Album Review: Daniel Son x Asun Eastwood x Futurewave – Physics of Filth

by Dustin

pof

9.25/10

The current East coast boom bap revival has certainly been interesting to say the least. It’s seemed like a rap fan’s dream, yet has seemingly flown under the radar beyond Roc Marciano’s smooth pimp rebirth of New York. That’s not to say it hasn’t been fun to witness that sound sinking its hooks into the ears of listeners, because it definitely has been, but it’s lacked the snarl 90s dope boy emcees tended to carry. Roc and his offshoots have all leaned heavily into a buttery smooth coolness, and — by no fault of his own whatsoever — it has gotten slightly monotonous at times. The climate has been perfect for a mould breaker to come along and present something with vigor and attitude. Shockingly, three such men have arisen out of the frozen North and banded together to create something monumental. Physics of Filth, a project consisting of the ever powerful Daniel Son and Futurewave combo, while throwing in the king of raw potential in Asun Eastwood for good measure. Basically all the ingredients for an unforgettable feast, the likes of which the Canadian hip-hop scene has never seen.

Oh yes, the audience ate well.

As a pair, Daniel Son and Asun Eastwood are incredible to a degree beyond comprehension. While both are fantastic emcees solo, they elevate each other to new heights on the same track. They balance one another out, with Asun’s calm coolness providing the exact foil Daniel Son’s hyper aggressive bite called for; however, there also seemed to be the perfect amount of competitiveness between the two to create a spark. The clear desire to not be outdone was evident, and it became exciting to try and predict who would push themselves the furthest on any given song. Topically the album was as the name and cover implied, immensely grimy drug dealer rap. Certainly a topic that has seen its fair share of play in hip-hop, but rarely is it done to the level of Physics of Filth. Asun and Daniel are quite talented writers when it comes to cheeky lines and unique phrasing. With that amount of flair, they were more than able to keep the content fresh and engaging. Coupled with a delivery match made in heaven, they were able to put on a near flawless performance on this release.

There was also the Futurewave factor to consider. Recently it has felt as if there is genuine reason to consider Futurewave as one of the best active producers alive, and Physics of Filth did nothing but bolster his impressive portfolio. He’s seemingly mastered the art of percussion, as the beats on this album hit hard enough to make the forefathers of boom-bap scrunch their faces. The sample selection spanned a wide variety of genres and were brought together seamlessly to create this intensely gritty atmosphere; moreover, his work found a way to boost the already undeniable chemistry of Daniel Son and Asun Eastwood. Even more impressively, he did so without repeating the sound established alongside the aforementioned Daniel Son on Pressure Cooker earlier the same year. It was similar in the sense that it was also a treasure trove of modernized 90s hardcore hip-hop, yet also clearly its own very unique thing. Frankly, Futurewave’s production performance made it impossible to simply shrug him off as a faceless man behind the boards because he was an integral part of the record’s DNA.

Physics of Filth was for all intents and purposes the total package. Enjoyable collaborative albums are not an easy feat to pull off naturally, yet when the stars align they can be something truly special. That’s what happened here. It would have been easy for Futurewave’s production acumen to serve as a crutch, propping up otherwise mediocre verses. Asun Eastwood and Daniel Son are not just any old rappers however, and their desire to live up to the standard each instrumental set was spectacular. Physics of Filth listened like the product of three budding elite talents holding a genuine excitement to be working together, and the interpersonal respect was audible. While the aforementioned chemistry was certainly important, this release would not have been what it was without the enthusiasm it carried. It could have simply been a solid side project, and that would have still been wonderful. Instead, it ended up being perhaps one of the best group releases in the better part of a decade, and one that would be a shame for any hip-hop junkie to not at least try once.


.Final edit: Emily – Preliminary edit: Rajin – Additional direction: Isaac

 

 

A Few Tips for Cleaner Musician Media Packages

by Dustin

pleasereviewmymusic
This is an exact quote from an email I received in March of 2018.

This is a topic I don’t see discussed too often, so I wanted to take a minute to talk about it here. As we preach, we really like to give small independent acts an opportunity to be spotlighted on Extraordinary Nobodies. Primarily because we love to be able to help provide coverage, but also due to the fact that smaller fan-bases tend to be more loyal readers. It’s just one of those situations that can work out to be mutually beneficial, and I know plenty of other blogs feel similarly; however, the internet being as open-ended as it is means there is a lot of noise in the music scene. Rarely will your music be stumbled upon randomly, rendering submissions to blogs and other publications invaluable. We love music submissions, yet it’s become fairly apparent to me that many have little clue how to present their art in a professional way. I thought maybe it would be helpful if I offered a few tips based on personal preference and experience, as an individual dealing with such emails on a weekly basis. They’re not overly challenging, simply a few minor things to consider when aiming to prepare a cleaner media package.

