I'm not joking when I say I meant to write this blog near on three months ago. Procrastination is a wonderful tool of the masses. But alas, here I am, three months wiser and ready to fuck. Well, you know what I mean.
Being a recent release, this EP sounds fresh as frozen chips. Released on the first of January (14), it might not be as recent as one could hope for, but then again some of the releases from the Prophets crew are older than your parents. Maybe.
Kicking straight into 33rd Degree, the EP starts off hard. As chill as a cucumber, the string intro and the falling chimes are gorgeous. It slides up and down your spine, and you can't help but pulse along. The accents of the duo are incredibly phonetic, making the lyrics stand out. Paro spits out the lyrics like he's trying to fuck your ear drums, but in contrast, Bil Next either just woke up, is falling asleep, is asleep, or needs a coffee. Some, none, or some of none of the above. Production is perfection, and with some doubling of the vocals, the track is a hard-hitter. Play it at the next club night you're hosting, I swear the crowd will love it. On a side note, the 33rd Degree, according to my non-reliable internet sources, is the highest level of masonry one can achieve. They must be well good at making joints.
Featuring a feature from Upfront's features, Mixin Toxins is a tight little banger. The 'Ow' at the beginning makes me giggle nonchalantly each and every time I give it a listen, as I am of that orientation. Again, layering of vocals is prominent giving a deep effect, and the chorus has a great deal of space. My favourite lyric has got to be 'I might have to spit a 16 just to keep my brain alive'. Haha, sums up the whole of the UK scene that I would give my time to. Smoke weed, spit bars. Upfront is sick (as always - should see a doctor), and you gotta love when he tells how they 'set up on microphones and abuse cunts'. Script. Bil Next produces quite a wikid flow, and the song is a stand-out on the EP. Snare is long, meaning the beat really drives the easiness of the flow, and the Rhodes piano style riff really shines through as an old-school kicker.
Although not my favourite, Time Wasters is a witty number. Featuring my main man Upfront and Blanka, it's reminiscent of Mario and the Smash Bros crew, with samples from these games all over the shop. With a strange-ass riff, funky guitar, unique noises and such, one can't help but think of Tom & Jerry jazz hands. You don't think of this? The lyrics are existential in origin, with numerous references to games such at GTA, Mario Kart, Mortal Kombat, etc. I got beef here though. Why no mention of John Deere Simulator? That shit was game changing. Anywho, I'll let it slide. Once. Upfront sounds like the angriest cunt playing games, spitting out lyrics through clenched teeth. It's only a game, bru. His voice cuts clear through the mix, but is it just me or can you not hear Blanka as well? Maybe it's just his voice, but it doesn't sound as clear, maybe not EQ'd correctly.
Nothing, nothing, nothing can be said to express how epic 12oz Steak is. Back a few months ago, I did my first feature on the Prophets, and just picked it at random as I hadn't heard it. Since then it has become daily ritual to listen about 4 or 5 times. Not because of any freaky-ass religious reasons. It's one of the sickest beats I've heard in a long time. Always appropriate and always necessary, it suits any time of the day. That infectious squealing guitar, the flow of Paro's lyrics, the lyrics themselves. Fucking epic. Personal opinion; it's the high point of the album. Not the end, but the peak. Everything before leads up to it, and everything after basks in its shadow. You gotta love those lyrics; robbing Sainsbury's, whole ounces in space cakes to stay lean, swooping on your chicken like a peregrine. I'll post a link below. Laid back in the shack, play this track. Nothing comes on par. Script.
Suiting up again for Swamperz, everybody needs some break-core. Or loungekore. I'd prefer loungekore, but each to their own. The strange riff, overloaded with cymbals and trash hits, coupled with some brass instruments in the background really keep the flow going. Paro has sick pronunciation and phonetics, and the song sounds almost Disney in its music. Not a bad thing. Specially not with 'the aroma of sweaty butt crack...' Haha. Why is there Rye Vita on the floor?
Villains, with another guest appearance from Hozay, has the hardest drums on the record. Up in the reds, they really fuck with your ears. The rhyming of each is great, and notable with Bil Next is the fact that it always sounds like there's two people rapping. Makes it sound messy, but still clean. Bil Next is breeding with itself, creating more. There's Bil, Bil Next, Bil Next to Bil Next. The list goes on. Stephen King's new tale. Spooky.
