RoundTableTalk

Freelance writer (The Metropolist, OnTheComeUpTv, livemusic.fm)

[roundtabletalk]

JAY-Z’s 4:44 - a therapeutic memoir to black success

A raw rumination on race, relationships and success, Jay Z’s 4:44 marks the first time in a long time that Shawn Carter truly has something to say.

4:44 is, first and foremost, a confessional. Yet, its vulnerability shows admirable wisdom, especially in its deconstruction of Jay Z’s traditionally stoic image. And despite its loving embrace of old-school samples and tempered No I.D. production, the album draws influence from modern rap greats (Kendrick Lamar, Drake etc), most notably in its candour and lowkey approach. Sonically understated, the album leans heavily on jazz and soul. But veteran producer and artist have chosen samples immaculately, none more so than on the centrepiece title track, where the gripping sample vocal adds fire and potency to Jay Z’s revealing verses.

Jay Z also hasn’t rapped this consistently well since 2007, with 4:44 a veritable masterclass in metaphor, wordplay and internal rhyme. All 10 tracks see Jay at his precise best and see rap’s most successful star provide a stream of quotables that you may not expect from a man of 47. But it’s content and substance that really makes the difference this time around. Listeners are given so much to digest and afforded far more than glimpse into the personal lives of two of the most famously private stars on the planet. More open than at any time in his career, Jay Z also identifies himself as the villain of so much, particularly his marriage. Despite this, the overwhelming response to his wrongdoing has been respect. Whether right or wrong, there is little more courageous than admitting your mistakes and embracing change. It seems that, sometimes, honesty is all that rap needs.

If Magna Carta Holy Grail was mid-life crisis rap, then 4:44 is the therapeutic memoir of someone who’s seen it all. Moments of ‘Bam’, ‘Marcy Me’ and ‘Legacy’ do feel like a weary goodbye and if this is it for Shawn Carter, then what a way to close. 4:44 stands as a monument to family, the black American struggle and the generational discord of rap. Is it possible that Jay Z might just have dropped a classic in each of the last three decades? Only time will tell.

Standout tracks: ‘The Story of OJ’ ‘4:44’ ‘Bam’

[roundtabletalk]

REVIEW: Shamir – Ratchet

Vibrant, dynamic and new in every sense of the word, Shamir Bailey’s debut album is a gem in an already stellar year. With only one EP under his belt, Ratchet acts as a spirited introduction to the unique 20 year old from Vegas and his fundamentally modern sound. Forsaking genre and polished to perfection, Ratchet is a thrilling glimpse into the mind of one of America’s most exciting new artists.

Perhaps his defining characteristic as an artist, Shamir’s distinctive vocal is the centrepiece of all of his work released to date. His countertenor quivers into life, frequently cracks with emotion and somehow invades and soothes all at the same time. On Ratchet, it’s put to good use straight away on opening track Vegas, a slow-burning, minimalist piece that places Shamir’s liquid tones at an immediate forefront and may just be the most hypnotic intro you’ll hear all year.

The rest of Ratchet, as its title suggests, deserves to be played on loud speakers, in a sweaty tent at sun-drenched summer festivals. With a smattering of disco here and sprinkling of house there, the music seemingly resists classification, forming itself into a collage. Untamed, rhythmic instrumentals are jarringly cut together with moments of transcendence in breakdowns like that heard on lead single, On the Regular. That single, an irresistible hip hop house mash up, draws from Azealia Banks controversial debut back in 2014; all exuberant bass and energetic synths. But what won’t get the credit it deserves is Shamir’s impeccable use of harmony on a wobbling beat that audibly defies it.

Like Kanye West’s Yeezus (2013), Ratchet is an album that constantly plays with musical, but more significantly, vocal expectation. An often hit and miss technique, the album then is mostly hit with a few minor misses. The highs and distorted lows on the anthemic Call It Off marry effectively as does the animated In for the Kill, which opens with a virtual cacophony of trumpets to only then make way for those recognisable tones once again. But the cluttered layers on Hot Mess are exactly that and it’s a track that drones on for just a little too long. Still, credit to Shamir; he holds the track together through charisma alone.

While executive producer, Nick Sylvester, has a guiding hand all over the project there are still obvious moments where the reins could have been tightened. Longer, emotive synthpop tracks like Darker and Youth, while a refreshing change of pace, push Shamir’s vocal agility to a place that can begin to grate. Regardless, they are among the most lyrically forthright on the project, alongside clear standout, Demon. A reflective lament, (‘If I’m a demon then baby you’re the beast that made me’) Demon suggests that Shamir’s songwriting could potentially one day rival his powerful pipes.

Featuring sporadic moments of the intensely personal punctuated by the wryly playful, Shamir’s debut is a little bit special. Much has been said and written about Shamir’s androgyny but when it comes to Ratchet, it’s mostly irrelevant. His music appeals to all genders alike as all great art does. Labelled post-gender and post-genre, Shamir really is nothing but himself. And on the evidence of this album, he’s a star in the making. So it’s time to move with it, throw on Shamir’s latest and really, just get ratchet.

http://www.themetropolist.com/music/album-reviews/review-shamir-ratchet/ 

[roundtabletalk]

REVIEW: Snoop Dogg – Bush

It’s been a strange couple of years for Snoop Dogg. 2013 saw Snoop (like fellow marijuana advocate Willie Nelson) decide to try his hand at reggae, even adopting the moniker Snoop Lion. And while Reincarnated wasn’t half as bad as it easily could have been, thankfully, Bush sees the old dog back with a thirteenth studio album and with it he makes a welcome return to his rapping roots.

Calvin Broadus Jr (or whatever he’s calling himself) has always had an affection for funk, from the G-funk days of Dr Dre’s The Chronic to collaborating with LA musician Dam Funk just last year. While Bush pushes that sound even further, it also sees the reunion of one of hip hop’s oft-forgotten duos. Snoop Dogg and Pharrell Williams have delivered some classic records together over the years (Drop It Like It’s Hot, Beautiful, Sign) and it is a mystery it has taken until 2015 for the pair to act as artist and producer on a full length LP.

First track California Roll (featuring a glorious cameo from Stevie Wonder) sets the tone for the album and infectious hooks abound from there on. At times, Bush serves as a refined and rebooted version of Pharrell’s somewhat lifeless 2014 effort, GIRL. Yet, this project is aided immeasurably by the Doggfather’s effortless cool on a track. And having the legendary Charlie Wilson on backing vocals doesn’t half help either.

Recognising that he can’t actually sing, Snoop more croons on this album in that synthesised sing song flow that he has used more than once in his career. Still it is more sustained than ever here and, admittedly there are a few vocal missteps. Nevertheless, he is rescued by old pal Charlie Wilson whose smooth harmonies redeem those rare flat notes. There is also much to love for those who enjoy vintage Snoop; he positively glides over some of these beats, none more so than lead single Peaches ‘n’ Cream. Pharrell’s production has always seemed to give Snoop Dogg just the right pocket of space to do his thing and Bush‘s glossy, polished soundscape is no different.

While lightweight and innuendo-heavy lyrics do let the project down somewhat, the chemistry and friendship between producer and artist is virtually audible. Still, it has to be said that Edibles featuring T.I. is a distinctly forgettable track while I’m Ya Dogg is a surprising disappointment, considering big name guests like Rick Ross and Kendrick Lamar. But Snoop’s duet (that’s right, duet) with Gwen Stefani is a joy while Awake is certain to be a favourite.

