Album Review: Daniel Son & Futurewave – Moonshine Mix 2

by Dustin

MSM2highlyrecommended

Since dropping Moonshine Mix with Crate Divizion a little over two years ago, a lot has happened in Daniel Son’s fast moving career. Having teamed up with the insane production talent Futurewave the pair went on an unbelievable run of three albums, putting rap on notice that the North was a force to be reckoned with. Each record pushed their own limits, budding a reputation as one of the most reliable and dynamic acts in the scene. Though Futurewave didn’t spearhead the instrumentation of the original, their fourth offering was set to be Moonshine Mix 2, a record that barely afforded fans enough time to digest Yenaldooshi from earlier this year before making itself hard to ignore. Few artists have the drive to complete four unforgettable albums in such a short span of time, but if anyone were to do it, it was going to be Daniel Son and Futurewave.

And of course, they did.

Daniel Son has pushed himself to new heights with every release, and Moonshine Mix 2 was no exception to that trend. As one should come to expect, his confidence and attitude behind the mic built up a massive presence leaving no second of any verse wasted. From a pure engagement standpoint, Daniel Son delivered one of the boldest emcee performances of the year with his blunt and assertive style laying down bar after bar of filthy — realistically morbid and cold — life observations. As if that wasn’t quite immense enough, the way he approached flows and rhyme patterns on Moonshine Mix 2 felt significantly more unpredictable than in the past; moreover, it was genuinely exciting to have that uncertainty and built up anticipation between tracks. It’s not like he changed his style fundamentally either, he’s simply refined what he does best to the point of it being jaw-dropping. For an underground hip-hop scene in Canada that has been shaky at times, an artist with the hunger and bite of Daniel Son has continued to be a huge refresher. While it’s been evident for a while that he had something special, this album could be seen as the moment that his track record as a rapper went from impressive to nearly untouchable.

Of course for every leap forward Daniel Son made on Moonshine Mix 2, Futurewave was right alongside with absolutely spectacular instrumentals. Among his peers, Futurewave is one of a small handful of producers that seem to be making an effort to do something inventive and involved with the art of sampling. The beats here felt inspired by the sound of the original Moonshine Mix tape, but they definitely had his signature offkilterness and punch. His sample selection was super varied, yet it flowed perfectly. For example the gritty and oddly disorienting “Pray 4 Me” led into the much more relaxing “Kip Raines,” and even though they couldn’t have been more different, their distinct Futurewave flair made them work together. He’s shown time and time again that he’s one of the best in the business at overseeing full album production, and Moonshine Mix 2 was reflective of that. It’s records like this that people learning to produce should take the time to study, because the way that Futurewave assembles instrumentals is so far beyond the average. He didn’t just take the easy route of basic loops. His production built and fell back in ways that complimented and emphasized everything Daniel Son brought to the table, but left him ample room to let his enormous personality breathe. It was all tied together in such a pleasing way, complete from front to back.

It’s not often that a sequel outdoes its predecessor, but it didn’t come as a surprise that this one did (and the first Moonshine Mix wasn’t a slouch in its own right). These two artists are constantly setting the bar for quality in the underground hip-hop scene. Whether it be Pressure Cooker, Physics of Filth (with the talented Asun Eastwood), Yenaldooshi, or Moonshine Mix 2, Daniel Son and Futurewave have been able to do no wrong. This was a great release, and what’s more encouraging is that they’ve shown no signs of taking the foot off the gas. Much like Roc Marciano, Ka, or the collective of Griselda, there are no direct comparables to what those around Brown Bag have been able to establish as their sound. Moonshine Mix 2, as with their previous releases, stood firm as something unique to itself and special. In the modern hip-hop environment of abundant rapidly available music, being able to stand out based on individuality and pure quality is rare. Not only did they manage to achieve that, but they made it look casual. For those who enjoy grimy, nasty and raw street rap, look no further: this album could very well end up being your project of the year, no doubt.

