's Hiding Places found a similar balance as he reckoned with poverty and class systems through the cracked lens of Kenny Segal's production ("I'm the feelin' after you killed him and seen the safe empty / The weight lift like payday lendin' / Face twist at the memory," he rapped on the magnificent Speak Gently). In Church, he chooses to do something entirely unexpected from someone who has long been known for his lyrical mystique and thematic fogginess: write straight from his perspective. Though it takes on the same thematic complexity and rich imagery of his past projects, woods focuses here on a breakup which earns a larger role as the catalyst for contemplations on faith, family, and exploitative systems - all familiar themes for woods, but given a sharp personal bent through the lessons his own childhood religiosity taught him and how those memories persist in his world today. He's still a master of his craft, and the unorthodox viewpoints Church injects into his music prove vulnerability and warmth are as important to his work as any of its intellectual elements. Entirely produced by Messiah Musik, who's previously found himself in woods' orbit with his production for Armand Hammer, his murky boom-bap style provides woods' rapping more padding to bounce off of than the colder, emptier atmospheres Aethiopes used to put his storytelling at the forefront. While woods' rapping adds dimensionality and color to Church's world. Messiah's production is the album's beating heart, pushing him into sentimentality with Classical Music's gorgeous piano loop or sneaking in some discomfort with the warped, muted horns in the background of Fever Grass - it might feel underwhelming coming off the tail-end of Aethiopes' blend of dub and blues and 90's boom bap, but by no means are these beats poorly made, not in the slightest. woods also benefits from the smokiness Messiah's sampling style lends to Church, able to stay in his comfort zone of moody confessionals while never being face-to-face with you, Paraquat's dimly-lit halls following woods down roads of heartache ("Loved that girl, but knew we wouldn't work like Harden on the Rockets"), identity ("In DC they called me New York, I didn't correct it") and political allegory ("Whitey hit Hiroshima, then he doubled back / Black rain baptized, black skies / I'm always waiting on the thunderclap") that give greater insight into woods' internal workings without showing you how it all functions in one go. Church, despite its brief 37 minute runtime, unfolds strikingly slowly, patience and understanding rewarded with the same level of passion and gratification as any of his other projects. Hearing woods so stripped-back is an odd thing at first, but what it brings to the table is a level of radiance and expansion his emotional moments have never been treated to until now. There've always been undercurrents of trauma and mental hardship in his work, but it's always been put into the context of a broader idea: the dupes of capitalism, African identity, imperialism and revolution. Here, those ideas are slid underneath naked accounts of love and loss, Schism memorializing grief and artistic security as he flashes back to leaving a woman's sorrow out of his raps yet needing his music as a space of creative safety ("The shit I wrote, can't do it on a phone / ...The sadness in her eyes, I left it off the page") and Artichoke finding a similar kind of reminiscence as he drifts back into childhood ("It's certain things you can only learn from a fist fight / I used to use a toothbrush to keep my kicks white, it mattered that much") and then connects it to contemporary tensions between the long-standing harshness of hip-hop culture and its relation to LGBT communities, woods still aware of his music's inextricable connection to sociopolitical issues but emphasizing his personal intersections with them rather than the inverse. Detailed as ever, Church's fragmented framework of emotions and the real-world events that compound them helps to support what his previous album perfected, a companion piece for Aethiopes that explores what comes to the individual alongside widespread societal struggles. Desire and connection have never sounded so fundamentally to woods' music like it does here: even as he pricks the same veins as his previous projects, there's something infinitely more tender about hearing him remember where each chip bag was in the hospital vending machine or the innate discomfort of visiting his cousin's tumultuous home, opening up more directly than ever before and letting his emotions guide him in a way that's incredibly unguarded yet wholly confident. His skill as a rapper and storyteller will always hold his music high, Church an opportunity for him to try something new after a string of conceptually ambitious and technically marvelous projects. billy woods isn't trying anything too out of the ordinary, but he doesn't have to: the power of his words on top of rock-solid beats is more than enough to make every moment land with conviction and unending empathy.

[lazyhousecarly]

Check out this listing I just added to my Poshmark closet: Vintage 1960's Lavender Patchwork Maxi Skirt Retro Fabrics Funky Colorful Purple.

