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Archive for April, 2007

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Music Video Director Gil Green.

Music video director Gil Green has three of the best videos in rotation right now: Akon’s ‘Don’t Matter’, Three-Six Mafia’s ‘Doe Boy Fresh’, and DJ Khaled’s ‘We Takin’ Over’. I believe ‘We Takin’ Over’ is the first Green video to feature the Hype-esque ‘Gil Green Presents’ in floating CGI-letters, which I read as Green’s formal announcement as a big-time event oriented video director. Green’s direction however, is a bit more subtle than Hype Williams or most video directors, having an energy and honesty that is very appealing and never becoming too much.

All three of the videos highlight Green’s strength, subtlety; he knows when not to cut or go crazy with the camera, the kind of thing that should be ‘Film School 101’ but has unfortunately becomes synonymous with “good” music video directing and is taught in film schools. Green has all of the qualities a music video director nowadays is supposed to eschew: restraint, a focus on realism, and a refusal to blow his subjects up larger than life. Green also communicates even-handed and rarely didactic social and political messages that sneak up on the unsuspecting viewer.

‘Don’t Matter’

The video fits the music because ‘Don’t Matter’ sounds like a sincere version of a travel commercial theme and the video looks like a sincere version of a travel commercial. We get the expected island imagery but presented a little more realistically, it has a certain 70s movie feeling to the cinematography, which hints at my favorite aspect of Green’s video direction: he does not depend on fast-cutting or computer enhancement. The party scene at the end is the only point where we get any sense of fast-cutting but it’s barely rapid-fire and the fast-cutting there works because it is a legitimately cathartic party scene. Other than that, the video has a meandering quality that fits the concept of the video. Akon picks up his girl to go out but the girl’s father doesn’t like it (communicated in one effective shot of the father looking angry) and the rest of the video is the fun part; the couple hanging-out for the day. Keeping the video to this simple concept also avoids the tendency in rap videos to simply mix two unrelated sequences in order to vary the video up (although he does do this in ‘We Takin’ Over’). Instead of cutting between two loosely connected sequences, generally, a narrative and a performance sequence, Green allows them to co-exist and mix with one another. Also, the video gains energy from suspense, the slightly threatening aspect of the Father, looming in the background, always exists. We’re not explicitly reminded of it but that’s good because the song is called ‘Don’t Matter’ and the song and video are about not worrying about those things even though they hover in the background.

-Movie Equivalent: ‘Morvern Callar’

-What’s with…Akon saying the word “fight” the same weird way that Eddie Murphy says “fart” in ‘Delirious’?

‘We Takin’ Over’

I’m actually not as hyped-up about this video as others but for a music video for a typical banger which therefore, should have a conventional video it more than gets the job done. Similar in style to ‘Don’t Matter’, Green uses handheld cameras mixed with more conventional video shots, once again, bringing the video’s energy through sequences and conventional cutting, not hyped-up rapid-fire editing or CGI embellishments. Again, there’s a loose concept like ‘Don’t Matter’, a concept that keeps the video itself moving forward so it doesn’t need to be done with extraneous “cool” shots and fancy-pants film-school editing. Green fulfils the crucial A.D.D aspect music videos need but on his own, significantly more modest terms. The video also modestly takes on the mixtape controversy of the past few months. ‘We Takin’ Over’ being the new single from a well-known DJ’s sophomore “legal” release is made into an action plot where Khaled is being chased by imposing men in SWAT gear, presumably some stand-in for the conventional, legal music industry. I also like how the aggressors in the video are omnipresent but never really take the video over. They literally hover in the background of the frame but do not stop Khaled and friends from having fun. Like ‘Don’t Matter’, ‘We Takin’ Over’ has a way of acknowledging threatening outside forces by putting it figuratively or literally in the background of the videos, never absent but never fully oppressive either.

-Movie Equivalent: ‘Vanishing Point’

-What’s with…the church at the end?