Album Review: ANKHLEJOHN x Big Ghost Ltd. – Van Ghost

by Rajin

van ghost

9/10

Since delivering his official debut album in 2017, ANKHLEJOHN has remained one of the most interesting emcees in the current underground scene. He has a tendency to switch things up for each project, an artistic choice that continues to keep him fresh and engaging. He has released countless EPs and mixtapes, each of which has its own identity that sets it firmly apart from the rest of his discography. In June 2018, he released what he touted as his second album, Van Ghost, with legendary blogger turned full-time producer Big Ghost Ltd. Ghost has worked with Ankh before, supplying him with the most dynamic, cinematic beat on the entirety of The Red Room (“Original Man,” a chilling song that features Hus Kingpin). From their very first time working together, it was clear that Ghost had a deep understanding of who ANKHLEJOHN is as an artist. The chemistry that these two obviously had gave way to further collaboration, eventually culminating in an incredible album, inspired by Vincent Van Gogh.

Big Ghost initially made a name for himself as a producer on 2015’s Griselda Ghost with Westside Gunn and Conway. He took a fresh approach to the sound that Daringer had crafted for Griselda and made it his own, resulting in one of my favorite projects to ever be released by the label. From there, he’s continued honing his skill and developing his own musical identity. His distinct drum patterns and ear for samples make his beats instantly identifiable. What sets him apart the most, however, is the way he adapts his production to fit the rapper with whom he is working like a glove. While his sampling techniques generally don’t vary, the sources from which he draws change depending on the style of the emcee he’s producing for. This practice creates an entirely different sound for each project while maintaining an unmistakable production signature. Through his subsequent work with Vic Spencer, Hus Kingpin, and CRIMEAPPLE, he proved himself to be one of the most reliable producers in the game.

With this in mind, to say he outdid himself on Van Ghost would be an understatement. The production on this record is without a doubt the most unique and awe-inspiring music Big Ghost has created thus far. It’s actually quite difficult to describe; while still very obviously boom bap, the aesthetic brings to mind the image of a chapel designed in the era of Baroque architecture. Tracks such as “The Church at Auvers,” “The Starry Night,” and “At Eternity’s Gate” feature elements including pianos, angelic vocals, and harps that sound nothing less than godly, for lack of a better term. The majority of the production work on this album ultimately leaves the listener astounded at how Ghost pulled off what he did. In a moment of sheer brilliance, he bridged the gap between past and present on “Almond Blossoms,” another track featuring Hus Kingpin. The production weaves between sections with harpsichords and sections with bassier, jazzier sounds that recall the luxurious vibe of Cocaine Beach. It’s incredibly seamless, and it is just one of many examples that demonstrates level of creative ingenuity displayed by Ghost throughout this album.

Truly, the only rapper who could have done this production justice is ANKHLEJOHN. Anybody who is familiar with him knows how dramatic his style as an emcee is. The dark, creepy ad-libs that he throws into the mix serve as a stark contrast to the heavenly sounds found among the instrumental backing, and his gruff voice offers an often frightening element to otherwise soothing music. He elevates the already cinematic instrumentation to an entirely new level; on just the first track, which opens with some very melancholy pianos, Ankh soulfully recounts a story of past trauma, before switching to a threatening growl as the beat takes a turn for the horrific. This is representative of his performance through the entire album; he brought the best out of every beat with how he adjusted his vocals to match and compliment the feel of the instrumentals. The production on this album seems to have inspired Ankh to show more variety in his delivery, and as a result, this is potentially his most vocally diverse project to this day. Lyrically, Ankh has always been fairly blunt, and he doesn’t deviate from that here. Some songs serve as violent displays of blunt lyricism while on others he instead opts to drop knowledge, displaying the dichotomy often found within his music. In general, his style felt looser on this project than others, which ultimately served to benefit the final product.

I would be remiss if I didn’t mention the features on this album as well. Ankh shares the mic on only two tracks, on the previously mentioned “Almond Blossoms” with Hus and the posse cut “At Eternity’s Gate,” and each time it worked wonderfully. The latter is by far the greatest posse cut I’ve heard in years; with a lineup of features that includes Eto, Fly Anakin, and CRIMEAPPLE, one would think the track could never live up to the potential those names alone set. I’m happy to report that it likely exceeds anything anyone could expect.

