Everybody: Logic

Life. What’s it all about?

In this project, Logic raps from several perspectives. Logic is everybody, everybody is him. We follow Kai and Thomas where they left off last album, on their trek through Paradise, as Logic serves not only as their walking music, but also as their existential reference guide.

Next, we meet Atom, who dies in a car crash at the end of ‘Hallelujah’ and finds himself in purgatory with Neil DeGrasse Tyson God. God informs poor Atom that he’s dead, lets him freak out over that fact a little and then they go in to discuss the meaning of life and existence as we know it. Cue Logic.

Logic confronts the conflict he’s always had with being biracial in a world that’s either white or black. He sees the inequality of it all and he doesn’t understand because these two unequal sides are literally two equal sides of him.

Damn, my skin fair but life’s not

He doesn’t understand why people are so cruel; why they mistreat each other like our differences are irreconcilable. Why can’t we just let people live and do whatever they want so long as it doesn’t hurt anyone?  Why can’t we all just get along and exist together?

The bottom line is love and self acceptance because if you can’t love and accept yourself for who you are, who will? All it takes is a butterfly effect and you could easily have been him and she could have been you.

Atom: So what now? What advice can you give me ?
God: What advice can I give humanity?
Atom: I suppose so
God: Live your life. Don’t waste your days on the negative energy of others. Remember that you’re not your salary. You’re not your house. You’re not your car. And no matter how big your bank account is, your grave is six feet under just like everyone else’s. So enjoy the days you have. Worry not bout the days that came before you. Nor the ones that will follow you in death. Remember that right here in this moment is all you are guaranteed, and the fact that you are living is what life is all about. So live your life to the fullest, according to your happiness and the betterment of all

 

“1-800-273-8255”  is the phone number for the USA National Suicide Hotline and the title of a song sung from the perspective of someone who’s hit rock-bottom and feels like they do not have the strength to crawl out. Life is hard, especially for the living, but sunrise is never too far away. Somehow, someway, it always gets better. Please don’t give up. (Featuring Khalid and Alessia Clare)

About ‘Black Spider-Man’ Donald Glover should be spider man. Idris Elba should be James Bond. That’s it. I don’t understand why these things haven’t happened yet.

“Afric-Aryan” sums up the theme of the album and is the fireworks that shine the light on how good of a lyricist Logic actually is. Featuring another Afric-Aryan rapper- Clue: he went double platinum with no features.

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Although it sounds all over the place and somewhat defensive sometimes: It’s true that Logic can pass for straight up Caucasian so that may have given him some white privilege but that’s not the point. Remember, at the end of the day, it’s Logic’s story to tell. Not mine nor yours but in a sense too, ours – it’s everybody’s. And it does what it’s meant to do: It makes us feel okay about not feeling okay.

Please make Childish spider-man.

Rated : 4.1 / 5 

 

001 Experiments: Lou Phelps 

It’s great when you get buddy beats from a Grammy nominated dj/producer, but it must suck being known as Kaytranada’s baby brother who raps. 

He’s on a mission to establish himself and to differentiate himself from all the other average rappers. 

He discusses a night of debauchery  with Innanet James in ‘What Time is it?’ . He recalls empty venues, and getting booed off stages in Austin. Lou Phelps is on his come up and boy, isn’t the come up hard. He carries on, he knows the grind is worth it. 

As usual Kaytranada’s touch on this is reminiscent of sunny days and boom boxes and running around fire hydrants. 

Rated: 3.2 / 5

The Art of Making Playlists

Some decades or so ago, playlists were special. There were no DM’s to slide into. No gawky 3am texts. No virtual L’s. You sat down and made a mixtape. A compilation of songs that you believe will convey an intended message. You like someone? Then let Stevie Wonder get it on. You’re horribly depressed and would like someone to know? The Cure would do fine. Someone got a whip and wants to flex on the way to the club? Then let Wu-Tang spot you. We should bring this back. Why? Read on.

Playlists have variety. You can make them as flexible as possible. Albums are journeys. They have intro’s and outro’s. They ebb and flow. Flicker and flame. Playlists take advantage of this. They don’t need to have a start and finish. It can be hype all the way through. You don’t have to put the whole of Future, just ‘mask off’. You don’t have to put all the (20) songs off Views, just ‘Grammy’.

At the same time, playlists can be journeys. They can plot out memories the same way a movie does. The song that was playing at Java when you walked up to her. The first song he told you he liked. Something off the soundtrack you heard the first time you Netflix and chilled.  The road trip song that you both loved. The song you heard on your way home after the break up. 

A playlist doesn’t have to be for someone else. It could be entirely yours. The songs that make you happy when your sad. The songs that make you sad when you’re already sad and want to keep spiraling further down. The songs that you play when you’re around people to seem cool. Your guilty pleasures. Top 40 hits. It’s all yours to decide.

Some standard playlist rules:

  1. Keep it short. No matter how much we love you we are not going to sit through 30 of your favourite songs.
  2. Genre shifts should be relativly stable. While hip hop and rnb mash relatively well there are limits.
  3. Personalize it. Give it a name. Change the album art. Make it uniquely you.

So today, make someone a playlist. It could be for your mum, your crush, an old friend, a new one, it’s entirely up to you. Just make sure it’s from the heart, and free from any Hannah Baker references.

P.s: I’ll make you one if you ask nicely.

This Old Dog Went Rolling Home: Mac DeMarco 

Music to rock back and forth to. This Old Dog feels like a physical journey. Like a late afternoon drive in a tired old pick up, through strawberry fields. Mac DeMarco is taking you from one place to another. 
So mellow it will melt you in your carpet (or bed, or seat. Wherever you’re listening from, I just happen to be listening from a carpet). Like a 28 year old Elton John, like he’s trying to tell us that he’s the only living boy in New York. 

It feels like he’s  aged 20 years since we last saw him. I bet it’s all those cigarettes. See how in ‘My Old Man’, even he’s surprised by how much older he feels, how much more like his father he’s become. 

The genre of this album is Dad-core. That’s the general theme of this album: fathers. He sees himself resembling the father he never had, walking his own hand. He gives advice to himself in the sage doting way a dad would to his son. 

However, if you miss wishy washy slack guitar Mac DeMarco listen to ‘Still Beating’.  It is Hawaiian nostalgia, a middle school dance with slow rotating disco lights and shiny sequins. He’s comfortable in his long term relationship, he’s apologizing for the songs he sang that hurt her , reassuring her that he loves her just the same as he always has. This one vaguely resembles like Salad days Mac. 

He’s honest. That’s something about Mac that no one can ever take a shit on. They say the best music carries the most pain, Mac DeMarco reflects like someone who’s used to the pain of digging under his skin on the regular; someone who frequently asks himself the question ‘how do I really feel?’ 

He’s always dispensing sage advice like in ‘Wolf in Sheep’s Clothing’ “with the bluesiest harmonica. Fuck going outside. You really don’t have to socialize with people you don’t want to. 
In ‘Dreams from Yesterday’ Chase your dreams or you’ll regret it when you’re as old as him. 28 is the new 82.