Gearing up to the finale, Suckaz Kno is a hard beat. With a dark twisted synth line, the dirty stab makes a change from the rest of the album. Originality is always appreciated. The scratching on the chorus fits tight. Paro kicks in with a massive spit, making a mean first impression. I'm not entirely sure as to what Bil Next is on about - he should probably have woken up at this point - but sick is what it sounds. A short verse, the album nears its closing point.
Of course, what could the Weedmasons EP be without the Weedmasons Anthem. It would be zero, kaputt, zilch, nein. The ultimate finish to the album, the video sums up everything about the Prophets perfectly. Including a whole host of 'em, it reminds me of Dike's Future Posse, in that it leads one to discover a lot more artists. The intro is a classic beginning, and is a real fuck you, just the way it should be. Paro's perfection in starting is followed by Bil Next, who really is asleep. Jman has a sweet chorus that fits beautifully into the track and the reggae style only adds to the effect. As mentioned before, some rappers don't really cut through the mix great, but that might just be inevitable with the tone of their voices. Res cuts perfectly through, as do Datkid and Upfront, although Upfront sounds like he's been stopped short in a way, or didn't say enough. How and ever, each are perfection on a stick. Everyone's flow is unreal, and everyone is a stoner cunt. Should probably get jobs and have a shower. A little bit of scratching here, a bit of doobies there, fade out then fin. Epic ending.
As stated above, 12oz Steak is the high point. Each song has it's strong aspects, maybe weak ones, and no other ending would suit; Weedmasons Anthem is the essence of the EP. It couldn't be placed anywhere else either; it would skew the whole dynamics. The production is perfect, and the lyricism is something else. I shall attempt to set up interviews after this blog, wink wink, but who knows? We shall find out. Script, and peace.
Averagity rating: Above average. Oh yes, oh yes.
Links:
Bandcamp: http://splitprophets.bandcamp.com/album/weedmasons-ep
Tuesday, 7 October 2014
Wednesday, 1 October 2014
Spitfire - Crypted Facts and Lifted Wax - A Few Words
There I was, looking at my news feed, and saw this album pop up. Thought, "Fuck, a new album. Sure I have to give it a go. I'm very tuned into things." Sure, yes I am. About two months later.
Fuck me backwards and call me Avril. With an air of the old-school style we love so much, yet still sounding fresher than any chemical-ridden Tesco vegetable, this short little project is a treat. Recorded, written, manufactured, sourced, critiqued, shagged, and mixed all in one week, it's a true pleasure. Sounding very much like a homemade record, which is a great aspect, it is but a short release, and that's the only problem with it. It needs to keep going. How and ever, I shan't debate this as of late.
The intro is a short little prelude, with some talking over a funky guitar riff. Scrappy hats and a simple beat lead straight through into the first song.
Template Disaster, to this listener, is the stand-out of the EP. Well it's a favourite anyway. Following on from the intro with the same guitar funkiness and beat, the old school style is a killer. Supreme flow carries through the song, although occasionally there comes a time or three where it's difficult to understand what's being said. Makes it more enjoyable. Second verse, again, has a lovely flow, makes your head bob along to the beat. An ode to old-school hip-hop, it's a banger.
Mission Passed brings the album onward, and features CW Jones. Another talking introduction brings us into the beat, and a notable characteristic is the reversed samples featured throughout. It's not often you hear it anymore. A basic beat, accompanied by haunting strings make for a unique track. The (backwards - I think) fuzzy element sounds a bit muddy at times, but it makes the track interesting. Keeps you on your toes. Admirable flow, smooth beat, everything combines for a straightforward bangin' tune.
Into Subtle Memories (RIP Hacka), the soft hats introduce the beat. A common feature at this point (but by no means over-used), the guitar sounds sweet. Just out of ear-shot is a strange flute-style sample in the background, which is hard to decipher as to what it truly is. Maybe it's reversed too. Spooky. A track to make you reminisce, the song fades to a close with the guitar and beat, and that weird-ass flute thing. I'm so startled.
The last track, Diggers Nightmare, again featuring CW Jones, appears much too soon. We need another... 30 songs. Maybe more!!1! More vocal samples and introductions of hi-hats (sounds very bland, doesn't it?), the guitar takes a turn for the Latin. A groovy vocal melody brings the song into a different terrain, and variance is always appreciated. A clean beat, with a long snare carrying the groove, is coupled with an unusual swirling synth line. The beat changes slightly for the chorus, as does the guitar, and it makes you bounce your head along. You have no control over it. Flow and phonetics are key, and it's the most laidback track on the EP. A verse here, a guitar riff there, into the chorus we go, with a lot of breath in the background. The chorus is repeated at the end, with the last line continually echoed, until all that is left is a vinyl crackle. A fitting end to an existential journey, this EP is an immense release. Big Up.
