Lucid Nebulous

Check the Rhyme. Lucid Nebulous is a music blog dedicated to the love of music and all that sounds good. 

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My latest EP is a collection of a few songs I’ve been working on the past couple of days 

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(via https://open.spotify.com/user/trisniskanen/playlist/1p338MtoFzblEbDsXfhNth?si=YH_n_3t0QpqO5pp7RWz4sA)

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Summer My Friends

I asked about 30 of my closest friends and family what song they thought of when they thought of summer. I also asked them to share 1-3 sentences/thoughts/words/colors/etc. Here are their responses and a Spotify Playlist!

(Spotify playlist link is below and also is located on a corresponding post)

https://open.spotify.com/user/trisniskanen/playlist/1p338MtoFzblEbDsXfhNth?si=uCf0Cn56S7yVJFs8GWylrQ

“Summertime” – DJ Jazzy Jeff & The Fresh Prince

Samuel T.

That’s easy! Summertime by DJ Jazzy Jeff and the Fresh Prince. This dropped the summer of my Freshman year of high school and you couldn’t go anywhere without hearing it or seeing it. These were the days of MTV when they actually played music videos and this one was in heavy rotation. I bet if you put this track on now, it will evoke those fun carefree vibes we associate with summer.

“Summertime” – DJ Jazzy Jeff & The Fresh Prince and “Watermelon Sunday” – Dom Kennedy

D’andre S.

Yo, Summertime by Will Smith. That’s my song. That song is very bouncy and light. Good vibes start to finish. The chorus is my favorite part. Also Watermelon by Dom Kennedy. That’s a banger.

“Summertime” – DJ Jazzy Jeff & The Fresh Prince

Kosi V.

Besides the obvious title and the content of the song, I love the sample DJ Jazzy Jeff used to produce this song because the original gives me a rainy night type of feel. The ability to take that sound, add some instruments, and completely change the vibe really impressed me and the song paints the perfect picture of an ideal summer in Anywhere, America.

“Summertime” – DJ Jazzy Jeff & The Fresh Prince

Bob S.

Because he talks about summer.

“Summertime” – DJ Jazzy Jeff & The Fresh Prince

Jabari A.

Summertime by Fresh Prince comes to mind when I hear the word. When I think of summer I think of that song, the color orange, fireworks, the fourth of July, and opportunity.

“Feels” – Calvin Harris (ft. Katy Perry, Big Sean, Pharrell)

Diana F.

Honestly, the first thing I thought of was Feels. I just think it’s such an upbeat song and makes me think of like bright colors, like bright and bold haha and of the beach or just driving in the car with the windows down.

“Better Not” – Louis the Child (ft. Wafia)

Jon W.

I’d say Louis the Child’s new song, “Better Not.” I hear that shit and I immediately wanna sit in the sun and drink a beer. Great tune and great vibe that reminds me of some good ol hangouts with the friends. Weirdly makes me think of a strong yellow-orange that you might see in a sunset.

“Better Not” – Louis the Child (ft. Wafia)

Katherine D.

A song that reminds me of summer is Better Not by Louis the Child. Whenever I hear it I remember driving around with my friends in Boulder and dancing in the car. The beat is fire (flame emojis) and anytime it comes on I have to get down to it.

“Slide” – Calvin Harris (ft. Frank Ocean & Migos)

Ilex C.

My song would probably be Slide by Calvin Harris with Frank Ocean. I think the tonality of the music is warm which reminds me of what summer should be!

“Sunflower Seeds” – Bryce Vine and “Sunflower” – Rex Orange County

Giovanni V.

Both are, to me, classic vibes that you can only have when temps are above 70 degrees.

“Summer” – Calvin Harris

Marina S.

That’s what I thought of when you asked the question.

“Summertime Hightime (Dexter Dukarus Remix)” – Cuco

Andrew T.

It’s a very mellow song that is nice and makes you feel good.

“Saturday in the Park” – Chicago

Marci S.

That would be probably when we would be running through the sprinkler.

“Saturday in the Park” – Chicago

Ian S.

Ok, I’m gonna go with “Saturday in the Park” by Chicago. It’s something about the smooth, easy horns that created a mellow vibe that I associate with summer. But it also tells a story about a summertime day in Grant Park, which is kinda exciting. It makes me think about fun times with friends as well. It is a song that I used to listen to with my dad when working in his shop as well, which I associate with easy days with family.

“Eventide Brims” – Sun Glitters

Will K.

Eventide brims with hypnotic hyper-saturated synth—it’s not just a brilliant pop number, but a stoned, summer lullaby.

“Jamming” – Bob Marley and “REVOFEV” – Kid Cudi

Tristan N.

Bob Marley always brings the summer vibes and this song, especially, evokes feelings of sunshine and good times. I choose a Cudi cut because this was the opening song that I saw at my first concert ever which was Kid Cudi. Summers since 2010 have always had Cudi in them and who doesn’t want some revolution in the summer?

“All Around The World (67 Version)” – Mura Masa (ft. Desiigner, 67)

Eli M.

It has a sweet and tangy beat that transports me to a villa on an island, where everyone is wearing white linen clothes.

“Am I High” – N.E.R.D. (ft. Malice)

Bilal B.

Airplane, cold drink, baby birds.

“Asereje” – Las Ketchup

Deissey F.

Asereje is the first song that comes to mind. It’s a song I grew up with and when I think about summer I think about outdoor parties and this is a song that was always played. Also, it’s a good song to use for a compilation of pictures taken in the summer.

“Sunday” – 9thWonder, “Take a Walk” – Masta Ace (ft. Apocalypse) and “The Mahdi” – The Underachievers

Arthur K.

They all give off warm, soft, positive energy no matter what the lyrics are saying. If you closed your eyes and listened to any of them, I believe there aren’t many people out there that would think of any other season.

“Lost” – Chance the Rapper (ft. Noname)

Noah C.

I think of Lost because it’s relaxed but also kind of solemn. Also the colors orange, yellow, and purple haha.

“Sunshine” – Atmosphere

Jordan S.

Feel good song that captures the essence of summer. The song talks about noticing what is around you and appreciating it.

“pick up the phone” – Travis Scott & Young Thug

Cal S.

I think of driving with the window down, I think of weed and I think of summer weather.

“D.A.N.C.E” – Heiken & Kenshin

Luki d.

It reminds me of spending the summer with my friends. We would listen to that in the car, max volume when going somewhere.