With Van Ghost, ANKHLEJOHN and Big Ghost crafted the most original rap album I had heard in a long time. The care that went into it is evident even from the surface; each track is named after a Van Gogh painting, and Big Ghost himself painted the artwork in a similar artistic style that Van Gogh painted in. I’m going to acknowledge the obvious: this review is many months late. This is because I honestly had a hard time describing this album in a way that would do it justice. Everything came together in such a unique way. There was no precedent set for it, so I didn’t know what to say about it. In many ways, this album is peerless. You’re unlikely to see another project offer what this one does, in the same fashion that it does. For that reason alone, it’s worth a listen. It is detailed and layered to the point that most people are going to walk away having picked up something that others haven’t. In that sense it hits its mark entirely, acting as an equivalent to a fine painting.

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.

Album Review: Denzel Curry – TA13OO

by Dustin

taboo

9.25/10

He may not yet be a household name, but it is undeniable that Denzel Curry has been a leader of the new school for quite a while. Alongside the Raider Klan, he helped forge a new lane for rappers in Florida that had not existed previously. He shares many attributes with his contemporaries out of the state, but Denzel’s attention to detail in the art of song crafting had set him apart ever since his first mixtape dropped in 2011. His 2013 debut studio album, Nostalgic 64, proved he was a potential force to be reckoned with in hip-hop. Three years later those raw mic and penmanship skills were refined further on Imperial; however, despite carrying the poise of an artist several years older than he is, it felt as if Zel had more to give. Another gear he hadn’t quite discovered. One that would theoretically take his material from great to phenomenal. Lofty lingering expectations developed, and as soon as TA13OO was announced his fans began clamoring to see if he would rise to the occasion.

He did.

Denzel Curry has never been one to fail at being engaging behind the mic. He has brought a near uncontrollable energy to everything he’s touched throughout his remarkably consistent career. That remained unchanged on TA13OO, yet something felt distinctly different. Vulnerability. As the album progressed it became clear that Denzel had no intent in maintaining hip-hop’s hyper-masculine status quo of emotional detachment. Sensitive topics such as sexual assault, political unrest, jealousy, suicide, depression, and violent urges were all approached head on; moreover, with its creative three part structure — comprised of Light, Grey, and Dark sections — he was able to gradually ease the listener into accepting socially unaccepted subject matter. The album opened by presenting heavier content with a much lighter tone, almost as if he was hiding it behind false happiness. As the transition from the beginning into Grey and finally Dark happened, that facade was peeled away. It became increasingly honest, pained, open, and personal. Denzel executed this really well both in his writing and his delivery, making it extremely easy to feel the type of sentiments he was expressing at a personal level. Whether or not the situations he rapped about were relatable didn’t matter because it was all presented with such clear poignance. Denzel truly elevated himself, combining what made him stand out as special from the beginning with a newfound conceptual focus and further improved vocal versatility.

It felt as though he fully came into his own, which was mesmerizing as an already talented emcee.

Though Denzel was the star of the show, he carried an impressive supporting cast of very concise and purposeful production choices. J Gramm, FNZ, Mickey de Grand IV and a handful of others supplied a plethora of extremely bassy, unique sounding instrumentals. Despite the wide range in sounds, they all had just enough in common to complete TA13OO as a cohesive piece of work. Curry utilized this variability, arranging them in such a way to aid in the sonic development of the album. The lush and bouncy beginning faded to a cloudy melancholic middle, and eventually a hateful aggressive finish. While songs like “Black Balloons” and “Vengeance” could not be further removed from each other, carefully planned sequencing allowed for them to live on the same tracklist harmoniously. It mirrored his performance, boosting the listening experience to soaring heights.

The guest artists on this release did a splendid job of contributing to the overall themes and concept, while not having felt out of place in the slightest. JPEGMAFIA came through with an absolutely monstrous verse on “Vengeance,” and was perhaps the biggest standout feature. That’s not to diminish the contributions of Goldlink, JID, or ZillaKami though, as they each brought 100% effort and a needed splash of variety to their portions of the album. Nyyjerya and Billie Eilish were utilized well on a pair of hooks, and provided a bit of a break from Denzel’s aggression so the music had room to breathe. All in all, his highly selective deployment of other talents was nearly flawless, fleshing out TA13OO into a monster worthy of very few demerits.