While it never quite hits the heights of the Snoop/Pharrell singles of the past, Bush is a polished and infinitely accessible return to rap for an original hip-hop veteran. The project is ten tracks of slick, summery goodness and languid melodies you’ll be humming for days. An unashamed throwback, Bush is rooted more in vibe than lyrics and as such the music seems tailor-made to wash over you this summer at BBQs and cookouts worldwide.

http://www.themetropolist.com/music/album-reviews/album-review-snoop-dogg-bush/ 

[roundtabletalk]

Earl Sweatshirt ‘I Don’t Like Shit, I Don’t Go Outside’ album review

21-year-old LA rapper, Earl Sweatshirt, is best described as your gloomy friend who you know can do better, yet something is holding them back. Earl's second studio album 'I Don't Like Shit, I Don't Go Outside' does little to alter that perception, with the Odd Future rapper's latest effort as haunting as you would expect it to be. It is an album that feels made for Earl fans but even more so for Earl himself. Bleak and hazy in equal measure, 'I Don't Like Shit...' is the most puzzling album of the year so far.

Since the album's release, Earl has stated online that this album is one he stands most behind and it is no surprise, seemingly having absolute creative control, handling production this time around (under moniker randomblackdude) as well as bars, even if label Sony did mess up any planned promotional rollout. Here Earl follows the welcome trend of rappers forgoing try hard chart attempts in order to make the music that they personally like. Yet still, while 'I Don't Like Shit...' is by no means a bad album, (it's difficult to critique it from a technical rap standpoint) it certainly lacks something. The project is well done but is neither interesting or social aware, leaving it to drift in a sea of rap releases that are just there. Most rap fans know Earl's story; heralded as a future GOAT by blogs at just sixteen, he was sent to Samoa by his mother just as Odd Future found fame (2010) for their low brow humour and violent lyrics. He then returned to America and the collective in early 2012, to release his debut Doris (2013)  and now this new project. And it is still clear that the Odd Future rapper is without a doubt a gifted wordsmith: 'Dodge fanatics, half-a-Xanax when I'm traveling six hours or more / Brick out on the tour, got kicked out of the morgue / Spit cattle manure shit, shit, rally the Horsemen / Tally the corpses'. But he seems unable to imbue his words with enough emotion for them to resonate. 'I Don't Like Shit...' fails to move a listener despite it addressing what should be moving issues and as such displays Earl's limitations as an emcee.  

Production choices don't help him on this project. Instrumentals threaten to kick into life but never do, like on the somber 'Grown Up'. Tracks lack the drive present on Doris, (see 'Burgundy' and 'Whoa') and at times each track just melts into the one preceding it. As such it lacks colour and more importantly the sense of humour typical of Odd Future releases. Admittedly, while Earl has been seen to drift away from his Odd Future friends in the past year (the consequences of growing up), 'I Don't Like Shit...' lacks any sense of fun or even pathos. Lead single 'Grief' for example feels like a Tyler the Creator song, without the tongue in cheek injection of humor that really gets your attention. If there was more variation, then this would be much less of a problem. Yet the lack of variation of flows, subject, song structure and the foregoing of traditional hooks does Earl no favours. As such an album of tracks like 'Grief' is very hard to come back to. To portray depression on an album is difficult enough but it certainly helps to show at least a wry awareness of the situation; even Kanye's '808s and Heartbreaks' had 'Paranoid' and 'Robocop'.

It's not just that the album as a whole is downbeat, it's that it lacks spark. Does rap music have a responsibility to entertain? That question is a complex one and best debated another time. Still, positives to take from the album include Earl's noticeably improved delivery, especially on stand out tracks like 'Inside'. In fact, put this delivery on 'Doris' and there you have the perfect Earl album. His bars are as precise as ever, but still, his lack of charisma on the mic is a consistent problem made all the more evident whenever a feature rapper turns up. For the second time, it is Vince Staples who has the best verse on an Earl Sweatshirt album, his abundance of charisma forcing you out of the lo-fi reverie that precedes it. Staples' verse on album closer 'Wool' is a highlight as is a scene stealing appearance from Ratking's Wiki on 'AM // Radio '. Even as an innovator in this lane of stream of consciousness rap, it seems apparent that both Mac Miller and the aforementioned Vince Staples seem to have hijacked it, have more to say and say it better.  Nevertheless, conceptually 'I Dont Like Shit...' is an accurate portrait of depression and isolation, with its unrelentingly bleak monotony certainly succeeding in taking you to a dark place.

'I Don't Like Shit' feels like an album out of time in a rap world that is becoming known for being ever more musical and vocally risk taking. Still, as a project it achieves seemingly what it set out to do, functioning well as a thirty minute diary of adolescent angst but as a consequence, making it hard to enjoy. It remains technically brilliant but emotionally stagnant. As such, while the album seems cathartic for the artist and makes for an intriguing first listen critically, it does mean repeat listens are a chore. As a recreation of those insular teenage years, the project does hit all the right notes, which is why it's a great shame that as a rap album in 2015 it does fall markedly flat.

[roundtabletalk]

Kendrick Lamar - To Pimp a Butterfly album review

'We ain't got time to waste time' insists Kendrick Lamar on a neatly reworked version of lead single 'i' and it's very clear he hasn't been. Since releasing major label debut, good kid mad city in 2012, Kendrick Lamar has been crafting. Barring a string of random features throughout 2013-14 and a series of electrifying live performances, Lamar has been more or less a ghost in hip hop, labouring away somewhere in the shadows. To Pimp a Butterfly is the fruits of those labours and my, what fruits they are.

Immersive, big and important, one thing immediately noticeable on listening to Lamar's second studio album is the presence of a strong guiding hand. Even amongst the album's numerous conflicting voices and in the company of such an assembly of incredible musicians like Thundercat, Flying Lotus and Robert Glasper, it is the strength of Lamar's message that shines through. Upon the surprise release of the album, LA producer Flying Lotus commented on Twitter that Kendrick does not get credit as a producer but that this album was his vision from the start. His single mindedness has paid dividends. Alongside those stellar collaborators, Lamar's stalwart producers TDE's Sounwave and jazz musician Terrace Martin have also truly outdone themselves, manipulating heavy sampling and live instrumentation in new and interesting ways.

More so, the likes of Bilal and Anna Wise are not frequently seen on hip hop records of such magnitude but manage to fit perfectly. It also is noticeable that there are no appearances from any of Lamar's label mates either, Kendrick clearly transcending allegiances to better the music. Barring a standout shoutout to Killer Mike, the album barely mentions the hip hop game at all. Still, the album shows a reverence for but reinterprets what has gone before, honouring D'Angelo, Outkast and Erykah Badu in good measure.

Vocally, Lamar has mastered a manipulation of his own voice, making it part of the instrumental as well as inhabiting the several personae that seem to speak through him on this album. Voices (both how and why they are heard) are fast becoming a recurring theme in all of Kendrick’s work. At times, mainstream rap can be very ADD, even from bar to bar but on this album Kendrick stays on topic, more strictly than any of his peers. From etymology to free form poetry, every verse is powerful and succinct, oozing substance and itching to be unpacked. 'These Walls' may just be one of the most complex songs the Compton emcee has ever penned.