‘Doe Boy Fresh’

Tom Breihan pretty much summed this video up here calling it “a neat little statement on the escapist fantasy-fulfillment aspect of rap’s appeal.” I personally find the video to be a bit more satirical, not harshly critical or anything but I don’t think it’s only addressing rap’s escapist appeal as much as it is pointing out the way that many, of all races and age-groups, are willing to embrace rap music but always from a distance. In this video, Green uses computer effects but they are necessary to the concept of the video. The effects are used to an end beyond sprucing up the images, instead working towards the point of making the rap appropriators look at least a little absurd. The computer effects aid in helping the concept but Green is still not afraid to make the video look sort of weird or awkward. Some of the actors rapping do it well, others not so good, but I don’t think that is poor acting as much as it is an attempt at realism. For example, the Little Girl just looks sort of awesome while the Old Guy looks creepy as fuck. That’s interesting! Other doses of realism come through in the setting (a community center) and in the little joke at the end, with the guy taking money from his son, telling him: “50 dollars kid, c’mon. Yeah, I be hustlin’ to get back some of that child support money.” The joke, which is darkly funny rather than typical music video “wacky” is a strange touch and the line is delivered by the actor naturalistically rather than over-the-top.

-Movie Equivalent: ‘Watermelon Man’

-What’s with…Travis Barker being in the video?

‘Hell Yeah’

This is more of a bonus but this video is so amazing. One of the best rap videos ever. I remember seeing it in its eight minute entirety on ‘BET Uncut’ and being blown away. The intro with the family is really hilarious, their arguments and the inflections of their voices are dead-on, making the maliciousness of what happens to them even funnier. Certainly, they are being mocked but the parody is so dead-on that it’s done with some familiarity with that which it is mocking. Then the video itself, wow- a series of elegantly sloppy single takes gives the song an added energy that conventional video editing and directing would not be able to produce. This video, fitting the artists involved, recalls the actual grit and energy of the classic rap videos of the 90s. Once again, Green gives us real, palpable sense of realism, the details of the house dead prez are in, the total out-of-control-ness of the video camera aspects (it’s shaky like real family video footage), and the really sick and scary part where the family get hijacked are way more realistic than they need to be.

-Movie Equivalent: ‘The Black Gestapo’

-What’s with…nothing. This is the best video ever. Nothing is wrong with it.

Green is also the director of the much-hated but actually really, really, good ‘Choices: The Movie’. I’ve heard nothing but horrible things about ‘Choices 2’ and its availability only with the soundtrack and the lack of involvement by Green has led me to never pursue it. I will eventually. But I’d say that if ‘Choices 2’ has made you weary of ‘Choices’, rent it anyway.

‘Choices’ is obviously low-budget, so if you don’t for digital-video cinematography and questionable acting you won’t dig it, but if you can get beyond that it’s a more realistic and interesting crime movie than anything Scorsese has made since ‘Taxi Driver’. Unlike other rap movies, ‘Choices’ never tries to be too cutting-edge or cool or really anything, it just tells a story, doing its best to use the films’ apparent flaws, like untrained actors and a low budget to make it a bit closer to real-life. There is also the interesting choice of having the hero not be Juicy J or DJ Paul making it less of a vanity project. Instead, we get Pancho, played by Rodney Wickfall, who succumbs to the pressures of his moronic friends (Three-Six) and their acquaintance played by La Chat. Wickfall gives a very sympathetic, pardon the cliché “everyman” performance when he could have easily over-acted the entire movie as the actor playing the Foghorn-Leghorn-esque Alonzo chose to do. Beginning with the credit sequence which makes use of the Impressions’ ‘Choice of Colors’ and down to the rather touching end, the movie does a better job of having a heart and being gritty than most Hollywood movies. To me, it is the closest approximation of Donald Goines’ novel in its ability to understand and condemn criminality and retaining empathy for those involved in the life.

Written by Brandon

April 11th, 2007 at 7:09 am

Posted in Gil Green, music videos

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OhWord: ‘Mixtape Amistad: We Want Free’
Here’s my latest OhWord article, accompanied by editor, Monique Rivera’s photograph.

Also, I’m sure everyone has seen this but it’s really incredible; dig the Camborghini especially.

Written by Brandon

April 10th, 2007 at 4:43 pm

Posted in Uncategorized

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More About Amy Winehouse…

I seriously had no idea people cared so much about Amy Winehouse. Go here and for some reason, here for some sort of interesting ongoing discussion. I felt the need to address her again…

The support of Amy Winehouse, when it isn’t by negrophobes, the musically retarded, or feminists, is by people who romanticize suffering and still believe in concepts like “confessional” art. In an interview in this month’s NYLON magazine, Winehouse says “I say things in songs that I wouldn’t even admit to myself looking in the mirror” (116). What? It is literally impossible to admit something in a song that one has not admitted in the mirror. I assume by “in the mirror” she means to herself, alone, which, unless she just gets on the mic and just wails, she’s writing her songs down. All of her insecurities and neuroses don’t just pour out of her.

