Showing posts with label Big Sean. Show all posts
Showing posts with label Big Sean. Show all posts

Thursday, June 4, 2015

In Revue- Surf (Chance the Rapper, Donnie Trumpet and the Social Experiment)



















I owe my current music writing to Chance the Rapper. That sounds weird to say, but it's true. I was in a bad way before I heard his squawking juke cut "Good Ass Intro" from Acid Rap in May 2013. Depression was gripping me because I had real doubts about continuing to write. I was convinced that I had nothing creative left to say, the worst problem any writer could have. Of course that sort of fear only worsens depression because your future seems to fall apart. Chance's track pieced things back together. I won't soon forget mashing my laptop keyboard during a chemistry lecture, the words flowing as quickly as he does on the song. It wasn't a great review by any means, but dammit it got me to believe again.

I share that personal anecdote to show the inspirational effect a 22-year-old kid from Chicago's music has on people. I say "has," indicating the here and now, because Surf, his brilliant follow-up to the equally brilliant Acid Rap, will inspire people. It's too bright, warm, soulful and unapologetically upbeat not to motivate. You'll want to call and thank your grandma after hearing "Sunday Candy," the de jure closer which details Christmas dinners and rent payments made by an impossibly good-natured human. Hell it makes communion sound both lovely and sensual, which isn't easy considering it involves stale wafers (at least in my experience).

In the material world, KYLE's verse on the hybrid electro-jazz/stuttering barbershop quartet number "Wanna Be Cool" pushes me to go buyout a Payless. "Nobody f****ng cares, so why don't you just be the you that you know you are?" he asks us. Don't worry about the label, all that matters is if it's comfortable. Chance and his collaborators Donnie Trumpet & the Social Experiment hammer home the "be you" idea on follow-up "Windows," though it's in a minor key. "Don't you look up to me; don't trust a word I say," Chance warbles in his most sobering voice since he sang about Chicago murder rates on "Paranoia." Synthesizers gently fade up, horns shimmer, drums patter like morning rain, guitars are delicately plucked and organs pipe in from a desert island. Between the music and Chance's weary tone, you realize how important finding your own path is.

The music of Surf consistently inspires through its warmth. I don't know how much direct input Chance had in Donnie Trumpet & the Social Experiment's playing, but I feel like he at least said "I want to feel like I’m swaddled in wool blankets with the Sun beaming down on me." All of the album’s components fit into that aesthetic. The kitchen percussion of "Slip Slide." "Warm Enough"'s tweeting birds. Every palm-muted guitar chord in "Rememory." Migos member Quavo's pitch-shifting vocals on King Louie team-up "Familiar." They all tickle your innards enough to move you off the couch (Side note: Quavo needs to use more Autotune; he has a weird bluesman quality with it.)

Some listening to Surf will be tempted to say this album needs less guests and more Chance, but we get the Goldilocks amount of Mr. Bennett. Just when his voice might risk grating you, he disappears into brass ether. He’s perfectly comfortable with having entire tracks be instrumentals and he's doesn't seem to bat an eye when guest rappers go for his jugular. I echo Stereogum's resident music scholar Tom Breihan in saying I've never heard Big Sean or B.o.B spit the way they do on "Wanna Be Cool" and "Slip Slide." Big Sean cuts the s*** with his corny jokes long enough to illuminate the legal struggles of a younger brother, while B.o.B remembers when his roof used to leak. Had he been so candid on 2010’s The Adventures of Bobby Ray, I can imagine he would have a lot more critical cache. It's almost frightening the singular focuses he displays.

Without question that is Surf's greatest strength: Chance's ability to get others to see his vision. It's akin to what BeyoncĂ© did on her self-titled LP. His name doesn't appear anywhere in iTunes credits, but you know it's him. No one working in rap, not even King Kendrick, could create something so endearingly goofy and seriously reflective at the same time. Whatever is inspiring Chance is inspiring anyone who is listening. 






 

Friday, March 7, 2014

What's New(s)?


Panda Bear gets high on new release



















Anyone that's heard Panda Bear's monolithic 2007 release Person Pitch has undoubtedly felt like they're on drugs. Echoed vocals and sampled chatter would loop endlessly like a perpetually cresting wave. Getting caught up in the pure auditory spectacle of it all was as simple as letting go. 


"Marijuana Makes My Day" is a logical continuance of that detached, druggy feeling. Soft humming and chants that wouldn't be out of place on the savannas of Africa fill the background. Bubbles of water can be heard floating to the surface and immediately popping. For his part, Panda Bear repeatedly mutters the titular phrase to the point of it becoming a mantra. The first time I heard it unfurl, I pictured Paul Simon's Graceland fed acid and thrown to the bottom of a crystal-blue lake. Whatever vision it generates, it's a powerful one.

The Animal Collective drummer is working on a new album to be released this year, entitled Panda Bear Meets The Grim Reaper.