[jacksonjb]

Codes and Conventions of my Chosen Genre

While still working through the preparation phase of my MV, I wanted to have a thorough understanding of the conventions and expectations of my song, through music videos, presentation, various representational codes and iconography.

Genre

After doing some research into my song of choice (Massive Attack's Risingson), I came across a number of particular genres it could fit into. Most predominantly, I would say my song fits into the 'trip-hop' genre. Trip-hop originated in the early 90's in the UK - specifically Bristol - and is largely a fusion of hip-hop and electronic music, with occasional elements of rock. It fits pretty well to my song, given that Massive Attack came from Bristol, and has been credited with helping create and is commonly associated with the burgeoning trip-hop scene. Google also suggests that massive attack could fit into the dance/electronic, rock and rap genres.

Similar bands to Massive Attack include:

Portishead, another band of the trip-hop variety that also formed in Bristol

Tricky, who began his career as a member of Massive Attack, but later created multiple solo albums beginning in 1995 (also from Bristol!)

Lamb, an electronic duo from Manchester and has its roots in jazz, trip-hop and drum and bass

UNKLE, a similar house/electronica band that has employed various DJ's, guests artists and producers. From London this time.

Connecting the trip-dots

Following a bit of research, I went through the various music videos of these bands in order to find some commonalities between them all.

Representation

There initially appears to be a certain lo-fi quality to the filming, production and representation of the bands. With grainy film, lots of darkness and shadow, it appears to sculpt an image of the bands as moody, angsty and somewhat mercurial.

Within the female members of the band, there also appears to be an interesting subversion from typical MV representation of women. As Goodwin's music video theory suggests, there is an element of voyeurism and even perversity when it comes to the depiction of women in these videos. Here, the trip-hop genre creates a graceful, even sublime presentation. With a utilization of soft focus present in Lamb's Gorecki video creating a more gentler representational margin, and Portishead's Glory Box doing the same with singer Beth Gibbons through use of stark composition and elegant costume.

Tricky's Hell is Round the Corner music video also fits into the lo-fi aesthetic and image pushed by the other bands. He is wearing a loose fitting but stylish long sleeve shirt, and an eccentric but interesting make up styling. He projects himself as unique, idiosyncratic and original: all things that were characteristic traits of the trip-hop scene at the time.

Narrative type:

Often these music videos refrain from conventional narratives, or even clear, identifiable plot lines. A merging of performance video with a loose abstract plot is typical for trip-hop and electronica videos.

Again, Portishead's Glory Box music video fits into this convention. Combining videos of the band performing in-colour with persistent edits to a plot line relating to the lyrics, regarding infidelity, a fizzling out romance and misogyny. The use of black and white grading when cutting to these segments implies an alternate realm than the one the band themselves exists in. The band themselves doesn't appear in these segments either, but a suggested connection between the two is created through causational montage.

Looking at Risingson itself, it is a video notably lacking in plot or story. The video relies heavily on aesthetic value, though is no less diminished in terms of cinematic appeal. The music video depicts the band in a grungy environment, potentially some sort of abandoned home given the mise-en-scene present, and shows the lead singer Robert Del Naja drifting around the home, grappling with gimp-suited, chainsaw wielding intruders, faulty outlets and other various domestic tribulations.

UNKLE's Be There music video has a bit more of a concrete plot, but doesn't feature the band in any measure. It is a seemingly conventional, gritty music video. It follows a young woman on a London train line who has uncomfortable, borderline harassing encounters with people before entering a train and falling asleep. In a strange break from convention however, the music video then follows a strange, ephemeral, cloaked figure that begins to follow the woman, encroaching on her rest on the train. The video has no relation to the lyrics, and juxtaposes the actual tune of the song, demonstrating more of a darker approach to a genre that is, if not a bit moody and atmospheric, not known to verge into the sinister.

Mise-En-Scene

Location proves largely an atmospherically homogenous point amongst a lot of trip-hop music videos. They are often grungy, urban and incorporate a sense of raw authenticity. Massive Attack's Angel music video epitomizes this, taking place first in a carpark, and then a warehouse (a lot like my music video!), and portrays Tricky being chased around by Robert Del Naja and a group of men.

