Album Review: Uncommon Nasa – Written at Night

by Dustin

2017-10-10

8/10

To fans of the now disbanded Definitive Jux, the name Uncommon Nasa probably isn’t terribly unfamiliar. As an engineer he had his hands in the release of some of the labels most notably early works. For those unfamiliar, however, he’s also an extremely talented producer and emcee. Staying true to his roots as a musician, Nasa is a bit of a throwback to listen to. His music embodies the sound of New York’s underground scene, and his many releases show a true dedication to his own craftsmanship; however, this most recent project is a little bit different. Written at Night panned back from Nasa as a focal point and took a highly collaborative approach with other artists.

Though unconventional, this approached payed off in spades when digesting the final product.

The theme of Written at Night was relatively loose. Instead of chaining artists to specific topics, the album acted more like a diary of late night thoughts; moreover, there was “lightning in a bottle” feel to this sort of approach which was really quite interesting. The guest appearances often felt rough around the edges, as if the artists caught a wave of creativity in the dead of night and rolled with whatever came out of their pen. This is far from a negative however, and it was a massive part of Written at Night’s charm. It also made the album unpredictable. Even when approaching features with quite distinctive styles such as Open Mike Eagle and Quelle Chris, there was no real way to figure out what sort of direction they were going to take on their respective songs. This unpredictability added a nice sense of required engagement, as if turning ears away from the album for even a moment could result in missing something important.

Uncommon Nasa himself appeared on every song, but his presence was not overly pronounced. This was by design, as (like mentioned earlier) Written at Night was intended to be a collaborative release. Respectably, he kept true to this idea and didn’t force himself into the spotlight on any of the tracks save for the few solo portions at the very beginning. When Nasa did step up to the mic though, he was quite solid. His throwback New York style and enthusiasm toward hip-hop as an artform were evident. His style felt nostalgic, a throwback to the New York underground during the turn of the millennium. Being that this style doesn’t have much presence in rap currently, it was refreshing to hear on Written at Night. He may have a sound that isn’t for everybody, but there was certainly no denying the passion and thought that went into his contributions.

Nasa did, however, make himself very present on the production end of things. Handling every single instrumental on the release. He did a great job given the amount of vocal talent he was producing for. The beats were gritty, and satisfying to listen to; moreover, they were open ended enough to accommodate every artist in a comfortable way. His production wasn’t overly flashy, but it had a character and consistency which kept it engaging throughout the entirety of Written at Night.

Another interesting aspect about this album is that it seemed to gradually get more “out there” as it progressed. While a lot of albums tend to build to a climax, it was certainly a nice touch to have an album centered around late night thoughts and creativity progress in a way similar to the human mental state during the late hours of the evening. This did give the record a bit of a slow burning quality, but also a very satisfying and pleasurable complete listen; moreover, one should expect to enjoy this album more in its entirety, rather than individual songs. It was crafted in a way that lends itself perfectly to a long-form listening session.

At the end of the day, Written at Night was a compilation of likeminded artists coming together to create whatever they felt like creating. It is difficult to fairly score an album with such an open ended concept and variety of voices; however, Written at Night was undeniably solid. Nasa did an excellent job of piecing everything into properly cohesive listen. If you’re a fan of any of the artists on this release there’s probably something for you here. Incidentally, it’s also a good record to pick up if you’re looking for some new artists to dive into. Definitely a highly recommended listen.

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Think Piece: Ethics and Standards Versus Hit-Pieces in Music Journalism.

by Dustin

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I don’t consider myself a music journalist. I’m an individual who writes about music with my peers for fun. I write because I love music, I love musicians, and honestly, I love the people I get to interact with in the process of putting together articles and interviews. Yet, I regularly find myself feeling furious when checking in on bigger music publications due to the growing trend of hitpiece articles being used as viewer bait. These articles, attempting to undermine public figures, are very often grossly inaccurate. Taking quotes, song lyrics, satiricle works, and the like out of their original context to support imaginary accusations of wrongdoing.

Honestly, it really needs to stop.

I can admit that artists and critics do place themselves into the line of scrutiny – this is an objective truth to the nature to presenting art or discussions on art in a public setting. Of course, you also open yourself up to having your personal views critiqued, as you have now essentially willingly become a public figure. That’s fine. Again, it’s basically part of the gig; however, it becomes incredibly problematic when incompetent journalists lust for attention so severely that they being publishing unsupported attack pieces on these public figures. This has always been an issue in journalism (hate sells), but unfortunately in the past couple of years it’s become the plague of music journalism.

Two cases in particular inspired this think-piece. Susan Edelmen’s attack article on Ka from last year, and Ezra Marcus’ work of the same vein against Anthony Fantano (TheNeedleDrop) from a few days ago. Both authors showed a complete misunderstanding of the individuals they wrote about, yet attempted to spin them into horrible people for the sake of shock value and click-bait. Another similarity is both articles removed context from their “supporting evidence,” turning it into something completely different to give credence to their slanderous claims. Congratulations, you’re both garbage music journalists. Individuals like Susan and Ezra aren’t the problem alone though, they’re merely symptoms of a much larger problem.

The disease itself is the shift away from any sort of sense of a journalistic code of integrity.

Let’s take a look at a few of the generally accepted points that appear in most codes of journalistic ethics and standards. These are sourced through Wikipedia, but if you have access to scholarly journals on the same topic, you’ll find that these are fairly well universally accept. Most importantly in this instance are these four:

1) Reporters are expected to be as accurate as possible given the time allotted to story preparation.
2) Public figures are to be reported on without malice, and reports on these figures should be supported with well understood fact (even in the case of a “smear-piece”).
3) Pursuit of the news is not a license for arrogance.
4) Show good taste and avoid pandering to lurid curiosity (in other words, shock-bait news is a no-
go).

As far as I am concerned the moment you publish an attack piece that is baseless, you have just discredited yourself entirely as a journalist; moreover, the publications that enable the spread of misinformed works need to be held responsible. These authors are no longer writing in the name of public interest. They’re writing as narcissists. So interested in drumming up attention for themselves that they’re willing to attempt ruining another human’s career in the process without any semblance of a backbone to their work. The outlets that enable these articles to become published for the shock-value draw are equally as disgusting, throwing out any sense of ethics for a few more clicks of ad revenue.

You are killing music journalism. Good work.

I do recommend that anybody interested in holding authors accountable have a look into the standards of journalism. Wikipedia has a really excellent summary page that will give you a general idea, and I think it would really help to form a foundation when it comes to critically assessing whether or not an article is worth giving serious consideration. Individual reputations can be highly tied to what others write about them; even when proven false, slander articles can be chained to someone’s public image for an ungodly amount of time. Be diligent in what you consume, and the journalists you support. If the publications wont hold them responsible, it’s on us to make the effort.