(Rated: 3.2 / 5) 

For Lack of a Better Playlist | 002

Meka Mungai – Indie Girl ft Slinkky (prod Mr. Lu)


Lo-fi hip hop is angelic. It feels warm and flows beautifully. It isn’t a 6am church service or sanctification behind a metaphorical body and soul.  No-one captures this like Mr. Lu does.

On their second collaboration, Meka and Mr. Lu take a step back and give us a glimpse into their creative mindset. Graced by Slinkyy’s mellow flow and lifted by Meka’s delicate touch, the concerted path of these artists continues. Please give us an EP.

 

Jessie Reyez – Blue Ribbon (prod. Tim Suby )

The bipolar Alexia Cara. Straight up crazy on “Shutter Island“. Heart-wrenching on “Figures“. And now, bass-shattering on “Blue Ribbon”.

On it she warns:

But I’m cute if you don’t fuck around
I’m nice if you don’t fuck around

Whoever you are, you better be listening.

 

SZA – Love Galore ft. Travis Scott

SZA doesn’t just put out music. She gifts it to us. We are at her mercy. And with this present, it feels like Christmas.

The first lady of TDE, in conjunction with Travis Scott, give us unbridled honesty. Over an sober beat we’re given desperation and heartbreak. He left you. Stopped picking your calls. It wasn’t anything more than a summer fling. So in the end. Fuck him. You’re better than he is, and:

Why you bother me when you know you don’t want me?
Why you bother me when you know you got a woman?

You do you SZA. You do you.

 

Lou Phelps – What time is it ft. Innanet James (prod. Kaytranada)

Sampling is an art form. Its greatness, however, varies with time. 6 years ago, Otis Redding on the titular Watch the Throne “OTIS” was spectacular. Today, we don’t want familiarity. The more obscure the better. Listen to Kaytranada and I promise you shall jam whether or not you know who his sampling.

On this Lou Phelps fronted track, the funk hits hard. You don’t want to get up and move. Just bop your head and feel. Kaytra’s got you. And Lou makes certain of that.

 

Muthoni Drummer Queen – Kama Kawaida (manch!ld flip)

Local music is changing and leading this revolution is none other than the queen herself. By her side we have Kagwe, Mayonde and Fena Gitu. If any of these names are unfamiliar to you then keep up or get left behind.

The original track is delightfully catchy and is mastered perfectly, something our industry greatly needed. Manch!ld’s version, though, flips the entire song on its head. It’s hits but restrains itself masterfully. He took 2014 era trap, told it to sit down, and be humble. It’s a welcome reinterpretation of the song and we wouldn’t say no to more.

 

Here’s the complete playlist:

 

 

 

An Introduction to Hiatus Kaiyote

The best music is made by those that love it. For you to make something, and for it to be good, you have to appreciate what has come before. Appreciating it isn’t just having good taste. It’s using this taste to make something better. It isn’t copying someone’s homework and rephrasing everything they’ve said. It’s learning from them. Hiatus Kaiyote brings this out marvellously.

In 2011, Paul Bender (bassist of Hiatus Kaiyote) saw future lead singer, Nai Palm, perform at a concert in Melbourne. The two collaborated a year later after realising the brand of music they both wanted to make. After finding two more members (Perrin Moss and Simon Mavin), Hiatus Kaiyote emerged in all their Australian wonder.

Their music is termed as future soul. They themselves prefer “Multi-dimensional, Polyrhythmic gangster shit.” I pick the latter.

Their first album, Tawk Tomahawk, made waves. Everyone from Erykah Badu to Prince to Questlove was tweeting about it. In fact, in a later reissue, Q-tip did an entire verse. The band was then noticed by Salaam Remi, the former manager of Amy Winehouse. I mean, if each of these occurrences aren’t good omens then I don’t know what are.

Only with their second album, Choose your weapon, did the band hit their stride. Tawk Tomahawk was good, but it felt like the band was just getting to know each other. What they were comfortable with. Who they were drawing inspiration from. Who there target audience was. On Choose your weapon, they decided not to care. The album is an 18 song, 70 minute epic, compared to their debut which ran for 30 minutes. Here, they flex their creative muscles. We get everything from soaring bass lines to owl screeches. The album is ethereal. It’s beautiful. Untainted. Miraculous. Unabashedly celestial. They have no limits. Their music is a melting point of everything beautiful in music. Soul. Funk. Rhythm.

They’re the most underground mainstream band there is. Too few have actually heard of them, but they’re probably on your playlist right now. Anderson .Paak samples them on “Without you.” Nai Palm’s voice soars on Drake’s “Free smoke” and if this isn’t enough already they’re on Kendrick’s DAMN. This is the CV every artist clamours for.

When asked to explain what their name means, Nai Palm says:

“Kaiyote” is not a word. It’s a made up word, but it kind of sounds like peyote and coyote – it’s a word that involved the listeners creativity as to how they perceive it. So it reminds you of things but it’s nothing specific. When I looked it up on online it was like a bird appreciation society around the world, so for me that was a great omen, because I’m a bird lady. A hiatus is essentially a pause, it’s a moment in time. So, to me, a hiatus is taking a pause in your life to take in your surroundings, have a full panoramic view of your experiences and absorbing, and “kaiyote” is expressing them in a way involves the listeners creativity.

This sentiment explains their music just as well. You don’t look to their lyrics for meaning. You sit back and let them take you wherever you want to be taken. For me, this is my hangover music. My Sunny Sunday music. My background music. It can be the drug you need or the music you trip to.

They’ve given you the canvas. Now paint.

 

ALL-AMERIKKKAN BADA$$: Joey Bada$$

If To Pimp a Butterfly is an art gallery showcasing the plight of the African American, then ALL-AMERIKKKAN BADA$$ (AABA) is a bare-fisted, profanity riddled, tear gas filled protest.

To every soul that harkens to an age where hip hop was “real” and “pure”, Joey Bada$$ came like the messiah. Considering that his hometown, Brooklyn, gave us Jesus himself, Notorious B.I.G. To many, he came not to save our souls from immortal sin, but to put the rap back in hip hop.

B4.DA.$$ is an undeniable classic. Think about it. Like all classics: It was underrated for an unbelievably long time, it came from (at the time) a relatively unknown rapper and the production value is insane (J Dilla, Hit-boy, The Roots). If you think about albums that got the same treatment, you’d have Control System, Acid Rap, Too High to Riot, among many others. The question is, does the same apply to AABA?

Joey is as patriotic as it gets. This shines through in AABA. It’s a protest album in the strongest sense of the word. The system is rotten. You could lose your life if you look at an officer the wrong way. So, like Green Days American Idiot, he decided to do something about it.

In the land of the free, it’s full of free loaders

Leave us dead in the street to be their organ donors
They disorganized my people, made us all loners

Still got the last names of our slave owners

If Brooklyn had a national anthem, it would be “Land of the Free”. If North America had a national anthem (which it does but I choose to ignore) it would be AABA. The album itself is masterful. Joey’s lyricism ebbs and flows beautifully, Kirk Knights beats hit hard and swift. Most of the tracks, surprisingly enough, feel like cuts off of Ice Cube’s AmeriKKKa’s Most Wanted. Hard and legitimate rap music. Very reflective of 90’s hip hop, but not in a way thats pandering. As Kendrick once put it, in fact:

Everybody want to talk about who this and who that
Who the realest and who wack, or who white or who black

Critics want to mention that they miss when hip hop was rappin’
Motherfucker, if you did, then Killer Mike’d be platinum

Some tracks don’t feel as cohesive as the rest of the album. “Devastated” for example. But, strangely enough, Joey justifies it. He says:

a lot of people were thrown off by the two smoke screens I put out before called “Devastated” and “Front and Center.” I like those records. But to me, they were more like bait music. People gotta understand, when you’re an artist, you got your core. Then I look at it like there is many rings around that. Like circles.

