The Best Producer Alive?

Alright. Alright.

No matter how hard it is for me to say this, Kanye did it again.

Wait, before you call me a jockrider and a flip-flopper by me saying he did it again, I mean that he was able to convey and achieve what he wanted to do with this album musically. I still dislike "Love Lockdown." I still think his lyrics (which are notoriously known for being simple and gimmicky) are sub-par. But let's get one thing straight.

THIS IS A POP ALBUM.

There is no hip hop. There is no rap. Yes, this might be a pop album written from the perspective of a hustler, but isn't that the point? This type of music has been done before by distorting voice, using synth and echo (Kate Havnevik, Imogen Heap etc). But never has it been so dramatic, infusing disco and African-rhythms. He has some of the best rappers on the Earth in Jeezy and Wayne come in and buy into it. But most of all, he is able to paint a picture with this album. His lyrics don't necessarily have to be that great, because it feels like he's just talking to us on this record and because singing is such an emotional mode of communication, he wanted us to hear every single word this time round. And we do...but more about pacing later.

We've all played pariah to the bevy of emotional altercations and situations Kanye has gone through this year. He lives his life in front of cameras and perhaps he knows thats why we could understand this record. In many Kanye tries to make this album sound as sparse and shallow as possible, but the sonic layerings end up pretty complex starting with the anthem-like "Say You Will." This song almost gives you feeling of a dirge-type setting with the choir singing over the simple drum pattern over the fx effects giving the resonance of rain falling in a pitter patter pattern.

This can act as a positive and then as a negative for the track, "Robocop." Robocop is bloated as fuck and it frustrates me. This could have been a great song, but what makes this album great is the suble balance between vocal track and instrumental track. His voice is already weak and during some of the softer moments, it plays to his advantage because the fragility works for him. Him trying to sing over Robotic sounds mixed with the robust synths and strings just doesn't work at all. The instrumental is interesting, but the vocal track is a waste. Plus it sounds like something out of Hans Christian Anderson's B-sides and Kanye rambles about nothing towards the end. "Stop, Drop, Roll, Pop/Bitch I'm cold/I, take that go/Throw that bow/Oh, that was slow, that can go/That you know, took em' to the back, you know/Back in the flo' and went back in the door/back in the door."

As odd as Robocop seems to be in the album, some of the pacing and order is a bit intriguing. One of the standout tracks, "Amazing" featuring Young Jeezy almost divides itself in half as Kanye sings one of the more celebratory, Kanye-ish tracks on the album. The second half features a lively, entertaining Jeezy and adds a decent sprinkle of swagger (over his trademark sample, "yeah" that was manipulated to make him sound more like the Cookie Monster than himself) to the track as a whole. It's "amazing" that these tracks can sound so good even though he sounds more like Kermit than Kanye at points. Also embedded in this track are these avian/animal cries that seems to be peppered through the album as a whole. Consciously this might not do anything, but subconsciously it definitely adds to this natural, organic theme of heartbreak steadily taking hold from begining to end. Heartbreak is so ethereal and penetrating that the wild screams of animals are the screams that is ringing in his head from his heart and soul. My theory on this album is that he is trying to create a soundscape for his soul and thoughts. And everything incorporated in these songs are the manifestation of everything he feels inside. His success in doing it are the reasons I think he is the best producer alive right now.

This urban, toe-tapping, thumper-of-a-track flows into the 80s, disco-y track "Paranoid" feat. Mr. Hudson. This is definitely the club banger of the album. It definitely harkens a weird mix between Michael Jackson's Thriller/ABBA's Dancing Queen/John Travolta's Saturday Night Fever/M83's Saturdays = Youth. Its melody is so infectious I had to play the track at least four times before I could move on.

Anyways, this album is nothing special lyrically, but the production value on over half the tracks are genius. "Welcome to Heartbreak" beautifully uses piano, cello, and synth drums to create this brooding, urban banger while the strings turn "See You In My Nightmares" into a lush, stylished arena-sized pop ballad. The secret factor to the success of this album will go to the drum effect he uses throughout this album. Partway through I was expecting to hear Nick Cannon yell "Drumline." Chalk it up to the Roland TR-808 Drum Machine. The shit is classic. This is used especially well in the album's last track, "Coldest Winter," as it turns this tribute to his mother into a forceful, pop hit that really ends the album in a bittersweet moment. Mr. West can do a lot, but it may be too much to convert hip-hop heads towards his corner on this one, but he converted me.

