Tag: Music Review

Album Review: Niku No Sekai – Flesh World Vol. 1

by Dustin

fleshworld

7.25/10

For nearly eight months we have regularly been reviewing albums here at Extraordinary Nobodies. Between our standard reviews of new releases, and the brand new “why was it good” retrospective category, it’s safe to say that we really love reviewing music. Yet, if one was to sort through our review archives they’d notice something odd… We have reviewed zero instrumental albums! This seems like a bit of a tragedy, as instrumental releases have been a big part of hip-hop forever.

Yet, the first instrumental album we’re going to have a look at isn’t even necessarily a hip-hop release! It is more of an ambient record, but it shares a lot of elements that instrumental hip-hop fans will be familiar with! This is particularly true for those who are interested in the alternative side of production. Plus, we do what we want. Fuck genres.

Moving on…

The album in question is Flesh World Vol. 1, a collaborative effort between two established artists (of SCRTS and Chinatown’s Pormer) released under the name Niku No Sekai. This project came out under the relatively young DOOMTRIP Records, a label which specializes in cassette based releases (you should follow them on twitter, sometimes they do awesome download code giveaways). Flesh World Vol. 1 was recorded on new years day, and saw release on DOOMTRIP in April.

So we’re a little behind the times here, but again, we do what we want.

Flesh World Vol. 1 is perhaps one of the most atmospheric releases to come out this year. The overall vibe to the tape is very chilled out, spacey, and slightly unnerving. It is not a long release by any means, but the sound is very cohesive throughout. Those who are already acquainted with ambient releases will most likely love Flesh World Vol. 1. It sounds like space. Listening to this album is like taking a trip through the galaxy while stoned.

The use of distance and beat changes on Flesh World really gives it life. Five tracks feels more like seven or eight, and there is a tangible environment with every second of playback. Though it’s ambient, the record isn’t afraid to grab your attention and force you to focus. The opening track, “WW4”, is a prime example of this. It has some really interesting switch-ups; moreover, the track is over ten minutes long but doesn’t feel dull for a second.

It is a dense piece of art. Don’t mistake “ambient” with “empty”, because this tape is immensely dense listening. Flesh World Vol. 1 is a record that will eventually demand your full attention, even if it does also make excellent casual listening. It is musically interesting enough to be much more than simply background noise. It certainly feels like there is a new sound to discover with every subsequent listen.

There are just so many things happening at once. It is a delightful and fun chunk of material to sink your teeth into.

For the hip-hop fans reading this blog wondering if they should give this tape a listen, yes, you definitely should. If you’re a fan of the stoned-out sound found in the cloud rap scene, this tape is probably going to be right up your ally. It’s a more developed sound as a product of needing to stand out without vocals, but there are clear similarities. Give it a listen, you probably will not be disappointed. Maybe you’ll even discover a new genre that you’ll enjoy.

Album Review: deM atlaS – mF deM

by Dustin

mfdem

6.75/10

Among alternative hip-hop heads, MF DOOM is basically a household name. Though the rapper and producer has been relatively quiet for years, most fans still eagerly anticipate new material from the vaudeville villain no matter how rare. Apart from a handful of features, DOOM’s last release of substance was his production work on NehruvianDoom alongside young rapper Bishop Nehru… Don’t get too excited however, as mF deM is a bit of a tease in these regards. All DOOM instrumentation on this release has been heard before.

Don’t let that discourage you though as this project also has an emcee delivering brand new bars. This of course is Minnesota native and Rhymesayers Entertainment signee, deM atlaS. DeM draws influence from a wide variety of musical artists, and really has the potential to create a unique sound. He’s young, but he’s already got a vocal presence on the mic that can’t be matched by some veterans.

So what happens when pairing him with production, albeit previously released, by a hip-hop legend? You get a release with some really lovely highs.

deM atlas seems to be at his best on this tape when utilizing his singing voice. There’s something about deM that feels similar to Camu Tao’s later works at times. On tracks like “Grbge Trsh” he’s energetic, expressive, and stays engaging by conveying emotion excellently. There are many moments on mF deM that are in line with this stylistically. “Nervosa” and “Its Over, Im Dead” being two of the key high points. Even when not singing deM maintained his vocal presence over the majority of this release. When he’s on his game, he’s an absolute pleasure to listen to and super unique.