“The Oscar Meyer Jingle”

Steve K.

My baloney has a first name. It’s O S C A R, etc… it’s a commercial with a kid sitting at the end of a dock eating a sandwich and fishing. That’ll always be summer. Everyone of my generation can sing the Oscar Meyer baloney song.

“Tequila” – Dan and Shay

Victor D.

It reminds me of summer in Aspen. It’s a happy, fun, and warming song.

“Double Vision” – 30H!3

Angie D.

This song just has a major nostalgia factor for me because it was a part of a Sims I played during a summer break and it was on the radio a lot. The upbeat tempo of the song, along with its lyrics, just scream summertime. Lyrics such as “the sun is so hot, the drinks are so cold” are an example of this. The song represents what I think is—a time to just mess around with friends, enjoy the weather, and not take anything too serious, especially relationships since they tend to be flings. The music video for the song also provides a lot of summer themed visuals and colors, such as bright yellows, blues, and reds.

“Chicken Fried” – Zac Brown Band

Charlie O.

My friends from home are a little more country than I am, and this song was the go-to during BBQs, poolside hangouts, and drives to their cabins.

“L.I.F.E.G.O.E.S.O.N.” – Noah and the Whale

Nic V.

This is because it’s cheerful although the contents of the song aren’t cherry. It reminds me of my summers in the sense that it’s hard but I try to keep being happy.

“Stuck in the Mud” – Isaiah Rashad

Nilas J.

Mainly cuz I get stuck in the mud during the summer lolz.

“Constellations” – Jack Johnson

Alex H.

I feel like there is something about an acoustic guitar that just fuels a summer mood and that song reflects sitting out on warm nights, looking at the stars.

“I Love the Unknown” – Clem Snide

Rupika C.

There’s a song called I love the unknown which really has nothing to do with summer but that’s something that came to my mind. And I think that’s because summer for a lot of people is about taking a step back and reevaluating their lives and how they’re living it.

“School’s Out” – Alice Cooper

Sandy S.

I think of my kids and summer.

“Sunshine Daydream” and “Sugar Magnolia” – The Grateful Dead

Tapio N.

Sunshine daydream from the Dead. Usually followed by Sugar Magnolia. Always makes me think of summer. Walking in the tall trees, going where the wind blows, sunshine daydream. Listen to the river, sing sweet songs to rock my soul.

“Whole Wide World” – The Bahamas

Zack G.

It’s so relaxing, and one of my feel-good songs. It also just has that beach-sounding guitar style that ocean side bars play.

“Listen to the Music” – The Doobie Brothers

Tyler P.

It’s such a fun and upbeat song which perfectly matches the vibe of summer. I also find that summer is a time when I’m both listening to more music and also finding a lot of new music so I think the lyrics are really fitting too!

“Dancing in the Moonlight” – Toploader

Paul J.

I chose this song because the opening chimes instantly make me feel happy and the song just has an overall warm glow to it that reminds me of the sun and being outside in nice weather. Dancing is also something that I feel like can be associated with summer and even though the song is about nighttime, for some reason it reminds me of a sunny afternoon.

“Shout, Pts. 1 & 2” – The Isley Brothers

Camille S.

It was a song that I remember dancing to with my cousin in the summer.

“17” – Youth Lagoon

Rennie T.

17 has been a song that reminds me of summer since the first time I heard it. It’s super light sound takes your mind instantly to an open field or a lake (maybe a lagoon?? Hahaha). It’s perfect nap music or to be outside too. Also, the song’s chorus talks about never ceasing to stay imaginative which is rad. “Don’t stop imagining, the day that you do is the day that you die.” Also, shout to my moms because she’d say something like that.

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A Night at Will’s Pub

(June 18, 2018-11:27 am)

It’s the space between the words that matter. As a writer, I supply a few choice details and the reader must complete the picture and fill that empty space. In that way, every reader is unique and yet one text supplies the foundation for everything.

I have similar thoughts towards music. I don’t just love music, I absorb it like Spongebob Squarepants absorbs fun and laughter. During my brief stay in Orlando with family this summer, I made it over to Will’s Pub for a show.

The website, like the bar, has a good sense of humor. Their bio reads: “Sure, the thousands of children who’ve allegedly been conceived as a result of the joint’s carnal formula of loud-ass rock ‘n’ roll and free-flowing beer is a mildly interesting footnote…Will’s Pub is basically a neighborhood bar that was colonized by the music community as soon as it opened in 1995. And that now-institutionalized culture and ethos have turned it into one of the Sunshine State’s most established live music venues and an anchor of the city’s creative district.”

As I was walking in, some already drunk guy with a size-too-small Gatorade blue blazer asked the bouncer “there’s no re-entry rules right? I’m tryna find a bar.” The bouncer, with recently dyed snow white hair, chided “bar’s inside, where you should be, and where you should stay.” Hey, I’m just here for the music. Let that guy take care of the free-flowing beer.

My first impression of Will’s Pub was that it was an arcade. I tickled with the idea of becoming Orlando’s pinball wizard but I didn’t want to make any of the locals salty. Plus, I had some music and people watching to take in. In the background, I could hear some Matt & Kim playing and I felt like hitchhiking to Maine.

Being tall at concerts has its pros and cons. Pro #1: great view from anywhere. Con #1: every short person in the venue hates your guts because if you’re not standing in front of a wall, you’re blocking somebody’s view. It’s never personal but drunk people at concerts always think it is so I just mosey my way on to the back, where I can see, and where I don’t obstruct anybody’s view. I think venues should sell an obstructed view ticket for areas behind me. They could charge like half price for indoor shows or double price if it’s an outdoor concert and people want shade.

Anyway as I looked at the latest Urban Outfitters catalog, aka the crowd, I thought that I recognized the entire cast of Superbad. Jonah Hill was doing shots with Dave Franco as they debated on what was the craziest thing James Franco ever did. Jonah said “Michael Cera.”

I was feeling as random as Christopher Mintz-Plasse at this concert, waiting for the show to begin. I wasn’t drinking and I was alone so I started writing. I was at this show under professional journalistic responsibility. I wasn’t like the guy wearing hiking boots for all of the snowy mountains in Orlando. I also wasn’t about to do some magic like Draco Malfoy who I saw in the corner. I was there in pink shoes, gray pants, purple glasses, and a trippy George Harrison shirt that really made me look like I wanted to protest the Vietnam war. I wanted to protest how long they give people in between concert sets. Going to a concert, you can get tired of standing and it takes away from your experience. You gotta work out for shows. Leading up to this show, I would go to the grocery store and stand in front of the bread aisle for hours. An employee came up to me and asked if I needed help finding anything. I told her that I knew where to find the sourdough. I was just practicing for standing at a concert.