Does this make the album a classic? I honestly don’t know.

Does this make the album good? Most definitely.

Image: Album art

Rated: 4.2 / 5

Free 6lack

Isn’t it every young musician’s ambition to get noticed by a label and signed? For the world to finally know what they’re capable of? To taste stardom on the tip of their tongues?

Unfortunately, it doesn’t always work out this way. You’ve heard of record labels being compared to satan’s shackles: it’s Michael Jackson unabashedly calling the head of Sony Music Entertainment, Tony Mottola, ‘the devil’. It’s when Prince changed his name to an unpronounceable symbol (the man formerly known as prince) in order to get out of his contract with Warner Brothers. It’s Frank Ocean buying back all his masters.

6lack (pronounced Black) felt imprisoned. His record label had him in chains for 5 years until he finally broke free. Now he has full creative control of his art. As if the album title Free 6lack didn’t say it loud enough, he’s a free man.

The music is much like the artist : a moody and introspective enigma; a black and white instagram filter in real life.

‘Prblems’ is the song that saw him break into the mainstream. Smokey dark bass, trap hats and an honesty that borders on rude. He narrates his situation of being unable to focus on another person because he’s too busy focusing on his goals. The indecision of wanting to be with someone and wanting to be alone. Also, you can’t change a person.

Tell her you love her when next week you just want your space
Why you do, why you do that?
Tell her you want her but next week you do your own thing
Why you do, why you do that?

The flow is crazy on ‘Never know.’

Yeah, nigga this flow is crazy

He basically answers the question ‘how do you make it in this business?’ by talking about what he did: a little bit of self discipline and individuality can go a long way, young grasshopper. Pave your own roads.

In the final track ‘Alone/End’, I did a double take at my speakers because for a moment there I thought I was listening to Ocean. 6lack sings and talks to us and well, he says a lot.

I know that but being around…in that atmosphere and seeing how people move, you know, seeing how, how they make records, you know, what kind of record they make…I’m just like…I don’t want this shit for myself and I don’t ever want niggas to try to pull me into that. ‘Cause I’ve been told a couple times like, “Hey, do this shit man, do that…” And I’m like man, I don’t want, I don’t that for me man.
And if I keep tellin’ y’all I don’t want that shit for me and y’all keep, you know, tryna nudge and push…I understand y’all got your vision and y’all got your formula but that shit don’t work for me man. I’m not gonna conform, I’m not settling for that shit. ‘Cause if I do it once and it pop, I’ma have to keep doing that shit over and over again. You can’t build no fanbase like that. You…you become, you become, you become a fuckin’ song instead of a person. That shit…I’m not…I’m not tryna be that man.

This song wins the award for catchiest and smoothest hook. Furthermore, he reinforces the sage old Ocean adage of Be yourself. Let nothing or nobody confine you.

Here’s to being free.

Rated: 4.4 / 5

( Image : Album Art. Lyrics : Genius )

For The Love of Crate Digging: Pt II

The internet is a vast ocean of music. This is undeniable. You can find anything, from music made 100+ years ago, to 10 hours of Darth Vader breathing.

Whatever you want, it exists out there, somewhere in the great digital blue. All you have to do is know where to find it.

Here are some of my favourite sources of music, found within the seas of Youtube and Soundcloud.

YOUTUBE

i. Majestic Casual

There is no such thing as too many 90’s remixes, cut out anyone in your life who says that. Never speak to them again.

This is where I go whenever I feel like being in a tropical rainforest.

 

 

 

 

ii. Nostalgic Jams

Cruise through their Alternative r&b, as well as the Regular r&b.

 

 

 

iii. Dynmk

True aesthetic in the form of soundwaves. Dynmk is the feelings plug, they’ll sort you out quick.

 

 

 

iv. Mr. Suicide Sheep

Feeding all your electronica, glitch and drum & bass hunger pangs.

 

SOUNDCLOUD

i. Soulection

The smoothest blend of sounds currently out there. Immerse yourself and get lost and don’t try to find a way out.

 

ii. The Seventh Culture

The Seventh Culture is consistently, your go-to link for the best of Nairobi music culture.

Listen to our curated playlist on their channel: featuring Meka Mungai, Huzuni, Smino and others.

 ( featured image : http://vnylst.tumblr.com )

 

For the Love of Crate Digging: Pt I

We all listen to music in various ways. Few still buy CD’s. Vinyl’s are a thing again. Music streaming is at an all time high. And the pirates among us still sail the seas. If you’re still on that waptrick/tubidy vibe then much love to you as well. In the end, we’re all listening to the same music.

These days though, artists find other ways to put their music out there. The conventional single/album format is slowly being usurped. There’s something beautiful about it..

Youtube

These days it isn’t uncommon for an artist to put out an entire album on youtube. However, this doesn’t do much for their publicity. Ed Sheeran could put out an entire album on Youtube (which he did) but if we didn’t know who he was then no-one would really care. So, artists find different ways to get their names out there, through Youtube. If you dig deep enough, there’s a treasure trove of amazing artistry that isn’t limited to music videos. Here are a select few:

i. BBC 1/ BBC 1Xtra

This is one of the more well known channels, but to the unfortunate few, you would not believe what you’ve discovered. When an artist releases an album, they tend to visit radio stations to build hype for it. BBC 1 took it a step further and gave these artists a platform to perform some of their songs. They call it the Live Lounge. And, as a bonus, they do covers as well. What’s better than mainstream artists covering other mainstream artists? Here are some of our favorites:

 

Or:

 

And:

 

 

ii. Tiny Desk Concerts

Imagine if every week, your boss scheduled a performance for the office behind his desk. That’d be pretty cool yeah? Well, NPR did that. And they call it the Tiny Desk Concerts. Since the performances are literally behind a desk, artists are forced to be at their most minimal. This means you can’t have an entire backing choir. And, more often than not, the results are beautiful. And, at the same time, literally anyone can perform. Here are our favourites:

 

or:

 

or:

 

and, just for good measure:

 

if you aren’t convinced yet:

 

 

iii. Documentaries (The FADER & Noisey)

When you know about an artists life, you get a different perspective on their music. Wikipedia can only tell us so much. Thankfully, the FADER and Noisey have us covered on that front. They don’t do conventional interviews. Instead, they give us a glimpse into the day to day happenings of a musician. It could be through their tours, or a visit to their mothers home, or just a random trip to the supermarket. Here are our biased picks:

 

or:

 

and:

 

 

iv. Others

Here are some random picks that we thought you’d enjoy too:

 

and my personal favourite:

 

 ( featured image: the vinyl factory )

American Teen: Khalid

Listening to this album, it feels like most of the songs started out in jam circles with him and his friends. If I could summarize the album in one word, it would be ‘youth’. 18 year old Khalid is aware of his youth and uses it wholly to his advantage.