She is held up as authentic and therefore a “true” soul musician because many buy into stuff she says or they want to believe in such purity. Her supposed honesty and the praise it receives goes back to racist notions of black musicians (or athletes, even mixed-race presidential candidates) as having a natural or untapped something which makes them great. Winehouse’s troubled persona and “honesty” make her music seem immediate, even primitive. Her producers, black rap producer with credit, Salaam Remi and white, rich boy fuckface Mark Ronson, are presented as something like her handlers, maintaining her pure artistic soul. Of course, this purity does not really exist and never has and even if it had, how is saying everything and anything in a song worthy of praise? Due to the internet in particular, there has been something of a shift in the culture: MySpace, Youtube, this fucking blog, everything is about expression! If everything is about expression (which is fine) then simple expression can no longer be used as an end-run around artistic quality or insight.

The indie rock world, when it isn’t being ironic, is a perfect example of honesty and sincerity being broken-down into a series of easy-to-do gestures through clothing, that whiny “bad” singing, making a Wes Anderson-lite videos, etc. etc.…all of this boundless sincerity is a misguided affront to irony, no different than irony because another series of signs and signifiers are now the norm. Because people are so used to irony and manufactured, distant, emotionless product, stuff like Winehouse which on some level, does attempt to connect to an audience with real feelings, becomes overrated and overvalued. To do what Winehouse and others do but to do it with insight is much harder to do and more poignant. Clement Greenberg, American art critic, has an essay in which he discusses issues of honesty and talent in art. “Honesty” Greenberg says, although “essential”, “does not guarantee anything” and “can never be separated from the procedures of talent” (146). Now, we’ve already agreed that Winehouse is talented in the sense that she has a good voice; it is the issues of honesty or actual honesty that need to be addressed. Greenberg adds that “complete honesty has nothing to do with “purity” or naivety [because] the full truth is unattainable to naivety, and the completely honest artist is not pure in heart.” (146). Words that Winehouse or Bright Eyes, even the Game or Brother Ali would be advised to take.

Good art, real art, stuff that matters, is a hard, messy navigation through emotions of all types; it’s complicated. If all you have is emotional honesty, you’re no better than the artist couched in irony and abstract lyrics. The concept of the difficult artist being abstract and the primitive artist being honest are outdated and as I said before, kinda racist, but when it comes to music, pop music, music manufactured, bought, and sold, the concept that the art you sell is about baring one’s soul is absurd. The best musicians, but especially rappers, have found some kind of interesting balance between giving people what they want and maintaining integrity (Prodigy!) but the concept that on some level, someone who sells a CD only wants to express themselves has always been total bullshit. If it’s only about expression, go back in your room and sing in front of your mirror, don’t bother me with it.

There is a way to address one’s life, exposing very-real truths about one’s self without devolving into self-pity and self-aggrandizing through self-pity. You can talk about your problems and not make yourself a spectacle. This comes from maintaining the emotional integrity of the situaiton without making it quite so apparent or simplistic. When Biggie drops “My mother’s got cancer in her breast/Don’t ask me why I’m motherfuckin’ stressed” it comes in the middle of a song that laments Biggie’s world, without becoming all “woe is me” about it. When he finally goes from the general (how his neighborhood changed) to the specific (exactly what troubles him) the effect is stronger because the entire song is not a song about why his mother has breast cancer. Kanye West, one of rap’s biggest self-mythologizers, can often lose his way but his autobiographical songs are almost always injected with humor, autobiography, and insight. It is this mix of emotions which not only makes for a rewarding experience but is closer to real-life, for even in the worst of situations, some warmth or humor pops through and indeed, something is learned. The supposed immediacy of songs like ‘Rehab’ is nothing but laziness. Lazy with insight and disrespectful to an audience who find this music sincere or believe it to be soul-baring. ‘You Know I’m No Good’ is the song-equivalent of the dude in Burger King who mops the floor, telling you about how messed-up his life is, not so much because he wants emotional connection but because the pathetic tendency to victimize one’s self instead of expressing real, actual feelings is so pervasive and even encouraged. Like Burger King Guy, Winehouse is trying to express herself and indeed, if this is her way of doing it, perhaps she has some problems, but I don’t see why that is given magazine covers and record sales; the same would never be done for scary Burger King Guy.

