Rap – Page 3 – 7th Level Music

Rewind Review: King Geedorah – Take Me to Your Leader (2016)

Part of the legend and greatness of the late MF DOOM was that you never knew what he was going to do next. On the 2016 album Take Me to Your Leader, he took on another secret identity – King Geedorah, who himself was MF DOOM taken over by aliens bent on taking over the Earth. It’s a wild concept record filled with DOOM’s stunning rhymes and cool kaiju film samples helping tell / yell the story.

The first words on Take Me to Your Leader are “Follow the light, the light is your guide.” on “Fazer.” DOOM is fully possessed by the Planet X aliens and threatening to spit electricity (which is already does through his jaw-dropping rap skills) and to make “razors out of beer cans.” The loops and beats of “Fastlane” almost sound warped. The X-aliens brag about their control of DOOM and his friends on “Krazy World.”

“The Final Hour” takes a great sample from Hall & Oates‘ “I Can’t Go for That” and slows it down to the point where it’s almost unrecognizable. “Monster Zero” is another name for King Geedorah, and it’s also a great trip-hop tune with many great samples from Japanese monster films. “Next Levels” brings back hip hop rhymes atop an acid jazz beat.

“Geedorah has arrived, you guys can take five,” Geedorah / DOOM says on “No Snakes Alive.” DOOM’S pace moves back and forth from methodical to frenzied on the track. DOOM and Mr. Fantastic team up for a smooth track on “Anti-Matter.” Bonus points to you if you get the joke / reference in that partnership. The title track is a bit of a weird dream with plenty of samples of hysterical laughter and that Hall & Oates sample chopped up and restructured one more time.

“Lockjaw” goes back so fast that you barely have time to breathe, let alone catch all the tricky rhymes in it. “I Wonder,” with guest star Hassan Chop, has a cool, cinematic string section loop throughout it and takes on a philosophical tone as Chop wonders why he got dealt such a bad hand in life. The funky “One Smart Nigger” tackles how white culture loves to co-opt black culture and often not admit to doing it or, worse, claiming it was all their idea to start.

“Render unto Geedorah what is Geedorah’s,” DOOM says at the beginning of the last track, “The Fine Print.” That line takes on even more significance after hearing the track before it. The beats mix funky horns, video game sounds, beatboxing, and electro-drums to strut around like a three-headed dragon from outer space across the city of your choice.

The album ends with someone tells us the future of the planet is at stake, and DOOM is the one to deliver the message. He delivered many throughout his too-brief life. I haven’t mentioned a lot of the amazing wordplay on Take Me to Your Leader because, like any DOOM record, there’s so much that you don’t know where to start.

Keep your mind open.

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CHAI team up with Ric Wilson for “Maybe Chocolate Chips.”

CHAI photo by Yoshio Nakaiso, Ric Wilson photo by Jackie Lee Young

Japanese quartet CHAI present a new single/video, “Maybe Chocolate Chips” (Feat. Ric Wilson), from their forthcoming album, WINK, due May 21st on Sub Pop. CHAI’s past albums have been filled with playful references, in the lyrics, to food, and WINK’s intimate single “Maybe Chocolate Chips” offers an evolution of this motif. Bassist/lyricist YUUKI wanted to write a self-love song about her moles: “Things that we want to hold on to, things that we wished went away. A lot of things happen as we age and with that for me, is new moles! But I love them! My moles are like the chocolate chips on a cookie, the more you have, the happier you become! and before you know it, you’re an original♡”

Chicago rapper Ric Wilson, who they initially connected with at the 2019 Pitchfork Music Festival, brings smooth vocals over a laidback beat and whirring, dreamy synth. A community activist and artist based on the Southside of Chicago, he got his start with the legendary Young Chicago Authors, the Chicago-based storytelling and poetry organization which helped launch the likes of Noname, Saba, Jamila Woods, Chance The Rapper, Vic Mensa, Mick Jenkins, and many others. He’s also featured in the accompanying video, directed by Callum Scott-Dyson, which is made of fun collages and video clips in classic CHAI style. Ric added: “Super in love with this new song with CHAI, a song about loving yourself & understanding your beautiful no matter what oppressive societal norms are telling you is beautiful. I hope folks can wake up and jam this while they make their coffee, or enjoy just sitting outside an open field. This year we’ve all spent a little more time with ourselves, let’s find the beauty in it.”