First and foremost, please remember to actually send your music in the email. I know that sounds stupidly obvious — and trust me, it should be — but in three years of operating this website, I’ve received seven different music submissions with no actual music submitted. No links, no attachments, nothing. It is basically impossible to take an artist seriously when this happens, sorry to say. If you realize you forgot though, don’t be too embarrassed to send another email. Accidents happen, we’re all humans here.

Ideally, you’re also going to want to provide a little information about yourself. This doesn’t have to be extremely personal if you’re looking to maintain some sort of anonymity, as many prefer to in this day and age. That being said, if you’re a new artist there is a good chance I am not going to be able to research anything about you. To be totally blunt, it makes it impossible to build an interesting introductory paragraph and I won’t even bother to pursue the music further at that point. Even just going as far as when you started making music, who your influences are, and what general region you’re from are more than enough to make you easier to write about. Only including a single line asking me to check your project out with nothing else is probably going to land you in the recycle bin rather than the folder of interest, just to be transparent.

In addition to the above, try not to force cockiness in your message. Confidence is great, but nearly every act to tell me “I’m one of the best young artists in my area, you don’t want to miss out on this insane hidden talent” has ended up being absolutely awful. I truly want you to believe in your abilities, but the ego-masturbation looks like overcompensation for subpar talent.

Social media is also an invaluable tool. I can’t really understate the importance of including the link to your socials in your media package. Even if we don’t get the chance to write about your music right away, we actively want to be able to keep up with your career. A few times I’ve had artists with impossible-to-search stage names (such as using their real name) send me quality music, leaving me unable to follow them in the future as they did not add any social media links. It’s frustrating and sort of off-putting. Obviously this is less important than a few other things I’ve spoken about, since some people don’t even use social media to begin with; however, if you do have accounts for your music persona, I would urge you severely to do so.

Many of us writing on independent blogs are doing this purely for the passion, just like you and your music. It’s a love that we pursue as a form of leisure, so I’m sure the demand for professionalism seems over the top to some extent. Honestly, that’s a fair perspective and I could understand anyone feeling that way upon reading this article. In the same breath, like you we run on limited time when it comes to content creation. We have jobs, family affairs, and outside responsibility constantly draining on our attention. While we want to be a platform for the DIY-at-heart, we simply cannot handle having to dig for information on every musician we want to cover. If you can take the extra time to teach us what we need to know, I have a lot of confidence you’ll be received more positively almost anywhere you submit. It’s your first line of connection, and I think it’s more than worth the effort to show you’re serious.


Final edit: Rajin – Additional direction: Isaac

Think Piece: Why the Hate Fetish and Mindless Following?

by Dustin

negativityainttheway

If only this were a public presentation. I would ask for a show of hands from individuals who’ve experienced a true “hater” (for lack of a better term). The type of person that goes into anything assuming, possibly hoping, that they hate it. One assured to get more joy from verbally tearing into media than actually consuming it. I’m genuinely certain that every individual in the audience would raise their palm, particularly if they’ve spent any amount of time on the web. Music fandoms seem to be a continual purveyor of hate porn. Sometime between the point Pitchfork started spewing untreated sewage and the present, it’s seemingly become far cooler to approach under the mindset of flaw hyper-vigilance; ignoring the redeemable out of desire to be dissatisfied and overflowing with hot takes.

A particular facet of this that really bothers me is the desperation in matching opinions with prevalent tastemakers. I mean, I understand that this is basically the entire point of tastemaking to begin with; however, I really don’t understand abandoning your original opinion of a project just because a YouTuber or author you respect decided to slam it. What are you doing? Are you so obsessed with this online figure that your personality must match theirs entirely? Are you planning to meet them and impress them? Marry them? That’s kind of creepy, to be honest. I’m sure I should probably just mind my own business because worrying about this at all makes me a bit of a hypocrite, but come on. You can watch social media perception of a release shift from positive or negative in real time after a few notable people publish their thoughts. It’s pathetic, man. You can enjoy a reviewer and not agree with them all the time. Trust me, it’s not illegal. Most of us don’t care, and those that do are probably horrible at talking about music anyway.