-Greenberg, Clement. ‘Art and Culture: Critical Essays.’ Beacon Press: Boston, 1961.
-Valdesolo, Fiorella. ‘The Devil In Miss Winehouse.’ NYLON Magazine. April 2007. (114-117).

Written by Brandon

April 8th, 2007 at 7:23 pm

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Humanizing Fergie: Polow Da Don’s Greatest Accomplishment?

There’s an impressive consistency to Polow Da Don’s production extending beyond a “signature sound” and moving towards a signature feeling. ‘Throw Some Ds’ in addition to being the best single since ‘Stay Fly’, has a vaguely sad sound that underscores the apparent enthusiasm of the beat. This is what makes it interesting after the 1000th listen. Sampling the pretty sad-ass ‘I Call Your Name’ helps, but Polow doesn’t just pilfer the song for a hot beat, he maintains the emotional integrity of the original. He begins by simply playing the intro to the song, Debarge talking about the possibility something only being a one-night stand; hardly conventional Southern crack-rap fare. Although Rich Boy isn’t really saying much, the minor scope of the song, putting rims on your Cadillac and nothing more, is matched by the beat never becoming too exciting, always maintaining that down-to-earth melancholy about it. I’m not hating-on conspicuous consumption or anything but the beat probably sounds a lot like getting rims put on your car. It’s exciting but not too exciting…Satisfying but only sort of? All of Polow’s productions have something resembling this feeling: he just refuses to make out-and-out bangers. Ciara’s ‘Promise’ has a melancholy, even desperate sound that fits her content and even though its absolute crap, when Ludacris wanted to get all serious he got a Polow beat for ‘Runaway Love’. Even the beat for ‘Pimpin’ All Over the World’ has a certain sadness to it, kind of like Kanye’s work on ‘Selfish’. Polow seems to be a real producer, not just a beat-maker. He slightly tosses a vocoder effect in a song without it sounding weird like it does on Akon or ridiculous as it does on a T-Pain song. Have you ever noticed the subtle wind-sound that plays as Rich Boy begins rapping on ‘Throw Some Ds’? That’s good! He doesn’t seem to be just making beats and handing them out to anybody, he really is producing.

Despite all of this, I still find most of Polow’s work underwhelming. I’m sure it’s hard to follow-up ‘Throw Some Ds’ and I’ve been waiting for something resembling that quality and excitement. Some of his beats sound cool or interesting but the same mixture of melancholy and unbridled excitement that made ‘Throw Some Ds’ what it is, seems to prevent stuff like ‘Promise’ or ‘Boy Looka Here’ from getting beyond pretty good. Although it is hardly the greatness of ‘Throw Some Ds’, I’ve found myself being increasingly impressed with Polow’s Fergie track ‘Glamorous’. When I first heard ‘Glamorous’ I dismissed it because it was another Black Eyed Peas related project just totally jacking an old song, this time ‘The Glamorous Life’ by Sheila E. But the song is played every half-an-hour on the Baltimore/DC rap stations and it has totally grown on me to the point where I not only like it, but have something of an emotional reaction to it. Although it is certainly not the same level of quality, it recalls ‘Juicy’ in its electro-funk source, its from-nothing-to-fame content, and a certain sadness to the track.

Like ‘Juicy’ it has an appropriate mix of joy that is always controlled by the song’s looking-back aspects which if the artist is going to really sell his suffering, it would be absurd for the song to be an out-and-out party track. Like Rich Boy, Fergie follows the formula for the type of song she is making, which because she’s making a “I’m still Jenny from the block” song, Fergie not only reminisces but addresses “the industry” and how she’s got “problems up to here” and blah blah blah… However, Polow’s production makes the song work. When Fergie talks about where she came from and all that, she affects defiance but the beat counteracts Fergie’s overcompensating “street voice”. The quiet claps and synths add a warmth to the beat that never rises above a certain level of excitement but this totally fits this time because Fergie’s argument is that she’s the same chick she’s always been so she and her song can’t be too proud. The voice telling Fergie “if you ain’t got no money, take your broke-ass home” is another aspect that doesn’t allow Fergie to sound too confident, it’s mocking her, but the mockery can also represent everything Fergie has transcended now that’s she’s “flying first class/up in the sky”. These little details move the song in the direction of something beyond another song against haters. The vocal effects are way too nutso on Ludacris’ verse but with Fergie, Polow putting a slight vocoder or that underwater-sounding effect on Fergie’s voice downplays the shrill, obnoxious qualities that usually make Fergie annoying. All of this stuff adds to the success of the song and this is exactly what a producer, in the truest sense of the word, is supposed to do: highlight an artist’s best qualities and downplay their worst.