I was nailing a caricature of someone who looked like a burned-out Justin Bieber in a knit cap when I thought that maybe I was being too mean with my descriptions. First, I think it’s a compliment for this dude because he looks like every girl’s crush from the late 2000s and it could’ve been JB himself. I don’t know what the Biebs looks like today but if he were in Orlando, a knit cap would be a good disguise. And for the record, I was looking like an awkward giant who doesn’t drink or socialize at bars but rather just writes in a little pocket notebook. Yes, we’re all freaks.

Despite the delay, by the time the show started, I was tuned in and ready to groove. As Gayle (Gay-l-e) took the stage, I started wiggling my knees, then came my hips, wrists, and the most important part: the neck. For somebody just starting out, Gayle captured my critic’s heart. She has the potential for star power and really locked into a vibe. She was a one-woman show that used the power of her voice and acoustic guitar to sound like what I imagine an Alanis Morissette concert sounded like. She was like an amateur fusion of Janis Joplin and Tracy Chapman. Yeah, I know, big praise. But she may be on to something. Her songwriting was incredibly compelling and reminded me of Courtney Barnett. She incorporated a call and response element to a few of her songs. One shout went “You can take my money / Give me your CDs.” Pretty cute and catchy.

After Gayle’s set, I hit the bathroom where I saw a mini prayer alter dedicated to Pabst Blue Ribbon. A flag of blue majestically waved at my back as I did my business. When I went to wash my hands, I saw a graffiti tag name in the mirror that said “Earth B. Flat.”

I briefly fantasized about getting pizza and watching Nickelodeon with this guy who looked like the perfect combination of Drake and Josh when suddenly the next band materialized in the corner of the stage. A woman dressed in black emerged from a guitar amp, followed by a stripped-sweater wearing, long hair having man. The two hi-fived, jumped, and tapped their heels twice. Then two more people came out of the same amp and the music started to play.

Sugar Plum’s lead singer had a very delicate accent when she sang. While she was singing, it was as if she was on the brink of losing her accent but she always held on to it. At one point it started floating up but the drummer threw a drumstick (the ice cream cone version) at it and it came down before she finished the song. Sugar Plum was a fun opener but nothing too special. Just good songs, a fascinating singer, and a great drummer. He laid down a few solos and beat-breaks that had some heads turning from beers and significant others to look at the noise.

This whole time I’ve been writing this I haven’t even mentioned who the headliner was. How rude of me! The headliner was TV Girl, a little dream synth-pop outfit outta Cali. Their brief catalog is pretty fun. They describe their music as being “something you can along to, but wouldn’t sing around your parents.” Fair enough but the music is something that I think a lot of people could agree with. The choruses were agreeable in the way that New Yorker comics are. It takes a second to get it and then once you do, you’re happy, amused, and confused in a muted way. The best thing going for TV Girl was that they turned the crowd into a dancefloor. Their biggest setback was that they were not playing music. Fred and Carrie from Portlandia showed them how to “act-play.” They got up on the stage and stood in front of fancy DJ equipment with lots of lights, switches, and buttons. They were convincing and the did actually sing. I think my favorite part was when they said that they don’t know the term puppy love in France. One of their songs, “Seven Days Until Sunday,” has the same chorus as the title. Sounds like a worthy pop chorus, doesn’t it? They’re the type of band to feign irreverence and I’m the type of writer to feign seriousness.

Because my legs felt like angel hair pre-boiling water, I decided to leave. When I opened the door, a cat ran out of a crack in the sidewalk. A sunflower instantly grew right from the same crack. I looked at the door that said “if you are racist, sexist, homophobic, or an asshole… don’t come in” with approval, made my exit, and then made some pasta.  

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i like to write, make music, comedy, and songs but i have no idea what i’m doing but I’m trying until I do

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Nas is Like...well this time so is Kanye: a reflection on Nasir

(June 15, 2018-7:37pm)

Escobar season begins and now we have a new Nas album. It’s been since 2012 that we got a new Nas album and life is still good. His new album, Nasir, is the latest installment in the string of 7-song albums that Kanye West has been producing. It started with Pusha-T and Daytona, then ye by Ye himself, the Kid Cudi collab called Kids See Ghosts, and now the Don himself, Nasir Jones.

Nasir was premiered at a live stream listening session in Queens, near the Queensbridge projects where Nas, Mobb Deep, and other notable hip-hop artists grew up. Although this is the Illmatic rapper’s 11th studio album at age 44, Nas sounds incredibly young on this new album. He is stillmatic, still hungry, still a sharp lyricist, and still one of the greatest rappers of all time.

Like the other previous albums released by West and Good Music camp, the live stream for this event was focused around Kanye himself. Nas album, Kanye moment. He’s a different caliber celebrity and musician who can demand attention and receive it no matter what he says or does. At the beginning of this live stream, the footage follows West being driven to the center of the crowd. Fans gawk as the truck cruises by. They reach for photographs and awkward handshakes. Everybody seems to be in awe or at least in utter fascination. No matter your opinion on Kanye West, he always gets everybody talking about him. Few people can receive the same attention for their work—and that goes for everything.

These live stream parties are a fun way to introduce new music. If I could get to one, I would definitely go and I’m envious of the attendants of these soirees. These live streams are a part of the culture today in the age of streaming and subscription services. Who knows how all of these 7-song albums will age. Where will they stand in each artist’s legacy and discography? No matter what happens to them, they serve as a time capsule to hip-hop and the today’s age in technology. If Snapchat were a music form, it would be these streaming projects because they’re trendy, compact, flashy, fun, ephemeral, and incredibly appealing to young people.

This reflection is my first reaction to the album and the movement behind it. I don’t like to judge albums on first listens but I do like to judge a first listen for what it is. For me, a first listen formulates my initial impression of the album, determines the replay value, and if the album is especially good, it will be associated with a time period in my life. Out of all of these 7-song albums, this one has been the most rewarding first listen. The album was concise, vivid, compelling, refreshing, and exactly what I wanted to hear from Nas at this point in his career. I’m satisfied with the first listen, I think there’s good replay value, and I’ll associate the memories of watching this live stream with the summertime music of 2018.