I also scratch my head at the entire idea of “uncool” artists. Acts that you’re not allowed to enjoy without feeling embarrassed because the populous has decided they’re lame. I’ll take a hard pass on that, thanks. It’s understandable when it’s a monster like R. Kelly (though the general public could certainly be doing a better job of exiling him), but what exactly is there to gain from being ashamed of your tastes? 15 years from now, are any of you going to be happy that you abandoned loved material to impress uptight nerds on the internet? I highly doubt it. Do yourself a favor and redownload every album you enjoyed but moved to the recycle bin because it might make you seem like a “loser.” Cut it out, you’re better than that. Happy listening.

I suppose what I’m urging you to do is take music a little less seriously. It’s not that big of a thing, and it never has to be. Art is art. If you approach it from a more positive place, you’re going to end up enjoying so many things. For me, when I finally tossed the constant scrutiny to the side, my eyes were opened to an amazing new world of experiences. Admittedly, I still write and release negative reviews in spite of carrying a genuine wish to love every record I spin. Disappointment is human nature, and I think there’s value in sharing why you were disappointed. It adds some variety to the discussion, as long as the views are truly your own. For the listener, though, I don’t think you should let this influence your preferences negatively. Enjoy what you enjoy, and read articles for the pleasure of seeing through another perspective. Reviews are not authority, they’re simply entertainment just like the albums they’re coat-tailling. Turn off your lust for dislike, and lend art the open mind it deserves. You might surprise yourself with how much fun it can be, besides, none of this is a competition.


Final edit: Emily – Preliminary edit: Rajin – Additional direction: Isaac

Rajin Rambles: 2018 in Review, and Beyond

by Rajin

rajin2019

So I’ve kinda been AWOL for most of this year. I’ve been struggling with some pretty bad writer’s block for one reason or another. I just wanted to use this piece as an opportunity to shake the rust off and give my opinions on hip hop in 2018 that I — as someone who was raised a soft suburbanite — can’t and don’t expect any readers to take seriously.

I mentioned in last year’s recap that I felt hip hop was in a state of limbo, and that rap music didn’t seem to know where it wanted to go. In some ways I think that still holds true. It seems like commercial rap is clinging on for dear life to the trends that’ve had the genre in a stranglehold over the last two or three years. Rappers both new and established seem petrified at the idea of leaving the comfort zone that has established itself, because nobody knows where to go next. Melodic trap lives on for better or for worse…and from what I can tell, it’s actually gained some footing back in the game. Last year I got the sense that there was a bit of exhaustion in regards to that sort of music that I no longer seem to find. People seem like they’re totally satisfied with the prevailing trends remaining firmly in place, which I can’t knock since everybody has their own tastes; however, I’m a little disheartened by the stagnation. I also can’t pretend like I’m not sick and tired of the representative sound of hip hop being so sanitary and watered-down when the music was built off a spirit of defiance and grit.

This is all anecdotal though. I can’t say for sure whether my observations are actually accurate; all I can say is I’ve been hearing a lot of Travis Scott and Drake, and it’s made me want to “accidentally” crush my own windpipe.

Fortunately for those who have tastes that aren’t exactly satisfied by that sort of music, an almost comical amount of projects were dropped by underground rappers this year. It reached the point where, unless you are in certain settings, there was really no reason for you to pay attention to anything going on that you didn’t like. In the maybe three pieces I’ve written in the last year and a half, I’ve spoken a countless amount of times about the new-age boom bap movement that has taken root in the underground. For some reason, this time last year I figured that this movement’s growth would merely be incremental. Couldn’t tell you why, and at this point I feel pretty fucking stupid for ever holding that belief. The flood gates have been opened and they’re not shutting any time soon. Last year this particular scene was still budding, but this year it’s clear to anybody with the ability to use a computer that the underground is alive. It’s stronger than it’s been in 15 years, maybe somebody should let DJ Booth know.

In the last 12 months, I’ve become familiar with a lot of newer artists. Daniel Son, ANKHLEJOHN, CRIMEAPPLE, Asun Eastwood, and Eto have caught my ears the most. That’s not to take anything away from anyone else, but a huge chunk of my favorite albums this year were released by these guys. Since mid-2017 and even earlier, they’ve released a metric fuckton of incredible projects with shocking consistency. Artists have seemingly upped their output this year…which is also something I’d like to talk about. They’ve been releasing project after project, with many ending 2018 with upwards of four or five; in the past, I likely would not have been thrilled about it. I would have said something about oversaturation serving to dilute the artist’s overall impact for me. I’m not sure that’s how I feel anymore though, at least not with certain artists. More attention is being paid to structuring a body of work. I partially credit the return of vinyl and cassette for that. If people are making albums that they want to release on an analog format, they put a greater effort into trimming the fat and eliminating filler. You can’t just skip a track, so every song needs to serve a purpose. Generally, this results in projects being compact and packing a punch. In comparison to when artists were dropping three 70-minute long mixtapes a year in addition to an album, projects don’t end up sounding as rushed or bloated. That is mainly where my ambivalence toward this practice stemmed from. Having several shorter projects in a year is a great way to accomplish the same thing without sacrificing quality control, and frankly I would quite like it if more of my favorites started releasing more regularly.