CHAI elaborates on the video: “This music video is the perfect visual for ‘Maybe Chocolate Chips.’ It was our first time working with Callum and the result (animation, etc.) was something we’d never tried before! Callum actually reached out to us for this but we loved how his work featured grotesque but cute components and tons of fantasy so our vision for this was in line. ♡⭐️^o^♡ Your mole is actually a Chocolate Chip! But you knew that already right?!♡⭐️♡”

WATCH CHAI’S VIDEO FOR “MAYBE CHOCOLATE CHIPS” (FEAT. RIC WILSON)

CHAI is made up of identical twins MANA (lead vocals and keys) and KANA (guitar), drummer YUNA, and bassist-lyricist YUUKI. Following the release of 2019’s PUNK, CHAI’s adventures took them around the world, playing their high-energy and buoyant shows at music festivals like Primavera Sound and Pitchfork Music Festival, and touring with indie-rock mainstays like Whitney and Mac DeMarco. Like all musicians, CHAI spent 2020 forced to rethink the fabric of their work and lives. But CHAI took this as an opportunity to shake up their process and bring their music somewhere thrillingly new. Having previously used their maximalist recordings to capture the exuberance of their live shows, CHAI instead focused on crafting the slightly-subtler and more introspective kinds of songs they enjoy listening to at home—where, for the first time, they recorded all of the music. They draw R&B and hip-hop into their mix (Mac Miller, the Internet, and Brockhampton were on their minds) of dance-punk and pop-rock, all while remaining undeniably CHAI. While the band leaned into a more personal sound, WINK is also the first CHAI album to feature contributions from outside producers (Mndsgn, YMCK) as well as Ric Wilson. This impulse towards connection with others is in WINK’s title, too. After the “i” of PINK and the “u” of PUNK—which represented the band’s act of introducing themselves, and then of centering their audiences—they have come full circle with the “we” of WINK. It signals CHAI’s relationship with the outside world, an embrace of profound togetherness. Through music, as CHAI said, “we are all coming together.” In that act of opening themselves up, CHAI grew into their best work: “This album showed us, we’re ready to do more.”
WATCH THE “ACTION” VIDEO

WATCH THE “PLASTIC LOVE” VIDEO

WATCH THE “DONUTS MIND IF I DO” VIDEO

PRE-ORDER WINK

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[Thanks to Jacob at Pitch Perfect PR.]

Rochelle Jordan’s new single, “All Along,” is out now.

Today, Los Angeles-based Rochelle Jordan returns with “ALL ALONG,” her second single of the year for TOKiMONSTA’s Young Art Records. Following the recently released “GOT EM,” “her most devastating dance floor track to date” (Resident Advisor), “ALL ALONG” is an R&B song tapping into a new jack swing sound. Working again with producers KLSH and Machinedrum, “ALL ALONG” is percussive and lush while showcasing Jordan’s rich and hushed vocals.

“ALL ALONG” initially developed as a love song to someone close to Jordan, but as she continued listening, it transformed into an ode to self-love. “As the song started to close in, I began to get this overwhelming feeling that I was actually speaking to myself. This song felt better to me once I started hearing it as the importance of recognizing your own self as your greatest lover. It’s so easy for us to get caught up searching for someone else to fill our voids, instead of working on us in order to make ourselves whole.”
Listen to Rochelle Jordan’s “ALL ALONG”

Born in London to British-Jamaican parents, Jordan and her family relocated to the eastside of Toronto in the early ‘90s. Her father, a drummer, encouraged her love of art and instilled an appreciation for Northern soul, Jamaican reggae and dancehall, while an adolescent Jordan simultaneously soaked in the record collection of her older brother: funky UK house, nocturnal drum and bass, garage, and all the gospel samples contained therein.

Since relocating from Toronto to LA, Jordan has gone on to tour with Jessie Ware, collaborated with Childish Gambino (Donald Glover) on his 2014 Grammy-nominated album, Because the Internet, and landed a stint doing voice over work for the Adult Swim show, Black Dynamite, where she appeared in a memorable episode featuring Erykah Badu, Chance the Rapper, and Mel B. of the Spice Girls.

