I don't like the Irish hip-hop scene. I'm not sure why, but it doesn't feel right. After trying to listen to a few artists, the only one that really stands out is Lethal Dialect. His lyrics are unique without being over-Irish; his image isn't overly Irish either. National pride and all that, but when you hear someone who sounds like the little lads running round the town annoying everyone, it's easy to have beef. Overall, he hits all the right criteria without trying too hard, or (God forbid) being generic. With one of the most unique sounds of this era that I've heard coming out of Ireland, 'LD foive owe stoyle' for life, bro.
Being most familiar with his work on the LD50 and LD50 II albums, they're the ones being discussed here. Personally, LD50 is the preferred one, but it's the one I would be most acquainted with. No real reason, just because. The Beginning, the first track of the album, is a nice intro. Nice flow, exceptional lyrics. It is probably fair to say that one wouldn't imagine the Dublin accent having such a flowing ability, but it sure works here. Although the slurs occasionally reduce into phonetic sounds, they still reach home. Sounds like he's talking through his cheeks. That piano in the background is an ambient allure, and carries the song forward in an oscillating way. The beat is simple, but it makes for a catchy one. Very little use, compared to others in the field, is made of double-vocals, but it isn't lacking. Makes the song more powerful.
Smashing through Metamorphose and Cold and Calculated (both bangers in their own rights), the next tune we would be familiar with is The National. For any Dublin Gangsta TV fans, a mix of this featured on Love/Hate, albeit the original is much more intriguing. Including an intro of 'fuck peace, go to war with police', you gotta love it. Probably the song that made me fall in love with LD. A driving piano riff, pumping beat, and Dublin slurs and references make this a real smasher. Envisage cruising through the North Quays in your Mitzi Turbo with this blasting through the speakers, seeing the police, and shying away because you ain't gangster. That's the embodiment right there. But in all seriousness, it's the standout of the album. To me anyway. The lyrics are key, and the phonetics are unreal. A mention of ending 'up in a Wicklow grave' was a bit of a Represent moment. What the song is about is pretty obvious; growing up in Ireland and the shit that happens. I think.
Listening to the album, it's like it has been recorded in a graveyard bunker, or a small corridor. There's this filter atmosphere, like a deep mist, layered on the tracks. Makes it sound like the tracks are descending through space and other quantum shit. But in honesty, there is this strange atmospheric ambiance.
The rest of the album sounds industrial, with odd samples here and there, and even features The International, which brings the album full circle in a sense. If you like Irish people, and you like scumbag accents, give this album a listen. If not, go fuck yourself.
LD50 II is a deep contrast to the first. The first is a dark album; dark beats, dark lyrics. The second is a lot brighter, and a lot more cheerful. Almost. Beginning with The Sermon, and a driven beat, the album has a strong opener. A bit of a stab back at people talking shit about him, 'fuck what fees you're earnin', he really lets loose on the rhyming skills. Every line rhymes throughout the initial half of the song, which is down right incredible. Who knew so many words could rhyme? To keep that going until 1:25, or thereabouts, is mad skill. There's a bit of an interlude, then the beat kicks in again, and the lyrics start flowing. The flow is astonishing, and he keeps it going until the end.
Carrying from here, the album launches straight into Outstr8, featuring GI. In a documentary, LD gave a bit of context on where Outstr8 came from; it is to clarify a statement, like 'that weed is really good, out straight.' Hope that sorts out any disputes that may have arisen. The synth line is accompanied with female vocal samples, but the main aspect carrying the song is that sweet, sweet synth. It's so dreamy, makes me melt. Worth a listen for any ambient-style fans.
Into Dark Horse, the intro is LD talking about how he's always viewed himself as a Dark Horse. Running through the rest of the album, the songs follow the same ideas; unique lyrics, slamming beats, nice synth lines. I think I summed that up in the most unoriginal-sounding way. Fuck it, swag.
Go listen to The Bet (Skit). It's so cold 'I have stalactites hanging off me balls'. Haha. Word.