‘Location’ caught everyone’s attention and put Khalid into a different lane. From being a military kid from El Paso to performing live on Late Night with Jimmy Fallon and contributing uncredited vocals to Kendrick Lamar’s ‘The Heart Pt IV’. Indeed, Young Khalid is doing quite alright for himself.

Not to patronize him, but you should notice his lisp on words like “American” and “Therapy”. It’s unendingly adorable.

Admittedly, 2 seconds into the titular track, ‘American Teen’, and I thought, “Oh no. This is going to be some cheesy Katy Perry-esque mishmash of debauchery and patriotism. Shoot me now.” But it wasn’t, and this should serve as a lesson to anyone who prematurely judges a song. At least wait for the 30 second mark before you start sharpening your pitchforks.

However, if you still wish to, you can test his patriotism with the visible folk influences in ‘Another Sad Love Song’; like it was recorded over a bayou.

He has a gritty buttery voice. Like a baby trapped inside the vocal cords of a grown man who has experienced the hardships of life; and whereas Khalid’s hardships involves too many subtweets and not enough dates over Subway, the journey feels all the same. No adversity feels more or less than the other. Khalid is like seeing a wolf with the softest shea-butter fur.

When the lyricism isn’t an ode to youth, it’s heartfelt and sombre. Always dedicated to someone in the second person, not ‘her’ nor ‘him’. ‘You’.

‘Shot down’ is for the slow dance at prom. Comparing his feelings for ‘you’ to being knocked down by a sudden powerful force.

He is a breathing example of the cultural significance of Soundcloud in this day and age, it doesn’t take much for rubies like Khalid to shine. It gives artists a platform to be heard in a world where they would have previously formed part of the ‘listen to my demo’ chatter, piled in the back of an underpaid A & R’s desk.

‘Angels’ is his personal favorite song on the project, and it’s not hard to see why. There’s a divinity to it. Backed by a melodic piano that his voice uses as a platform to propel itself further up, the old-fashioned wordsmith radiates a bright halo glow, as he becomes like the angels he talks to: a transfiguration of sorts because transfigurations almost always take place at the end. He is without ego. He is honest. He is kind. Khalid is the American teen living the American dream.

We float above horizons
And sail across the seas
I hope for better days
And lately times are tough
The angels give me strength
And I’m not giving up

030617-music-khalid-american-teen-album-cover-art

Image: The Fader; Cover art

Lyrics: Genius

Rated: 3.3 / 5

 

For Lack of a Better Playlist | 001

  1. 3WW- Alt-J

Complete with LSD Dream Theatre visuals. Alt-J have gotten weirder, yes. It’s an unrushed fall down the void. No one’s going anywhere. The beat switches when you least expect it except now that I’ve told you, you’ll be expecting it. Spoiler alert.

It plays like your alternative hipster uncle narrating a children’s story over a mason jar of kombucha. Well, 3 different stories. Listen close.

I just want to love you in my own language.


And it doesn’t end when you think it does. Come back, it’s not over yet. Joe & Gus & Elie’s cut and paste vocals complement each other in the most intimate way. If this song was a piece of surrealist art, it would be a Pollock.

Like soft lovers singing to each other in the still of the night from their respective sides of the bed. 3 worn words. I love you.

2. Chorea – Huzuni 窪地 ⏏

I think he could be Blinky Bill’s baby brother. Find me somewhere by the river with this unrestrained Lo-fi truth spill. Sheng meet vaporwave. Shengwave. Who is this ‘Sadness’? How do I tell him how much I love him? I like it when people cut themselves and their real self bleeds out.

3. Passionfruit – Drake

Spanish Riviera.  Sipping champagne watching a sun set over the water’s horizon. Drake is such a tender marshmallow. My heart skips giddy like girls with white knee socks and pigtails in their hairs, jumping rope. I want to eat it, sweet and bitter like passionfruit.

It’s a nonchalant resignation. Drake is acknowledging the end and signing off. Wishing you love, Aubrey.

 

4. Take your time- Meka Mungai ft. Taio

Produced by Nairobi producer, Mr. Lu. R&B from a time when people burnt incense in their living rooms. When music was for lovers.

There are countless scores of beauty

Staggering drums. It plays and the air around me goes thick and moist, engulfing me like a snug onesie.

5. Fools – TylerCole and Wilough

One small step for Sichangi, one giant leap for KE.

Produced by Nairobi based producer Sichangi. Warpy space bass and synths stroke like water paint. Off-beat and lazy hikes through tree archs in the woods.Swishing our limbs back and forth. They came through. They came through on this one.

Vibrations to send: Drake

Drake says that this isn’t an album. Neither is it a mixtape. Instead, he calls it a playlist. And this makes perfect sense.

When Views first came out, the reaction to it was pretty typical. Day 1: everyone was in awe because this is a Drake album and we don’t get very many of those, and Rihanna featured twice. After a while though, we all took off our rose tinted glasses. Views isn’t a bad album, not in the slightest. It just didn’t live up to the expectations we had for it. “Too good”, “Feel no ways” and “Child’s play” shall forever remain classics but for a 20 song tracklist there wasn’t much to it.

And this was the case because, plainly speaking, Drake was trying too hard. Nothing was the same was utterly brilliant, and coming off of that must have been difficult. He had two options. He could redo the same thing and get a good old Jhene feature or completely reinvent his sound at the risk of not appealing to the masses. He did both and this indecision is what did him in. Part of Drake’s charisma is how well he can flit from one genre to another. Have us gyrating to “Control”, crying to “Feel no ways” and trap to “Grammys”. But when you try and do this in one album, it doesn’t come off, well, “Too good.”

Drake wrote this accompaniment to More Life:

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This is Drake’s philosophy throughout the playlistViews was about proving his versatility More Life is proving his fluidity. Here, it isn’t about sick flows or hard bars. That isn’t the goal. We don’t have a lot of time on this wretched planet so we need to squeeze the life out of every moment. Collaborate with everyone. Fake a South London accent. Sample a damn recorder! More Life is a good time. I feel like Drake called all his friends and put a performance for us. It feels like Drake left all his regrets and worries behind and just had fun.

The songs themselves are no holds barred. Not like sick freestyles or massive beats. Just laid back music someone wrote on a Sunday afternoon. We have “Free Smoke” which samples the ethereal Hiatus Kaiyote and throws more subliminal shots at Kid Cudi. There’s “Passionfruit” which takes tropical house, flips it on its head, and reminds you that “Shape of you” isn’t the end of the genre. “Get it together” brings long-deserved attention to the South African legend that is Black Coffee. All the Giggs features are sewage grimy and I still can’t believe that he sampled a recorder on “Portland”.

“Madiba Riddim” would have to be my favourite. I feel like its the antithesis to “Controlla”. On a dance floor, “Controlla” is bodies gyrating, sweat flowing and sin pumping. “Madiba Riddim” is drunken laughter, bodies close but not touching, happiness pure and untainted. Like I said, this album is a genuine good time. Being a Drake album, the trap obviously has to come through. On “Sacrifices” we have a coherent Young Thug, “Kmt” has Drake on his xxxtentation flow, “Gyalchester” is What a time to be alive nostalgia.