There are times when it is obvious that an artist had a lot to say. It often results in extremely inspired music, with an immeasurable sense of belonging behind each songs existence. This album was a prime example of that sort of feeling. On a first listen certain tracks may have felt out of place with the ideas Denzel was trying to illustrate, only for them to reveal that they were exactly where they needed to be with subsequent plays. He assembled things in such a way that the presentation genuinely mattered just as much as the keynote talking points he chose to explore. He took the listener out of a place of projected stability and comfort into something more firmly grounded in real life. As many know, or will come to find out in the future, reality comes with many roadblocks that are difficult. Difficult to experience, difficult to process, and ultimately difficult to discuss without shame or embarrassment. Denzel Curry did put out a fantastic album with TA13OO, but more importantly he showed courage in the face of things that cause many to live in fear. He set an admirable example for a genre that has often struggled with remaining guarded. An example that is well worth lending an extremely attentive listen as a lesson in normalizing openness with hurt that is too frequently rendered as social taboo.

Album Review: Daniel Son & Futurewave – Pressure Cooker

by Rajin

pressurecooker

9.25/10

As I’ve mentioned countless times, there has been a thrilling new wave of boom bap coming out of the underground recently, spearheaded by Long Island’s Roc Marciano and Buffalo’s Westside Gunn and Conway. Through this movement the spirit of New York hip hop in the ‘90s lives on with a modern twist. Furthermore, incredible new artists have been popping up from unexpected locales, such as Rochester, D.C., and Richmond; shockingly, one of the most impressive cities has been Toronto, Ontario. While the region is generally known more for pop-rap and R&B artists like Drake and The Weeknd, there have been several rising stars who have contributed greatly to the “new golden era,” so to speak. One of the most promising has been Daniel Son. Over the course of the last couple of years, he has caught ears with standout guest verses, and a pair of wonderful projects atop instrumentation provided by the UK based Giallo Point. This time around, Daniel Son has teamed up with producer and fellow Toronto habitant, Futurewave.

The result of this pairing was, in a word, superb.

Pressure Cooker captures the same atmosphere that you’d hear on an early-mid ‘90s Wu-Tang or Mobb Deep project. Everything from the hungry, vividly streetwise verses to the strikingly cold production gives off that aura. This may be par for the course in this scene, but it’s executed entirely different here. Generally, the producers utilize dusty soul samples to create minimalist instrumentals. Drums aren’t emphasized as much; if they are present at all, they tend to come from the source sample itself. This style allows for the emcee to take center stage while the production serves as more of a backdrop than a musical driver. For this project, however, Futurewave drew from cleaner and lusher samples. This results in production that has a huge range, much wider than I feel most listeners would be accustomed to from artists in this lane. True to his name, Futurewave flipped samples that were quite glitchy for several songs, such as “Def Leppard” and “Icy Palms.” This lent itself to a harsh, frostbitten sound that you truly wouldn’t be able to find elsewhere. While the samples were relatively clean-sounding, there was still plenty of grime to be found amongst the skull-crushing drums. They created a beautiful contrast in the production that subtly reminded me of an album such as Only Built 4 Cuban Linx… In addition, I absolutely love how they are clearly sourced from separate records. Oftentimes, there would be no surface noise in the samples until the drums hit, which just added to the edge that they offered the beats. The production on this project is spectacularly immersive; truthfully, it would come off almost overpowering, were it not for the emcee rapping over it.

Daniel Son cut through the production like it was nothing, and it was thrilling to behold. As a performer he has always had an aggressive delivery. He sounds like he’s hassling you relentlessly from across the street; imposing, intimidating, and impossible to ignore. Ordinarily, his ability to make an impression is effortless. His presence can overtake anyone else on a track handily with how laid-back yet emphatic he is. For this project, he had to push himself a bit further, as the production here is very dynamic – it builds on itself constantly. Impressively, yet unsurprisingly, his vocal energy matched the beats any time they would hit a crescendo; there were moments where he stretched his delivery to the point that was very nearly yelling. Daniel altered his flow a bit throughout the album too, leaving space in between his bars to let them breathe. This allowed for the impact of what he was saying to reverberate against the music, which only served to highlight the brutality of his lyrics and add to his already flamboyant style as an emcee. The guest appearances did a good job at offering a bit of a contrast to the flair Daniel brought. Rappers such as Saipher Soze and CRIMEAPPLE in particular came with verses that were more blunt and straightforward, simultaneously demonstrating a level of chemistry with him that make for some interesting collaborations that I would personally like to see more of in the future. However, I have to say that Daniel Son consistently outdid the competition here. While his star power has always been evident, he stepped his game up to a level that I didn’t see coming for at least another couple of projects.