Another cut above the rest on the album is Snakes and Reptiles. After some chatting shit, it launches right into the beat. Some weird kick is used, and entwined in the beat is a flute/breathy sample. I recognize this from somewhere, but I can't for the Jesus-on-ice-skates of me remember where from. The kick dances around the processed snare, creating a smooth flow, smoother than the flow of the Liffey. With LD spitting out his lyrics, the song really ferries forward. That flute/thing sample howls away in the background, creating a deep soundscape for the listener. Existential in feeling, and slave-hating in lyrical content, it questions the life we live, and if we are truly free. Maybe, maybe not. You decide.
Finishing on Get To My Dreams, the album truly is a lot different to LD50. The lyrics are different, the beats are different, everything. The accent even seems a little less harsh too. Again, if you like Irish rap, give it a listen. If not, again, go fuck yourself. Overall, the first LD50 has that filter effect going on, for lack of a better expression. That's some transcendental shit. The music has massive soundscapes behind it, making it an audible orgasm. Kind of. Both albums are free to download through the bandcamp pages (link below), so why not? If you hate the police but are afraid to express it, here's the music for you. If you like Irish hip hop, here's the music for you. If two and two makes four and/or five, here's the music or you.
Another enjoyable marshmallow-river-flowing track is 13 'Til Infinity. I'll slap a link down below for all you baes. Presenting himself as a much more relaxed and laid-back geezer than other songs, the video shows such a snuggly fellow, no homo. Instead of the guns-blazing gangsta G, the song travels through some carnival, I love the teacups. Can't leave home without someone wearing a snapback though. Beaches and bitches, and a drop of champagne, it appears to be one big fest. Sausage fest? Why, no. Your average fest. With everyone all smiles it is pretty tough to imagine him as the artist behind the National or others. Still, the trackies give him away, to be fair. A few stares into the moderate distance here, a bit of melancholic shots here, the video borders stereotypical, but we'll forgive this. Cruising round that joint in his bumper car like it's a Mitzi Turbo, lad. And of course, who could resist a few drinks with the lady? I like her hair. Some blinking effects shows the lovely Irish countryside, probably Dublin but I don't know, and it ends staring out at the sea. Or ocean. Whatever, swag.
In the interest of being hip and cool, and keeping up with the times, I took a goggle at LD's newer track with JackKnife J; Headstrong, which features an appearance from the lovely Jess Kav. Until now I can't recall hearing the song, unless by chance unbeknownst to me. A few slow shots into the iconic 'Victory 13 Crew' jumper/top, the song starts slow, with lazy rapping. A simple beat, with soundscapes bigger than Skyrim's lands, it stands out as atmospheric. Jess Kav has a powerful voice for the chorus, and the reverb really swirls around behind the music. Always an enjoyable little effect in the video is LD actually recording the lines, dropping out of the song to hear him speaking properly. A few scenes walking through the city, presumably Dublin, the focus seems to be placed around that jumper. Halfway through, after second chorus, sudden jumper change, into 'Since 88'. Not sure what that one means, mate. And of course, into the live shots. Some really clean shots show LD and the gang looking happy out. Nice to see. All in all, with more reverb than Mrtn Gurx's kick drum, the song is a deep ambient release, and displays more atmosphere than Saw. A few more shots of the wonderful city, and you can't exclude the Ha'penny Bridge, the video ends when LD turns round to the camera, and a shot of Liam Pritchard is shown. A nice dedication, the video ends on a melancholic note, fitting the song well.
If you like the Irish scene, there's endless links in the sidebar on Youtube, go figure. Personally, LD comes out on top. With his image, his accent, and everything else, he really shows as professional. Not many have the ability to appear professional, and it lets them down. How and ever, see what you think. Script.
Averagity rating: Above average. Surpasses average.
Facebook: https://www.facebook.com/pages/Lethal-Dialect/186626141358217?fref=ts
Twitter: https://twitter.com/Lethal_Dialect (@Lethal_Dialect)
Bandcamp: http://lethaldialect.bandcamp.com/
Sunday, 20 July 2014
Sunday, 6 July 2014
Metallica at Glastonbury, I had to talk about it
First let me say, they fucking killed it. They didn't just molest our eardrums; no, they had fun. I wouldn't want to be fingered by Kirk Hammet, geezer was on fire. His solos were falling off his guitar liked he was in his 80s angst years again. Together, they sounded better welded than iron, or any... metal... and really showed that they were capable of the gig. In all fairness, for metal-heads around the globe one could say that this was an important gig. Showcasing the biggest metal band of the current era didn't matter to acid-fried hippies who wanted Glasto to remain the 'paradise' it once was. Enticingly, Metallica looked, sounded, and even felt on form. Hetfield smiling like it was his Communion and his aunt just appeared with more money again, they were tight.