Lyrically, Lamar shows an almost ridiculous awareness of his own place in society (on 'Hood Politics' spiritual successor to 'The Art of Peer Pressure') and delves even more personally than on his deeply personal debut, especially on standout track 'u'. Acting as a counterpoint to lead single 'I', the track addresses Lamar's own depression, a topic common in but rarely tackled by black males. Lamar addresses issues both Kanye West and J. Cole have touched on recently but in a less straightforward manner, coming at topics of religion, class and black masculinity through means of metaphor; the mark of a true writer.

If this all sounds too serious then it is remarkable how much fun is injected into the project by tracks like the bouncy 'King Kunta' and 'Alright', and the funky grooves of 'You Ain't Gotta Lie (Momma Said)' and 'Complexion (A Zulu Love)' featuring a wry verse from the underrated Rapsody. As well proving himself perhaps the most conceptual rapper since early Eminem and vintage Andre 3000, the album is a triumph of storytelling rap, with 'How Much A Dollar Cost?' incredibly crafted and many of his stories resembling parables. While Kendrick's arsenal of flows aren't necessarily new, they are used expertly. There are even some elements of Yeezus in some of his choices; the blunt aggression on 'Blacker the Berry', the screams on 'u'. But Kendrick incorporates less jarring jumps for musicality, instead meshing raw rap with palatable neo soul and pure funk. Yet, for all its dark moments, the album's true message is empowerment, of yourself and others; a consequence Lamar's survivors guilt and a desire to use his position for a purpose. As such, To Pimp a Butterfly promotes the need to be active in helping what good kid, m.a.a.d city shone a spotlight on so well, with Compton standing as a microcosm for the political and racial tensions in today's America.

And then of course we come to Kendrick's dreamlike conversation with Tupac Shakur, who speaks words as relevant today as they were then. Hearing the greatest of all time on album closer 'Mortal Man' is a crazy moment and something that will be talked about for years to come. It also feels somehow uniquely Kendrick Lamar. The album here reveals itself to be a tale of black pride and union, of building up rather than tearing down, all tied together by Kendrick's poetic thread and a conversation with his hero.

To Pimp a Butterfly should send both Kanye West and Drake scurrying back to the studio in the best way possible. The record is best heard as a whole and somehow makes good kid, m.a.a.d city seem a pop album, something that would be unheard of just a few years ago but that is the maturity that this album displays. In an age of Twitter and Snapchat and a world of abbreviation, an album in which each track could fill a review of it's own is likely to please critics more than fans. But Kendrick's new direction has turned out to be both funky, filmic and fearless and a showcase for all of his skills as a musician and writer. While unlikely that any of these tracks will get the airplay of his Canadian rival, that's the difference between rap's new titans, both make important music but in very different ways. Still, the Grammys are known to love musicality and it remains to be seen if this album will claim the award that good kid, m.a.a d city so rightfully deserved. Still, what Kendrick Lamar has done in the process of three independent and commercial albums is an achievement in itself but, even more telling is that To Pimp a Butterfly arrives right on time; just when the world needs to hear it.

[roundtabletalk]

Album of the Year 2013

1. Daft Punk 'Random Access Memories'

2. James Blake 'Overgrown'

3. Kanye West 'Yeezus'

4. Chance The Rapper 'Acid Rap'

5. Justin Timberlake 'The 20/20 Experience part 1'

6. Drake 'Nothing Was The Same'

7. Mayer Hawthorne 'Where Does This Door Go?'

8. Rhye 'Woman'

9. Toro Y Moi 'Anything in Return'

10. Childish Gambino 'Because the Internet'

Honourable mentions:

11. Disclosure 'Settle'

12. Flatbush Zombies 'Better Off Dead'

13. Pusha T 'My Name is My Name'

14. Arctic Monkeys 'AM'

15. Autre Ne Veut 'Anxiety'

16. Tyler, The Creator 'Wolf'

17. Quadron 'Avalanche'

18. Partynextdoor 'Partynextdoor'

19. A$AP Rocky 'Long.Live.A$AP'

20. The Weeknd 'Kiss Land'

21. CHVRCHES 'The Bones Of What You Believe'

22. John Legend 'Love In The Future'

23. Rudimental 'Home'

24. London Grammar 'If You Wait'

25. Thundercat 'Apocalypse'

[roundtabletalk]

Nothing Was The Same Goes Platinum - Drake's best work yet?

Two years on from his last album, Drake returns with ‘Nothing Was The Same‘. Having just passed 1 Million in sales, could this be his greatest work yet?

Drake’s third studio album is yet another addition to Drake’s remarkably consistently output since he signed to Lil Wayne’s Young Money imprint just five years ago. Nothing Was The Same weans out almost all fillers, making it much more succinct than 2011′s ‘Take Care‘. It also tries less hard in its pop aspirations than his 2010 major label debut ‘Thank Me Later‘. While Drake’s best work may still be his breakout 2009 mixtape ‘So Far Gone‘, Nothing Was The Same is easily one of the best rap albums of 2013, and further solidifies the Toronto rapper’s position as the current king of the genre.

Nothing Was The Same sees Drake’s knack for anthemic songs in full effect. Yet, single ‘Started From The Bottom‘ and album cut ‘Worst Behaviour‘ are also unlike anything he has ever done, drawing heavily on his father’s Memphis roots, where Drake spent many of his teen summers. The rapper’s southern cadence and almost lazy flow on these tracks is immediately jarring, but their stellar hooks and basslines mean these tracks are those that get the most replays. Drake also takes it back to the old school with this album with numerous soul samples and several references to the Wu Tang Clan. On these tracks, Drake continues to prove himself lyrically; the verses on epic intro ‘Tuscan Leather’, ‘Wu Tang Forever‘ and ‘Pound Cake’ are of the highest calibre. There is a hunger in his rhymes, whether that be due to his bubbling rivalry with Kendrick Lamar, or fear of becoming the next Ja Rule or Nelly, who both at one point seemed destined to be rap’s new king. Drake’s level of consistency seems to indicate he won’t similarly fade away, from his presence on the mic to the quality of guest verses.

Production is also noticeably less ambient on Nothing Was The Same than on any of Drake’s previous work. The emcee’s musical partner, Noah ’40′ Shebib flips the same soul sample three times on ‘Tuscan Leather’, while Boi-1da provides the dancehall infused ‘The Language‘ and the incredibly atmospheric ‘Pound Cake‘. ‘Overly focused it’s far from the time to rest now’ Drake says on Pound Cake and the music reflects a focus on finding a direction for his future sound, with Nothing Was The Same more varied than cohesive. However, production highlight comes from Hudson Mohawke. Fresh from producing the standout tracks on both Kanye West and Pusha T’s latest albums, the Scottish producer strikes again with the wonderfully murky Connect.

While ‘Take Care’ fused hip hop and R&B virtually seamlessly, Nothing Was The Same seems to purposely separate them, with two sounds doing battle within the album. One is very much the indie inspired R&B that Drake flirts with on every project. Tracks like smash single ‘Hold On We’re Going Home‘, ‘Come Thru‘, ‘Too Much‘ and ‘Furthest Thing‘, all take influence from the likes of James Blake, Sampha and latest signees to Drake’s OVO label, Majid Jordan and Partynextdoor. The other is a more rap oriented sound, all pitched samples and hard rhymes suggesting Drake isn’t quite as unaffected by those who call him soft as he may seem.