Colour is a contentious point in music videos at large; it is difficult to highlight any sort of repetition in terms of specific uses of colour, and even harder to assign the same meaning within each video even when such a repetition is identified. In spite of this however, I did note that multiple trip-hop MV's seemed to make use of a sepia tint to their footage, and found somewhat of an established link between them in this regard. Take Massive Attack's Teardrop music video (left), Tricky's Aftermath (centre) and Portishead's Numb (right), all of which make use of such colour, imbuing a sense of bygone era or historical wistfulness into each video.

Iconography

To stray slightly away from trip-hop briefly, and examine another artist who featured within the same scene or area as trip-hop, acclaimed electronica musician Aphex Twin is known for his highly unique and identifiable symbol representing him as a musician, often present in his music videos.

Going back to trip-hop, if we are to compare this presentation of a literal symbol and icon within Aphex Twin's work and music videos, we would find that there isn't an immediate comparable instance present in most trip-hop music videos. Though some bands, like the prominent Massive Attack, have a prominent logo (below) that features throughout their marketing, promotion and sometimes album covers, this iconography doesn't quite make it to their music videos.

In terms of visual codes however, the use of black and white as a tone setter and aesthetic foster permeates throughout a number of trip-hop videos. The reason for this could be one of many; some bands may want to use a cheaper film stock to create videos, some may want to deliberately set a moodier tone, and some may flit back and forth between colour and B&W (such as the aforementioned Glory Box music video) in order to create an ideas of contrast.

Massive Attack's Daydreaming, Portishead's Over and Lamb's Gorecki music videos all feature B&W filmmaking, each one lending itself to creating a mercurial and sensually atmospheric tone.

Camerawork, editing and effects

As Andrew Goodwin's music video theory suggests, a lot of record labels will ask for close-ups of the artists in their videos, often the most prominent member of the band such as the singer or lead instrumental. Despite trip-hop's reputation for subversion and alteration of norms, a lot of trip-hop music videos still feature close-ups, adhering to standard MV codes.

In terms of any sort of post-production effects, trip-hop remains largely barren, opting not to use any sort of computer generated or special effects. The deliberate exclusion of such elements of the music video genre, an elements that is notable common, helps to craft the image of bands and their music as raw, authentic and genuine - all things pertaining to the image the trip-hop scene had in the mid 90s.

Something interesting to note however is that trip-hop music videos do not detach themselves from the notion of any sort of special effects at all. In the few that do make use of them, they are often practical, and revolve around designed sets and locations made to help emphasize the fluidity of the music and the visuals. Tricky's Ponderosa and Massive Attack's Protection are two examples of music videos that do this, the former using intricate mirrored lighting and camera set-ups to create a kaleidoscopic visual effect, and the latter making use of a meticulously designed set that allows the camera to weave in and out of apartment windows and between the walls of the artists respective homes.

Editing remains largely a standard procedure in trip-hop videos, with nothing exceptionally notable or identifiable as a common element among each one I looked at. An interesting juxtaposition i did note however was the contrasting use of long takes or short shots and quick editing among various different trip-hop music videos. It was an interesting editorial style that helped accentuate certain elements of the song, conforming to more fast-paced, electronically sounding segments or more somber and slow parts depending on which style was used.

In Conclusion

Throughout the process of analyzing and identifying common elements among a number of trip-hop music videos, I gained a more nuanced comprehension of what a trip-hop music video looks like in terms of style, technical conventions and visual elements, and was able to better craft and develop to a conventional standard what my own music video should look like.

[grad604-poppi]

Brainstorm for the 3 C's.

Current Elements:

Currently hip hop is the driving element in this project. It involves me as a creative, creations (clothing, music,) and well as creative communities (hip hop groups, 2000's rap, dance studios etc.) I have danced since I was 3 years old, and it is a massive influence on who I am now. I can pull many elements from this concept.

I am not a structured or straight forward person, and I like things done with heaps of personality and no limits. Hip hop is sharp, loud and confident, which explains both my personality and my design style.

I plan to use different mediums and medias to layer and construct this poster. I love to photograph + abstract illustration. I want to see where combining this takes this poster.

New Elements

I have made a bit of a change from the elements listed above. I was going to use hip-hop culture as my main influence on the poster, but it is not a big enough influence to completely stick to that idea. My design process and what I produce creatively don't reflect much about hip-hop culture, so it wouldn't be appropriate to relate my entire poster to one aspect of myself. Hip-hop has an influence on my attitude more than the work I produce.