In all fairness for the support of this article, I only arrived to the party after work during Fade to Black. This must have been 20 minutes or so into the set, but I hear tales from the West that they opened with For Whom the Bell Tolls. A solid intro, it's hard hitting, but not neo-crushing-speed metal style, so as to alienate the less-hardcore peoples present. A decent choice of opener. Kickin' it back old school too.
As stated, I entered during the earlier parts of Fade To Black. One of my personal favorites, the song is a smasher of a (whisper) ballad. Hetfield's voice was spectacular, and the two dueling guitars had serious force between them. They blended so well that it was hard to imagine they were separate. But yah, I have a weakness for it.
Notable to an old-school fan like me, the only relatively new song they played was Cyanide. Although not too big a fan of Death Magnetic, Cyanide would have been one of the standouts of the album. A wise choice, the crowd seemed to enjoy it. Immensely? Probably not. But still, enjoy it they did. Me included.
Kicking into The Memory Remains, this is Metallica at the top of their interaction with the crowd. Everyone loves Marianne Faithfull's part in the song, with it being sung out long after the song itself has ceased playing. Nice to see at Glasto, in all fairness. Again, Hetfield's voice doesn't wane, and the crowd is responsive. They really come alive during this one, and the band look genuinely happy. Bangin' out the tunes, havin' the crack. Sure it's all good.
What are the people and flags on stage all about? I'm not sure, but I sure as fuck would love to be one of 'em.
Of course, when the stage went black, any softcore fan understood that One was about to have its pre-song piece. With the screens showing droves of marching silhouettes, the sounds of guns and grenades pumping through the speakers, and rave-style lasers, they launched into the eerie intro. Notice the lack of fireworks? Sad face. I do have a bit of beef when the song is a bit sped up. The slamming pedaling of the sixth string in the second part of the song is like a wall of pain on the eardrums, but when played fast, I always feel it loses some of that power. Again, this happened, but it wasn't as bad as first conceived, which was reassuring. However, Hetfield's voice does sound a little off during the song, but hey, if I was that age still ramming out those songs, who'd give a fuck? Lars was incredible, with lots of double-bass for everyone in the audience, which I'm sure went down well in the pensioners pacemakers. Hammet, as always, delighted everyone. More flurries than a McDonalds with a sweet tooth, he was on fire for this one. Actually, he was on fire all night, and the infamous second solo in One just supported this.
No show would be complete without Master Of Puppets, with the crosses on the screens behind. Hammet wasn't even trying in this solo. He just stared at his guitar and watched himself smash the solo to pieces. The people standing on the stage behind look overjoyed, obviously, and kudos if you spot the blonde guy behind who knows the lyrics and every other tiny itty bitty piece of every song you thought you knew backwards. You can catch him singing along, or air-drumming.
Again, any decent fan would recognize Hammet's intro to Nothing Else Matters. No need to mention how well he plays. Hetfield's voice starts off a little out of key, but he picks up. There happens an interlude-style part which is a bit toned down, and it looks like they're just fuckin' around, which is cool to see. Instead of the 1-2-3 cardboard-box rigid set, they adventure with their songs. The song, which probably got me into them as a band, lets you really reminisce about seeing them and all those times you connected with them over and over. Then, BAM, massive wall of sound during the solo. Hetfield this time lets loose; the solo is immaculate. Always a joy to see a band you've loved for years play your favourites in perfect harmony with each other. Brings a non-existent tear to my eye.