More Life isn’t perfect. It’s too long; some of the features feel more gratuitous that necessary; the Kanye feature isn’t all that. But this isn’t an album and, thus, shouldn’t be analysed as one. It’s a playlist. Playlists tend to be too long, have songs you definitely won’t like but still find a way to accommodate for everyone.

Life is too short to not do the things you would like to do. And, should someone come collecting, at least we can say that Drake lived the life he wanted.

Rating: 3.7 / 5

 

Music and its place in my life

This article is extremely introspective so if that isn’t your jam then check out the rest of our wonderful, much more objective, topics on music.

3 – 5 a.m.

For 3 years of my life, this is when I’d listen to music. In high school, when every snippet of free time was treasure, this was my catharsis. Back then I didn’t have the convenience of an Apple Music subscription or unlimited wifi connectivity. Every week I would, through some way or form, access 350 mb bundles . These were my salvation. Youtube? Nope. Movies? Not really. But music, all the damn way. The pirate bay never had a customer as loyal as me. Every week, with the same limited internet connectivity, I’d scroll through archives of Pitchforks reviews to find what I would be listening to this week. Hate on Pitchfork all you may, but they gave me Because the Internet and I don’t take that lightly. My music exploration was extreme. I was on everything from Bring Me The Horizon to MF DOOM. From Abbey Road to Racine Carrée.

Present day

I don’t have a set time to listen to music. I don’t have two hours in my day that I can allocate to this sole purpose. Or, much rather, I haven’t allocated two hours in my day to music. Has life become busier than it was before? Not in the slightest. I could easily do this but I just haven’t. Now, I have more resources than I’ve ever had before. 350mb is my internet usage in a day. But it doesn’t mean I listen to more music and this I find horribly tragic.

My reasons are fickle. I’m always with other people. In fact, I have playlists on my phone tailored to the people that I may be with that day. Pop for the prep-school girls, trap for the OG’s, afrobeat for the alcoholics and so on and so forth. This is not to say that I don’t enjoy these genres but rather that I’m not listening to these artists or albums for genuine reasons. It’s begrudgingly accommodating for others. It wasn’t always like this. Before, it was like: if you didn’t fuck with my music, leave. Now I’m like a bartender at a music club, serving requests back and forth.

On some days I find clarity. It could be a moment, a person or an album.  When the sky is dark and all I want to listen to is The Dark Side of the Moon. When I meet a person with a genuine appreciation of music and I can play music I actually want to listen to. When I’m on Soundcloud and I find that one gem that I can hold tight. When I first heard Anderson .Paak and Noname. In a sense, I started this blog to pursue that clarity. Writing about music forces you to become more acquainted with the album, the artist and their contemporaries. It makes work of a hobby. It crystallizes this clarity. And I think I’m achieving that. But I’m still a long way off.

So thank you to my loyal readers.

My day ones.

You are the reason I do this.

You are my greater appreciation of music.

 

 

Our Favourite Soundtracks

CHIA

PALO ALTO

Location: Palo Alto, California.

Adapted from a book of loosely connected short stories written by James Franco, based on his hometown of Palo Alto, California. Scored by Devonte Hynes of Blood Orange fame. The opening sounds of ‘Palo Alto’ are your first steps into this pink hued suburban teenage oasis.

Dev Hynes lays down the mood to expect for the next 100 minutes and immediately, I recognized that this wasn’t your average teenage angst. More boredom and exasperation rather than anger and sadness are experienced through the eyes of April, Teddy, Fred and Emily. As compelling as the story, what drew me in even further was the significance allocated to mood and ambiance. The color of the sky. The color of their eyes.

‘TM’ catches Teddy plucking a calm lo-fi riff in his room while shots switch between April and Teddy. Both in their rooms doing their individualised versions of what the other is doing.

As opposed to the raging up tempo music that are the norms of house parties, their parties are as laidback as the music being played. We have  ‘Champagne Coast’ from Blood Orange and ‘Ode to Viceroy’ by Mac Demarco.

A majestic film with a majestic score dedicated to finding yourself, finding yourself away from others, finding love and acceptance in true unrushed adolescent fashion.

LOST IN TRANSLATION

Location: Tokyo, Japan.

‘Tokyo’ places us in the heart of Tokyo’s bustling streets. You walk into Charlotte’s loneliness with the flanged guitars of Keith Shield’s ‘City Girl’. The Shoegaze landscapes have been painted and the smell of distorted riffs waft through. The awkward stumbling of falling in love.

Sebastian Teller’s ‘Fantino’ lets us explore Japan with Charlotte as we all search for something, anything, remotely interesting to remind us that we’re alive.

The early 2000’s were a completely different time. Charlotte is woken up by the whirring of a fax machine bearing an ‘Are you awake?’ fax at 4 am, instead of the common notification ding of a ‘U up?’ text.

Tracks aside, the sounds from one scene blend into the other. Note how the sound of laserfire slides into the coin drops and lever pulls of slot machines. The fire drill alarm. Bob’s annoying flip phone ringtone. All these contribute to the overall soundscape terrain of the film.

The age gap between Charlotte and Bob is highlighted during the silly karaoke scene at George’s where Bob picks the 1979 classic (What’s so Funny ‘Bout’) Peace, Love and Understanding, and Charlotte picks the 1992 shoegaze ‘Brass in  Pocket’ by Suede, a cover of the 1980 track originally by The Pretenders. Even with the difference in age, I could see that Bob and Charlotte are more alike than I thought.

The entire film is sprinkled with glassy dream pop synths that feel like fingernails softly scratching against glass.

The underlying message of it all seems to be  “You’re not hopeless”and this is true. You are not. And the same way the music bridges the age gap between Charlotte and Bob, it bridges the language barrier between them and the rest of Tokyo. Between us and them.

ERIC

THE PERKS OF BEING A WALLFLOWER

Location: 90’s Pittsburgh, USA.

Often soundtracks accompany albums. They can be separated and replaced with equivalent versions effortlessly. With Perks, this isn’t the case. Anyone familiar with the story knows this. “Asleep” was the song Charlie found on a mixtape that he couldn’t stop playing. “Heroes” was the unnamed song that gave them infinity.

The soundtrack itself plots out teenagehood. “Dear God” was questioning our faith and justifying it to ourselves. “Could it be another change” was being bigger,sadder and  different.”Temptation” was being 19 and realizing that this isn’t going to last forever. “Teenage riot” was solemnity and rebelliousness. And “Come on Eileen” was fuck it, three more shots won’t kill me.

It flits and cuts through the movie beautifully. The scene at prom where “Come on Eileen” played will forever be etched in my mind. I never went to prom but in those few short minutes I felt the anxiety, nervousness, and pure unbridled joy of it. Call me sentimental but, as with all events, my life can be split into before I saw the scene and after I did. Everything didn’t seem to have the weight and permanency I always felt it had. It was seeing into your soul through someone else’s. It was knowing that there’ll always be someone for you. It was knowing that you don’t always have to be alone.

Oh and if you haven’t seen these movies, please do.

Image: Official posters for the respective films

No Ad Libs: Barak Jacuzzi

Produced by Brakxx. Contrary to the title, Barak Jacuzzi does have an ad-lib: “More Juice.” And true to its spirit, this track is 100% juice. Not diluted. Juice from the cup.