Kanye West is one hell of a marketing genius. Although his comments leading up to the album were cringe-worthy and insensitive, to say the least, it generated enough buzz to catalyze the promotion behind these albums to Kanyesque levels. By the time all of these albums hit the streaming sites, people were ready to gobble them up and all of them are doing well numbers wise. After Push dropped Daytona, we have been held captive weekly until the next release. How long will it last? Seven weeks perhaps.

With the way that these albums have been pushed, it’s hard to make your own opinion of the music sans influence from Kanye, the internet, the general public, and past releases. Most of us are under a pre-convinced understanding that the product will be dope and worthy of a greatness title. We would have to be given some pretty bad music for us to really get upset. So when I’ve been judging these albums, I’ve been hyper-aware of my thoughts and have taken a critical approach. That being said, I’m generally pleased with all of the albums, especially Nasir.

Nasir is the type of album that makes you feel good for hip-hop. The samples on the album feel like classic hip-hop samples and feature some of the most sampled forces of all-time, like Slick Rick. Slick Rick is sampled on a song with another sample from Richard Pryor. The Slick Rick sample is a chilling refrain of “the cops shot the kid.”

Once the album spun through once, it was triumphantly looped back again. The crowd seemed mildly pleased with the album. About a dozen people really showed their love but most people just head-nodded or swayed. If I had the opportunity to go to one of these events, I would be rocking hard no matter how good the music was. Although I think this was a great album from Nas, I have a strong love bias towards his music. Nonetheless, this album is worth checking out if you’re a hip-hop head or just curious about what the heck is going on in music today.

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2016 Run the Jewels X-Games Interview

(Originally posted on skierscribbler.com on February 12, 2016: https://skierscribbler.com/3567/news/in-the-tent-at-x-games-with-run-the-jewels/)

During this year’s X Games, I had the unique pleasure of sitting down for a chat with hip-hop supergroup Run the Jewels just before their opening performance for the renowned rapper, Nas. The rap duo, comprised of Michael Render aka Killer Mike and Jamie Meline aka El-P, talked about politics, writing process and even advice for high school students. Run the Jewels has released two albums and are currently working on their third LP, Run the Jewels 3.

What do you think of Aspen so far?

Killer Mike: Beautiful

El-P: Cold

You (El-P) are from Brooklyn and you’re (Killer Mike) from westside Atlanta right?

EP: Born and bred

KM: Yeah

I want to start with hip-hop today. Many critics placed Killer Mike’s R.A.P Music and El-P’s Cancer 4 Cure as two of the best albums of 2012. You cemented your status as hip-hop greats with the release of Run the Jewels 1 in 2013. Kendrick Lamar gave you (Killer Mike) a shout-out on To Pimp a Butterfly on the song Hood Politics. In the second verse of Sea Legs off of Run The Jewels 1, you (Killer Mike) take subliminal shots at Watch the Throne by Jay-Z and Kanye West. You rap, “There will be no respect for the thrones/ no master mastered these bones/ your idols all are my rivals/ I rival all of your idols.” Given your status as underground kings of hip-hop today, how do you feel about the current state of hip-hop?

KM: That’s one question that we don’t answer. I mean I like cats like Earl Sweatshirt and others but we’re just here to make great rap music.

In 2003, Aesop Rock (not to be confused with ASAP Rocky) released the album Bazooka Tooth on your (El-P) record label, Definitive Jux. You produced and rapped on the song, We’re Famous. You said, “While half the critics claim it every year, ‘hip-hop’s over.’ Hip-hop just started.”

EP: Right. Those nostalgic guys don’t get the credit for the most part. I was talking about all of the underground rappers at the time. There’s always someone that claims that hip-hop is over or dead. Nas said it on Hip-Hop is Dead. That was in ‘05 or ‘06 I think. He was calling everyone out from the fans to the rappers themselves. There is always music that has the true elements of hip-hop. The quote real rap music usually doesn’t make it to the mainstream.

El-P, you’ve been producing since the early 90s. You produced Cannibal Ox’s The Cold Vein entirely. It is considered as one of the greatest underground hip-hop albums of all time. Do you like rapping or producing more?

EP: Both. I started rapping and producing at the same time. I produced in order to rap. It’s equal for me.

What advice do you have for high school students like me?

KM: Do your thang homie.

EP: I was kicked out of two high schools so I don’t know how good of advice I can give you. I hated school but I was good in English class. School wasn’t what I wanted to do. Instead of school, I started rapping seriously. I started a group called Company Flow. That was when I was 17. I’d say find what you love and do exactly that.

Killer Mike, I know that you are an outspoken activist that cares a lot about your community and frankly the world in general. Can you comment on social justice and our country today?

KM: Humans have a short life and they deserve peace, happiness, and joy. There is too much apathy in the American people. It’s a lack of empathy and sympathy.

The night that the Grand Jury decision was made public with the Michael Brown case, you were in St. Louis. You said, “It’s not about race. It’s not about class. It’s not about color. It is about what they kill you for. It is about poverty. It is about greed. And it is about a war machine. A war machine that uses you.”

KM: That was an emotional night for me. I have two sons and I fear for their lives. The night the decision was made, my wife cried. I help her in my arms and cried like a baby. My father was a policeman. I grew up in Atlanta. I know the system. Policing today is becoming more militarized. It’s an invasion of our rights. Everyone’s rights. Kids may do some stupid things but there is no reason they should be shot multiple times while in a defensive position. Like I said, there is too much apathy in the American people.

Killer Mike, you are a proponent of Bernie Sanders. You recently did a six-part interview with him at a barbershop in Atlanta. El-P, I was wondering what your opinion of Bernie is. Do you feel the Bern?

EP: Yeah, I do feel the Bern. You don’t see me voting. The last time I voted was the first time I was able to. I’m voting this year for Bernie. That shows you something right there. I see him on TV and I agree with what he’s saying.

KM: I love the old dude. He’s from Brooklyn right?

EP: I think so. And if you look at the other candidates, I can’t vote for them. Bernie doesn’t accept millions like the others. It’s messed up that a corporation or someone can buy a seat in office.

The system’s broken.

EP: I’d agree. Bernie is doing things the way that it should be done. It’s sad that it’s not done more often.

One last question for y’all. Can you walk me through your writing process?