Hetfield sort of crouches, sort of leans over, and lets the feedback ring into Enter Sandman. Yis. Call it overplayed, call it whatever, but you know when you hear it you'll proceed to casually bounce off the nearest walls with the volume at 100%. We all do, have no shame. They really let the crowd go mad during the chorus, with James bribing them on. Blonde guy behind is still going nuts. Kudos. Trujilio at this moment takes his cue to do that weird power-squatting thing, bouncing around like a concrete-legged pogo-stick. The crowd gets a lot louder here, and Hetfield's cries of 'Oh yeah!' are met with savage roars of 'Yeah!' Just like old times. One thing that I realized here was that they cut the crap. Instead of talking shit between songs, they just rampaged through their set. Right way to do it at a festival, considering that they had to prove their worth in being the first metal band. Not trying to say that they could have failed in proving themselves; I don't think they could have failed in that. But I'm not a hippy trying to boycott them who doesn't understand guitars beyond the work of the Grateful Dead. I digress. The outro solo, again... was unreal. Why is Hammet still able to do this? He's like the Ozzy Osbourne of guitar, or something like that. Haha, there was a guy in the bottom of the screen, on the left I think, smoking a doobie, not giving a fuck. Tokin' on that thing, completely oblivious to what was going on around him. I laughed.
It looked like the last song, and with the crowd screaming 'We want more', it was heart-lifting to see them on stage for another. They launched into Whiskey In The Jar, although it isn't certain what percentage of the population present knew where the Cork and Kerry mountains were. Hippies. Still, they killed it. Hetfield shredded on this one, top notch, with his voice fitting perfectly.
Of course, they couldn't end on that. According to Hetfield, the last song had three words. I leaped out of my seat, thinking it was Hit The Lights. Alas, fuck it, it wasn't. Seek and Destroy was an awesome ending though. House lights came on and bejaysus, there was a sea of people. Lots of black balloons were released, and obviously the spas at the front had to hold on to them when they got the chance. The breakdown of the song had intense drumming, who said you were ever too old? Where the fuck did those massive beach balls come out of though. It's like All Time Low, except no where near as awful, and a great deal more hardcore. That reference wasn't needed, but fuck it. You might have been able to see Hammet's wrinkles in the light, but come on bro, what do you expect. These flabs didn't heed his ability, no sir. Also, Trujilio does that spinning thing where it looks as if he's about to ascend to another galaxy and take off. He didn't but fret I did not. With Hetfield smiling away, it was a great closing of a set. After a few words (cursing included, why not) and pissing about on stage, they were truly finished. Epic does not describe it. A lot of expectations were surpassed, and I for one was pleasantly pleased. Top notch. Those reporters afterwards were fucking annoying. Keep to talking about Ri-Ri and 1D. Cheers.
Over 30 years later and still killing it, Metallica were truly on form. Although a short enough setlist for the band, it was the perfect choice of songs. More a greatest hits than fan favourites, it achieved what it was supposed to. Nothing more need have been done. They definitely had fun, which was wonderful to see, and the lighthearted smiling onstage made it even more appealing to watch. Technically speaking, Metallica could have done anything on stage that night, and still be hailed as kings. Literally, they could have got up and wanked into socks, and everyone would still have gone mental. They knew what to deliver, and how, and I'm still reeling it in. They proved a lot. For anyone that didn't see it, go watch it.
As for the fact that they didn't headline Sunday night, Kasabian proved why they were more fit for the bill. Kasabian were world class, although that's a different story. Peace, and Script.
In all fairness for the support of this article, I only arrived to the party after work during Fade to Black. This must have been 20 minutes or so into the set, but I hear tales from the West that they opened with For Whom the Bell Tolls. A solid intro, it's hard hitting, but not neo-crushing-speed metal style, so as to alienate the less-hardcore peoples present. A decent choice of opener. Kickin' it back old school too.
As stated, I entered during the earlier parts of Fade To Black. One of my personal favorites, the song is a smasher of a (whisper) ballad. Hetfield's voice was spectacular, and the two dueling guitars had serious force between them. They blended so well that it was hard to imagine they were separate. But yah, I have a weakness for it.
Notable to an old-school fan like me, the only relatively new song they played was Cyanide. Although not too big a fan of Death Magnetic, Cyanide would have been one of the standouts of the album. A wise choice, the crowd seemed to enjoy it. Immensely? Probably not. But still, enjoy it they did. Me included.
Kicking into The Memory Remains, this is Metallica at the top of their interaction with the crowd. Everyone loves Marianne Faithfull's part in the song, with it being sung out long after the song itself has ceased playing. Nice to see at Glasto, in all fairness. Again, Hetfield's voice doesn't wane, and the crowd is responsive. They really come alive during this one, and the band look genuinely happy. Bangin' out the tunes, havin' the crack. Sure it's all good.