I had a think about it and the best way to sum up my creative practice is working analogue, and this should be reflected in my poster. I am going to collect tangible elements scan them and create a collage. Just like my scrapbooks when I was little.

elements collected so far

dried flowers

sea shell

frame

essential oil

voucher to cafe

nanas music sheet

amethyst card

thrift store tag

Just Enough Design book

The Form of the Book Book

polaroid

birthday cards

letter from friend

annual birthday note from Nana

scalpal

bubble tea loyalty card

5,000 rupiah

parents photos from the 90's

[mannytoodope]

George Edward Clinton(born July 22, 1941) is a singer-songwriter, bandleader, and record producer best known as the frontman for the Parliament-Funkadelic. If you listen to 90’s West Coast hip hop, you can hear much of Parliament-Funkadelic’s music being sampled. Clinton is still a significant influence on hip-hop; he is seen, along with his peers in funk James Brown and Sly Stone, as one of the essential godfathers of funk music. The band crafted an experimental and influential form of funk during the 1970s. The band was inspired by science fiction and absurd and abstract parts of pop culture, reflected in their outlandish stage shows and wild costumes. Before getting funky and outrageous, Clinton started his career with a doo-wop group called The Parliaments while straightening hair at a barbershop. Parliament and Funkadelic had modest success throughout the ’70s-’80s. Clinton eventually started a solo career in 1981, became a notable producer, worked with various artists, and a performance with The Red Hot Chilli Peppers. And as a significant influence on their early funky stuff. In 1997, Clinton was inducted into the Rock and Roll Hall of Fame along with 15 members of Parliament-Funkadelic. Clinton and Parliament-Funkadelic made silly phrases and words seem to make sense with their funky music. I know a guy who worked in the studio with him, and he told me that Clinton is a perfectionist and hard-working person. He is still making music, inspiring and influencing artists to many artists.

[in-sightpublishing]

Conversation with Michael Isom on New Test Developments and Old Tests: Member, World Genius Directory (2)

Author(s): Scott Douglas Jacobsen Publication (Outlet/Website): In-Sight: Independent Interview-Based Journal Publication Date (yyyy/mm/dd): 2022/04/15 Abstract Michael Isom grew up in the birthplace of hip-hop, South Bronx New York, during its original emergence. Having also lived through its rise and urban renaissance of the mid-80s through the early 90s, Michael was able to experience many…

[mmorgfabric]

Kendrick lamar untitled unmastered track 7

Kendrick lamar untitled unmastered track 7 full#

And so we unpack untitled unmastered., an altogether less commercial release than its predecessor, where protracted jazz jams and overlong skits sit alongside chorus-less conscious rap manifestos and Revelations-esque doomsaying. Yet the custom of reviewing an album within a week of its debut remains steadfast. I haven't often replayed TPAB from start to finish in the past year it feels more like an experience, a jazz album in a sea of quotidian rap releases. The fact remains that artistic statements like TPAB derive a large part of their worth from their context, not necessarily from a consistently repeatable collection of flawless songs. That was a legendarily difficult album to process, let alone review, and yet many conclusions were preemptively drawn at the time of its release. One would have thought that after the release of TPAB, it might have been evident that Lamar’s work required more unravelling, more reflection than a few days’ time allows. Not that the world’s music press didn’t already reach their conclusions, levelling high-but-not- TPAB-high praise at untitled unmastered. In many ways it feels disingenuous to review a Kendrick Lamar release a week after hearing it for the first time. It’s enough to be grateful that new music has arrived, directly from one of the most exciting voices of modern times. Physical versions have been made available this week, and at this point it ceases to matter whether we call this release a mixtape, a compilation of demos, an EP, or an album. Soon - barely a week after LeBron James publically called upon Lamar to release this untitled material - the rapper surprised fans the world over with the sudden announcement that untitled unmastered. "I got a chamber of material from the album that I was in love where sample clearances or something as simple as a deadline kept it off the album,” Lamar told after his showstopping medley performance at this year’s award ceremony (during which Lamar also won five awards for last year’s output). contains previously unheard compositions alongside a couple of tracks first fleshed out on live television in one-off jam sessions. Though technically not an album, rather a collection of demos originally drafted during the TPAB recording sessions, untitled unmastered. It is in this climate, in which Lamar is viewed as a brilliant, perfectionistic, somewhat reclusive connoisseur of all that is great about classic rap music, that his latest release arrives.