The young Kenyan-American entertainer put on his rap hat, pulled up and took his seat. Not asking. Taking.

‘No Ad Libs’ stirs up sensations of basement parties. LED lights. Sweat and hype and molly fueled energy. He noticed you sleeping on him and decided to do you a favour and wake you up. The bass will hit you first. You won’t see it coming.

The tribal elements of the track and the drill trap style of the song complement each other generously and every now and then his tongue dips into Kenyan Sheng in a manner that may just put it in the same league of street lingo cool as Jamaican Patois.

He carries an A$AP Rocky-esque self confidence that somehow, for reasons yet to be understood, does not spill over into arrogant braggadocio though it lingers rather close sometimes. You get this feeling like he knows he was sent to earth by gods to bless us with the message of ‘More Juice’ and bars rare to this turf.

He throws shade to his rivals in the rap industry, like writing their incompetence with swift steady hand, i.e: He writes his curses in cursive.

You couldn’t make a crowd jump if your name was Kriss Kross

Unfortunately for now, the video has been pulled off of Youtube due to a copyright claim by the producer, Brakxx Beats Africa. But you can listen to it here.

Or here.

 

Rating: 3.5 / 5

( image: kenyans.co.ke )

Sweet. Sexy. Savage: Kehlani

Produced by Jahaan Sweet, Pop & Oak, and Charlie Heat among others, Sweetsexysavage is the posterchild for the multi-dimensional woman. Independent. Confident. Insecure. Selfish. Pretty. Needy. Kehlani. She attempts to rid us of the notion that a female must only be one thing at a given time. A tattoo splattered tomboy sometimes vixen, other times angelic. Kehlani herself is a walking contradiction.

More inadvertently sweet than anything, Kehlani pays homage to the 90’s with an album that conjures up nostalgic thoughts of Aaliyah and Brandy. A dash of SWV. Traditionally constructed in a way that just goes to show you how much of an old school kid Kehlani really is.

She sprinkles that reluctant sweet in ‘In my feelings’:A song about an exasperated girl, grappling with her emotions and trying to understand why she feels more than the other people: an upbeat track with downbeat lyrics. And in the vulnerable Spanish guitar of the ballad ‘Hold me by the heart’ where she drops her guard and humbly asks for a bit of patience.

She turns on the sexy in ‘Piece of mind’ ,a cathartic bonfire sing-along and an ode to better decisions, showing us how sexy self-confidence can be.

She drops the savage in ‘Distraction’, bluntly expressing how little time she has for a serious relationship, all she’s looking for is someone to take her mind off of things for a little while.

Bravery is feeling fear but doing the thing anyway. Kehlani’s background is that of a person that has been tenacious on her come up despite the fact that life did not make things particularly easy for her- from shoplifting food from grocery stores to stuffing two mixtapes and an album in her back pocket. She’s the closest she’s ever been to her dreams, and she’s grateful. The carefree woman. Master of her fate.Captain of her soul.

kehlani-sweet-sexy-savage-artwork

Rated: 3.4 / 5

 

Image : Blavity; Album art

An Introduction to Frank Ocean

WARNING: A sea of bad ocean puns. If you like analysis and bad puns- come, swim good with me. Let’s begin.

There’s a plethora of in-depth analysis and think pieces on Mr. Ocean on the internet. He has this je ne sais quoi about him that just has to be documented. It has to be discussed. It has to be written. Once you have fallen down the rabbit hole and into the Ocean, there’s no swimming back.

My first step into the waters of Frank began with his 2012 performance of ‘Thinkin bout you’ at the VMA’s. Prior to that, I had never heard of him. Who was this stranger in a striped bandana and why was he making me feel some typa way?

He had just come out of the closet and that definitely didn’t sit very well in the testosterone fueled world of hip-hop. T-pain exposed the homophobia of the industry when he blurted that rappers refused to work with Frank Ocean because of his sexuality. I’m sure they regret that decision now. Regardless, Frank stood his ground by performing for millions a love song directed to his first time, and the unrequited love referenced in his coming out letter.

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Again, I didn’t know who he was, but I was intrigued. I had to know and since then, I’ve been swimming in Frank Ocean ever since and never once have I needed to come up for air.

It’s hard to throw him into a genre box. Instinctively, one would say r&b but that’s a limiting injustice. Just because a black man sings does that automatically make him an r&b artist? His style ranges from everything to anthems that border on gospel such as ‘Godspeed’ to Intelligent Dance Music in ‘Device Control’ and Post Britpop in his cover of Coldplay’s ‘Strawberry Swing’.

He’s an expert storyteller, who can paint an entire film in a listener’s mind through lyrics and sonic texture.

And now, we may begin.

i.) Somewhere around 2008 – The Lonny Breaux Collection

Born Christopher Edwin Breaux on October 28th 1987, he grew up in New Orleans. In 2005 he relocated to New Orleans after Hurricane Katrina caused irreversible damage to his studio. He got his foot in the music industry by songwriting for artists such as Brandy and Justin Bieber and eventually signing with Def Jam/Island Records in 2009, while under the moniker Lonny Breaux.

They say you have to make a lot of bad art before you make good art. Lonny was Frank’s chrysalis stage.

These songs were leaked and compiled by a comrade devotee from the interweb, a majority of them being reference tracks he wrote for other artists. ‘Acura Integrl’ is pretty much the only song he proudly owned from this compilation, so we can safely say that it is the first song he ever publicly dropped.

The collection comprises of mostly cheesy bubblegum r&b, a-la 2008 Justin Bieber. The Midi-mafia production is synth heavy and, honestly, quite cringeworthy. Tracks like ‘Hardest Thing’ sound like he was writing through writer’s block and ‘I Need Love’ is exceedingly whiny. However, Lonny’s corny r&b made a good rhythmic foundation for Frank. Through the factory presets, you can catch a glimpse of Frank slowly brewing inside Lonny. One can sense his frustrations with L.A, a city that doesn’t give love as easily as it is given.

The least unpalatable track is ‘Dying For Your Love’ featuring James Fauntleroy, and would have easily been a hit of that time, had it received any radio play. In 2011, Chris Brown tweeted what could have been interpreted as a backhanded compliment comparing Frank Ocean to singer/songwriters like James Fauntleroy and Kevin Cossum, which led to a tweef (twitter beef) between the two. Tension built up for a couple of years and this eventually resulted in a physical brawl outside Westlake Studio in Los Angeles.

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It’s understandable. While James Fauntleroy and Kevin Cossum are highly regarded prolific songwriters, they’re not G.O.A.Ts. If you’re gonna compare Frank Ocean to anyone, at least compare him to Drake, not Quentin Miller.

Conflicts aside, it just goes to show you perfection isn’t born, it’s bred.

ii.) 2011 – Nostalgia, ULTRA

Nostalgia, ULTRA is what it look likes when a man makes music for himself for the last time, before the world cast its eyes on him and never looks away.

Frank’s frustrations with his label constantly passing him over led to his decision to self release Nostalgia, ULTRA as a free mixtape. He changed his name from Lonny Breaux to Frank Ocean and started affiliating himself with OFWGKTA (A.K.A Odd future), garnering a bit of traction from their fan base.