I’ve also noticed that producers have been branching out a bit more from the minimal style that Roc Marciano, The Alchemist, and Daringer used to pioneer the sound of this movement. I’m pretty glad about that, because for a little bit I was afraid that people would overdo the minimalism and make it feel stale. I’m once again relieved that I was wrong. I have to give a huge shout-out to Futurewave, who is pretty handily my favorite producer out right now. His work on Pressure Cooker and Physics of Filth is just utterly astounding. It’s everything I love about hip hop. I also want to mention Big Ghost Ltd.; while I’ve enjoyed his work for a while now, his beats on Aguardiente and especially Van Ghost show that he’s continuing with the steady incline he’s been on essentially since coming out as a producer.

This year hasn’t only been about new artists though. I’m very happy with a lot of vets. Roc Marciano obviously comes to mind — he released three albums that I really like, with Behold A Dark Horse putting up serious competing for the position of my favorite album in his discography thus far. One of those albums, Kaos, was produced by the legendary DJ Muggs, who’s had a remarkably strong year himself. He’s actually been on a hot streak since his album with Meyhem Lauren last year, and it doesn’t seem like it’s going to be ending anytime soon; in addition to Kaos, in 2018 alone he released a strong Soul Assassins album, an EP with Meyhem, reunited with Cypress Hill for their best album in two decades, and is set to release albums with Eto, CRIMEAPPLE, and Mach-Hommy next year. Black Thought finally released some solo projects and while they were a little lacking in substance, he made it perfectly clear that he is the most dangerous emcee on the face of the planet. Shad and Blueprint released utterly gorgeous records. People may clown me for this next statement, but they can fuck themselves. I think Eminem brought it with Kamikaze. I consider that to be his best and most genuine album since 2002, which absolutely shocked me because Revival was the epitome of a career-ending album. Royce 5’9” also released his best and most personal album to date this year, alongside a strong PRhyme outing with DJ Premier.

He’s been hyping up a Bad Meets Evil reunion album at shows overseas lately, so I’m really hoping that’s something we see next year. Unrelated, but I’m looking forward to the next Run The Jewels album, too.

Of course, there are a number of vets who once again didn’t release the albums they’ve been promising for years now. At this point, I should know better than to expect Redman, Ghostface, and Busta Rhymes to drop those records…but I’m a moron. Overall though, despite a few of my earlier complaints I found 2018 to be the strongest year hip hop has had since I’ve been a fan. There truly is room for everything in this day and age, a while that lends itself to music and artists I’m really not a fan of, it’s also led to some incredible material and future legends. I hope to be more active next year than I was this year to offer my unsolicited opinions and takes…just like all of the hip-hop writers for whom I hold a seething hatred, because the way things are going I only see good things in store for 2019.

Dustin’s 2018 Most Recommended Album List

by Dustin

2018 album list

Being a fan of hip-hop in general, I find year end list season to be a particularly special level of hell. While most publications crank out relatively harmless and generic top tens with whatever charted best in the past twelve months, there’s always a few outlets that decide to get holier-than-thou about their opinions through numeric rankings. Case in point, my favorite aggressive group of travelling trend chasers, DJ Booth talking down to people for enjoying an Eminem album.

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Now, it obviously doesn’t matter if Kamikaze gets left off a top releases list, but it’s all in the presentation, right? If we’re going to play the taste-shaming game, I will take the opportunity to point out the fact that they’re up their own ass about a list that includes Drake’s Scorpion and Cardi B’s Invasion of Privacy; however, just like them, that would be nothing more than dumping on others for enjoying things I don’t like. I suppose I just wanted to take a quick second to dig at DJ Booth for thinking their opinions hold any weight, when they’ve already proven to be more out of touch with rap than the artists they dub irrelevant. Maybe next year, you can put people onto some new things without desperately trying to stir up controversy-based discussion on Twitter. Given the level of quality control, I doubt it’ll happen, but I’m a dreamer.

At any rate I’m not going to rank my top albums this year, take this as more a list of recommendations that I see as an essential snapshot of hip-hop. Thirteen favorites which I feel strongly enough about to say, “you should give this a try.” No rankings, as I stand behind each and every one of these records as worth your time to a degree that I don’t need to quantify. 2018 was amazing, but this is my personal cream of the crop.