"I'm a monster
I'm a maven
I know this world a changin'
Never gave in
Never gave up
I'm the only thing I'm afraid of." - Kanye in Amazing...

8.0/10

Best Tracks - Say You Will, Amazing, Paranoid, Coldest Winter


This. Is. Truth.

It Was All In the Name...

I have this strange, quirky habit of wanting to write reviews with a two-minute window right before work. But knowing my apathetic nature, I deem it necessary to write something than not at all.

It was all in a name. I decided to add The Oregon Donors' new album Somethings to my music library partly because they included Oregon in the title, though hailing from Washington. Even though it has a muddy, lo-fi resonance, I found myself intrigued and interested in their sound. Resting between Radiohead (when it was just a rock band) and At the Drive-In, their alternative approach fueled by lead singer, Christopher Rabbit's (weird) knack of moaning his way through a track becomes enjoyable and worthy of any college-rock loving, he/she out there.

This was just my first run-through. As I explore it more heavily, I hope to have an even more insightful stance on the project.

Best Tracks: 3rd Lvl Wizard, Pocket Knife (Engraving in Bark)


This. Is. Truth.

808's and Heartbreak...

As the time nears that will undoubtedly make/break Kanye's legend in pop culture forever as maybe the most versatile hip-hop superstar of all time, he has released a press release addressing several topics. Now as someone who has disagreed with his artistic direction in his upcoming album, his words did certainly change my view of him and his project. Apparently continuing with the theme of his three albums, this one was slated to be called Good Ass Job when he lost his mother and fiancee. But I'll just let you read the transcript that I found on the HipHopDX.com website.

Kanye on the emotion behind his new album:

"I'm at a listening session in the UK playing my joint right now. I love listening sessions, because it feels like Christmas Day when the parents get to see their kids open up the gifts. I feel like I try to give the gift of music. This album is based off the devastation and the hurt that I’ve felt the past year. All the hurt that I’ve felt within the past year from all the losses that I’ve endured, have sort of settled me into being this fucking super-famous alien, where everywhere I go, somebody wants a fucking photograph…it’s hard when you not really a celebrity, but you’re just a real person that ended up being famous for your craft."

Kanye on using Auto-Tune and the title 808's & Heartbreak:

"What’s good is that this is therapeutic for me…it’s better than suicide to just keep on putting out music and art. I got a lot of backlash for the medium that I wanted to do this in. I created a thing I call ‘Heartbreak,’ that’s like a mixed drink. It’s Auto-Tune meets distortion, with a bit of delay on it and a whole bunch of fucked up life. And that’s what I call my ‘Heartbreak.’ And that’s what every record basically has.

"I’m delivering what I feel like is art, and that’s what I want to deliver from this point on. The records I’m doing right now might not have high hats and shit like everything else has. But when I go out and be listening to shit like Jimi Hendrix and The [Rolling] Stones and Lenny Kravitz, they wouldn’t play no Hip Hop records in the midst of that. I feel like niggas give up on trying to make music on the Quincy Jones level. On this record I’m trying to improve my craft and take it a level that no nigga ever made it to. No niggas are rocking 50,000 people and stadiums with 100,000 people 10 years after their records came out. Anybody that saw the tour knows my goal is to take it to a whole ‘nother level."

Kanye on the street's reaction to his latest music:

"Today, we’re about to drop one of the records everybody is talking about—'Amazin'' featuring Jeezy. I just wanted to make this call before Chris blasted it out to everybody. It’s definitely one of those joints in the club, it’s gonna go crazy—like we did with 'Swagger [Like Us],' like we did with 'Put On,' like we always do at this time, basically. This is what my job is. My job is to give y’all shit that have the model bitches runnin’ around going crazy—shit that has niggas bobbing their head crazy like 'Can’t Tell Me Nothin'.'

"Of course I always hit ‘em with a curve to start off with. Y’all know with that 'Heartless,' that’s straight nigga shit. The whole album is shit that 50 would rap over, but I’m trying to put them Phil Collins melodies when I rap to them. Even if I’m harmonizing, it’s still from a nigga perspective. I’m not making no ‘Girl You Know,’ this is the perfect melody…Nah, this is none of that. This is still 100 percent, rap perspective music with melody."