“Talk is cheap, but people fade away for less
Life lessons you only learn in the face of death
You can bring ‘em to the edge, but will they take the step?
(Take a deep breath) And let the steel bat break his legs”
-Daniel Son, on “Def Leppard”

This album is arguably the best album to be released thus far from perhaps the strongest underground scene since the early 2000s. Anybody who considers themselves a fan of hip hop is doing themselves a massive disservice if they haven’t listened to it. Pressure Cooker is comprised of everything that made hip hop great in the past, while embracing an effort to move forward. Music aside, the most exciting thing about this project is that it doesn’t even seem like Daniel Son has peaked yet. With how seasoned he sounds, it’s hard to remember that he’s still so early into his career. This guy is a threat, and I can’t wait to see what he has in store for the future, because I absolutely love this project.

Album Review: Kanye West – ye

by Dustin

kanye-west-ye-album-credits

4/10

A lot of things can and have been said about Kanye West. Many a think piece had found itself picking apart the socially reprehensible drivel to fall out of his mouth after he took the media by storm this year in a whirlwind of foolishness. Though the social impact of his ignorance is certainly an interesting topic, it has seemingly worked its way into every single review on the planet. Clicking on any discussion about his recently released ye album, and one is likely to spend more time reading political views than anything related to the music. While Kanye certainly has made himself an impossible character to wish to support, ye is for all intents and purposes a major release from one of hip-hop’s most prominent figures. For that reason alone, the music deserves to be analyzed as actual music, and not the ramblings of everyone’s favorite pariah.

With that out of the way, let’s reflect on Mr. West’s eighth solo effort.

It’s not often that the production on an album dwarfs the presence of the emcee, but this was absolutely the case with ye. Luckily for himself, Kanye can lay claim to the instrumentation on this record as well. For years, Kanye West fans have been clamouring for the controversial figure to go back to his roots of chopping samples and banging out killer instrumentation. Not long prior to the release of ye, he offered up some promising (and genuinely very good) instrumentals on Pusha T’s DAYTONA. Moving onto this project, he surprisingly kept that momentum going. The beats were good. Nothing stood out in the same way that “Santeria” did on DAYTONA, but it was some of the best production work Kanye has rapped on since My Beautiful Dark Twisted Fantasy. There was a nice blend between his signature soulful sample style from back in the day, and his more modern wavy, synthetic, bass heavy sound. It was all quite pleasing to the ear, and set the album up for what should have been an easy home-run if he could keep up on the mic; however, that didn’t really happen.

In other words, ye was an album that would have been better served to be a beat tape. Kanye proved to be his own worst enemy, as his backdrop outshone the lackluster spotlight.

Being that he has never been the most talented writer in the world, Kanye has relied pretty heavily on his charisma and personality behind the mic. Even on his weaker projects he came across as an eccentric, and there was something infectious about it. His vocal performances on ye were odd, as they lacked any semblance of this spark. Yeezy seemed disinterested and it was difficult to engage the music when he carried himself as entirely uninvested. It should be mentioned that there clearly was an attempt on Kanye’s behalf to come across as a more introspective and thoughtful writer; however, this manifested itself in tracks such as “I Thought About Killing You” and “Wouldn’t Leave,” which were extremely groan inducing and difficult to sit through. In addition to that, the adventures into braggadocio did not carry any sort of weight, as his lack of charisma couldn’t lift the mediocre writing. Regardless of the topic, most songs on here felt like gutless and redundant rehashes of things that he’s already done a hundred times in the past.

Actually, imagine the rapping on My Beautiful Dark Twisted Fantasy. Now imagine that rapping with every last drop of energy sucked out of it, leaving only the bare bones of its design. That is essentially how Kanye came across on ye. Not horrendous, just unbearably dull.