Album closer ‘Pound Cake‘ sees Drake trade verses with a tired Jay Z and one can’t help but think that this is a cunning plan to put rap’s old king, and new king side by side, and for Drake to once again stake his claim to the throne. But in all honesty, it is no longer a claim but a reality. Drake is unquestionably rap’s biggest and best. Having surpassed his mentor, Lil Wayne and with Kanye more or less forsaking the genre to push other musical boundaries, Drake is peerless at top of the game. His only challenge seems to be the rise of Kendrick Lamar, and the subliminals between the two will be watched with great interest as 2013 comes to a close.

Nothing Was The Same is an excellent piece of work but it seems too early to label it Drake’s best. 2011′s Take Care is still played today and it’s hard to believe it was released almost two years ago. Nothing Was The Same stands to fare exactly the same. Yet it is very hard to shake the feeling that Drake’s classic album is still to come. In one of the finest feature verses of the year, on Migos Versace, Drake said ‘I think I’m selling a million first week, man I guess I’m an optimist’. While Nothing Was The Same didn’t quite achieve it, it’s a virtual certainty that Drake’s fourth album will do just that.

http://www.onthecomeuptv.com/nothing-was-the-same-goes-platinum-drakes-best-work-yet/

[roundtabletalk]

Oddisee: taking the alternative route to the top

Let’s face it, underrated US rapper, Oddisee, is the best artist you’ve never heard of.

While it is true that any real hip hop head would know the name Oddisee, to a mainstream audience, the man behind some of hip hop’s most forward thinking beats is relatively unknown. Yet based on his own mantra, it seems that its just the way he likes it. Thriving on an alternative path, Odissee is a shining light for independent artists, proving that mainstream success isn’t the only route to stardom.

Recognised primarily as a producer, with credits on the most recent Danny Brown and Joey Bada$$ releases, Oddisse (real name, Amir Mohamed el Khalifa) is also a talented emcee and songwriter. After signing to renowned independent label, Mello Music Group, in 2008, emceeing has become as much of his focus as production, epitomised in this year’s combination of the two; purchase Odissee’s instrumental album ‘Beauty in All‘ and get the rhyme-filled mixtape, ‘Tangible Dream’, free of charge. In Oddisee’s own words, he’s all about the beats and the rhymes, not just one or the other.

Attached to the releases was a brief word from the man himself. He said:

‘I realized that although the masses may not know of my body of work, it doesn’t take the whole world to have the world I want…Perhaps the world may never know of my accomplishments but accomplishments they are nonetheless’.

What sets Oddisee apart is the way he goes about his business. Unlike many underground producers who shun the spotlight, and those up and coming rappers over eager for the limelight, Oddisee represents the balance. Speaking in a recent interview with RCxMCC, Oddisee said that while artists are by their nature introverts, artistry today demands you more of a public figure. And the Washington rapper is very much so, touring and showing both sides to that rapper / producer combination.

Remarkably consistent in quality of output, Oddisee signed a multi-album deal with Mello Music Group in 2008, and released a series of projects over the years, on which he either rhymed or produced, such as ‘101‘, ‘Mental Liberation’, ‘Everything Changed Nothing‘, ‘Odd Seasons‘, and ‘Traveling Man‘. Each project shows a level of consistency unrivalled by most rappers, underground or mainstream, with each posessing it’s own unique tone. In fact, in that same interview with RCxMCC, Oddisee was asked to name his favourite of his own projects. He answered: ‘I don’t think I can honestly pick one. My records are kind of like memories. They all hold equal value to me.’ His latest instrumental album, ‘Beauty in All’, embodies this, forming an experience around a listener rather than narrating one.

Oddisee also points to Canadian superstar Drake as one of his favourite current emcees and it is not difficult to hear the influence, especially on mixtape, ‘Tangible Dream‘. Both rappers are known for the blunt honesty in their music and share a mixed heritage. Oddisee was raised by his African American mother and Sudanese father and speaking to SoulCulture earlier this year, during their OKnotobeOK campaign, he claimed that mental illness and personal issues were largely ignored by both cultures. The rapper noticeably addresses this on his latest releases, more open than even 2012′s particularly frank album, ‘People Hear What They See’. But Oddisee’s unique, almost minimalist production is what separates him from almost every emcee around at the moment.

Oddisee is an inspiration for any independent musician, having stayed true to what he has always known but, crucially, without being afraid to experiment. It is even more impressive considering that he has been in hip hop for more than a a decade.

So, for those who know Oddisee, keep up the support and spread the word. But if you never have, check him out as you are in for a real treat. The foreword attached to his latest releases ended with:

‘All I want to do is make music for a living so that I can live to make music.’

If a gem like that doesn’t pique your musical curiosity, nothing will.

http://www.onthecomeuptv.com/oddisee-taking-the-alternative-route-to-the-top/

[roundtabletalk]

Online Paywalls: The future of music journalism?

NME.com recently experimented with an online paywall in September. Is this a smart move for journalism – taking into consideration it is so readily available online – in terms of music? The music magazine ran a trial charging for online access to articles for the first time, asking readers to pay 69p for their cover story on indie four-piece Haim.

As the first major UK music publication to introduce said online paywall, NME’s choice to do so represents a milestone for music journalism. The magazine’s dramatic decline in circulation in recent months prompted this reaction, and also sparked debate over whether publications have the right to charge for their content.

It is true that there is hardly any financial value in news. With the development of the internet and social media, one publication’s exclusive is immediately posted elsewhere with no reference to its origin. In many ways, the concept of paying for music journalism mirrors the debate surrounding illegal downloads.

So the big question is: what is the point of a paywall when sites like Rolling Stone, Q and even Twitter offer the same content for free?

From a business perspective, paywalls are not about getting people to pay for content. The aim is to attract readers who will be participate in offers and promotions, and are willing to pay to do so. But with a new generation growing up with a noticeable lack of interest in newspapers, and magazine’s which are becoming more online based, a paywall like this, that is meant to reduce losses from print decline, could eventually result in the downfall of both offline and online journalism.

Another proposed solution is the method of offering certain benefits to paying subscribers; exclusive mobile content though apps for instance. These apps would be free but a reader cannot access that content unless they are a paying subscriber. But if you are a passionate reader, is it unfair to ask said reader to support the publication as a whole?

Online paywalls could function in exactly the same way as rappers releasing mixtapes; both for free and on Itunes. As such people pay out of a sense of appreciation rather than as a consumer. Moreover, this allows readers to ‘try before they buy’, a concept not as dirty as people may like to suggest.

Interestingly, a successful music journalism paywall system already exists. In a 2011 article in The Independent, journalist Ian Burrell cites Lester Bangs, an American music journalist who died nearly 30 years ago, as the innovator of a prosperous paywall system. Today, British site ‘Rock’s Back Pages’ continued success owes much to Bangs’ work.

Editor Barney Hoskyns persuaded the Bangs estate to contribute almost 20,000 pieces of music journalism to their archive. When subscribed to the site, users can access this archive, including a 1973 profile of Iggy and The Stooges. The site offers content from a myriad of genres, with material on artists from folk band Pavement to rapper Notorious BIG.