What are the people and flags on stage all about? I'm not sure, but I sure as fuck would love to be one of 'em.
Of course, when the stage went black, any softcore fan understood that One was about to have its pre-song piece. With the screens showing droves of marching silhouettes, the sounds of guns and grenades pumping through the speakers, and rave-style lasers, they launched into the eerie intro. Notice the lack of fireworks? Sad face. I do have a bit of beef when the song is a bit sped up. The slamming pedaling of the sixth string in the second part of the song is like a wall of pain on the eardrums, but when played fast, I always feel it loses some of that power. Again, this happened, but it wasn't as bad as first conceived, which was reassuring. However, Hetfield's voice does sound a little off during the song, but hey, if I was that age still ramming out those songs, who'd give a fuck? Lars was incredible, with lots of double-bass for everyone in the audience, which I'm sure went down well in the pensioners pacemakers. Hammet, as always, delighted everyone. More flurries than a McDonalds with a sweet tooth, he was on fire for this one. Actually, he was on fire all night, and the infamous second solo in One just supported this.
No show would be complete without Master Of Puppets, with the crosses on the screens behind. Hammet wasn't even trying in this solo. He just stared at his guitar and watched himself smash the solo to pieces. The people standing on the stage behind look overjoyed, obviously, and kudos if you spot the blonde guy behind who knows the lyrics and every other tiny itty bitty piece of every song you thought you knew backwards. You can catch him singing along, or air-drumming.
Again, any decent fan would recognize Hammet's intro to Nothing Else Matters. No need to mention how well he plays. Hetfield's voice starts off a little out of key, but he picks up. There happens an interlude-style part which is a bit toned down, and it looks like they're just fuckin' around, which is cool to see. Instead of the 1-2-3 cardboard-box rigid set, they adventure with their songs. The song, which probably got me into them as a band, lets you really reminisce about seeing them and all those times you connected with them over and over. Then, BAM, massive wall of sound during the solo. Hetfield this time lets loose; the solo is immaculate. Always a joy to see a band you've loved for years play your favourites in perfect harmony with each other. Brings a non-existent tear to my eye.
Hetfield sort of crouches, sort of leans over, and lets the feedback ring into Enter Sandman. Yis. Call it overplayed, call it whatever, but you know when you hear it you'll proceed to casually bounce off the nearest walls with the volume at 100%. We all do, have no shame. They really let the crowd go mad during the chorus, with James bribing them on. Blonde guy behind is still going nuts. Kudos. Trujilio at this moment takes his cue to do that weird power-squatting thing, bouncing around like a concrete-legged pogo-stick. The crowd gets a lot louder here, and Hetfield's cries of 'Oh yeah!' are met with savage roars of 'Yeah!' Just like old times. One thing that I realized here was that they cut the crap. Instead of talking shit between songs, they just rampaged through their set. Right way to do it at a festival, considering that they had to prove their worth in being the first metal band. Not trying to say that they could have failed in proving themselves; I don't think they could have failed in that. But I'm not a hippy trying to boycott them who doesn't understand guitars beyond the work of the Grateful Dead. I digress. The outro solo, again... was unreal. Why is Hammet still able to do this? He's like the Ozzy Osbourne of guitar, or something like that. Haha, there was a guy in the bottom of the screen, on the left I think, smoking a doobie, not giving a fuck. Tokin' on that thing, completely oblivious to what was going on around him. I laughed.
It looked like the last song, and with the crowd screaming 'We want more', it was heart-lifting to see them on stage for another. They launched into Whiskey In The Jar, although it isn't certain what percentage of the population present knew where the Cork and Kerry mountains were. Hippies. Still, they killed it. Hetfield shredded on this one, top notch, with his voice fitting perfectly.