Kendrick lamar untitled unmastered track 7 full#

Performing with a full live band and analogue, improvised instrumentation, Lamar dazzled audiences and earned a reputation as one of the must-see performers of the past year. Lamar’s Kunta’s Groove Sessions were a string of live performances that once and for all established his powerful charisma and old school appeal in front of adoring fans. It is his inimitable talent as creative director that makes Lamar so unique and so valuable few rappers working today are capable of making records such as this.” In the year since TPAB’s release, that album has already become a byword for real and meaningful hip-hop, an alternative to the boastful bullshit that many less imaginative artists recycle on an album-to-album basis. Last year, Lamar made a pointed statement with his political, revolutionary masterpiece To Pimp a Butterfly, summoning mid-century jazz, golden era funk, abstract experimentation, and the ghost of Tupac Shakur to craft a deliriously original work that captured and ruminated upon the current cultural unrest of the black community.Īs we wrote when we placed TPAB on the top slot of our countdown of 2015’s best albums: ”Musically, Butterfly is a kaleidoscope, dizzying in spectrum and brilliance, one minute shuffling along bebop lines, the other minute blasting us with aggressive punk hop, early-’90s G-funk, or laid back R&B. After all, the Compton rapper has positioned himself somewhere in the no man’s land between the old and new schools of hip-hop: on one hand relied upon by the old guard as a rare beacon of hope for young rap music in strange, autotuned times, and on the other hand expected by many fans to deliver the sort of highly listenable, funny, relevant music that mainstream listeners expect from an artist who has collaborated with Taylor Swift on Number 1 singles and whose second album sold 242,000 copies in its first week. Kendrick Lamar has a way of starting conversations and ending debates.

[researchandthat]

JK & ZombArt, (1991). ‘The Low End Theory’ - A Tribe Called Quest, https://www.bbc.co.uk/music/reviews/w9rg/

September 24th 1991, the day that music lovers would be treated to two of the 90′s most influential albums. On the same day as Nirvana’s cult debut album Nevermind, A Tribe Called Quest released their second studio album The Low End Theory . Both albums are often regarded as the most influential from their respected genres, helping to shape music in and after the 90′s. 

Together, Ali Shaheed Muhammed, Q-Tip, and Phife Dawg come together to become the groundbreaking, sophisticated and refreshing A Tribe Called Quest. Their songs, albums and lyrics are often playful, filled with combinations of jazz and rap, with stories to match. 

The album cover is as bold as the colourful lyrics rapped by the masterful Q-Tip and Phife Dawg. The body of a model is used as the canvas and focus for the design by artists JK and ZombArt with the fluorescent red and green paint leaping from the black background to grab your attention. The pattern celebrates the groups Afrocentric roots, the vibrancy giving you a sense of what is to come when listening to the smooth be-bop beats. It’s another example of photography been used in a creative, graphic manner to create a memorable album cover. From a distance you’d be forgiven for thinking it was an abstract  painting. 

The groups legendary album went on to act as an inspiration for musicians such as Pharrell, Jay-Z and Kanye West, the latter admitting that The Low End Theory was the first album he ever bought. 

Most impressive is how the album utilised the technology available at the time. The music is made using a collage of sounds, sampled from various other songs, musical influences and genres. The samplers at the time of making had limited memory, meaning that Q-Tip and Ali (who were the main producers) would have to imagine how each small sampled section would fit together in the larger picture of the song. They would have to do this without being able to hear them all until each component was recorded, as described by producer Bob Power: 

“​​The memory of the samplers wasn’t great. It was impossible to hear all the elements that you wanted to put on a record,” says Power. “If you were constructing a few samples, you could hear little pieces at a time, but you couldn’t hear how it would all go together until you recorded all of the elements.”*

The trio from New York were natural talents, creating a legacy that can still be felt within Hip-hop today. The bold cover design, playful and fluorescent acts as an appetiser for the crisp drumbeats, smooth jazz riffs and (for the most part) feel-good mix of funk and rap. 