KM: I vibe out, catch the Holy Ghost, and then I just go. El-P throws a beat on and I just flow. I like to give a definitive statement on the track. We feel it out and rework anything that needs reworking. I usual freestyle it. Sometimes we’ll write things down like with Early. We were working on that and our two verses intertwined almost to give different perspectives. It’s one of my favorite tracks on the album (Run the Jewels 2).

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Nappy Roots: The Aspen Interview

Fresh off the release of their latest Another 40 Akerz, Nappy Roots returned to Belly Up this Monday for a party and legendary hip-hop. 

The group was formed in the 90s and has released six albums since their classic Watermelon, Chicken & Gritz, which was the best-selling hip-hop album of 2002. Despite several ups and downs, challenges within the music industry, and a couple group members leaving the group, Nappy Roots is as strong as ever. Their last two releases, The 40 Akerz Project and Another 40 Akerz, find Nappy Roots with a modernized sound that still has the southern swagger and swing of these Kentucky legends.

Before their show on Monday night, I had the opportunity to sit down with B. Stille and Ron Clutch to discuss Colorado, new music, and advice for artists of all types.

B. Stille

Welcome to Aspen! This week, you’ll be performing across Colorado. Are you excited?

It’s Colorado day one and we can’t wait for the show tonight!

What’s your favorite thing about Colorado?

It’s probably the one state in the country where we have toured the most in. We’ve been in every city from all the small towns to all the major cities. Any city or college town in the state. You know we have our favorites and we have regulars who continually come out to see us.

After these past two 40 Akerz projects, what’s the plan for new music?

Yeah man, well right now we’re working on a new project. You’re probably the first person we’ve told. We’re working in Nashville with some producers who’ve we’ve worked with in the past. Five Star Productions. And they’ve done a lot of music on the country scene and hip-hop as well. There’s an opportunity for us to mix the two genres together and come out with something really dope. The things we’ve been coming up with, the songs—I’m impressed. I can’t wait for people to hear it.

What’s your favorite kind of beat to work with?

I like soulful sounds in a beat. That gives us the opportunity to show off our best work. Anything with like soulful organs or live instruments. Live strings. That’s our wheelhouse, that’s Nappy Roots. That’s where we got our start and that’s what we’re known for. But we are versatile artists. We’ll rap on anything. Fast beat, slow beat, crunk beat, love song, doesn’t matter.

And are you more of a freestyle artist or do prefer writing raps?

I’m a pen guy. I’m a guy who likes to sit and contemplate and give somebody an extra treat. I do it for those people who really listen, with their headphones on, trying to find something else in the verse. That something people can discover later down the line. Be like “oh, that’s what that means,” and whatnot. I think some songs call for a freestyle to catch the vibe, to catch the hop, and get the right cadence. But for classic songs, it takes a little more thought. We’re Nappy Roots and we like to make classic music that lasts a long time.

How do you feel about the current state of hip-hop?

I’m enjoying it. There’s an opportunity for people, now that we have the internet, to listen to what they want and not be so programmed to listen to what the radio or MTV tells you to listen to. You have the opportunity to listen to your own station, Pandora, Spotify, Sirius. So when someone asks me “where’s so-and-so been?” I’m like you’re not on the wave of how to get music nowadays. I don’t just listen to everything that is on the radio. The state of music right now, I don’t mind it, I like it. I think it’s kind of like how disco was about the beat and the dance and all of that. Then hip-hop changed that and went into the lyrical content and message. It’s a wave and it’ll come back I believe.

Any advice for artists?

Surround yourself with positivity and creativity. Surround yourself with people who are likeminded and push you out of your comfort zone. Not yes men. Learn about the music business, read some books. Listen. Do some due diligence. All of your favorite artists have a story. Read about how they got on. I have a new artist out here in fact. Lorenzo St. Charles. We brought him all the way from Louisville, Kentucky. I work as a Vice President for Tripple Three Music back home and so we felt this would be a great opportunity to bring him out with the Nappy Roots crowd. All the advice that I’d give can be seen through what we’re doing now. Get a crowd, steal a crowd. Get in front of the crowd and take them. Make them follow you. That’s what we’re trying to do with Lorenzo and the Nappy Roots crowd. I’m playing both sides of the fence. The same advice I’d give to anyone is the advice that we’re implementing at our record label. Learn from other people’s mistakes and the main thing is that it’s going to take a sacrifice. When I say that it means you have to give up something to show that you want it more than the next person. Remove your safety net and say “this is all I got.” The sacrifice will make you work harder. It separates those who do this as a hobby and those who do this professionally.

Ron Clutch

Welcome to Aspen! How’re you liking it?

It feels good man. This is like our yearly winter vacation. Come out to this part of the world. Unfortunately, there ain’t too much snow this year but we still manage to have a good time.

What’s your favorite song to perform?

Actually, I just released a new single called “Tomorrow Never Knows.” That’s my favorite from a couple of weeks ago.

Are you going to release a solo album?

That’s my plan, that’s my go. These days though, folks is dropping singles. Letting them stream. So we’ll see. 

Do you think streaming is helpful or hurtful?

It’s a double-edged sword because it gives artists, who don’t have access to the radio, a chance to be heard. Anybody can put music online. The downside is people downloading free music. I mean it’s not free, you get paid for it, but the royalties are so small.

How do you continue to be creative?

Just soak up life every day. The older I get, I’ve found myself getting more involved in politics and world events. That’s like a whole other world. The election with Donald Trump, everything going on in the Middle East. You don’t want to get too serious but it does give you more material.

Can you talk a little about Nappy Roots Day?

In 2002, the Governor of Kentucky, Paul E. Patton, on his last term as Governor, he wanted to do something big, something great. He recognized what we had done, the album we had put out, the success that we had, He made September 16th Nappy Roots Day and made us Kentucky Colonels. It’s the highest honor you can get in Kentucky.

How was the start of Nappy Roots in college?

We went from freestyling at the back of house parties to working with producers like General Lee. He had a small studio at his apartment. Cats were going over there, separately. Eventually, we put all of our recordings out together on a cassette, a mixtape. The mixtape started circling around our college campus. Then we put our music together to open the first black-owned record store in Bowling Green. That’s when we dropped our first underground album Country Fried Cess.

Any advice to artists?

Stay true to yourself. Stay thirsty for life. Stay humble, stay hungry. At the same time, be your biggest fan.  