Blueprint – Two Headed Monster: I can never help but feel like Blueprint is one of the most chronically underrated artists in hip-hop. He’s been around forever, standing alongside artists in the Definitive Jux and Rhymesayers camps since their haydays. To make things better he seems to only improve with age, and is perhaps one of the most thoughtful craftsmen in the genre. Two Headed Monster carried the spirit of acts such as A Tribe Called Quest in the most respectful way I’ve ever heard. It clearly pulled from that era, but it was handled with such care that it ended up like a heartfelt tribute to rap music. Front to back nothing stands out or steals the spotlight, yet still it was impossible to walk away from without feeling insanely happy. An album for the head-at-heart that avoided being condescending.

LARS – Last American Rockstars: The first wish fulfillment I received this year was seeing The Davidians finally materialize. See, back in the mid-2000s King Gordy and Bizarre formed a group under that name. Being heavily into Detroit rap at the time and a big King Gordy fan, I spent forever waiting for a release. After a bit of time, I started to assume the project had met the same fate as Detox and Jon Connor’s Aftermath debut. I was however, wrong (which will become a bit of a trend on this list) and the pair’s LARS rebrand started work under Majik Ninja Entertainment. The album ended up being an absolute bombastic joy. I can only really summarize it as having been a rollercoaster of debauchery that I never wanted to get off. If you want to read a little more about it, I wrote a review of this one. It was certainly a unique beast.

Eminem – Kamikaze: I’m sure there is going to be a faction of readers who will absolutely loathe the fact that I have placed this album on my 2018 most-recommended list, and that’s okay. Fortunately for me, this is my list and not yours. To me, Kamikaze was the first Eminem album to feel like an actual Eminem album since Encore (which was pretty weak). He sounded larger than life, angry, and immature in the way that made his music so engaging over a decade ago. While I’ve seen it be panned for lacking “emotionally mature” content, I felt as though the route of violent braggadocio taken worked out for the best. If I’m being honest, Eminem’s dramatic gut spilling of personal issues had long been majorly played out for me. I was refreshed simply to hear him rapping with a big personality on top of enjoyable production. I found the critical reception of Kamikaze to be an unfortunate byproduct of the perception that Eminem is “lame” to praise or enjoy, at least in comparison to my experience. I had all but given up on him after the dumpster-fire that was Revival, but this was actually quite a pleasant effort.

Hermit & The Recluse – Orpheus vs. Sirens: Ka has been a favourite of mine since his 2013 release The Night’s Gambit. I was quickly tantalized by his scripturesque lyrical style, and how it was built upon with distinctive and often drumless production. When he unveiled “Hermit & The Recluse” as a project with producer Animoss, it seemed like a match made in heaven. If you’re familiar with Ka at all, Orpheus vs. Sirens really wasn’t far removed from what you would expect. It fell a little short of Honor Killed the Samurai (and perhaps even Days with Dr. Yen Lo) for me, but it was for all intents and purposes a splendid piece of art. I’m sure this sounds as if I’m dismissing it as “more of the same,” but when you have the track record of consistency Ka has, that’s far from a negative.

Royce da 5’9” – Book of Ryan: Rajin and I both avoided writing a review for Book of Ryan, even though we loved it; given the highly personal nature of the subject matter, it didn’t feel right to dissect. I stand by that decision. Book of Ryan was more of an audio confessional with Royce da 5’9” opening up about the darkest and most private aspects of life. I could see this being an album that not everybody will enjoy, as it lacked any sort of pace or energy. This wasn’t an issue for me though, and those who enjoy melancholic introspection will likely really vibe with the atmosphere and vulnerability.

Knowledge the Pirate – Flintlock: Knowledge the Pirate — a long standing associate of Roc Marciano — created what was probably the most old-school east coast flavoured rap record this year. Flintlock was no-frills, no excessive flair, and perhaps slightly one dimensional; however, none of this held it back from being downright fantastic. From front to back his debut release gripped the part of me that grew up on grimey 90s music. If that sentence could also describe your lineage in hip-hop fandom, you should definitely pick up this one up as soon as possible.