Of course, they couldn't end on that. According to Hetfield, the last song had three words. I leaped out of my seat, thinking it was Hit The Lights. Alas, fuck it, it wasn't. Seek and Destroy was an awesome ending though. House lights came on and bejaysus, there was a sea of people. Lots of black balloons were released, and obviously the spas at the front had to hold on to them when they got the chance. The breakdown of the song had intense drumming, who said you were ever too old? Where the fuck did those massive beach balls come out of though. It's like All Time Low, except no where near as awful, and a great deal more hardcore. That reference wasn't needed, but fuck it. You might have been able to see Hammet's wrinkles in the light, but come on bro, what do you expect. These flabs didn't heed his ability, no sir. Also, Trujilio does that spinning thing where it looks as if he's about to ascend to another galaxy and take off. He didn't but fret I did not. With Hetfield smiling away, it was a great closing of a set. After a few words (cursing included, why not) and pissing about on stage, they were truly finished. Epic does not describe it. A lot of expectations were surpassed, and I for one was pleasantly pleased. Top notch. Those reporters afterwards were fucking annoying. Keep to talking about Ri-Ri and 1D. Cheers.
Over 30 years later and still killing it, Metallica were truly on form. Although a short enough setlist for the band, it was the perfect choice of songs. More a greatest hits than fan favourites, it achieved what it was supposed to. Nothing more need have been done. They definitely had fun, which was wonderful to see, and the lighthearted smiling onstage made it even more appealing to watch. Technically speaking, Metallica could have done anything on stage that night, and still be hailed as kings. Literally, they could have got up and wanked into socks, and everyone would still have gone mental. They knew what to deliver, and how, and I'm still reeling it in. They proved a lot. For anyone that didn't see it, go watch it.
As for the fact that they didn't headline Sunday night, Kasabian proved why they were more fit for the bill. Kasabian were world class, although that's a different story. Peace, and Script.
Saturday, 5 July 2014
Hawk House - A Handshake To The Brain, a few words
It's like the Fugees and Odd Future fucked then that lovechild met a Roland synth. Through Split Prophets I heard Hawk House's Chill Pill. Then I saw them on MTV Base, I think it was. Proud I knew who they were. The first time I heard them I could tell there was something about them, so I kept the tab saved. Out about a month ago, it is a fairly recent release, and the Soundcloud page tells that they uploaded the album a mere 16 days ago (as of now). So for an album that has been out for (around) three weeks, by a band relatively unheard of (in my case anyway), seeing them on TV was a nice spot. I digress.
I listened to this album once, so all of these points are first impressions. Of course, the more familiar the album becomes, the more we recognize when we listen. How and ever. An ambient release, the drums and bass in communion with the synths keep the album flowing. It's a real bob-your-head-and-chill album. Just sitting here, you can't help but swing back and forth.
Grey Matter, the intro, starts off Pink Floyd-esque. With random talking and more ambiance than John Cage, it is an existentially fabulous introduction to the album. The narrator, who features throughout the release, talks about hangovers and the brain and such. As it continues, he gets angry at people poking the brain, and his leads into the second (or first, depending on how you look at it) song, after a bit of a jazzy part.
Topic One, My Mind Is The Weapon, has a very ambient intro, ambiance being the key. With mellow synths and bells flowing around the listener, it is quite hard to refrain from bouncing along. There's a fuzziness on the reverb of the drums, making them interesting, and the excellent flow of the lyrics is illustrated here. The filtered bells sound almost randomly hit; sort of off-beat here, sort of mechanical there. Instead of annoyingly drawing you away from the beat, which can happen with off-beat examples, they just oscillate around song, which is a recurring feature later on. The drums themselves are pretty basic, but the side-panned hats are of a different breed. Following suit with the bells, they are almost random too. The flow of the words just fall from the speakers, and all these components together just meld to create a song that goes absolutely nowhere, but is in no hurry at all to get there.
Topic Two, Grow, is laid back again. A common feature among the songs, the fade in of the synth into a chorus of chords is doubled with the breathy vocals. The bare minimal of the drums creates a very wide sonic space, then the full drum kit appears, with lots of hats here and there. With the relaxed beat and even more relaxed lyricists, the influence of the Fugees comes to mind. I won't debate for or against, but hey, can you not see it? With the almost lackadaisical synth flowing out of the speakers, it's hard to notice how much is going on behind the main components. In the speakers there are numerous aspects panned to the sides, or in behind the synth and drums, that you really have to listen to in order to hear them. The production is incredible. Fact.