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Here is my improvisational concept EP with zero pre-made beats. It’s entirely comprised of freestyles and was recorded in one take! Listen if you’re interested! We Believe You Exist!

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Album Review: Action Bronson’s Blue Chips 7000

Review was originally written for the Colgate Maroon-News 9/7/17.

The Action Bronson phenomenon has swept the nation and yet Bronson is still a relatively unknown rapper. Bronson, a.k.a. Bam Bam, Bronsoliño or Mr. Baklava, is a 33-year-old rapper from Flushing, Queens. Blue Chips 7000 is his fourth studio album and sounds like a mixtape because it almost is one.

Bronson started the Blue Chips series in March 2012 with the first release produced exclusively by production team Party Supplies. A year later, he released Blue Chips 2, again exclusively produced by Party Supplies. This time, Blue Chips 7000 is a retail album-mixtape that is produced by many producers. Because it is a studio album, Bronson does not have the same ability to sample at will. While this restriction limits his potential, listeners will find that not much is lost on Blue Chips 7000.

Bronson is a unique figure in the rap world. He has two television shows on Viceland that are as, if not more, entertaining than his rapping. “F**k, That’s Delicious,” reminiscent of Anthony Bourdain’s “No Reservations,”  follows Bronson around the world on food-filled adventures. His other show, “Traveling the Stars: Action Bronson and Friends Watch Ancient Aliens,” is exactly what it sounds like. Bronson brings people like Tyler, the Creator on to watch “Ancient Aliens” with him while they examine and comment on the show.

As far as rapping goes, Bronson is a novelty. He still sounds like Ghostface Killah of Wu-Tang. His punchlines are idiosyncratic and bizarre; he raps about food and has no limit as to where he will take his songs.

Blue Chips 7000 has plenty of vintage samples to complement Bronson’s laid-back, high-pitched flow. Blue Chips 7000 is a coherent project but lacks a full-album feel. Bronson is a stellar mixtape rapper but has yet to deliver a complete full-album experience. For example, he has a song called “My Right Lung” about how he would give his right lung if he could dunk a basketball one time. The thought is cute but the song is a bit stagnant. That’s not to say that Blue Chips 7000 does not have moments of glory. “The Chairman’s Intent” is ruthless and hard-hitting. Bronson is agile and for a moment shows us that he can rap alongside the best of them.

Bronson finds his stride on “The Choreographer,” produced by Daringer. Daringer utilizes a 1978 Leo’s Sunshipp sample from the groove song “I’m Back for More.” Bronson crafts a smooth hook and comes with some nice laid-back bars. Bronson also finds peace on “La Luna.” On many songs, including “La Luna,” Bronson includes a classic hip-hop sketch that leads into the song. Bronson capitalizes on this sketch and freestyles over one of the best beats on the album, produced by The Alchemist.

Blue Chips 7000 is a solid release from Bronson. It doesn’t have the same edge as his other Blue Chips releases, but the album still finds room to shine at times. 7000 lacks a hit record or radio song and is not as cohesive as his last album, Mr. Wonderful. Bronson fans will enjoy this project but will ultimately revisit his past Blue Chips projects for more.

Rating: 7.0/10

Listen: https://open.spotify.com/album/0N3HnJ7Jw1VrfO5TnbNWEA

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The Belly Up Quandary

Why do we have such a love-hate relationship Belly Up? Since Snoop Dogg in 2011, you have been my best friend and arch enemy at different times respectively. You’re my best friend around New Year’s when you bring the Flaming Lips, for example. On the other hand, I can’t stand you when you bring a splendiferous artist but charge $$$ or make it 21+. Belly Up is a quaint, acoustically stellar club situated in the downtown mountain mecca, Shangri-La of Aspen. Belly Up has the pull to bring in nearly any artist. I love to go when I can but I often face the Belly Up Quandary.

The Belly Up Quandary is a common phenomenon that takes places a couple times per season. It is when Belly Up brings an artist that you like but the price is a little steep. The quandary involves deciding whether or not an event is worth the price tag.

Belly Up Quandary #147: Spoon. 

Spoon is an indie rock band from Austin, Texas. They’ve been around since the 90s and can boast their smooth, resounding rock or can flirt with their psychedelic flare. Britt Daniel, the lead singer, sounds like a combination of Elivs Costello, Tom Petty, and yet brings his own uniqueness to his sound.

So Spoon plays Belly Up August 8, 2017. Price: $70. Sold Out. Because I slept on scooping up tickets to the show, I have to rely on StubHub. Tickets are hovering around $100. Here I face the Belly Up Quandary. Is it worth it? I would love to have a night out, rocking with some of indie rock’s finest. I would love to see Spoon in an intimate setting of less than 500 people. I would love to go but I don’t love to pay. 

As my summer winds down, I will continue with this Belly Up Quandary until I make a decision. If ticket prices drop on StubHub, I might bite. If not, I’ll have my eyes set on the shows down the road, with my fingers crossed that there’ll be a good show, with a good price. 

P.S.: Does anyone have an extra ticket?   

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Why Can’t I Listen Jay-Z?

Why can’t I listen to Jay-Z’s new album? Even though I’m a Spotifier, I’m willing to pay for Tidal. I still buy CDs and the occasional iTunes purchase so I have no problem shelling out an extra ten bucks for the opportunity to hear an ‘exclusive release.’ The problem: even if I subscribe to Tidal right now, I still can’t listen to 4:44.

This move must make sense for Jay-Z and his posse exclusively because this move doesn’t make sense logically or economically. Jay-Z has the opportunity to capitalize on a swash of Jay-Z eager-eared listeners ready to pay for Tidal in order to hear 4:44. But we can’t unless we already have Tidal. The reason we can’t join Tidal now and listen is because of Jay-Z’s recent deal with Sprint. In order to listen to the album now, you need to also join Sprint. The exclusive has become more exclusive. To those of you who already have Sprint and/or Tidal, happy listening.

I like Jay-Z as much as the next hip-hop head. I have the Reasonable Doubt CD, I compulsively indulged in Magna Carta Holy Grail in summertime ’13, I’ve memorized the verses, and I have casually listened to most of Mr. Carter’s discography over the years.

To fulfill my Jay-crave, I have been reading like a student studying for finals in a nonexistent “Contemporary Hip-Hop Studies” class. The NY Times filled me in on his “personal and political” album. Fellow bloggers like Dan DeLuca have shared the frustration of not being able to listen to the album. Rolling Stone has given me a track-by-track guide. And both the Times and Rolling Stone have interviewed the legendary and infamous produced No I.D. who single handedly produced Jay-Z’s album.