Roc Marciano – Behold a Dark Horse: Admittedly, I was not huge on Rosebudd’s Revenge 2: The Bitter Dose when it released. I felt it to be a little too minimalistic, and a sequel that didn’t live up to my enjoyment of the original (though Rajin disagrees with me entirely on that). With that in mind, I was genuinely a little conflicted when Roc Marciano announced Behold a Dark Horse as his second major drop set for 2018. I was, unsurprisingly, very incorrect in my hesitance once again. Behold a Dark Horse ended up a fantastic display of off-kilter bold production, and Roc Marci at his weirdest and most energetic. In the future, this album will likely remain near the top of his discography for me. It had every single trait that I felt the second Rosebudd’s Revenge lacked, and was ultimately and extremely satisfying listen.

Black Milk – FEVER: I view Black Milk as a gigantic talent, and one of a small handful of artists I am comfortable pre-ordering new music from. I had truly unfairly high expectations for the follow up to If There’s a Hell Below, yet somehow he surpassed my hopes. FEVER was a luscious and beautifully smooth progression of the jazzy sound Black Milk toyed with on the Nat Turner collaborative LP The Rebellion Sessions. I feel as if this album never really received the attention it should have, likely due to coming out at the very beginning of a well saturated calendar year. If you did happen to miss FEVER, give it a chance. I think it has the potential to appeal to a wide variety of fandoms, while being challenging enough to please even the snobbiest of alternative music nerds.

ANKHLEJOHN & Big Ghost Ltd. – Van Ghost: On the lead up to June 18th, Van Ghost was probably my most anticipated drop of 2018. Ankhlejohn was on a furious hot-streak of quality tapes, and Big Ghost was showing to be a rising star in the modern boom-bap circle. Having them come together felt no less than a recipe for success, and it was. The Van Gogh-inspired Van Ghost was dark and gnarly, but with a distinct undertone of delicacy. It was anghellic in ways, but not afraid to kick the listeners ass when confronted with unpleasant reality. I really cannot recommend this enough, nor can I properly word just how wild it was stylistically. I can, however, promise that Van Ghost will not let you down.

Denzel Curry – TA13OO: Denzel Curry is one of those rappers who’s seemed on the cusp of dropping a individual masterpiece since his career launched. 2016’s Imperial came close, but this was the year it fully came to fruition. TA13OO saw Denzel finally apply his wonderful toolkit and raw skill to a well thought out concept, and it was gorgeous. I might even go as far as saying that TA13OO will be looked back on as the definitive record of its scene. I did review it, but it’s an album that you need to hear for yourself to appreciate properly. Whether you’re a fan of the old-school or the new generation, it would be a disservice to your ears to not give it a fair shake. It was phenomenal.

Daniel Son x Asun Eastwood x Futurewave – Physics of Filth: A little earlier this year I discovered Asun Eastwood’s project Hollywood Briggs from 2017, and gave it a spin with Rajin. We were mutually impressed, to the point that I ended up ordering the CD version of the release; however, the tracks featuring Daniel Son really stood out. His presence pushed Asun to elevate himself to unbelievable heights, leading to spectacular toe-to-toe rapping. Immediately we began to talk about how hyped we would be for them to form a duo. As it turns out, we would get our wish and then some. The duo formed a trio with super-producer Futurewave (more on him in the next blurb), and released one of the nastiest barrages of hip-hop I’ve listened to recently. For anybody hungry for more grit in the modern rap scene, this album is for you.

Daniel Son & Futurewave – Pressure Cooker: The second consecutive entry on this list for both Daniel Son and Futurewave, and an absolute monster of a record. Rajin reviewed this one already, and he said a lot more than I’m going to be able to in this format so I recommend giving that a read. What I will say though is that Pressure Cooker is the result of an emcee firing at all cylinders alongside a highly skilled producer with a clear vision of soundscape. Much like the works of duos such as Eric B. and Rakim or earlier Atmosphere the chemistry on display was almost unfair, resulting in a nearly flawless end product. If you dig the Roc Marciano lane, but want something with more snarl, Pressure Cooker is likely the perfect choice. Don’t get it mistaken though, Daniel is far from being another Roc clone. He is a breed of his own, and Futurewave has the chops to match.

Shad – A Short Story About a War: The only way I know how to properly express my adoration of A Short Story About a War, is to say that attempting to review it in the light it deserves sent me into an awful writers block spiral for several weeks. I could not find the words to capture just how incredible it was, and felt as if anything I could write would still misrepresent it to the reader. This album is not only musically enjoyable, but the heavy themes and ideas it carried were presented with a perfect balance of delicate tact and reality grounding shock. Seriously, if you’re a music writer who maintains the opinion that hip-hop lacks “content” currently, get your head out of your backside and look a little harder. In my opinion, one of the best social-political rooted albums of all time dropped this year, and you have missed out by not doing your due diligence. It nearly killed this website by being too good, and that’s coming from an immensely stubborn human. I wish I was kidding.