“You know that guy Frank who sings in Odd Future?”

“Yeah?”

“He just dropped a mixtape.”

“Nice, let’s check it out.”

He blew up after this.

The production is significantly better, sample driven with 90’s nostalgia cassette stops and faint video game soundtracks in ‘Street Fighter’ and ‘Soul Calibur’. He shed his commercial skin with Lonny Breaux and opted for a more individualistic, personal approach.

In ‘Novacane’, he compares the numbness after heartbreak to the pain-suppressing nature of drugs and the elusiveness of happiness. The song title is a wordplay on the anaesthetic Novocain and the cataclysmic figurative supernova that happens when a star dies. He references Stanley Kubrick’s 1999 film, ‘Eyes Wide Shut’, which Frank also samples from in the track ‘Lovecrimes’, the love crime in question being impregnating his girl in the throes of passion.

The James Fauntleroy outro in ‘American Wedding’ is a string section reminding you that you can do anything that you want. Just believe.

These niggas can’t do nothing that I can’t do
That she can’t do, that he can’t do, that you can’t do, that we can’t do

‘Nature Feels’ is a jiggy explosion that blends ‘nature’ and ‘sex’ into one cohesive theme. He compares himself to a biblical Adam exploring a world unseen.

iii.) 2012 – Channel Orange

Channel Orange is the relaxed, lethargic introspection of a man who has all the time in the world, even though he recorded it in under three weeks. It’s orange because in true synesthete fashion, he recalls the summer he fell in love, when everything was orange.

With pressure from listeners anticipating his second release, Frank gets rid of the elephant in the room by starting the album off with ‘Thinking bout you’. An ode to his first love.

He shows us how the opulence of the 1% in the staccato ‘Super Rich Kids’ and the jazzy cabaret ‘Sweet Life’. Congratulations Frank, you made it.

So why see the world, when you got the beach

‘Super Rich Kids’ is a jagged decadent tale. The song commences with the protagonist starting his day enjoying the view from his roof; carefree and revelling in his inherited wealth. It ends with him at the end of the day, asking, “do they sew wings on tailored suits?” He plunges off the same roof upon the drunken realisation that while money can get you a great many things, it could never buy you happiness. The hook portrays the two major themes: the pleasure of the beginning and the melancholy of the end. Furthermore, Earl Sweatshirt’s verse on the track is a grammy worthy spit to all the latchkey kids who got too big of an allowance and not enough love.

A million one, a million cash
Close my eyes and feel the crash

‘Crack Rock’ and ‘Pilot Jones’ tackles the destructiveness of drug abuse and the havoc it can wreak on loved ones who really do care, but just can’t deal with the addict in their life anymore. It’s drawn from the times Frank spent with his grandfather, a reformed addict himself, who would take Frank to Narcotics Anonymous and AA meetings, where Frank would hear sordid tales of battles against the bottomless pit the is drug addiction.

‘Pyramids’ is 10 minute track about Cleopatra reincarnated. In the second half of the song, after having fallen from grace, Cleopatra finds herself working as a stripper at the Pyramid, in slow bounce R&B format.

Finally, Frank employs Andre 3000 and his bluesy guitar in ‘Pink Matter’ to question existence as we know it, and the utility of a woman.

iv.) 2013 – Unreleased, MISC

A.k.a songs from a tumblr. An unofficial compilation of the singles that Frank put out on his tumblr page.

‘Pyrite’ is the quintessential breakup song, comparing fake love to fake gold, you can always tell the difference. He soberly paints a picture with tropical guitars and beach hues in ‘Voodoo’, a song about the unity and trust required to make a relationship work.

I know pyrite from 24 karat, yeah
Cubic’s from genuine diamond, yeah
A call from the woman who loves you and hello from a friend
I know when it’s real, I know how to tell

 

v.) 2016 – Endless

It had been two and some years of practically radio silence from Frank, when he showed up on his Tumblr teasing an album called Boys Don’t Cry, saying“I got two versions. I got twooo versions…”

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July 2015 was the month. We waited in an excited frenzy. July came, then August, then September, then Christmas, then Easter. Silence. Everyone was losing their shit:  You said July, Frank. You promised. Where are you? Why did you lie to us?

We had lost hope and moved on with the drudgery of our lives until one day in August 2016, a live stream appeared of an empty warehouse. It was him. He was here.

Unfortunately, Endless is in the shadow of Blonde. Either that or it is viewed as a shameless IDM apple plug, a means to the termination of his contract with Def Jam. It flows like one long 45 minute play with one track seamlessly blending into the next. It is highly underrated. It is so much more.

With top notch production and immaculate features from the likes of crooners like Jazmine Sullivan and Sampha. The layered vocals, singing over each other  but not cluttering are a representation of the cacophony that takes place within a  normal person’s mind: different voices saying different things at the same time but somehow in harmony still. It’s airy and reminiscent of James Blake.

He prays that his children get to see him and his love in all their bloom in the gut-wrenching ‘Wither’.

‘Slide on me’ is a syncopated dancehall track with acoustic and deep bass come together as one. There’s a line in it where he says ‘Aki’ and ‘Wallahi’ , whereas ‘Wallahi’ means ‘I swear’ in Arabic and ‘Aki’ means ‘I swear’ in swahili sheng, and I swear my Kenyan self exploded like a firework.

‘In Here Somewhere’ is Jazmine Sullivan driving my feelings down a desert road at dusk.

The outro in ‘Rushes’ is a flooding warmth. The atmosphere instrumentals like ‘Honeybaby: Ambience 002’ dim the lights for you and set the mood.

His vocal capability shines in ‘Rushes To’ and then he  switches up and casually spits macho bars in ‘Higgs/Outro’ as if he did not just gut my heart into a million pieces in the previous song.

 

vi.) 2016 – Blonde

The album formerly known as Boys Don’t Cry. Frank never shies away from tackling weighty topics. From abortion and religion in previous albums, to the ceaseless death of unarmed black men in America in ‘Nikes’. Both Endless and Blonde are highly autobiographical: they chronicle his childhood in New Orleans, his various moves from Texas to New Orleans.

The vaporwave ambition is strong on this one. He built a staircase in Endless, he built a sky in Blonde. Tossing out the synths for guitars.

He switches up the beat in ‘Nights’ from shady undercuts directed towards a resurfaced ex, to gratitude expressed towards an ex whom he owes a lot to. Former lovers you remember fondly and those you remember with the aftertaste of stale cabbage in your mouth. With cruising kicks and snares just to toy with you.

Did you call me from a séance?
You are from my past life
Hope you’re doing well bruh

He brings back 3 stacks on ‘Solo reprise’ who starts the song off with a tribal cry and continues to assert himself at the top of the hip-hop food chain.

‘Seigfried’ feels hazy, like slowly waking up from a dream, drifting in and out of consciousness. It is a romantic and melancholic contemplation of surrender to societal norms and expectations, asking if the fight is really worth it or if he should just throw in the towel. ‘White Ferrari’ is celestial and gentle, about dumb youth and how quickly time flies.

Blonde is unlike anything he’s ever done. It feels limitless, no walls nor boundaries erected. Like an immersive stream of polished consciousness.

Well worth the wait. I forgot why I was even mad in the first place.