I’m learning about the album before I can listen to the album. The album’s release to the ‘rest of us’ will come in a week or in a month once the Tidal and Sprint hype has died down. 4:44 will most likely make its way to Apple Music, Spotify, and the classic CD format in the coming weeks.

I miss when Jay-Z told us, “Ladies and gentleman—H, to the Izzo/ I wanna thank everybody out there for they purchase/ I surely appreciate it/ What you about to witness is my thoughts/ Just my thoughts, man—right or wrong/ Just what I was feeling at the time/ You ever felt like this, vibe with me.” This was The Ruler’s Back—opening track to The Blueprint in 2001. I don’t know if ‘the ruler’s back’ with 4:44. Jay-Z can’t thank me for my purchase this time because I can’t purchase it. I can’t vibe with you Jay unless you let me. What is 4:44? I guess I’ll have to wait and find out.

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Album Review: Vince Staples’ Big Fish Theory

Vince Staples’ Big Fish Theory is a groove-hop manifesto that combines brisk rhymes, dance rhythms, dystopian distortion, catchy hooks with the inevitable call-response, and a looming theme that is the Big Fish Theory.

What exactly is the Big Fish Theory? Right… As Vince Staples said in an interview, “You’re not going to get it right. No one will ever know unless I tell them. Or they’ve known me for like … 23? 23 years.” Fair but what does it mean for us? I can tell you my theory but it will be more meaningful if you find your meaning yourself.

Now to the music. If you’re playing the album while you’re reading this, you’re probably immersed in a head-nod-meets-shoulder-pops-and-foot-taps. Crabs in a Bucket has you feeling like Burial, has you feeling under the influence of desired confusion, and has you feeling like Big Fish Theory will take you on a journey twenty thousand leagues under the sea like Jules Verne.  Big Fish Theory is a defining project in the genre I now call groove-hop, which is a combination of rap and EDM-style beats. Just think of Kaytranada’s influence on rap today. (Of course Kaytranada is not the first but he is a notable producer-influencer.) This style of hip-hop is slowly becoming more prevalent and it’s exciting because it adds diversity to not just hip-hop but to all music.

Vince explores some new beats with his same rap style. His effortless rhymes combine witticisms and criticisms, flows and blows, passion and confidence. This album is an acquired taste like kimchi. Like kimchi, Big Fish Theory is spicy, popular, good, full of essential vitamins, and in Vince’s case, full of essential meaning.

Although the album is only 36 minutes long, it is a bit overwhelming. It feels explosive like the first time Aang firebends in Avatar: The Last Airbender. The album’s leading single, Big Fish (ft. Juicy J), features fun production from Christian Rich. The music video is nautical and ominous.

Alyssa Interlude is my personal favorite although Vince temps me with having a Kendrick Lamar feature on Yeah Right. Alyssa Interlude is an emotional reflection that starts with an Amy Winehouse interview and ends with a powerful verse from Vince that is set to the backdrop of a Temptations sample. The song makes me feel nostalgic, fascinated, and a bit somber. Here’s some of the lyrics:

I think that Vince has something more for us. I haven’t found it yet but I’m still going to give it more listens. I’m a big fan of his music and have been proud to see his growth. Stolen Youth, Hell Can Wait, and Summertime ’06 have all received heavy play from me. I’m excited to see where Vince goes next but I still need to decipher this project more. Pitchfork is a proper fan and is quick to show love with an 8.7. I’m sure the quality is there but I’m not there yet.

Rating: 8.0/10

Listen: https://open.spotify.com/album/5h3WJG0aZjNOrayFu3MhCS

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Preemo at Belly Up

The legendary DJ Premier took over Belly Up Tuesday night. Even if he wasn’t one of hip-hop’s most influential and important producers of all-time and one of the founders of Gang Starr, he wouldn’t have a hard time taking over the empty Belly Up. Given that it’s still off season (even though Food & Wine is knocking at our door), I expected to find more people at Tuesday’s show.

The usual suspects came through though to make up a presentable crowd, if you call about 20 people in Belly Up’s pit a crowd. There were some college and high school students, some coaches and teachers, a couple way-too-drunk-to-be-in-public-but-in-public-still type people, and a handful of hip-hop heads who actually knew DJ Premier and his affiliated catalog.

The show opened with our hero, Brady Watt. Straight out of New England, Mr. Watt is the type of Red Sox loving Bostonian that even Yankee fans can get behind. (I’m a Denver Bronco and Detroit Tigers fan who has zero likings for Tom Brady or any Boston team but I could get behind this Brady, the real Brady). As a DJ, he was a proper jukebox hero. As a bass player, he saw himself as the reincarnation of Flea of the Chili Peppers. As fans, we saw Brady as an enthusiastic dreamer boy who is living the dream by playing his heart out for all of us.

After about 20 minutes of bass driven DJ zeal, concert goers found themselves bored in the awkward intermission between sets that always runs 15 minutes too long. Right as everyone started to get sleepy, Brady saved the day by bringing out DJ Premier and the Badder Band. For this tour, Preemo got together a drummer, a trombonist, a trumpeter, and the buzzed-sides-with-fluffed-long-hair-on-top hairstyled Brady on the bass.

The animated, loud, and uber enthusiastic DJ Premier grandstanded the crowd with his gravely abrasive voice. The Houston native spun through all of his hits and some underground specials with the assistance of his band. The best song was Nas is Like. Freedom or jail, clips inserted, a baby is being born Same time a man is murdered; the beginning and end As far as rap go, it’s only natural I explain My plateau, and also, what defines my name.

To top things off, there was even some inter-band drama. Premier let each band member solo but cut things short before the drummer could do his thing. You could see Brady shed a tear for his fellow bandmate who didn’t get to shine.

Overall, the show was entertaining and was an opportunity to see the one and only Brady live. I mean DJ Premier (but Brady too). I wouldn’t be surprised if my fellow concert goers and I started wearing Vote for Brady shirts in the Napoleon Dynamite Vote for Pedro aesthetic. A few last thoughts on the show: what was DJ Premier saying the whole night? Why didn’t the horn section get more play? And most importantly, #Brady2020

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Album Review: Sza’s Ctrl

Sza’s debut solo album, Ctrl, is one of alternative R&B’s best albums in the past decade that echoes Billie Holiday, Solange, and Lauryn Hill. Ctrl is about a lack of control over emotions, relationships, and the struggle to establish an identity. Three years after Z (her Top Dawg Ent. EP debut), Sza returns with a 14-track album filled with grooves, laments, and unlikely crossover appeal.