While the £120 a year subscription is rather steep, RBP’s true success is based on its use as an academic resource. Two thirds of Britain’s universities have group subscriptions, as have dozens of institutions from overseas. So Hoskyns voices a concern that has been growing in journalistic circles, quoted as saying: ‘I still have a problem with the self-destructiveness of free. Everybody has gone over the same cliff holding hands and thousands of journalists have been laid off.’ IPC (ironically, the publisher of NME) disliked RBP’s use of NME content in building its success. The ensuing legal case came to nothing.

It has been said that online paywalls are not the solution because they fundamentally oppose the nature of the Internet. But they might be a necessary evil even if some newspapers have tried and dropped them due to dramatic losses in audience. In any event, publishers are entitled to charge for journalistic product, in that they shoulder the cost and risk of creating news and comment. If advertising does not provide enough revenue, they have every right to explore other means, including charging for access.

However, while certain sites see journalism as a public good and often lift their paywalls in exceptional circumstances, entertainment journalism is perhaps the exception to the rule. While many music journalists do their work out of love, that does not mean their work holds no value.

Even so, it seems clear that music journalism’s fate rests in the hands of the reader and what they are willing to do for it’s future.

http://www.onthecomeuptv.com/are-online-paywalls-the-future-of-music-journalism/

[roundtabletalk]

Mide 'Unlikely' single review

Building on the acclaim of his Mainstream EP from earlier in the year, Mide releases ‘Unlikely‘, a funky piece of acoustic soul.

With his previous EP earning praise from the likes of SoulCulture, MOBO and MTV UK, ‘Unlikely’ acts as a third single from his upcoming debut album ‘E.G’. The track is uplifting in its own self-deprecating way with Mide passionately singing ‘Mr. Regular because I’m nobody in particular.‘ On this evidence Mide definitely won’t be a nobody for long.

Like his last single, ‘Mainstream‘, ‘Unlikely’ sees Mide again connect with artist, singer and producer Jonathan Owusu Yianomah; marrying Mide’s passionate, almost husky vocals to Yianomah’s funky bassline. Even though the track’s guitars are folky, the horn segment lends it a real live feel as well as bundles of energy. The song relies heavily on it’s chorus and rightly so; it is lively, original and a true earworm.

Clearly, Mide is an artist with something to say, both personally and socially, and has a voice that demands attention. Clever song-writing and never having to reach for those elusive high notes, Mide is a thoroughly British talent on the rise.

‘Unlikely’ will be available on all digital stores on October 14th and is the final single to be released before the debut album, slated for release later in the year.

[roundtabletalk]

Kiah Victoria 'Look Up' EP review

Recently seen unexpectedly wowing Jay Z in his own music video, Kiah Victoria continues to wow listeners with her latest release, the “Look Up” EP.

Big hair and a bold voice, Victoria’s appearance in the rapper’s Picasso Baby short film was a welcome surprise, and showed but a glimpse of the singer’s star potential.

On this new EP, the twenty-one-year old former actress absolutely soars over the murky atmospheres, constructed by trip hop producer Tolu Adeyemo. Victoria’s crisp vocals compliment Tolu’s immersive beats, most noticeably on ambient opener “Sunlight”.

“Rooftop”, is a fantastic showcase for the singer’s varied range and really explores her impressive vocal ability. The track itself is flamboyant and even cinematic at points but, combined with Victoria’s modest lyrics, is a perfect place for new listeners to begin.”Rise” is another classy if more traditional ballad. The New York songstress sounds almost tortured over an instrumental that subtly builds, using some tremendous horns and just the right amount of reverb.

Having starred on Broadway at only the tender age of ten, the drama of the stage can certainly be heard in theatrical closer, “Home“. Melodic background vocals, apt lyrics and a skilfully layered instrumental, Home might just be an immediate highlight.

With Adeyemo and Victoria harnessing a distinctive sound, the pair approach the fusion of post-dubstep, indie R&B and neo-soul from a fresh angle. At just four tracks and with second EP “Gravitate” coming soon, the Look Up EP is a terrific teaser of even better things to come.

http://www.onthecomeuptv.com/ep-kiah-victoria-look-up/

[roundtabletalk]

Mynature 'Mr Is Rap' single review

Mynature is back with his new single ‘MR IS Rap‘ and its accompanying visual, a track in which the South London rapper’s myriad talents really shine through…

Creating buzz in an oft-ignored UK hip hop scene is seldom straightforward, especially without either a major cosign or supposedly ‘selling out’. Yet through the artist’s contagious confidence, two extremely polished mixtapes and critically acclaimed ‘Myni-Mondays‘ Youtube series, Mynature has amassed something of a name for himself.

New single ‘MR IS RAP’ signals an intent to crossover from the underground grime scene into the more mainstream arena, dominated by the likes of Tinie Tempah and Professor Green. But, uniquely, MR IS RAP manages to avoid compromising any of Mynature’s raw energy whilst simultaneously standing as some of his most accessible work to date.

The track itself is a showcase of Mynature’s versatility as both an emcee and songwriter; from the rapid fire punchline flow of the tracks first verse, followed by the intricate rhyme scheme of the 2nd and then crowned by an excellent melodic bridge.

Appreciation of melody is a rarity in UK hip hop and is one of the more refreshing elements that Mynature brings to the table. Backed by a spooky, synth-heavy instrumental, courtesy of up-and-comer EFX, Mynature meshes the cheekiness of classic hip hop with a gritty and sincere emotion. The 50 Cent influence is also clear in his range of cadences.

Even so, there is a real bounce to the single, the vocally distorted chorus a neat touch, really expressing the energy of the man himself. The accompanying video does likewise. MR IS RAP is awash with bold claims and hip hop posturing, but like most of Mynature’s music contains an undeniable undercurrent of maturity, no doubt stemming from his troubled background that in itself lends perspective, and sets him apart from many of his UK peers.

The tracks infectious chorus ends on the refrain ‘Sit back, turn it up and take notice!‘ and on this evidence, many will, with Mynature making all the right moves on his way to becoming the UK’s next big rap star.

http://www.onthecomeuptv.com/video-mynature-mr-is-rap/

[roundtabletalk]

Robbie Sea 'Through the Hoop' EP review

Essex singer-songwriter Robbie Sea, returns with a six-track EP ‘Through the Hoop’ and quite frankly, it’s really rather good…

Balancing bouncy anthems and brooding songwriting is no mean feat, but Robbie Sea’s ‘Through the Hoop‘ accomplishes it with ease. Beginning with spirited lead single ‘Levitates’, the singer-songwriter’s sophomore release races by with a subtle but contagious energy. ‘Levitates‘ itself boasts perhaps the year’s most infectious guitar alongside a chorus that you’ll be singing for days to come.

‘Drug of Choice’ is another huge summer track yet one with a message; that of the dangers of addiction. Straddling the line between seriousness and accessibility, this really is the EP’s greatest strength and an obstacle many artists fail to overcome. ‘Drug of Choice‘ is also a chance for Rob Clemson (former drummer for Essex metal band, Fei Comodo) to showcase his outstanding vocals. The high notes on this track in particular are exceptional as is the rapid-fire, almost whispered delivery of each verse. Clemson’s vocal tone, reminiscent of Patrick Stump (of Fall Out Boy fame) and of Panic at the Disco’s Brendon Urie, borrows the flamboyance of those vocalists, supplementing it with his own quirky angst and an audible hunger for success.