"I just came on the call to thank everyone for their support with 'Love Lockdown'. That shit sold over a million on iTunes thus far. Bitches love it, and niggas rock to what bitches dance to. This album is really for my art; it’s an art project. And I appreciate everybody. For the people who are like mad that I’m not rapping right now, thank you very much for allowing me to sit on this therapeutic couch and let this one off and get out what I need to get out."

Kanye on rumors of another album in June:

"It’s rumors of another album coming soon. I’m not gonna put that pressure on myself. I’m probably coming with another tour in June though. But, that’s where I’m at with my life right now. I really wanted to release this music, and I forced L.A. [Reid] to give me this release date. I was like, 'Don’t fuckin’ wait months and months to set it up. Just give people the music!' I’m constantly making music; we almost finished with Jay. Jay’s album is coming in February…There’s a new Wayne with special packaging that’s coming before this Christmas is out. We’ve got a new record on there together. So we still got a bunch of shit." album. We was almost finished before I even dropped my album.

Kanye on his new release date of November 24:

"The label moved it up to get more Thanksgiving sales. They told me to get on the call and tell y'all that I did it because of the fuckin' excitement, but I don't do that shit...you know what I'm saying? The label moved it up. They were trying to get more sales and shit. I'm excited about the album.

"Also, 'Robocop' is completely different on the album. 'Paranoid' is different. I did not leak those, and I did not leak the 'Heartless' video. Motherfuckers is leaking my shit. The only shit I leaked was 'Heartless' and 'Love Lockdown.' Them the only joints I actually put out. Basically, the label moved it up to get more sales and shit. If I get the sales, then cool. If I don't, then, hey...I'll have to bare the burden, because I've been a cocky motherfucker and talked my shit and all that. And the people would love to see me not sell...hey, it is what it is. That's the way life is, man. But hopefully I sell."

Kanye on working with Young Jeezy:

"We've been doing pretty good with the singles I'm dropping. We'll put this one out today, and hopefully get more sales because of it. It's got Jeezy on it. Jeezy came down to Hawaii with us. Every time I write a chorus or write any type of hook, I be like, 'Man what would Jeezy do.' Niggas have big bumper stickers with 'What would Jesus do?" but my shit is 'What would Jeezy do? What would he say on this record?' I make my shit straight white t-shirt ready at all given times. So, he came down and helped out. But he actually helped with other records. So it's records that's straight singing records that have Jeezy lines on it. And you'll feel that energy throughout the entire joint."

Kanye is the master publicist, but something in this did strike a tone within in me. He wants to make a heartbreak album and this is how he thinks heartbreak should sound musically. Can't fault him for trying to take a chance. There are still a couple of things that should be considered before we praise him for putting everything on the line for this new vision. This has been done before. This isn't new. This is more 80s disco than Graduation was. His two lead songs are not good. "Lock Lockdown" and "Heartless" aren't great songs both lyrically and composition wise. And after hearing tracks, "The Coldest Winter," "Robocop," and "Tell Everybody That You Know" this will be his least accomplished record in terms of lyrics in his catalog. Just simply dreadful actually, but I'm starting to get his angsty, moody art after hearing the song "Tell Everybody That You Know" feat. Lil Wayne and "Anytime" feat. Kid Cudi. This WILL NOT be his greatest work to date, but I at least accept it as viable art after hearing more tracks. Yes, I did hear these tracks after I wrote the post last night, so my hope for his piece of work is a bit higher than hours prior.

This. Is. Truth.

My Life...

...and here lies the beautiful idea that used to be a current, useful blog designed to be informative and entertaining...

Oh, before I finish that tacky, irreverent eulogy, maybe I'll use this time to update you on the reasons I haven't been able to update this site as much as I want to. I currently picked up another job at a music licensing company called Rumblefish, Inc. Yes, your man is living the dream trying to sell Indie, licensed music to different television/film/video game/Internet productions that need sonic branding or licensed music.

My first impression? These people are too fucking cool to comprise a serious company. Then, I realized it was because they are all musicians. They all have bands and side projects and shit. So when I decided to stick up for Creed today in the office, you can imagine the backlash I received. Not that I haven't been fighting that headwind all my life. But alas, I won't put you through that argument again. I will refer you to the blog I wrote about two months ago. Read It. Learn It. Fall under its pragmatic voice.