Topic Three: Vulcan Grip, notable that this song has a lot more listens on Souncloud than the others. Excluding maybe Chill Pill, it looks like one of the more popular ones. Considerable is that it is certainly more individual from the others in the sense that it's a lot more upbeat. With fast lyrics and lots of odd panning ideas going round, the drums are very bare. No riding out of the snare or hats make the song sound very sharp, very abrupt. I have no idea what they're on about, on any track for that matter, but I feel it, bro. For the listener, it is very spatial. Production, again.
Interlude One, Her Anatomy, is more than a simple interlude. The synth intro sounds almost like rain until it fades in fully, and is an awful lot more experimental than the others. The vocals are unique in that they run through a vocoder which only pops its head up every so often. Makes its a strange mix. Showcases the diversity in their music.
The whole 'body' thang continues after that brief interruption of sorts, with Topic Four, The Nervous System. There's a grinding intro, and the space in the speakers just keeps getting vaster. It's like sitting in a spinny chair in Glendalough valley. Kind of. With a little bit of vocals off key, and the odd laser here and there, the flow makes you feel like your neck is being controlled by someone else who keeps pushing it back and forth. Take notice of the internet modem sample. Never have I heard better use made of that weird ass sound, and it fits so well. Not sure how they achieved this, but achievement was made.
Leading slowly but surely into Experiment One, the title track A Handshake For Your Brain is a lovely old tune. Swirly drums in the background of the speakers; vinyl distortion; rolling synth lines; everything combines to add not just to the track, but the album as a whole. It's almost progressive, as there's new features frequently.
Running into Interlude Two, Slow Down, it's fair to say that slowing down is not really too much of an option. Any slower and it would be sludge-hop, the worst of the hops. A few synth lines, leading into chords, a few faded cymbals, it leads perfectly into the best song (personally) of the album.
Experiment Two, Chill Pill, is the track I was most acquainted with in my travels through the musical universe. By chance, and pure chance, I saw it on MTV. Proud I was in the fact that I recognized them, but I digress, again. The video itself is fascinating, with a camera moving in and out repeatedly. As for the song, the bass runs through an off-timing LFO, creating this flowing aspect individual in itself from the rest of the beat. The synth is a lot louder compared to other songs, meaning the vocals are somewhat compromised volume-wise. This isn't necessarily a negative component though. With a synth line in the background barely audible, the interplay of each fundamental is unbelievable. The flow is at a climax here, and you can just feel yourself pulsing along with the beat. Incredible isn't the word. It is a fine (almost) ending to the album, and well worth watching the video (link below) to see how it all plays out.
And with that, the 33 minutes come to an end with the Outro; Lights Off. With a really long fade in, and very melodic vocals with pitching up and down, it is a super relaxed ending. The drums sound off beat this time, almost weary. The song lets you down easy after an experiential journey, and the vocals combine to reach a loud climax point, then stop, leaving you breathing heavy. Epic.
All in all, it is a wonderful album, and I strongly recommend giving a listen. The lyrical content is very phonetic, and I've very little knowledge of what the lyrics were about. But in true hip-hop nature, they complemented the songs as a whole. Phoneticism is key, but the diversity of the lyrics throughout the album is incredible. This album never lets up, and this album is downright fuckin' incredible.
Averagity rating: Above average. Far above average. Strides and strides ahead.
Links:
Facebook: https://www.facebook.com/hawkhouseofficial
Chill Pill vid:
I listened to this album once, so all of these points are first impressions. Of course, the more familiar the album becomes, the more we recognize when we listen. How and ever. An ambient release, the drums and bass in communion with the synths keep the album flowing. It's a real bob-your-head-and-chill album. Just sitting here, you can't help but swing back and forth.
Grey Matter, the intro, starts off Pink Floyd-esque. With random talking and more ambiance than John Cage, it is an existentially fabulous introduction to the album. The narrator, who features throughout the release, talks about hangovers and the brain and such. As it continues, he gets angry at people poking the brain, and his leads into the second (or first, depending on how you look at it) song, after a bit of a jazzy part.
Topic One, My Mind Is The Weapon, has a very ambient intro, ambiance being the key. With mellow synths and bells flowing around the listener, it is quite hard to refrain from bouncing along. There's a fuzziness on the reverb of the drums, making them interesting, and the excellent flow of the lyrics is illustrated here. The filtered bells sound almost randomly hit; sort of off-beat here, sort of mechanical there. Instead of annoyingly drawing you away from the beat, which can happen with off-beat examples, they just oscillate around song, which is a recurring feature later on. The drums themselves are pretty basic, but the side-panned hats are of a different breed. Following suit with the bells, they are almost random too. The flow of the words just fall from the speakers, and all these components together just meld to create a song that goes absolutely nowhere, but is in no hurry at all to get there.