‘People go crazy when they fall in love’ Robbie croons on ‘Lethal Mind Traps‘, revealing a quivering vulnerability in his inflection. The tracks second verse really is the definition of intense. ‘Lethal Mind Traps‘ is also a great example of expert use of backing vocals, creating some of the smoothest and most soulful harmonies of the year so far.

The EP’s title suggests that Clemson jumps through hoops for no-one but himself, a stance embodied in ‘Corporatocracy’ and ‘Stand in Line’. And while the former is slightly heavy-handed, ‘Stand in Line’ is a powerful call to arms.

‘Through the Hoop’ is another solid addition to Robbie Sea’s growing discography, solidifying the Essex singer-songwriter as one to watch for the future. While his views on the industry may not do him any favours in gaining radio spins, the calibre of his music is undeniable. On ‘Levitates’ he admits that it will take time, and while the single itself is clearly an immediate hit, the EP is no doubt a grower, improving with every listen.

http://www.onthecomeuptv.com/robbie-sea-through-the-hoop-ep/

[roundtabletalk]

A very hip hop summer: Who ran rap this season?

‘This has been the summer of hip-hop albums. But who reigned king? With releases from Wale, Jay Z, J.Cole and Yeezy this summer, what does this say about hip-hop?

More than anything, this summer has shown that, in hip-hop, there is an enormous gulf between those at the top of the rap game and those who just inhabit it. Competition is rife and probably more so, than in any other genre. Good music is just but, one of the aspects needed for success.

The releases from Wale, J. Cole, Jay Z and Kanye West display the wide spectrum that hip-hop can encompass. But it also shows how advantageous personality, unique style and a knowledge of the business can be. Most of all, this summer has only confirmed that, of all genres, hip-hop is still the most talked about and as thoroughly debated as everHis third album, ‘The Gifted‘ is Wale’s best project so far, and the one in which he most embraces the poetic persona he so revels in, alongside the albums smooth, jazzy sound. Yet, whilst being the most traditionally hip-hop album of those released this summer, the album, in its solidity, fails to push any kind of musical boundaries. It signals Wale’s seeming acceptance that he will never reach that superstar status he craves and is instead content to do his own thing, even if that means falling back on his enjoyable mixtape sound.

J. Cole, on the other hand, has used the release of his sophomore album ‘Born Sinner’ to attempt the very same jump that Wale had previously. Nonetheless, the North Carolina rapper shows that he still has a fair way to go if he is to ever force his way into the so-called top tier of rap. Regardless, Born Sinner is a clear improvement on his debut, with his production more accomplished and several of the tracks ranking among the best in his career so far. He still shows glimpses of the rap saviour he was once hailed as, but seems to have suffered from giving away too much free material. Having seen both Drake and Kendrick Lamar surpass him both artistically and in popularity, Cole’s promotion was to move his release date to coincide with that of Kanye’s Yeezus. Aiming to, at the very least, put his name in the conversation. That bold move has only helped his career, boosting both his sales and his name – even managing to outsell Kanye with 38,718 copies whilst Kanye sold 28,701. Yet Kanye’s lack of acknowledgement of Cole as a competitor perhaps speaks greater volumes.

Whereas Jay Z’s ‘Magna Carta…Holy Grail‘ is perhaps more about the albums well publicised marketing ploy, rather than the music itself. Professing to try and change the game (by releasing the album via Samsung users directly), Jay Z’s release strategy only really works if you’re Jay Z. Neither J. Cole nor Wale could hope to sell 500, 000 units in its first week this way, let alone reach platinum before copies are on the shelves. The album itself is something of a safe effort, toeing the line between commercial and underground hip-hop that Jay has straddled since coming out of retirement. The album shows flashes of the lyrical Jay Z (of old) but will only ever be regarded as ‘a good Jay Z album’, not a great one.

Contrastingly, the provocatively titled ‘Yeezus’, only cements that Kanye will always be Kanye. The album is genre-bending and as polarising as any work of art should be. It forces a listener to have an opinion, for good or for bad. Reactions to Kanye’s sixth solo album suggest hip-hop is not quite ready for such a level of genre experimentation. Most hip-hop traditionalists dislike it with their clout seemingly affecting sales, whilst indie critics with a taste for Burial, Daft Punk and the like gave it rave reviews. Its ability to initiate debate is possibly its greatest strength.

These summer months have proven that hip-hop still has the power to dominate the music industry. But arguably no artist delivered on their quite considerable hype this time around. Jay Z won in many senses; topping international album charts, racking up the most sales and the album itself a solid addition to his catalogue. On balance, Kanye lacks sales but earned near critical acclaim, an even greater feat considering his last album was magnus opus, ‘My Beautiful Dark Twisted Fantasy‘.

But the real winners this summer are the fans. Blessed with an abundance of quality music, there is only more to come as both Drake and Eminem prep releases for later in the year. Indeed, hip-hop is often tarred with a bad reputation (for whatever reason), but the large majority of music on these four albums are perfect examples of the positives of the genre.

While hip-hop is not as competitive lyrically as it had been in its golden age, it continues to go from strength to strength in its diverse range of content and in its undoubted musicality.

http://www.onthecomeuptv.com/a-very-hip-hop-summer-who-ran-rap-this-season/

[roundtabletalk]

Jay Z 'Magna Carta...Holy Grail' album review

On the day that the United States of America celebrate their independence as a nation, Jay Z, a man the very embodiment of the American Dream, releases Magna Carta...Holy Grail to the masses. Promotion-wise, Hov has followed his former protege Kanye West's lead yet with his own inimitable Jay Z twist. No other artist in music history can brag that (with no single to speak of) they have sold a million records before the album is even released for purchase. And brag about it Jay Z will, because that's what he does best. And that's no slight on the man who is undoubtedly the most successful rapper of all time, as relevant and integral to the genre at 43 as he was when he was 26. Ruthlessness has always been one of his defining traits and continues to be so in 2013, dropping an album out of nowhere, with no regard for the releases of close friend Kanye West and his polarizing sixth album Yeezus and Jay's Roc Nation flagship signee, J. Cole with his sophomore project Born Sinner. Perhaps the secret to Jay Z's unmatched longevity is this lack of compassion towards other artists paired with the respect he demands in the game. With a habit for craftily pouncing on who is hot right now (it's Justin Timberlake and Timbaland's turn this time around), Jay has never been afraid to discard anything once it has served its purpose. As such, always the smartest of businessmen, Jay's Samsung-sponsored album drops in and adds even more weight to this fundamentally hip hop moment.