Fergie’s really hard to like. She’s totally beat, she thinks she’s hot, she’s this obnoxious white chick in the most hard-to-like “rap” group ever but ‘Glamorous’ made me reconsider her, at least for the duration of the song. The fact of the matter is, Fergie probably has just as much of a right to make a “nothing to something” song as Biggie. At some point, she was addicted to meth and here she talks about some crazy shit. I could be totally cynical and cite that she was a child-actress and her drug addiction was admitted “rebellion” from fairly middle-class upbringing, but how different is that from Biggie, the son of a schoolteacher, choosing to drop-out and sell crack? Not that much. Think of those girls you know that you smoked weed or worse with in high school, think of those vaguely white-trashy girls who were weirdly nice but would go bitchy at the drop of the hat, think of those girls that have so much attitude that anyone can tell its over-compensation for something…well, imagine one of those girls got a record contract and is now a superstar. That’s a nice thought, right? ‘Glamorous’ has apparently done the impossible: humanized Fergie!

Written by Brandon

April 4th, 2007 at 7:49 am

Posted in Fergie, Polow Da Don

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I think all of my readers come from anyway, but for the few that don’t, I’m a contributor now. Here is my first post:
‘Reality Rap and Blaxploitation: Prodigy’s Return to Form.

Written by Brandon

April 3rd, 2007 at 5:22 am

Posted in Uncategorized

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Long-Lost Siblings: ‘Illmatic’ & ‘Loveless’. By Christopher Adams.
1. Introduction
I’m new to rap. New in that I’ve only very recently been listening to it actively. When I was younger and the boat came and Puff Daddy was the captain I missed it. Missed it intentionally. Wasn’t this just bad Sting (as though there were good Sting) made worse? Or some kind of funeral karaoke in poor taste? I admit that the novelty was lost on me. I wrote it off and sat on the shore even as other better ships came in. I suppose it’s easy to abstain from things you haven’t had much to do with. Then as the years went by and I had friends other than television and the school bus radio I heard some things which caught my attention. But since I’d been out of the mix so long I never pursued them. This past September, I finally decided to pursue them and bought my first CD, the one that had meant the most to me, the one which seemed the strangest and most visceral of those I’d heard: ‘Enter the Wu-Tang (36 Chambers)’. It was weird and human and for me, the best place to start. A good pivot. In listening to it and other albums over the following months, I found myself applying a kind of theory I’d thought of for some time. Basically that creative works tend to have long-lost siblings, related works which have peculiar tensions and connections somewhat beyond the surface similarities of typically similar works, the objects of most normal, run-of-the-mill comparisons. I find that the more incongruous the works are superficially, the more insightful and helpful the correlation.

I listened to ‘Hell Hath No Fury’ by Clipse, an album I’d been aware of because it was something of a critical favorite. After I’d listened to it, I immediately thought of one of my all time favorites: ‘Songs From A Room’ by Leonard Cohen. In addition to the seeming ease of both albums and also their minimalism and matter-of-fact tone, I discovered a certain unifying principle, a concept which held both together and related them in my mind: the refusal of remorse as vindication. This seemed to me the underlying theme of each, something emotionally complex, something inexhaustible, something odd to write songs about. Doesn’t it make us feel good to feel bad for our sins? Well, these albums deny themselves such justification and in doing so, become unique yet comparable works about reality and responsibility. Having said all of this, and I hope having established a reasonable context for the main of this post, I now present you with my reaction to ‘Illmatic’ by Nas, comparing it to ‘Loveless’ by My Bloody Valentine to best express how it struck me.