“ALL ALONG” and “GOT EM” are Jordan’s first pieces of new music since last year’s single, “Fill Me In,” in addition to collaborations with the likes of Jacques Greene, Machinedrum, Jimmy Edgar, and others.
Stream/Purchase “GOT EM”

Watch visualizer for “GOT EM”

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Debby Friday’s new single will have you “Runnin”’ to the dance floor.

Audiovisual artist, vocalist and experimental producer DEBBY FRIDAY has shared her new single & video “RUNNIN”.

Shedding the previous layers of noise and catharsis, the Vancouver-based artist drives home a snaking synth-rap jam that’s primed with electric potential. Speaking about her thrilling new single, she says:

“This new record is about pure expression. I don’t feel like I need to exorcise anything from myself anymore. I wanted to to push myself in different directions and see what would happen and I think I accomplished what I set out to do. “RUNNIN’” is a cheeky song that has DEBBY FRIDAY themes present, but now I’m having so much more fun.”

A trippy experiment in exposure techniques, “RUNNIN” is brought to life by its own hypnotic video, which was shot on 35mm and directed by FRIDAY and Ryan Ermacora. Filmed near Hope in British Columbia, the visual was inspired by the colour palette of tinting techniques in early cinema, and shot using multiple exposures on one roll of film.

Watch & listen to “RUNNIN” here: https://www.youtube.com/watch?v=HwHCwo_KlhM

Born in Nigeria, raised in Montreal and now based in Vancouver, FRIDAY released her debut self-produced, rap adjacent EP, BITCHPUNK in 2018. In 2019, Deathbomb Arc ushered in her second, critically acclaimed EP, DEATH DRIVE, which throbbed with eroticised electropunk fervour and cleared a path for self-actualisation. The project was accompanied by FRIDAY’S first music video and directorial debut for the lead single “FATAL”, which was subsequently nominated for the 2020 Prism Prize Award.

Having swapped Montreal’s heady nightlife scene for Vancouver’s scenic mountain views two years before, FRIDAY spent much of last year in lockdown figuring out this new direction in her life. “I was going through another change that involved so many other things – internally and externally in the world – and I felt like I needed to create something to represent that rebirth. Making a short film had been on my bucket list for a while.”

Conjuring elements of folk horror in its bewitching depiction of nature and isolation, the eight and a half minute film BARE BONES is an ode to the cycles of change, building upon FRIDAY’s self-mythology. “I like things that have a little bit of a creepy vibe to them,” she offers. “I like things that are just a little bit unsettling, because I think it brings you back to yourself in a visceral way. It reveals the subconscious.”

“RUNNIN’” celebrates rebirth, and the next stage of DEBBY FRIDAY’S evolution. Working with producers Cayne and Andrew of Big Kill, this track marks FRIDAY’S first studio outing, having previously produced everything from her bedroom.

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[Thanks to Frankie at Stereo Sanctity.]

Top 40 albums of 2016 – 2020: #’s 10 – 6

We’ve reached the “David Letterman” moment – the top 10 albums of records I’ve reviewed in the last five years. Shall we begin?

#10: Priests – The Seduction of Kansas (2019)

This post-punk album is as sharp as a straight razor and as sexy as a femme fatale wielding that razor. Priests call out toxic masculinity, the changed political climate that arose from the Trump administration, and rich elitism with a mixture of snark, shredding, and, yes, seduction. Priests amicably split up after this. I hope they’ll put out new material someday, but they went out on a high note if not.

#9: The Besnard Lakes – A Coliseum Complex Museum (2016)

Easily the lushest album on this list, A Coliseum Complex Museum is full of soaring psychedelic riffs and vocals and songs about hope, strength, and the cosmos. It’s an uplifting record that preceded four years in which most people were trying to put each other down. It reminded us that we’re better than that, and always have the potential to move ourselves and others forward.

#8: Automatic – Signal (2020)

Good heavens, this is a stunning debut of post-punk and synthwave gems. Automatic threw down a gauntlet with this record after slapping all of us across the face with it – and looking fabulous while doing it. Signal arrives sounding like these three women have been making albums together for a decade and is perfect for dance floors, bedroom romps, and action scenes filmed in neon-lit nightclubs.