Topic Two, Grow, is laid back again. A common feature among the songs, the fade in of the synth into a chorus of chords is doubled with the breathy vocals. The bare minimal of the drums creates a very wide sonic space, then the full drum kit appears, with lots of hats here and there. With the relaxed beat and even more relaxed lyricists, the influence of the Fugees comes to mind. I won't debate for or against, but hey, can you not see it? With the almost lackadaisical synth flowing out of the speakers, it's hard to notice how much is going on behind the main components. In the speakers there are numerous aspects panned to the sides, or in behind the synth and drums, that you really have to listen to in order to hear them. The production is incredible. Fact.
Topic Three: Vulcan Grip, notable that this song has a lot more listens on Souncloud than the others. Excluding maybe Chill Pill, it looks like one of the more popular ones. Considerable is that it is certainly more individual from the others in the sense that it's a lot more upbeat. With fast lyrics and lots of odd panning ideas going round, the drums are very bare. No riding out of the snare or hats make the song sound very sharp, very abrupt. I have no idea what they're on about, on any track for that matter, but I feel it, bro. For the listener, it is very spatial. Production, again.
Interlude One, Her Anatomy, is more than a simple interlude. The synth intro sounds almost like rain until it fades in fully, and is an awful lot more experimental than the others. The vocals are unique in that they run through a vocoder which only pops its head up every so often. Makes its a strange mix. Showcases the diversity in their music.
The whole 'body' thang continues after that brief interruption of sorts, with Topic Four, The Nervous System. There's a grinding intro, and the space in the speakers just keeps getting vaster. It's like sitting in a spinny chair in Glendalough valley. Kind of. With a little bit of vocals off key, and the odd laser here and there, the flow makes you feel like your neck is being controlled by someone else who keeps pushing it back and forth. Take notice of the internet modem sample. Never have I heard better use made of that weird ass sound, and it fits so well. Not sure how they achieved this, but achievement was made.
Leading slowly but surely into Experiment One, the title track A Handshake For Your Brain is a lovely old tune. Swirly drums in the background of the speakers; vinyl distortion; rolling synth lines; everything combines to add not just to the track, but the album as a whole. It's almost progressive, as there's new features frequently.
Running into Interlude Two, Slow Down, it's fair to say that slowing down is not really too much of an option. Any slower and it would be sludge-hop, the worst of the hops. A few synth lines, leading into chords, a few faded cymbals, it leads perfectly into the best song (personally) of the album.
Experiment Two, Chill Pill, is the track I was most acquainted with in my travels through the musical universe. By chance, and pure chance, I saw it on MTV. Proud I was in the fact that I recognized them, but I digress, again. The video itself is fascinating, with a camera moving in and out repeatedly. As for the song, the bass runs through an off-timing LFO, creating this flowing aspect individual in itself from the rest of the beat. The synth is a lot louder compared to other songs, meaning the vocals are somewhat compromised volume-wise. This isn't necessarily a negative component though. With a synth line in the background barely audible, the interplay of each fundamental is unbelievable. The flow is at a climax here, and you can just feel yourself pulsing along with the beat. Incredible isn't the word. It is a fine (almost) ending to the album, and well worth watching the video (link below) to see how it all plays out.
And with that, the 33 minutes come to an end with the Outro; Lights Off. With a really long fade in, and very melodic vocals with pitching up and down, it is a super relaxed ending. The drums sound off beat this time, almost weary. The song lets you down easy after an experiential journey, and the vocals combine to reach a loud climax point, then stop, leaving you breathing heavy. Epic.
All in all, it is a wonderful album, and I strongly recommend giving a listen. The lyrical content is very phonetic, and I've very little knowledge of what the lyrics were about. But in true hip-hop nature, they complemented the songs as a whole. Phoneticism is key, but the diversity of the lyrics throughout the album is incredible. This album never lets up, and this album is downright fuckin' incredible.
Averagity rating: Above average. Far above average. Strides and strides ahead.
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