 




Bikini Kill reissues continue
























Last year to honor their 25th anniversary, Bikini Kill, the most well-known band of the riot grrrl movement announced a series of reissues through the recently established Bikini Kill Records. In addition to releasing their discography through Bandcamp, the Kathleen Hanna fronted group reissued their debut self-titled EP in November to warm-reception.
Next up in the series is, Yeah Yeah Yeah Yeah, the group's 1993 split effort with British riot grrl act Huggy Bear. The expanded edition of the LP will feature seven new live tracks, in addition to unearthed photos and liner notes from the band members themselves. You can find the tracklist below along with a clip for 1993's "Rebel Girl" from the Pussywhipped LP.
Yeah Yeah Yeah Yeah:
1. "White Boy"
2. "This Is Not A Test"
3. "Don’t Need You"
4. "Jigsaw Youth"
5. "Resist Psychic Death"
6. "Rebel Girl"
7. "Outta Me"
8. "George Bush Is A Pig
9. "I Busted In Your Chevy Window
10. "Get Out
11. "Why"
12. "Fuck Twin Peaks"
13. "Girl Soldier"
14. "Not Right Now"




Rick Ross, Kanye West, & Big Sean get "Sanctified" on Arsenio
















Regardless of the middling album it comes from, Mastermind centerpiece "Sanctified" is an absolute embarrassment of riches. DJ Mustard's 'Ye-inspired soul beat, Rick Ross' beautifully restrained bark, Kanye's rabid Quavo-aping flow, and Big Sean's pinging paper-chase chorus all blend together so well you can't help but wonder how much editing time was committed to this effort.
Last night any studio-tinkering was forgone for an absolute showstopping performance on Arsenio. After a long absence from late-night, Kanye has seemingly been everywhere in the last few weeks and months, and that is firmly felt in the clip. The entire crowd goes next-level crazy when West comes giddily running out on-stage. From that point forward, everything becomes icing on an extremely rich cake.

 


Check back in Monday for more of the newest in new(s) and follow AllFreshSounds on Twitter for updates throughout the day.

Tuesday, August 13, 2013

"Control" ft. Kendrick Lamar & Jay Electronica

























"Tell Flex to drop a bomb on this s***," Kendrick Lamar knowingly warns at the beginning of his verse. Calling Kendrick's verse atomic isn't even accurate, this isn't Nagasaki or Hiroshima for hip-hop. This is Tsar-Bomba, unparalleled levels of destruction that no one else would dare repeat for fear of reprisal. However, only focusing on Kendrick's carpet-bombing of everyone else in hip-hop would do to a tremendous disservice to "Control" as a phenomenal rap song. The bridge where Kendrick revives the stereo-panning of "m.A.A.d. city" is an onslaught of assonance and alliteration, that may be the brightest point of the entire fireball.  On either side of King Kendrick Lamar are unassailable verses from Big Sean and Jay Electronica. Big Sean tends to be one of those guys you either love or hate (forget fence-sitting) and if at the very least you don't love Sean's intensely autobiographical verse of "talkin' to the reaper to reverse death, so I can kick it with my grandad," then you have no heart for hip-hop. Jay Electronica breathlessly maneuvers through an inextricable sea of religious iconography for his verse; "tangling with Satan over history" and inscribing Jay Elec on the Book of Life. In any other scenario the rabid dogs of hip-hop would be foaming at the mouth over a new Jay Elec verse, but it's missing the firebreathing and namechecking that made Kendrick's verse so "controversial" in the first place. One mad city wasn't enough, so Kendrick's reach becomes bi-coastal and scoops up the Big Apple for lunch. Why stop there though? Kendrick continues over the blistering No I.D. beat to bring everyone else down and in the process raise the bar for rap: 

"And that goes for Jermaine Cole, Big K.R.I.T., Wale,
Pusha-T, Meek Millz, A$AP Rocky, Drake,
Big Sean, Jay Electron', Tyler, Mac Miller.
I got love for you all, but I'm tryna murder you n****s.
Tryna make sure your core fans never heard of you n****s.
They don't wanna hear not one more noun or verb from you n****s.
What is competition I'm tryna raise the bar?"

Some (see Joe Budden) chose to stand at the gates to the keep the rap interlopers out. Others sat in silence , K.R.I.T. indulged his inner Maximus, and Lupe Fiasco crafted theoretical attacks. Pusha took the invitation in stride, not bowing to regional pettiness or half-baked retorts, simply tweeting: "I hear you loud and clear my n****." Rest assured, retaliation tracks will arise. But before they do rappers would be wise to heed the words of Omar Little: "if you come at the King, you best not miss."



Big Sean's Hall of Fame is out August 27 via G.O.O.D. Music.

Monday, October 24, 2011

"Let Me Get My Swagga Back"

The-Dream
The-Dream's most recent release 1977 now has its first video.


As part of his recent online-album 1977, Terius Nash aka The-Dream recorded the song "Ghetto" featuring G.O.O.D. Music member Big Sean. The "celebratory song," which stands in stark contrast to the otherwise glum material of the rest of the record, now has an accompanying video that can be found below. Meanwhile, his next official release The Love IV is slated for a December release.


"Ghetto" ft. Big Sean- 1977
NSFW

Wednesday, October 19, 2011

If You Love Good Music

Part of the G.O.O.D Music roster.
Kanye West is the head of G.O.O.D seen in the pic with shades.

Kanye West has announced via his Twitter account that there will a G.O.O.D. Music album in Spring of 2012. At this point details are very sparse, but I am willingly to venture the album will be akin to the Young Money and Maybach Music albums, which featured those label's respective rosters. For those who don't know G.O.O.D. Music features not only Kanye West, but also: Big Sean, Common, Mos Def, Pusha-T, and Kid Cudi amongst others. Until more details surface, enjoy this music video featuring both Big Sean and Kanye.

"Marvin Gaye & Chardonnay" ft. Kanye West