#7: A Tribe Called Quest – We Got It from Here…Thank You 4 Your Service (2016)

The final album with A Tribe Called Quest made with founding member Phife Dawg before his death, We Got It from Here…Thank You 4 Your Service is a powerful record that reminded the world of many things: ATCQ still had the hip-hop chops that many still envied, Phife was an amazing MC, and that hip-hop (and music in general) can be a powerful tool of change and resistance.

#6: King Gizzard and the Lizard Wizard – Nonagon Infinity (2016)

King Gizzard and the Lizard Wizard could’ve appeared multiple times on my top 40 list due to their prolific output alone, but Nonagon Infinity was the surefire winner of everything they released in the last five years. The album is masterfully engineered as one long track that, when looped, plays infinitely without any noticeable bumps. This was the album that propelled them to massive popularity and is a wild ride from never-beginning start to never-ending finish.

What albums made the top five? Post-punk makes another appearance, as does more doom metal, powerful rock, electro, and an album by a legend.

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Top 40 albums of 2016 – 2020: #’s 30 – 26

We reached the top 30 of my top 40 albums of the last five years. Whittling my list down to 40 records was hard enough, how about 30?

#30: Underworld – Barbara Barbara, We Face a Shining Future (2016)

Easily one of the most optimistic and uplifting albums of the last five years, Barbara Barbara, We Face a Shining Future was a triumphant return for Underworld and had all of us look up to a shining light ahead that could be reached if we all worked together. The themes became more important each passing year.

#29: Blanck Mass – World Eater (2017)

Speaking of records built around synths, drum machines, and analog gear – Blanck Mass’ World Eater is a powerful record that expands on Underworld’s optimism and fuels it with some trepidation and danger.

#28: Soulwax – From Deewee (2017)

The electronic music hits keep on coming. This stunning record combines vintage synths with double live drumming to produce a wicked record that was recorded in one take. One. Take. It never ceases to impress.

#27: Cookin’ Soul and MF DOOM – DOOM XMAS (2018)

Made all the more special since the untimely passing of MF DOOM, this is not only a great rap album, but it’s also a great Christmas record. Cookin’ Soul mixes samples and beats with def(t) talent and layers them over freestyles by DOOM. The result is brilliance.

#26: Ron Gallo – Stardust Birthday Party (2018)

Zen punk. It’s the best way I can describe it. Ron Gallo created this album after doing a two-week silent Zen retreat and filled it with great hooks and rip-off-the-veil lyrics about embracing presence and impermanence. It was a shot in the arm well before the COVID-19 vaccine and songs like “Always Elsewhere” will stay relevant until some sort of global consciousness is reached.

What’s coming next? A lot of shoegaze and psychedelia, that’s what. Stay tuned.

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Review: Rituals of Mine – Hype Nostalgia

Terra Lopez, AKA Rituals of Mine, is, if nothing else, a trooper. Her newest album, Hype Nostalgia, began (at least emotionally and conceptually) a couple years ago when she was processing the highs and lows of a three-year period of depression resulting from her father committing suicide as she was starting a world tour and a friend dying in the same week Lopez signed to a major label. Highs and lows. She began therapy in 2018, just in time for her bandmate to leave ROM, but she pressed on with the record, using it as not only her own audio medication, but also in hopes of helping others dealing with similar highs and lows.

Opening track “Tether” opens with the haunting lyrics, “You used to love, you used to laugh at my mistakes.” as Lopez loops choppy beats, bullfrog bass, and just the right amount of echo on her vocals to bounce her lyrics around in your head and cause you to think, “Yeah, I’ve been there.”

“Come Around Me” was the first single from the album, and it’s an out-and-proud track about being an openly gay woman of color in a male-dominated industry. She doesn’t want “none of this fake shit” and tells guys in the music biz that all she needs from them is to get “back to the basics” of just being a compassionate / cool human being. “Exceptions” has Lopez singing about her former bandmate’s departure. “You’re not the only one who has these thoughts,” she sings over sultry slow jam beats and synths.

“Heights” has Lopez putting down vocals that are almost raps, and those trip hop beats behind her are top-notch. Speaking of trip hop, “Trauma” is so deep, trippy, and smoky that Tricky is probably kicking himself for not writing it. The follow-up, “Free Throw,” has Lopez telling us “I stay in my lane,” meaning she’s no longer interested in being involved in other peoples’ circuses. “Reflex” is downright sexy as Lopez sings, “All I want is you.” to a special lady somewhere.