Unfortunately consistency seemed to be an issue.

Tracks fell flat during moments when deM slipped back into a more conventional delivery; moreover, there were times where he felt quite derivative of other Minnesota based rappers. These songs are still quite listenable, but the stood out as a step below some of the other material being offered up over the course of the album.

To put it in the most cliche way possible, the production is what it is. There’s not really much more to say about these instrumentals that hasn’t already been said, since they’ve been available since the beginning of time itself. Some are fantastic, some are fairly repetitive; basically there’s nothing out of the ordinary for DOOM production.

deM’s voice worked quite well on most of the beats, but it definitely felt as if he was forced to carry the album due to the instrumentation being fairly played out. As a full listen, this album will feel much more fresh if you’re not familiar with MF DOOM’s production catalogue.

Perhaps deM atlaS didn’t “find himself” on this project, but he did a good job of creating songs that are pleasant listens. His potential definitely shows, and deM seems like an artist to watch going forward. Don’t let the score at the top of the page put you off of listening, either. It seems like the kind of album that will have a decent amount of replay value, even if not the most consistent.

Album Review: Mr. Lif – Don’t Look Down

by Dustin

mmrlif

7.5/10

Mr. Lif, one of the earliest members of the now defunct Definitive Jux record label, has been on somewhat of a hiatus… His last solo release came way back in 2009, but the time is finally right for his return to hip-hop. He has found a new home on the independent powerhouse Mello Music Group, which plays host to his fourth solo album, Don’t Look Down.

Lif has a reputation of quality, with all of his prior releases receiving critical acclaim. While many musicians lose a step when being away from their art for an extended period of time, Don’t Look Down continues this trend of excellence from Mr. Lif. The underground veteran has seamlessly picked up where he left off, delivering a pleasurable listen.

Don’t Look Down may not knock your socks off, but you will not walk away from it disappointed.

Well I’m sitting at my table now, hands crossed, blast off,
Thinking about some opportunities that I had passed on,
Hindsight is 20/20, thinking isn’t helping any,
Drinking will just serve to end me.
(Everyday We Pray)

Lif’s rapping was really enjoyable on this album. His writing is as strong as ever, and can be quite unique in structure. He’s not afraid to switch between poetic approaches, personal analysis, and even to delve into the more abstract. Don’t Look Down is the type of album that deserves multiple listens, if for no reason other than to digest the lyrics. As is the case with most emcees who came up in the same scene as Mr. Lif, his style can be pretty dense; moreover, Don’t Look Down has relatively quick pacing, so there will undoubtedly be things you miss on the first play-through.

That is to say, if the record doesn’t click with you on the first listen, don’t be afraid to give it another chance. It may only be 36 minutes long, but Mr. Lif packs an incredible amount of content into this running time.

I used to look up at night and see the sky,
Now I am the sky,
Now the planets I,
Used to use a telescope to see,
Are a part of me,
I’ve got Saturn in my arteries.
(Don’t Look Down)

Some of the production on this record is very reminiscent of the early 2000s Definitive Jux sound. “Whizdom” in particular has a wonderfully unorthodox instrumental. It manages to be head-nodding and addictive while simultaneously sounding like an ink-jet printer grinding out a thirty-two page university paper. That being said, Don’t Look Down does take on a more conventional approach at times as well. There is enough variation to keep the album sounding fresh throughout while not losing cohesion.

It should also be mentioned that every single instrumental compliments Mr. Lif’s vocals nicely. He clearly had a concrete direction in mind during beat selection, and it shows in the final product.

While Don’t Look Down may not exactly be comparable to I Phantom, it is a glimpse at a more mature Mr. Lif and should be approached with that in mind. It’s a very easy album to enjoy. Don’t Look Down is short, content dense, and while it’s certainly alternative, it still seems like an easy album for new listeners to jump into. For longtime fans, it will be a pleasure to hear new material after a long hiatus, especially since he delivers so well with this release.

Welcome back Mr. Lif.