 

Bonus: Noteworthy features 

‘She’ & ‘Analog 2’ where him and his buddy Tyler take turns being psychopaths.

He drops the weed in favor of a clear head in ‘Sunday’. The only person Frank has more musical chemistry with than Tyler is Earl. The play off of each other’s energies like a friendly round of ping pong.

The stripped down ‘Frank’s Track’ from Life of Pablo, where he talks of a dystopian future where humans find out that life is indeed precious but by then, it’s too late.

In conclusion, what makes Frank so amazing is how much he refuses the focus to be on him. Don’t look at him, listen to the story- in its words and in its sounds. Pure and simple.

If the story needs him to visually articulate something, he’ll do it for the sake of the story. But the story always comes first. You get this feeling that even he didn’t know where it would go until he put the dot on the last sentence and a picture revealed itself.

You see, the goal of the artist is to get you to see what they see. Of course, this is easier said than done but Frank makes no compromises. He makes sure that what he shows us, what we see, is 100% the way he saw it in his head, the significant bits and the garble jarble. All of it, in its entirety.

Like how he captures both sides of love as a theme. The ‘loving’ and the ‘loveless’. The best of times and the worst of times, but still, it is love and that is what he is showing you.

Or how he can relate love to anything. Drugs and love in ‘Novacane’. Tattoos and love in ‘Blasted’. Religion and love. Cars and love (saying he’s really into cars is an understatement. You know this) I’m sure he could pick the gnarliest topic like a colonoscopy and still find a way to relate it to how love is a pain in the ass.

Every detail is deliberately and meticulously executed. Even in the parts with no lyrics, no instruments, he sets the ambiance just by waking up and scratching his balls like at the end of ‘Strawberry swing.’ Walking home in the rain and setting down his keys. Making love in the back seat of a car. All these sounds emphasize the significance of ambiance to a story, to a picture, to a film, to a song.

Moral of the story: Mom is right. Be yourself. Be secure with yourself. Rely and trust upon your own decisions. Own your own beliefs. Be yourself and know that that’s good enough.

 

Images:  http://frankocean.tumblr.com; The Daily Dot

Lyrics: Genius

              

An Inch from Stardom: Big Sean

To succeed in hip hop, like in literature, you need a defining album. Chimamanda had Purple Hibiscus, George Orwell had Animal Farm, and F.Scott Fitzgerald had The Great Gatsby. Is I Decided Big Sean’s masterpiece?

Big Sean has been signed to G.O.O.D music for the last ten years (Doesn’t it make you realise how old you really are?) “Marvin and Chardonnay” came out six years ago. “Beware” came out four years ago. “I Don’t Fuck with you” came out three years ago. This is a vicious cycle that Big Sean is trapped in. Every so often he has a string of brilliant singles that fill the airwaves for months (aren’t you tired of “Moves” already?) and after his album comes out, he fades back into obscurity.

This isn’t to say that Big Sean is a bad rapper. He certainly doesn’t break any top ten lists but his lyricism is occasionally great (See: “Halfway off the Balcony”, “Jump Out the Window”). Plus, his work with Jhené Aiko (See:Twenty88) is remarkably good. The main problem is that he doesn’t have a defining album yet. He doesn’t have that one album that makes an artist great. It’s the album that brings to light how good your music may actually be. For some artists, their debut happens to be their defining album, Kanye’s College Dropout for example. For others, it may come much later in their discography, Anderson .Paak’s Malibu, for example. A defining album doesn’t just make a rapper great. It allows us to forgive them for any musical transgressions they may commit in future. Drake gave us Nothing was the same and for that we’re willing to forgive Views.

A defining album doesn’t even have to be extremely spectacular. Logic’s Under Pressure is a pretty good album, but it isn’t critically acclaimed. Regardless, without it we wouldn’t know about the many other excellent mixtapes he’s put out. Without Good kid, m.a.a.d city we wouldn’t know about Section.80.  Without Coloring Book, many of us wouldn’t know about Acid Rap.

I decided. isn’t going to be Big Sean’s The Blueprint. While this may be unfortunate, once we have Sean’s defining album, I feel like we will appreciate his music much much more. Besides, he has Jhené. What more do you ask from life?

Favourite Tracks:”Light”, “Jump Out the Window”, “Owe me”, “Halfway Off the Balcony”, “Bigger than me”.

i-decided

Rated: 3.2/ 5 

Image: The Early Registration

 

The Burning Sun: Sampha

Process doesn’t feel like an album that was just waiting to happen. It feels inspired. Motivated. Forced, you could even say. Like a journal entry of an event so cataclysmic you absolutely had to write about it. And thankfully, Sampha did.

If you think this is the first time you’ve heard of Sampha, I can absolutely assure you that you have heard of him before. He’s collaborated with Solange on ‘Don’t touch my hair’, with Kanye on ‘Saint Pablo’, Frank Ocean on Endless and Drake on Nothing was the Same. In fact, he achieved vine stardom (when this was still a thing) because of ‘Too much’ off Drake’s Nothing was the same. This isn’t to say that Sampha is some sort of puppet master, ghost writing at the strings of major artist. Sampha’s voice is just honest. Plain and simple. When the rapper is trying to make you understand his struggle, Sampha’s voice is there to highlight everything in bold. Look at Kanye’s second verse from ‘Saint Pablo’:

Cause if I’m up way too much, I’m out of touch
I’m prayin’ a out-of-body experience will happen
So the people can see my light, now it’s not just rappin’
God, I have humbled myself before the court
Drop my ego and confidence was my last resort

Wow. This is Kanye actually being humble. Not to say that he’s the egomaniac he presents himself as, but in one of the few times that he isn’t being a total jackass, he has Sampha holding it down with this:

And you’re lookin’ at the church in the night sky
Wonderin’ whether God’s gonna say hi
Oh, you’re lookin’ at the church in the night sky
And you wonder where is God in your nightlife

In 2014, Sampha lost his mum to cancer. His reaction to it fills the brim of Process and it is utterly heartbreaking. From start to finish, he bares his soul. On ‘Plastic 100c’, through the veil of outer space, he talks about how life can be when everything is changing unbearably fast:

I love those mornings, when the sun’s up
Smoking in the lobby, waiting for my name to pop up, yeah, pop up
Usually I’d run home, and tuck the issue under
Oh, sleeping with my worries, yeah, I didn’t really know what that lump was, my luck

This event hit him hard and still, right up until the end, he never gave up. On ‘Kora Sings’, he says:

A pillow on your face soaking up those tears
Who’s anyone to say you should have no fear?
A mouth full of smoke really made things clear
You’ve been with me since the cradle
You’ve been with me, you’re my angel
Please don’t you disappear

On ‘(No-one knows me) Like the Piano’, he brings the hammer down on everything he’s been feeling in three short verses. It’s a ballad, but not in the conventional sense. Not a husband to a wife or a lover to another, but a boy appreciating what his mother has done for him. From raising him to simply bringing a piano into their home.

There’s a running theme in this album: The burning sun. Sampha’s trying to escape everything that has happened to him. Running like they smell the “blood on me”. But like the burning sun, he can only run so fast, so far. This doesn’t mean he’ll stop running.

Rated: 4.1 / 5

Image: Rolling Stone

Lyrics: Genius