Sza has no desire to be the next Badu nor the next Lauryn Hill. She is still processing her fame as the First Lady of Top Dawg Ent. Her label mates include: Isaiah Rashad, Schoolboy Q, Jay Rock, Ab-Soul, and Kendrick Lamar. Under the TDE platform, Sza has found success with her soulful R&B that is filled with hip-hop roots. She also draws inspiration from movie icons: Spike Lee and Wes Anderson.

Ctrl opens with the resonating Supermodel that sets the tone for the course of the album. It is honest and powerful. The song itself is addicting—the beat is mesmerizing and hazy. Supermodel shows Sza’s contradiction between her confidence and insecurities. The vocals are powerful and display Sza’s dreamy voice. Following Supermodel, Sza enlists Travis Scott for Love Galore and Kendrick Lamar for Doves in the Wind. Both tracks have the potential to become Sza fan favorites and are two of the album’s highlights.

By the time you get half-way into the album with the Dilla-snare filled Go Gina, Sza has you hooked. Her angst and pain are appealing because of empathy. Her honesty connects her art to her fans. Her music is the vehicle that delivers the message, meaning, and support to the listener.

If Sza’s music is not to your liking, then the album may blend together and many pieces can easily be forgotten. Ctrl sometimes feels boring but at other times is completely entertaining.

The penultimate song on the album, Pretty Little Birds, features a soothing guest verse from Isaiah Rashad. Sza shows off her resounding voice on the chorus of this song. Ctrl closes out with the vulnerable 20 Something. It nicely wraps up the album and slightly revisits Supermodel. The album does something that we love to hear in music which is an honest expression of something personal that has universal understanding. Overall there is an analog feel that plays akin to low fidelity recordings. The vintage sound plays in her advantage similar to Lana del Ray but of course in different ways. Sza seems to have found herself musically but is in the process of finding herself personally. 

Rating: 8.2/10

Listen: https://open.spotify.com/album/76290XdXVF9rPzGdNRWdCh 

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Album Review: Beach Fossils’ Somersault

Beach Fossils new record, Somersault, is like a dream—a dream that seems oddly reminiscent of something you did last summer in the woods. The Clash the Truth follow-up is more succinct and confident. Dustin Payseur is reflective and mature. The album offers sketches of New York life through the lens of personal experience of Payseur and his bandmates. Somersault was released on Bayonet Records, which was co-founded by Payseur and his wife. With the independence of his new record label, Payseur had the freedom to find the right sound, his sound.

For roughly a half hour, Somersault plays as if it were one composition. The transitions are fluid and the album is cohesive. Taking cues from DIIV (led by former bandmate Zachary Cole Smith), Beach Fossils dabble in shoegaze psychedelia. Somersault could be at home in the 80s, 90s, and the Y2K years but are at home now.  

The album opens beautifully and quickly draws the listener in. Saint Ivy is brilliant and sounds like certain Zeppelin tracks if you listen with the right ears. It shifts sounds yet the song remains the same. Two songs later, Cities Aviv raps spoken word swagger over an instrumental with proper jazz somersaults. It’s out of the blue but it fits perfectly. The album climaxes with Social Jetlag. The drums lay a mellow backbeat to the star-eyed vocals with hints of flute.

After a meditation on depression and anxieties on Down the Line, Beach Fossils return with the triumphant Be Nothing. It sounds like a mellower Cloud Nothings’ Stay Useless. The bass picks at your nerves as the guitar carries you along. By the end of the song, you can’t help but nod your head to their jam session. Somersault culminates with the fittingly titled That’s All for Now. It’s a satisfying ending that sets up their next record. If Beach Fossils continue down this road, there is more exciting music in the future.

Rating: 7.7/10

Listen: https://open.spotify.com/album/6Kkz3vJXJzemMSQkbsqWQR

Tour: http://www.beachfossils.com/tour/

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Album Review: alt-J’s RELAXER

alt-J are one of indie rock’s most established and celebrated acts of the last decade. Their latest album, RELAXER, is a relaxing and confusing tribute to music’s potential to create an unknown world full of myriad possibilities.

In anticipation of the album, the band released a slew of promotional content. alt-J revamped their website to include a virtual world also called RELAXER. The ‘world’ is like Cubefield, Tron, and Minecraft blended together in one dazzling interface that includes portals to music videos, song tangents, and other randomness. They stopped by NPR for a Tiny Desk Concert and for additional promotion, the English alt-rockers released three singles and videos (3WW, In Cold Blood, & Adeline) from their short, eight track album.

RELAXER is alt-J’s least accessible album. There’s no Breezeblocks nor a Left Hand Free. alt-J deviates from their more pop friendly alternative sound found on An Awesome Wave and This is All Yours. The band continues their Tolkienesque idiosyncratic folk-rock idealism on RELAXER and experiment like never before. alt-J still relies on Joe Newman’s unique voice to carry the band but pianist Gus Unger-Hamilton plays a bigger role in this album’s sound, most notably with his new vocals on tracks like 3WW.

The best song on the album is Adeline. The song is about a Tasmanian devil falling in love with a woman as he watches her swim. It’s inspired by Hans Zimmer’s soundtrack to The Thin Red Line and the music video is almost as trippy as the Pink Floyd: The Wall movie. Towards the end of the song, the vocals spiral into a mesmerizing loop of ya, ya, yas in the background. Adeline follows the catchy and groovy Deadcrush, which is another favorite from RELAXER.

At times, the album sounds like it’s a part of the Rocky Horror Picture Show (Hit Me Like that Snare) and at other times, it’s disturbingly reminiscent of a young Bruce Wayne’s fear of opera and bats (Pleader). RELAXER falls short of grandiose expectations that alt-J would produce a rock classic. alt-J doesn’t have to be rock royalty. They can stay in their niche and continue to create music that will be happily consumed by their fans. RELAXER diversifies their discography and leaves room for improvement. In sum, RELAXER is a relaxing album for easy listening on a rainy day with a cup of joe.

Rating: 7.0/10 

Listen: https://alt-j.lnk.to/RelaxerWE

Tour: http://altjband.com/#live