“My family history is only a mystery,” Lopez sings on “65th St” – a song that appears to reference her parents and her deceased friend. “All I ever wondered is if you are the source of my emptiness,” she sings on the deeply introspective (but no less beat-heavy) track. I’m not sure if she’s singing to a family member, a former lover, a friend, or herself in a mirror. It works anyway you slice it. Lopez laments her lover being miles away and “fucking with my mind” as she wonders, “Who you thinking of?” on “Omen.” Her electronic beats and bedroom bass are so good by this point in the record that the feel effortless.

“222” is spacey bliss that floats into “Hope U Feel” with Lopez singing, “I’m exhausted…” and “What am I supposed to do without love?” Yet, the song has an uplifting undertone that leaves you feeling like she (and all of us) can move forward if we allow ourselves to do it. The album ends with the short and lovely “The Last Wave.” Lopez puts down simple piano chords as she sings, “I tell myself I’ll find a way out of this.” and how she tried to break through her father’s depression but was unsuccessful. “I can never breach the divide, but I tried, and I still think of you sometimes.”

That’s all most of us can do at times, but that’s okay. Lopez has learned to move forward, as all life must, can, and will do. She encourages us to do the same.

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[Thanks to Patrick at Pitch Perfect PR.]

Ric Wilson, Terrace Martin, and BJ the Chicago Kid pay tribute to Chi-Town ladies on “Chicago Bae.”

Earlier this summer, Chicago-based hip-hop artistRic Wilson and GRAMMY-nominated producer Terrace Martin released their collaborative EP, They Call Me Disco (via Free Disco/EMPIRE/Sounds of Crenshaw), “a breath of fresh air for anyone looking for a departure from the trap-focused beats and the boom bap-styled alternatives that dominate hip-hop’s modern landscape” (Uproxx). Today, Wilson and Martin are proud to share the official visual for its snappy lead single “Chicago Bae” which features BJ The Chicago Kid and production from Ted Chung, Terrace Martin, and J-Trx. The video, directed and animated by Win Homer and premiered by Afropunk this morning, features Wilson, Martin, and BJ and was filmed in quarantine in each of their respective homes. Slowly, bright animations are incorporated throughout the video eventually transforming into a cartoon-esque love story.

“We started making the video to ‘Chicago Bae’ around the time everyone was running into Walmarts taking all of the toilet papers,” says Wilson. “We couldn’t physically be together but wanted to make something that could bring people together more. I’m honored to be featured on a song with two incredible black musicians that I consider living legends. I don’t really know anyone who’s singing better than BJ The Chicago Kid right now and I don’t know who’s embodying and pushing the boundaries of all genres of black music right now as much as Terrace.”

Watch the video below and head over to Afropunk’s Instagram for a live interview with Wilson taking place today at 3pm eastern.

Watch “Chicago Bae” (Ft. BJ The Chicago Kid) (Prod. Ted Chung, Terrace Martin, J-Trx) –
https://youtu.be/-rp7pDnR604

Watch Video for “Don’t Kill The Wave” –
https://youtu.be/gB1p3lS2kG8

Watch Video For “Move Like This” –
https://youtu.be/57NT3t8Nlo8

Purchase They Call Me Disco –
https://empire.ffm.to/theycallmedisco

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[Thanks to Sam at Pitch Perfect PR.]

Ric Wilson and Terrace Martin encourage you to dance on “Don’t Kill the Wave.”

Chicago-based musician, activist, and organizer Ric Wilson and GRAMMY-nominated producer Terrace Martin are thrilled to share their new video for “Don’t Kill The Wave,” a standout track off the pair’s collaborative EP, They Call Me Disco, a “jubilant six-song burst of summertime grooves and throwback funk” (Pitchfork) out this past May on Free Disco/EMPIRE/Sounds of Crenshaw. “Don’t Kill The Wave” is joyful and motivating. Its accompanying video, directed by A Solo Vision, is reflective of its energetic spirit as Wilson and his friends have a living room dance party. “I made this song for the dance floors at the block party, the cookout, the weddings, the rallies, the covid19 living room clubbbbbbbbs,” says Wilson.