*https://www.theringer.com/2021/9/24/22690923/low-end-theory-anniversary-bob-power-tribe-called-quest

[bananashare]

Till i see you again song sweet november

#Till i see you again song sweet november movie

Let fall upon its back the soot that falls from chimneys, Lingered upon the pools that stand in drains, Licked its tongue into the corners of the evening, The yellow smoke that rubs its muzzle on the window-panes The yellow fog that rubs its back upon the window-panes, Streets that follow like a tedious argument Of restless nights in one-night cheap hotelsĪnd sawdust restaurants with oyster-shells: Let us go, through certain half-deserted streets, Here’s Why.When the evening is spread out against the sky Taylor Swift May Never Be This Popular Again.“Uptown Funk” Is to R&B What “Smells Like Teen Spirit” Was to Punk.

#Till i see you again song sweet november movie

So what is “See You Again,” legacy-wise-a death song or a movie song? Five years from now, if the sound of Charlie Puth’s falsetto makes you picture two cars diverging, Robert Frost–style, we’ll have to refine Ian Faith’s theory: Death sells … but movie death is immortal. On the other hand, we are still living in a “My Heart Will Go On” world within three notes of that opening tin whistle, if you’re not running screaming from the room, you are probably swooning with memories of Jack and Rose. Even Elton’s Diana tribute-reportedly one of the two biggest-selling singles of all time, after “White Christmas”-receives few spins today. 1 than “Every Breath You Take,” certainly hasn’t had the latter’s gargantuan footprint. “Tha Crossroads” receives scant recurrent radio play, and “I’ll Be Missing You,” despite spending more weeks at No. In and of themselves, death-related blockbuster songs have modest lifespans. Given recent radio tendencies, don’t be surprised if the all-Puth version of “See” is the one you hear months from now on adult-contemporary stations-more than six years after Jay Z’s “Empire State of Mind” was a hit, I’m still hearing the Alicia Keys–only mix in the bread aisle. Indeed, there’s already a rap-free mix of “See You Again” that focuses on Puth’s segments and excises Khalifa, not unlike the popular radio edit of 2013’s “ Holy Grail” that centered on guest singer Justin Timberlake instead of Jay Z. Khalifa does get a few of the song’s most memorable lines, including the refrain, “How could we not talk about family when family’s all that we got?” and the movie-recalling “… now you gonna be with me for the last ride.” But Charlie Puth’s piano-and-vocal segments are given a more central showcase in the mix-his high-pitched “Oo-oo-OOH-oo-OOH” is arguably the song’s most memorable hook-and serve as the core of the its chart-conquering prowess. Among mid-to-late ’90s hits (a big period for death on the Hot 100), “See” is much closer to Elton John’s “ Candle in the Wind 1997”-Diana, Princess of Wales, remains the ultimate celebrity angel-or the aforementioned 1998 smash “My Heart Will Go On” by Celine Dion, the quintessential mourn-you-till-I-join-you pop song. “See You Again” is about death in the abstract, and specifically, it’s about the death of a celebrity. “Crossroads” and “Missing” were both unabashedly corny and pop-friendly, but at their core they were about hip-hop’s backstory-its culture, its beefs, its self-destructive impulses. for a genre-movie actor), the current hit is also much less hip-hop-centric than its predecessors. What they all have in common is a sweet, almost churchy approach to melody: the Bone Thugs rhyming in “Crossroads” about how they “pray, every day, every day” widow Faith Evans singing mournfully on “Missing,” with a gospel ache, for her former husband the hymn-like piano lines that anchor “See.” But besides the fact that Paul Walker, as a song honoree, makes a strange analog to Eazy-E or Biggie (I’m having a hard time picturing anyone pouring out a 40-oz. It’s tempting to connect “See You Again” to these dead-homies chestnuts.

[randomvarious]

Today’s mix:

Code4109 by DJ Krush 2000 Trip Hop / Illbient / Hip Hop / Abstract Hip Hop / Turntablism

I think this might be the greatest hip hop and trip hop mix I've ever heard in my fucking life. Like, I know we haven't found a way to slow down the passage of time yet, but musically, this feels like the closest that anyone's ever gotten to accomplishing it. From start to finish of this hour-plus masterpiece, Tokyo's DJ Krush shows us why he's simply one of the greatest jazzy hip hop and trip hop musicians to have ever produced and spun records. The man digs deep into his own notoriously vast collection and pulls out an unbelievable set of obscure tracks, ranging from boom bap raps and beats you're likely to have never heard before, to super chill Japanese jazz, to even a blend in which he incorporates a Bulgarian orchestra and choir. And Krush manages to make every single song on this sound as if they were actually made in his own image.