Alright, but on a positive note. I have only picked more bands to digest into my "internal catalog." My favorite that I have picked up from around the office is the Eagle Seagull which I mentioned in passing in my last blog. I have no idea if they have released a full album yet. I have the EP entitled, "I Hate EP's." Granted it's an Indie band doing their best imitation of what a good Indie band should sound like, but it's a rather good imitation to their credit. Think the Killers without all the good parts (i.e. the glam, heavy-synth sound). The reason I like them is their honest transitions. To illustrate and convey the most sincere parts of their songs they often transition to acoustic guitar punctuated with stoccato punches on the keyboard. In "I'm Sorry But I'm Beginning to Hate Your Face" the song goes through about three transformations with the end exploring every inch of sonic space with Carrie's violin leading the assault.

Eagle Seagull is nothing you haven't heard before, but the fact that they are everything you like in other bands, the pickup may be worth it.

My boss mentioned to me earlier this week, to some jokey effect, that I may be stuck in the 90s musically because I mistaked The Hold Steady for The Counting Crows (an honest mistake if you ask me). And then I thought about it. Aren't we all a byproduct of that momentous time we first found ourselves introduced to the beautiful siren that is music? I mean yes, Creed, Alanis Morrissette, Jewel, Britney, Nirvana were my mainstays back when. And to be honest, the fact that I have found listening to the amount of good music that I do now seems to be somewhat of a miracle. Growing up in the teenie pop-bopper movement could have seriously destroyed any appreciation for a well-crafted, delicate hook that isn't punctuated by "Yeah!" It could have destroyed any appreciation for a song that isn't composed in a verse/chorus/verse/bridge/chorusx2 pattern. And while the 90s definitely had a sound and a face from the rebirth of college rock/alt-grunge bands to the boy band craze, this decade feels oddly aimless.

Music tends to imitate its environment and the reason pop was perhaps more fluff than ever perhaps indebted itself to the fact that our economy was thriving and bubblegum anthems resonated well within our spirit. This decade has a much different persona economically and spiritually than the one of the last. Artists are multi-dimensional and with the onslaught of the Internet PR has had to redefine how to carefully craft an artist's image. Transparency has never been greater and I am waiting for a face or ideology to emerge as a symbol for this decade. Maybe Kanye? Maybe commercial rap? Eminem/50...Aftermath Records? Maybe the Killers? Maybe Jack White and the White Stripes/Raconteurs? Honestly, this will be hard to determine because the Internet has made music so widespread that even the top selling artists are finding it hard to separate themselves as juggernauts and impervious to downfall.

Anyways to wrap this up I'm going to finish with some liner notes on what I think is hot and not.

HOT:

Devotchka. Period. I'm proud that I saw them before "How It Ends" ended up as the song for the new Gears of War videogame that just came out. They are amazing live and amazing as a band. Go. Get. It. From playing bars in Eugene to being featured in an international campaign for one of the biggest videogames of the year. Cool.

Q-tip. His new album, "The Renaissance" is first played in the morning and last at night and I will hopefully be writing that review soon.

Europe's "The Final Countdown." From GOB dancing enthusiastically around the stage in his magician get-up to sports arenas at halftime...I will never get enough of this 1986 smash hit.


NOT:

Kanye West: As the time draws nearer and I am hearing more of his singles for the upcoming album, I am seeing how dire he is need of a dropoff. He really believes he can do whatever he wants and we HAVE to like it. I do not and I do not. I have never heard anyone sound so off tune while using an autotuner.

Chinese Democracy: Any album that takes longer than a decade to produce isn't worth the wait. We have been waiting and waiting for this Guns N' Roses albums and they sound nothing like Guns N' Roses! If their lead single has any bearing on what the album will sound like, they are going down the road that Metallica went down. A clean, polished, and generic rock album that isn't worthy to carry the brand name that they spend tireless years creating.

The argument whether hip hop is/isn't dead: It isn't dead. It never will be. Shut the fuck up.


This. Is. Truth.

I Will Expand Later

...But based on referral I checked out a band called Eagle Seagull and I defy you to not bob your head to the song, "I'm Sorry, But I'm Beginning to Hate Your Face." Just an awesome song showing great emotional range. Yes, they sound Killer-ish/Cold War Kids-ish, but I love their transition from the up-tempo to down-tempo with unconventional instruments such as brass. It begs to be played over and over again. And it will...


This. Is. Truth.