Side note, the mixing was bad. Really bad. Mike Dean has been a bit of a disaster in the technical department for a long time, and ye is no exception. Everything was muddied out, resulting in the album sounding amateurish and unfinished. For a major release, the audio quality was downright shameful.

Acknowledging Kanye’s tumultuous negative media presence wasn’t really required to walk away from ye feeling entirely empty. Though many reviewers rating it poorly have chosen to focus mostly on his personal volatility, the album from a musical standpoint offered very little to be excited about. It was encouraging to hear him knocking out enjoyable instrumentals again, but at the same time his rapping showed little improvement from the nosedive it took on Yeezus five years ago. While one would have hoped that dialing back to a 20 minute run time could have helped Kanye release a more focused product, ye felt just as rushed as The Life of Pablo in most respects. Unfortunately, it was also a lot less interesting. The manic energy of his last two projects was not to be found; instead, the final product had little identity, and felt like nothing more than a placid celebration of boredom by an artist who left his prime long ago.

Album Review: CURTA – End of Future Park

by Dustin

endoffuture

8/10

Life as an independent artist is one heavy with fraught uncertainty. Finding footing amongst industry giants and a never-ending feed of new music is challenging enough without frequent shutdowns of the few venues which cater to the scene. Many feel nomadic, resulting in a strong urge to return to a fleeting musical home. It was no different emotionally for two CUTRA and 4Digit, so they took these feelings and concentrated them into a project of musical venting. The result, End of Future Park, ended up equal parts mournful and celebratory. It served as a sort of “homage to [a] place which doesn’t exist anymore; never existed; or will maybe exist at some point in the future.” Quite honestly, it was done extremely tastefully.

As with Click-Bait, 4Digit handled the production in its entirety on this release; however, End of Future Park was gloomier and significantly more experimental in nature. The project had an unsettling dystopian vibe, cultivated within the instrumentation by selective use of glitch and electronic elements. In some ways, the production followed a similar formula to some of clipping.’s earlier material by taking the foundations of hip-hop and twisting them with blowed out noise and synthetic heaviness. That’s not to say that it was derivative though, as the production was still noticeably his own flavor. The final track was also created using a curated mix of his left-over production prior to relocating. It may not have been the headliner on the album, but it was a lovely bonus to the total package.

On the vocal end of things CURTA wasted no time in proving he and 4Digit’s chemistry as a team. His exasperated, hyper-observant style complimented the glitchy and dark production wonderfully. He displayed the ability to inspire a painful hopelessness with his lyrics and delivery, similar to an artist such as Joe Horton of No Bird Sing. He isn’t the flashiest or most technically advanced of emcees, yet he always seemed to bring exactly what a track was calling for. His vocals also had an almost live-show quality to them, which was the perfect organic contrast to the heavily computerized instrumentation.

To keep it short and sweet, End of Future Park sounded like a rap concert happening atop a busted motherboard…that’s being said in the most positive way possible, because it truly was a fun experience.

Featured artists were kept to a minimum on this release. There was however a single guest, and he was a rather interesting one. This was of course Milwaukee-based WC Tank, perhaps most notable for his involvement in the production of music videos for Busdriver. He appeared on the track “I’m So Cool” – one of the weirder cuts on the album – and was a fantastically placed feature. While guest artists can feel pointless sometimes, WC Tank was absolutely not one of those cases. He added a pleasant sense of variation that made the full listen all that much better.

End of Future Park was an album that might not be a perfect fit for everyone’s tastes. It felt more niche than the majority of indie hip-hop releases; however, through that process CURTA put together something fully realized and true to itself. Ultimately the narrowed focus allowed for a concise, very enjoyable project. There were a lot of things here that haven’t been explored sonically by many, if any, artists in the past and that alone was quite admirable. The fact that CURTA and 4Digit managed to adventure into uncharted territory and leave with music that very genuinely sounded great was the cherry on top. For someone actively engaged in the experimental and alternative rap scene, this was certainly an album worth giving some extended attention. For those less familiar, it remained accessible enough to not be an intimidating first step into the world of weird. It also certainly posed the question of where exactly CURTA will take his sound in the future. A question that should be met with excitement and anticipation, taking everything into consideration.