Watch Ric Wilson & Terrace Martin’s Video for “Don’t Kill The Wave” –
https://www.youtube.com/watch?v=gB1p3lS2kG8

2020 is shaping up to be another busy year for Wilson. Shortly after the release of They Call Me Disco, Wilson dropped his acclaimed protest song “Fight Like Ida B & Marsha P”. Produced by Norbert Bueno, “the song combines a funky, bouncy bass line, a little Detroit house influence and handclaps with powerful subject matter,” according to Cool Hunting.

“I hear people quoting a lot of black men who were freedom fighters, which is valid,” says Wilson, who has spent time organizing with the likes of We Charge Genocide, Black Youth Project 100, Chicago Freedom School, and much more. “But when I think about next level courage to ball your fist up and look bigotry, racism, sexism, homophobia, and transphobia right in the eye and fight against it, I feel like blk women like Ida B. Wells and non-binary folks like Marsha P. Johnson are of the bravest of us all and if ima fight any injustice I wanna have the courage of freedom fighters like them. The liberation of black womxn and black trans womxn lead to the liberation of all black people.”

Listen to “Chicago Bae” (Feat. BJ The Chicago Kid) (Co-Prod. by Ted Chung) –
https://youtu.be/ql-yoviDQas

Watch Video For “Move Like This” –
https://youtu.be/57NT3t8Nlo8

Purchase They Call Me Disco –
https://empire.ffm.to/theycallmedisco

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[Thanks to Sam at Pitch Perfect PR.]

Jazz legend Archie Shepp, rapper Raw Poetic, and DJ Damu the Fudgemonk combine for “Tulips.”

Archie Shepp, Raw Poetic, and Damu The Fudgemunk have released a new single, “Tulips,” from their forthcoming collaborative album, Ocean Bridges, out May 22nd on Redefinition Records. Following its urgent lead single, “Learning to Breathe,” “Tulips” opens with a quiet array of keys, growing with bursts of saxophone and Raw Poetic’s emotive lyrics. “During the studio session, the spontaneous music that would later become ‘Tulips’ was the second idea we laid down,” says Damu The Fudgemunk. “It would set the vibe for much of the recording that followed. Raw Poetic’s lyrics really illustrate the deeper meaning behind the ‘Ocean Bridges’ album title on this tune.” Raw Poetic adds: “I let the spring vibe name the song, and the flower that bloomed was a tulip. Sometimes you gotta let the music spell it out.”

Listen To “Tulips” by Archie Shepp, Raw Poetic, and Damu The Fudgemunk –
https://youtu.be/Hf2MdTRX_7U

Initially conceived after Jason Moore (aka independent, underground rapper Raw Poetic) attended an event with his mother at the Kennedy Center honoring his uncle – legendary saxophonist, Archie Shepp – Ocean Bridges intends to signify a bridging-of-the-gap in their family’s story and a re-establishing of the connection between young and old in their general community.

Entirely improvised, Ocean Bridges was intentionally created without any direction, resulting in a finished product with natural energy, a conversation of ideas that transcend genre. The album blends live improvised music, jazz, hip-hop, and many other musical directions into a one-of-a-kind sound. It was recorded with a live ensemble – Archie Shepp (tenor saxophone, soprano saxophone, wurltizer), Raw Poetic (vocals, raps, lyrics), Earl “Damu the Fudgemunk” Davis (drums, vibraphone, vocals, turntable scratching), Pat Fritz (guitar), Aaron Gause (wurlitzer, synthesizer), Luke Stewart (acoustic bass, electric bass), Jamal Moore (tenor sax, clarinet, bongos, percussion), and Bashi Rose (drums, percussion) – in August 2019 between Washington, DC and Northern Virginia, Ocean Bridges fuses different musical concepts to adapt in a hip-hop format – all of the instrumentation is accompanied by vocals.

Listen To “Learning to Breathe” (Extended Mix) –
https://youtu.be/LUirEpnXves

Watch Video For “Learning to Breathe” (Album Mix) –
https://youtu.be/iVIqsYJ9okw

Pre-order Ocean Bridges –
https://soulspazm.ffm.to/oceanbridges

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[Thanks to Sam at Pitch Perfect PR.]