2. ‘Illmatic’ and ‘Loveless’
First off, the colors of their respective covers pretty much sum up the overall feeling of the records. ‘Loveless’ is the fairly obvious womb-like pink, and the album is very violent and physical, but also very warm and gooey. ‘Illmatic’ is orange-brown, butterscotch if you will, and sounds orange-brown, the production, the mixing, etc. It is also much like a butterscotch candy. It is hard and very specifically of it’s own flavor though not terribly different from other sweets, if maybe slightly more refined, and less of an intense tasting experience. Once you enter into the record, past the cover, you find that they both very quickly establish a mood specific to the record itself, and not to be found exactly elsewhere, but once again not terribly far removed from other things, and doing so with more or less conventional elements, at least for their genres. Though the mood and feel, etc., is the same through, their are subtle differences within each song which keep the songs separate, but almost more so as they are in order, in sequence, than they would be in isolation, meaning, if you heard the songs individually, you might not be able to immediately say which song it was and which it wasn’t, whereas, when they play as a whole, they don’t necessarily sound the same. The mood, though specific to the record, is also in general, vague. A very individual vagueness. This leaves it open to interpretation, but also hard to find an opening into. This might be where part of the overall emotionlessness comes in: they’re more about a feeling than emotions, if you can make that distinction. To continue with something else, the vocals, oddly enough, are treated very much in the same fashion, although it may seem odd for such an MC-based record as is ‘Illmatic’. When you listen to Loveless the vocals are just another instrument in the mix. Strangely, the vocals on ‘Illmatic’, not because of volume, as they are in ‘Loveless’, but because of a certain seamlessness seem to blend in almost too well with the music. When you listen to it, the production seems to take up the same amount of attention as the vocals, and not because it is intrusive or draws attention to itself. I think it just may lack a certain necessary tension between the two. Also, while in ‘Loveless’ the vocals tend not to stand out because the lyrics are unheard, and therefore they are abstract, on ‘Illmatic’ the lyrics are clearly heard, but are in fact mostly abstract. This aids their slipping into the music more, but also in keeping the listening out of the experience completely. Both records keep their distance. They seem a little un-human despite being warm, and violent, though the violence is very much contained. All vibrant color but very much the same color, though altering shades and tints, but also very much within the lines. Still talking about the music, and to be more specific about similarities, though it’s more pointing out coincidence, certain tracks seem like parallels. ‘NY State of Mind’, the first proper song on ‘Illmatic’, and ‘Only Shallow’, the first song on ‘Loveless’ are both the most dangerous and ominous sounding. The middle songs on both also add more instrumentation than the beginning songs, but in somewhat same sounding patterns, like the strange feedback melodies in the middle of ‘Loveless’, and the electric keyboard and vibraphone sounds on ‘Illmatic’. Also, the last songs on each are these slightly lighter-sounding, dance-music influenced songs, not so much in the foundations, the beats, and drums and rhythms so much as the strange samples and vocals and strings added on top. Kind of airy and cotton candy-sounding compared to the earlier songs. I like both though. Very strange songs. The main thing, which all of this adds up to, is that both are records which it seems impossible to have a personal connection to.They don’t seem to be any different for having an audience. I think they’d sound the same in an empty room. They are complete in and of themselves, which makes listening to them weird.

Aside from the covers, presentation and music, the records both have similar, monolithic statuses, which once you listen to them you might not completely think of them as having yourself but you can certainly understand why others might. Both are considered impossible to better, that is impossible for their makers to better. But having said that, both seem despite their certain perfection, somewhat minor. This is probably due to the emotionless stuff. A lot of work was involved in both but to the point of squeezing out any heart that isn’t recognizable in terms of signifiers. Nas raps about sad stuff and angry stuff but doesn’t come across as sad or angry really, and the guitars on ‘Loveless’ are loud and screaming and violent but don’t really convey those feelings. All very odd. But I think as far as their reputations and statuses go as far as being “classics” is considered, unlike most “classics” which kind of disappoint because they are less well-made, or more inconsistent, or simply more half-assed than you’re led to believe before hand, they are almost exactly what the details you read, not what the “praise” say they are. If that makes sense. They are both somewhat conventional in that they use conventional elements, but are different and specific enough to be unlike other things, but create a noise and feeling which, while unique, isn’t necessarily something you have a great desire or need to return to very often. Like I said above, almost because they seem not to need you to listen, and not because they’re unmelodic or too hermetic.

-Christopher Adams on MySpace.

Written by Christopher

April 2nd, 2007 at 5:20 pm