Channelling the opulent sonics of Watch The Throne, Jay Z's latest solo release has several standouts. One of which is 'Picasso Baby', where Jay raps nimbly around some vicious guitar riffs immediately reminiscent of perhaps Jay's most recognisable hit, '99 Problems'. Crucially though, Picasso Baby is more comfortably familiar than it is repetitive. The rock and roll undertone to Jay's music, evident ever since '99 Problems' and in collaborative work with both Linkin Park and Coldplay, is perhaps most prominent on this twelfth studio album, in tracks like the aforementioned and on 'Jay Z Blue' in addition to interpolations of famous Nirvana and REM lyrics. The Travis Scott-produced 'Crown' is another darker offering, sounding suspiciously at once like a Yeezus throwaway but also significantly less minimalist than a lot of the tracks on Kanye's latest project. Added to the album at the eleventh hour, surely it is no coincidence that Hov joins Mr West in proclaiming himself God on this track. Other highlights include 'Nickels & Dimes', a magnificently produced yet sombre closer. The beat is again cinematic with verses bringing to mind the revelatory Jay on evidence on the Watch The Throne cut, 'Welcome To The Jungle' and is as close to vulnerable as Jay has been in years.

Yet, these insightful moments are few and far between on Magna Carta with Hov's stories and brags just not as engaging as they used to be. It seems to be that, as an artist, Jay doesn't really have anything meaningful to talk about at this point in his life. Give him a concept like 2007's American Gangster and he shines but for several years now, most of what Jay Z has rapped (often expertly) about is just how rich really is. The only real topic of any meaning is his newfound fatherhood, explored on 'Jay Z Blue'. But, it is debateable how many rap listeners relate or even desire to hear about the daughter of two global megastars. Any mention of Blue Ivy seems to come off as slightly saccharine and despite a well-place Biggie sample, Jay's own father issues have been explored in far more interesting ways on past tracks. In this way, the album sometimes comes off as a Kanye-less Watch The Throne and as such lacks both his single-minded direction and trademark panache. The result is an album that is undeniably enjoyable but neither memorable nor progressive.

However, Jay is most experimental with flows on the album, aping a forced Chief Keef / 2 Chainz-esque flow on both 'La Familia' and 'Tom Ford'. These tracks are arguably the only time in Jay's long career that he has ever noticeably sounded like he is straining for relevancy, with the attempts actually becoming quite grating. Yet the tracks are loaded with quotables that wonderfully sum up Sean Carter's almost overseer role in the game, particularly the latter ('I don't pop molly, I rock Tom Ford). His change of flow also works perfectly on tracks like 'F*ckwithmeyouknowigotit', again expertly displaying the triple time flow from Watch The Throne's 'Who Gon Stop Me'. Like most Jay Z work there are several double entendres which will likely be missed on first listen (including a clever shot at Robert De Niro on that Rick Ross collaboration) As such, those quick to condemn Jay's lyrical performance on this album are somewhat premature.

The real strength of the album lies in its, at times, stunning production. While some of the beats – however good – seem to lack a sense of progression, with Heaven falling victim to this, Jay prospers on the numerous piano-led beats on the album as well as the knocking bass-heavy sounds, with Timbaland having a hand in the majority of production. Nonetheless, for all of his, Pharrell Williams' and Swizz Beatz' experience, arguably the best instrumentals on offer are produced by relative newcomers; Hit-Boy with 'Somewhere In America' and Travis Scott with 'Crown'. Much like how a young Kanye West rose to prominence on Jay Z's The Blueprint (2001), it remains to be seen which one of these producer / rappers will soon shoot to stardom.

As a whole, Magna Carta lacks a bit of Jay Z's usual grittiness but on tracks like Timbaland's 'Picasso Baby' and the Boi-1da produced 'F*ckwithmeyouknowigotit', Jay's prowess as an emcee really comes to the fore. The latter track boasts a solid Rick Ross verse before Jay Z bursts through sounding revitalised over such a menacing beat. Although already having a stellar 2013, the seemingly forever young Pharrell Williams also provides some jazzy, if at times a little stale sounding production for Brooklyn's prodigal son. 'Oceans' (featuring Frank Ocean) falls a little flat while 'BBC' is definitely a case of too many cooks, with the instrumental cluttered. Regardless, Nas continues his fine form of guest verses and most definitely brings the best out of his once rival. Much like the 'B*tch Don't Kill My Vibe (remix)' released earlier this year, where Jay Z traded bars with man of the moment Kendrick Lamar, verses like his own on 'BBC' indicate that the reason Jay has dropped below his former lyrical standard is because he isn't challenged often enough. It showed on the aforementioned remix as Jay was undeniably out-rapped by young Lamar. Has one of the greatest ever to do it lost a step? Magna Carta doesn't really make a case for or against in that lyrically, it's very much a mixed bag.

Furthermore, for all the grandiose, cinematic beats, they infrequently feel like they're from two different albums; a glossy, jazzy album battling against a more gritty, rock infused one. The album's title references duality but, on this album, the balance just isn't quite right. While it possesses undoubted variety in both production and content, the album lacks a true theme binding it all together, with the exception of the faux religious motif suggested by the albums double-edged title. In recent years, religion has been used as a hip hop gimmick, an effort to add meaning or weight to the genre that verges on cliche. And Jay Z, in his position at the top of the game is not exempt from that. Still, this album feels less a collection of singles à la 2009's The Blueprint 3 and more of an album project. It even lacks a natural chart-topping single, minus perhaps melancholy 'Holy Grail' with its ominous pianos and impassioned Justin Timberlake hook. Nevertheless, it is hard to shake the feeling that on Magna Carta, Jay Z is often just rapping for the sake of it.

As such, Magna Carta...Holy Grail as an album is more of a reminder of Jay's presence in the game than it is his skill as a musician. His preaching of new rules and bypassing labels is all very well and is possibly the way of the future, but a platinum-selling album lacking singles and any real promotion is only really possible for an artist of Jay Z's fame. What the album does suggest is that Jay Z's spot at the top will soon be there for the taking, if it isn't already. Magna Carta may not be as genre-shaking as Yeezus but sees a reclined Jay Z over perhaps the cleanest production of his career. Not his lyrical best, but with more than enough gems, Magna Carta will be remembered as a good but not great Jay Z album; nowhere near his best but certainly not his worst.

http://livemusic.fm/news/album-review-jay-z-magna-carta-holy-grail

[roundtabletalk]

J. Cole 'Born Sinner' album review

Lacking the lovelorn persona of Drake and the unique background of Kendrick Lamar, J. Cole really is the everyman of hip hop's new school. As a result, J. Cole seems perhaps most well-placed of all of his peers to tackle the duality of the rap game, a topic epitomised in his second studio album Born Sinner. Dichotomy seems a prevalent topic in contemporary hip hop, especially within the music of this second generation of rappers. Alongside this duality, (stylised in the alternate covers available for the record) Born Sinner examines themes of money, power and faith and its influence on Roc Nation's first ever signee. In essence, Born Sinner is a rap album intensely about rap and J. Cole's relationship with it after what he deems 'selling out'. Once earmarked as the hip hop saviour Kendrick Lamar is labelled today, Cole may be envious of his longtime friend and collaborator. While Lamar's was a virtually perfectly executed debut, Cole's own 2011 effort fell slightly flat. Born Sinner sees Cole back on track and as he claims on storming album opener Villuminati, he 'ain't never letting you go again'.

Taking cue from the classic albums of old, Born Sinner includes well-positioned skits and interludes that, crucially, do not overstay their welcome. As such the album is nicely structured, progressing nicely from dark to light. While the pacing seems a little off around the middle section, this more sombre section still contains some fantastic tracks. Both flow and delivery are varied and superb throughout yet, lyrically, verses are mixed bag. While several leave something to be desired (often by being several bars overlong), others are some of the best of his career. The 3rd verse of LAnd of the Snakes, for example, is remarkably sincere.