To conclude my 2018 list of recommended hip-hop records, I’d like to thank a few people. First and foremost, thank you to Rajin and Emily for their contributions to Extraordinary Nobodies. We all had a rough stretch in terms of activity, but I am extremely proud of what we did accomplish. Additionally, I’d like to shout out my friend Isaac for regularly offering me feedback on articles. Thank you to Michael (of FilthyBroke Recordings), Ramon (also known as MCrv), and Ben for listening to me vent multiple times about difficulties balancing life and writing. To all the artists who we featured in some form or another, thank you for doing what you do and giving us a reason to write. Finally, a massive thank you to everyone who has supported Extraordinary Nobodies in 2018 and years prior. We’re an artists-first site, and knowing people appreciate that is beyond special. Let’s hope for another strong year of hip-hop in 2019. We can’t wait.

Album Review: City Morgue – CITY MORGUE VOL 1: HELL OR HIGH WATER

by Dustin

citymorgue

7.5/10

Though time has seen the gradual erosion of definitive regional sounds within the landscape hip-hop, New York has always seemed to exist on the cutting edge. The state has produced some of the sharpest and most unique artists, each carrying the drive to lay claim to their slice of the east’s illustrious history. The results of this progressive spirit have been, at times, shockingly unpredictable. Case in point: City Morgue. Formed by ZillaKami and SosMula, the enigmatic duo wasted little time in working to establish themselves. Armed with the production talents of THRAXX, they began working on music a mere three days after SosMula’s release from prison. Ultimately City Morgue landed on a hyper-aggressive punk and metal inspired sound and dropped a couple of singles notable for their extremely explicit lyrics and controversial videos. This, along with ZillaKami’s impressive feature on Denzel Curry’s TA13OO album, garnered a good deal of attention for the group. A full-length project to capitalize seemed inevitable, and it came in the form of CITY MORGUE VOL. 1: HELL OR HIGH WATER on October 12th.

Absolute facemelter.

While it became apparent from the early stages of City Morgue that the bulk of both ZillaKami and SosMula’s appeal would be in their energy, they did make this project lyrically interesting. As expected, their writing throughout was graphic and often painted a picture of an extremely gruesome lifestyle. Whether it was drugs, murder, gunplay, or physical violence, there were no punches pulled; moreover, in spite of the fact that HELL OR HIGH WATER never went full blown horrorcore, it did blur the line between reality and fiction just enough to make it pleasantly uncomfortable. Both artists had such a degree of conviction behind their vocals that it made even the most outlandish lines seem believable. It truly felt like a rap snuff film at times. On top of that, they played off of each other’s styles incredibly well for such a young group. ZillaKami’s rock inspired semi-melodic scream rap was balanced out perfectly by SosMula’s much more traditional hip-hop grounding. At surface level, it would have been easy to declare Zilla the standout on most tracks due to his impressive hooks and loud delivery, but the release would not have worked nearly as well without his counterpart. Additionally, they created a dynamic in which both had ample opportunity to shine. Occasionally one member would contribute to a song in a much smaller role, such as providing a refrain, to allow the other a solo moment under the spotlight. Good chemistry is an important intangible for any group or collective, and City Morgue proved rather quickly that they have it. It elevated the entire listen, turning what could have been a bland assortment of bangers into a wildly fun slugfest of dissipated living.

The aforementioned THRAXX provided the bulk of HELL OR HIGH WATER’s production, with Ronny J tagging along for spot duty. The instrumentals could have easily been described using only the words loud and angry, sounding more like something out of Florida’s underground scene than New York. Featuring distorted guitars atop of heavily bassy trap, there was a certain industrial flavor to this album which fit the prevailing themes quite well. Matching ZillaKami and SosMula’s relentless rage fueled vigor was no issue; however, where the production did lack was in its range. There were definitely standout tracks instrumentally — “Gravehop187,” “So What,” and “SHINNERS13” in particular were monstrously hard hitting — but a lot of the deeper cuts sounded very similar despite being consistently solid. This didn’t hurt the listening experience per se, but some variation may have allowed for the more notably truculent songs to be more impactful. That being said, a debut project having had no blatantly bad beats was rather special in itself regardless of any nitpicking.