Molasses-slow, brain-frozen, on-another-planet, stoned-to-the-point-of-seeing-stars type of stuff; the absolute pinnacle in hip hop and trip hop haziness; a desert island DJ mix if there ever was one.

Listen to the full mix here.

Highlights:

The Legion - "Jingle Jangle (Mental Mix)" Gravity - "Back to the Essence" DJ Cam - "No Competition" Nick Wiz - "Four Elements" / John Klemmer - "Yes to Life" / Beats International - "Just Be Good to Me (Acapella)" The 45 King - "Flipshot" / John Klemmer - "Love Is Life/Life Is Love" Old World Disorder - "3hree6ix5ive (Detrimental)" Gravity feat. Kamam Leung - "What Is It..." Monkey Ken & DJ Seto feat. Hazaed & Daddy Shadow - "Taiyou Ga Arukagiri" / Orchestra & Choir of Bulgarian Radio - "Polegnala E Pschenitza" DJ Krush feat. DJ Yas & DJ Hazu - "No More" Jazzanova - "Coffee Talk" DJ Fashion - "Wild Drums" Virtuoso - "Incinerator (Radio Version)" DJ Krush feat. Esthero - "Final Home (Vocal Version)" DJ Krush - "Ryu You" The Blue Herb - "Chie no wa" RYU - "Ilektrik" RYU feat. The Beat Knuckles - "Beataholic Reformatory" DJ Krush - "Kemuri" / Minoru Muraoka and New Dimension Group - "El Condora Pasa"

[luuurien]

billy woods - Aethiopes

(Experimental Hip Hop, Abstract Hip Hop, Conscious Hip Hop)

billy woods' latest album is an absolute wonder to behold. With rich and anxious production from Preservation and his characteristically claustrophobic sound, woods uses every linguistic tool in the book to make these avant-garde rap songs monumental. Full of double meanings, historical context, and rich imagery and allegory, Aethiopes is a decade-defining achievement.