Glorious lead single Power Trip follows, stunning proof that Cole has found a way to mesh his signature sound with a commercial one. It's sparing use of Miguel really works alongside Cole's haunting instrumental. This tracks extended metaphor (of hip hop as a woman) runs throughout the album. Moreover, there is a definite increased use of and better appreciation of melody on Cole's sophomore effort. James Fauntelroy continues his rise with an aching hook on the closing title track. Cole's own husky singing fits neatly on several tracks, with the rapper sounding uncannily like Brooklyn's own Mos Def on album centrepiece Runaway. If you only listen to one song from the album, let it be Runaway. Lyrics, flow and production come together flawlessly in a track that faultlessly executes the album's overarching themes. These themes of religion and fame were also recently tackled in the Game's most recent effort Jesus Piece, yet with Cole these themes seem both more genuine and relatable.

Other highlights include the sermon-like Trouble, the bass-knocking She Knows and second single, the TLC-assisted Crooked Smile, which apes that College Dropout sound that Cole is so found of, in the best way possible. While Cole may never be as innovative as a Kanye West (whose album release date he purposefully matched), his skills as a rapper and producer are no less impressive. Cole's progress as a producer is perhaps the most noticeable element of Born Sinner. Despite his slight overuse of choir vocals, his drums are thumping and manic, notably influenced by Timbaland, (name-checked on opener Villuminati) particularly his recent work with Justin Timberlake. Nonetheless, despite his evident evolution behind the boards, his sampling of classic hip hop songs feels somewhat like cheating. OutKast and A Tribe Called Quest samples lend a catchy familiarity to both LAnd Of The Snakes and Forbidden Fruit and it's a surprise such direct samples were even cleared. The benefits of signing to Jay Z it seems. Despite this, Forbidden Fruit is another album highlight with the dreamy instrumental matching Kendrick Lamar's quirky crooning.

Perhaps the biggest talking point of the album comes from the provocatively titled Let Nas Down. The No I.D co-produced track reaches Drake levels of honesty but in a very different way. It is the albums most impactful track and shows both Cole's maturity and strength of character. While Work Out, lead single from Cole's 2011 debut, was a commercial success, many die hard fans (and hip hop legend Nas apparently) were disappointed at the route Cole had taken. The track is cinematic in both its saxophone-led production and vivid storytelling. Rich N*ggaz is another emotive track, it's soulful chorus really portraying the pain Cole felt at the suggestion he lost his soul. In this way, Born Sinner is Cole's own personal redemption if anything else.

On Born Sinner, J. Cole amply holds his own on an album lacking a single verse from a guest emcee, and intricately explores the effect of the rap game on himself. That he somehow does this with an audible confidence is a feat in itself. He is clearly in a happy place, proclaiming himself the best alive on more than one occasion and moving his album date in order to do battle with legends. Yet, Cole is arguably at his most inspiring when most vulnerable and personal. Ain't That Some Sh*t seems a misstep though. Whilst displaying the duality he mentions throughout Chaining Day, it just seems an unnecessarily jarring interlude.

While still searching for both his defining identity and defining hit in hip hop, Cole's sophomore is vast improvement on his debut. Unlike Cole World: The Sideline Story, which had heights of its own, Cole doesn't rest on his laurels nor try so noticeably hard to please everyone. Born Sinner is the result, a body of work up there with Friday Night Lights as his best project so far. While he isn't consistently hitting the lyrical heights of his breakout mixtape The Warm Up, there are extended flashes of brilliance. This seems a by-product of finally making the music he does naturally. Born Sinner is an intensely personal album, perhaps lacking some of Cole's old social commentary, but making up for it in stories from probably the most regular guy in hip hop, who just so happens to be a supremely talented musician. If anything, Born Sinner signals the reintroduction of J. Cole as he takes real aim at the big boys of rap game. And with this release, they don't seem quite as untouchable as they used to be.

http://livemusic.fm/news/album-review-j-cole-born-sinner

[roundtabletalk]

Tyler, the Creator 'Wolf' album review

The rather copious amount of trademark self-deprecation and sardonic quips in recent interviews really suggest that Tyler, the Creator cares about this album. A lot. And as one of the most multi-talented and creative 22-year olds on the planet, quite rightly so. As such, this new level of attentiveness has yielded a much greater project than the clumsy and over-thought Goblin, which in itself had several moments of brilliance. What this album really does solidify is the living, breathing dichotomy that is Odd Future's de facto leader. The interplay between menacing bass and graceful chord melody in his music is indicative of someone with an open love of both classic Slim Shady and the sultry tones of Sade. The sudden chord progressions throughout the album (again borrowing heavily from Tyler's production idols, The Neptunes) most represent the two sides to the artist; Tyler, the Creator and the man behind the moniker. In a 2013 interview at SXSW, album guest and constant collaborator, Earl Sweatshirt, shed some light on Tyler's style as a director of music videos, claiming that his friend constantly balances anything serious said with a crude joke. His music is much the same and certainly wouldn't be the same without it.

Wolf's titular intro is a prime example with Tyler's cosmic production accompanied by a rambling excuse for a verse. Yet, it must be said that the immaturity of this opener seems to be the point. Lyrically the album is more of the same from the Odd Future front man, working in some pop culture references to Breaking Bad, some puns on Frank Ocean's sexuality and certainly less of that murderous stuff the LA collective is most famous for. Another sign of growth is Tyler's willingness to vary his flow, on song's like 'Jamba' and lead single 'Domo23'. Hodgy Beats's fearsome contribution to this typically raucous track is one of several excellent features, with the sweet falsetto of Pharrell Williams on 'IFHY' another. As is the norm, appearances by Frank Ocean and Earl Sweatshirt result in Tyler raising his game, the latter clearly inspiring arguably the albums best verse, Tyler himself on the outrageously mean 'Rusty'. Furthermore, it is no coincidence that collaborations with Ocean bring the best out of Tyler, with 'Awkward' one of the greatest pieces in his discography. Tyler's refreshing honesty here about his absent father and also about his grandmother's death on album closer 'Lone' are terrific insights into the artist as a person. And while some may disdain Tyler's diatribes on the struggles of fame, it is only a timely reminder that those thrust into the spotlight are still only human. The heavily boom-bap '48' is another outstanding track, as catchy as it is raw.

While the album tails off slightly towards the end, lacking a natural outro or Goblin's cinematic twist, several songs jump out to a listener as future classics. 'Treehome' is further evidence of Tyler's greatest strength, the delightful Erykah Badu sounding effortless over Tyler's production. On Wolf, Tyler really exhibits tremendous growth as a producer adding some fantastic sounds to his admirably sample free compositions and fast becoming an expert in chord progression. On this evidence, it would be a pleasure to hear Tyler helm a full rap, neo-soul or R&B project for another artist.

Minus small issues with sequencing, Wolf is arguably on par with Tyler's acclaimed debut Bastard, if lacking the initial shock value that so characterised said debut. With this album, Tyler avoids the zany fantasies of Goblin and returns to the more personal topics that he brought to light on his first record, Tyler's struggle with his absent father a persistent theme and constant catalyst for good music. The result is some of Tyler's best work yet.

http://livemusic.fm/news/album-review-tyler-the-creator-wolf