Laying the foundation for a new wave in a genre as fluid as hip-hop is never an easy task, but City Morgue did admirably with their freshman effort. Openly admitting in their “The Way Out” documentary with Mass Appeal that their sound is “a work in progress,” the potential for growth within the group was palpable. What was really astonishing though, was their ability to a bring an accessible familiarity while still being a breath of fresh air. For example, some of the SosMula focused moments on this album harkened back to early Three 6 Mafia, yet they were different enough that it felt entirely new. The lack of variety was noticeable and problematic to a degree, but it didn’t totally take away from what was accomplished here as far as instituting a groundwork. They’re self-aware artists, and it’s evident in the way they speak that they know this was the starting point and not the finish line. City Morgue’s genuine ambitious nature and confidence may just make them a force to be reckoned eventually. They may not be there quite yet, but HELL OR HIGH WATER was very much a best foot being put forward.

Think Piece: The Problematic Nature of Modern Music Reviews

by Dustin

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I haven’t written a think piece in a long time, but as Rajin and myself have continued to develop Extraordinary Nobodies — both in terms of the content we wish to produce and our individual skills as writers — there is something that’s sort of been nagging at me to discuss. While it’s a topic that is hard to write about without sounding holier-than-thou, I do feel a certain degree of disappointment in the lack of respect shown by many media figures toward the pieces of music they choose to review. I don’t mean this purely in the sense of slamming artists’ work for being unenjoyable either. I see it as more of a multifaceted problem, with symptoms spawning from the disease of clickbait driven publication motives. The focus has shifted from writing well fleshed out musical discussions to serving up Hot-N-Ready style one listen think pieces masquerading themselves as album reviews. It’s insulting. Not only to the artist, but to the art itself, the reader, and ultimately to the craft of critical assessment.

Eight years ago, the now deceased Scott Miller wrote a book in which he pondered some of the issues he saw with music critics. In a particular section, he stated that he believes a good critic should be able laud an artist for their musical work while separately acknowledging moral objections without confusing the two; moreover, he seemed to express that he felt as if this was something many struggled to achieve. Moving into the present, I would argue that this has become an increasingly troublesome trait of music media, particularly in the realm of hip-hop. Kanye West is, unfortunately, a prime example of this in action. I’ll preface this by saying, I am absolutely not defending Kanye as a human being. He has done and said things that I find deplorable. They do not line up with where I stand as a person; however, I find it equally disgusting that those who have chosen to analyze his work opt to spend more time focused on his antics rather than the music. Not only does it indignify the reader by tricking them, but it draws attention to questionable behavior without offering any degree of meaningful insight as to why it should be looked down upon. There is a ton of room to have constructive conversation about why the things (and I’m using him again purely due to it being relatively recent) Kanye West does are harmful. With that in mind, it’s not going to be accomplished within a review that is effectively saying “this album is bad because Kanye is bad.” Either focus on the music, or focus on the moral issues of the individual and present it appropriately.

That’s not to say that I subscribe to the idea that the social context of a release should be ignored entirely. Some of the greatest hip-hop critics of all time focused heavily on race, gender, political unrest, and other nuanced socioeconomic troubles. What set them apart is that they looked at the music in relation to these things, rather than rating the value of an album based purely on an artist’s personal beliefs.

A lot of this circles back around to sloppy writing in general, though. With the way we consume media through the internet, there is an expectation for everything to be instantaneous, easily digestible, and attention grabbing. It sucks. It feels as if it has become commonplace to read reviews which miss even the most obvious of concepts, never mind anything below surface level. There’s no care or respect given to the art, and it’s all in the name of having the article out before other publications. I get it. Most rely almost entirely on advertiser revenue to stay afloat, and higher traffic means higher profit. Sadly, this has lead to the gradual degradation of a craft that once held in much higher regard than it is now. There was a time when writers such as Greg Tate made a conscious effort to ensure that their pieces held up to music they were discussing. They drew inspiration not only from journalists, but from poets and other talented penmen. Words were deliberate and laboured over, not simply churned out on a whim to meet a deadline and quota. While this may sound like romanticising the past (and to a degree it is), I simply long for a place in media where articles can be valued based on their content and not on their swiftness to reach publishment.

There isn’t an easy solution to these issues that I can offer up, but I think being aware of the media we’re consuming is the first step toward improvement. While the current climate is likely always going to value rapid and disposable writing, as a reader you have the ability to make your voice heard. Offering feedback can go a long way. A huge part of my growth has been tied to people making suggestions and offering constructive criticism on my work. It drives me. It drives us. Showing that support to the authors who are giving you the type of material you want to read is what keeps them going. In the same vein, if we start ignoring outlets notorious for releasing low-effort high-volume commentary it will effectively cut off their blood supply. Will it be enough to permanently fix to realm of music critiquing? Probably not, but it’s a starting point toward affording artists the type of consideration their endeavors deserve.