☆☆☆☆☆

billy woods can immerse you in his world like nobody else. His unique cadence, off-kilter and spoken word flows, and ear-catching beat choices make you hang to his every word, all his albums having layers under layers that consistently amaze with how much impact he can put into a single bar. But he's also never trite in that effort, staying away from widescreen cinematic sounds in favor of a dark and isolated mood where his ideas wrap around one another, tangled in their hundreds of ideas that slowly unravel the longer you sit with his albums. With Aethiopes, he's outdone himself once again, with a bigger and bolder concept than he's ever gone for and some of the most daring production in years from hip hop savant Preservation that all adds up to a decade-defining achievement. Never before has his music taken on so many ideas, nor sounded this suspenseful and isolated, Aethiopes the realized extreme of his artistry as he goes into everything from the historical forces that shaped Black identity and culture to the dismal circumstances poverty and class divide puts on people to how family turmoil and disarray can wreck the perspectives and understanding of life a child has. It's an incredibly ambitious project even for someone who's on the edge of the cutting edge like woods, and it succeeds on every front, all the different parts coming together to create a thoughtful and spine-chilling album that never holds back. woods' writing and rapping is the core of Aethiopes, but it's impossible to talk about the album without exploring Preservation's production in depth. woods has always worked with unconventional producers to get his ideas across, from electronic producer turned hip hop beat maker Kenny Segal for 2019's Hiding Places to the mixes of ambient, soul, noise and hip hop courtesy of Moor Mother for Brass two years back, Preservation, though, seems the perfect fit for woods here, making beats that are as humid and brooding as the stories of colonialization and identity woods lays out, dissonant and scuzzy horns splattering the drumless canvas of No Hard Feelings or emulating the tension and listlessness of a drug deal with the minimal instrumental flourishes and cold percussive groove on nerve-wracking highlight The Doldrums, every tale woods spins is brought to life in the beats Preservation makes for him. He also makes sure the beats he makes work perfect for any features woods and him have in mind without sacrificing the done of Aethiopes: getting a grimy and punchier rhythm going for Sauvage tailor-made for Boldy James while the trembling background ambience and electric creaks keep it within the album's dithery boundaries. There's a bit of turntablism and 90s hip hop worship on Heavy Water designed just for Run the Jewels' El-P and other guest Breezly Brewin, a similar boom bap sound thrown onto posse cut NYNEX that is then mixed with a bit of blues harmonica and sharp background noises that provide the energy needed for Elucid, Quelle Chris and Denmark Vessey to thrive here. But just like all the rest of woods' work, it's not bound to the sounds of hip hop or its experimental sides, Preservation throwing in a full on dub tune with Versailles and the following Protoevangelium nodding to reggae with its drowsy bassline and feature from one of the genre's classic singers, Shinehead. Preservation's production drives all of Aethiopes forward, making for some of the best production in recent years while furthering woods' artistic goals all at once. And in regards to woods' songwriting, it's still as reliant on imagery and stories that imply meaning rather than state them outright, but a recent Fader interviews gives quite a bit of insight into what he was going for, saying "...there's a lot going on about Blackness as an idea, Africa as an idea, Africa as a reality. The diaspora, looking at the land and vice versa. And obviously from the cover to the title itself, the idea of the other." The album's title doesn't even have a concrete meaning, potentially referring to the people and nation of Ethiopia, subtly referenced in the story of political revolution and autocracy in the introspective Asylum and more overtly in the Sebastian Münster reference at the end of Christine, but it could also refer to the term aethiope used by European colonizers to refer to all African tribes and cultures. Both of these answers are correct, and there are likely many other ideas you can implant on the album's theme and titles that prove just how multifaceted an artist woods is. Go through a single verse and there's so much to unpack: the titular allegory of The Doldrums that uses a chunk of sea with little movement and wind to embody the psychological stress and emotional pressure of a drug deal, imbuing every line with bated breath and dread ("Usually you sit there, the sun come and go / The moon float, horses thrown overboard kick fast, then slow / It don't really mattеr which / Thick mist, piff smoke, draw straws from clenched fists"), or the story at the center of Sauvage where woods is able to interweave a story of family trauma, gang violence, capitalistic exploitation of forced labor, and anger fueled by misogyny and patriarchal norms into a one legendary verse, and I could keep going on and on with the brilliance in every song and verse for another two or three paragraphs, there's just so much to unpack in Aethiopes. He never goes for easy sloganeering or basic platitudes, he's seen and experienced too much for his work to ever be that surface level, but through the thick narrative walls of his music woods is able to explore a dozen ideas in the span of two or three minutes. When he weaves Stephen King's book about a murderous car into Christine's story of family arguments and drive-by's, or a man smoking crack outside someone's apartment into a meditation on economic divide and socioeconomic conditions that lead to people like him on No Hard Feelings, it's a show of his poetic and storytelling abilities, putting multiple meanings into every word and letting you as a listener learn them all as Aethiopes further into your mind. Aethiopes, for how minimal and cryptic an album it is, is without question one of the year's best albums and a landmark of hip hop and experimental music for this decade. As the world seems to fall apart a little more each day, billy woods and Preservation give us a lens to understand a small section of it through, a brilliant and reflective album that never gets stale and consistently wows with each new track. With how magical all of woods' work up to this point has been, it's no surprise that Aethiopes continued this hot streak of sensational projects, but it's a step up from all of them by committing to something never seen from any other artist up until this point, not only engaging with Black identity but the roots of it, how it was often shaped and defined by the effects of colonization and slavery (as woods said himself: "...you're talking about the other, and ideas of blackness, which don't necessarily have to line up with the reality of it. It's an idea — like, Europeans decided what Blackness was.") and what that means for woods and his artistry. His writing is more confident and complex than it's ever been, the beats are primed to fire off exactly how he needs them to, and as one complete project it's an astonishing body of work. Aethiopes is like nothing that's come before it, using all of woods' influences to build something absolutely revolutionary, and crowning him as one of our generation's strongest performers and songwriters along the way.

[lazyhousecarly]

Check out this listing I just added to my Poshmark closet: Vintage Plus Size Funky Psychedelic Blouse Top Black Jaylan of California 2X.