If you like English hip-hop, you'll love this. If you don't, well then. Make like a tree and fuck off. As emphasized previous, Template Disaster would be a favourite. One of the more upbeat tracks. See how you find it. Thumbs up. Link below. Script.
Averagity Rating: Ah man, well above average.
Bandcamp: https://spitfireukofficial.bandcamp.com/album/crypted-facts-lifted-wax
Fuck me backwards and call me Avril. With an air of the old-school style we love so much, yet still sounding fresher than any chemical-ridden Tesco vegetable, this short little project is a treat. Recorded, written, manufactured, sourced, critiqued, shagged, and mixed all in one week, it's a true pleasure. Sounding very much like a homemade record, which is a great aspect, it is but a short release, and that's the only problem with it. It needs to keep going. How and ever, I shan't debate this as of late.
The intro is a short little prelude, with some talking over a funky guitar riff. Scrappy hats and a simple beat lead straight through into the first song.
Template Disaster, to this listener, is the stand-out of the EP. Well it's a favourite anyway. Following on from the intro with the same guitar funkiness and beat, the old school style is a killer. Supreme flow carries through the song, although occasionally there comes a time or three where it's difficult to understand what's being said. Makes it more enjoyable. Second verse, again, has a lovely flow, makes your head bob along to the beat. An ode to old-school hip-hop, it's a banger.
Mission Passed brings the album onward, and features CW Jones. Another talking introduction brings us into the beat, and a notable characteristic is the reversed samples featured throughout. It's not often you hear it anymore. A basic beat, accompanied by haunting strings make for a unique track. The (backwards - I think) fuzzy element sounds a bit muddy at times, but it makes the track interesting. Keeps you on your toes. Admirable flow, smooth beat, everything combines for a straightforward bangin' tune.
Into Subtle Memories (RIP Hacka), the soft hats introduce the beat. A common feature at this point (but by no means over-used), the guitar sounds sweet. Just out of ear-shot is a strange flute-style sample in the background, which is hard to decipher as to what it truly is. Maybe it's reversed too. Spooky. A track to make you reminisce, the song fades to a close with the guitar and beat, and that weird-ass flute thing. I'm so startled.
The last track, Diggers Nightmare, again featuring CW Jones, appears much too soon. We need another... 30 songs. Maybe more!!1! More vocal samples and introductions of hi-hats (sounds very bland, doesn't it?), the guitar takes a turn for the Latin. A groovy vocal melody brings the song into a different terrain, and variance is always appreciated. A clean beat, with a long snare carrying the groove, is coupled with an unusual swirling synth line. The beat changes slightly for the chorus, as does the guitar, and it makes you bounce your head along. You have no control over it. Flow and phonetics are key, and it's the most laidback track on the EP. A verse here, a guitar riff there, into the chorus we go, with a lot of breath in the background. The chorus is repeated at the end, with the last line continually echoed, until all that is left is a vinyl crackle. A fitting end to an existential journey, this EP is an immense release. Big Up.
If you like English hip-hop, you'll love this. If you don't, well then. Make like a tree and fuck off. As emphasized previous, Template Disaster would be a favourite. One of the more upbeat tracks. See how you find it. Thumbs up. Link below. Script.
Averagity Rating: Ah man, well above average.
Bandcamp: https://spitfireukofficial.bandcamp.com/album/crypted-facts-lifted-wax
Monday, 11 August 2014
Upfront MC - Upfront And Personal - A Few Words
Sicker than sick and doper than dope, Upfront delivers as always. Hard beats, smooth riffs, sleek vocals, all combined in a mesh of hip-hop goodness for the soul. Always touching more on the lyrical side than the phonetics, the album has a lot of words, sometimes bordering a touch too many. How and ever, Upfront is Upfront, and the album is a step above the grade. For a young lad, he's doin' fair well. Featuring colabs from the other Prophets, Leaf Dog, Chikaya, and a host of others larger than the armies at the end of Lord Of The Rings, each song is individual in itself, but blends seamlessly into the album. Unique, check. Extravagant, check. Money, cheque.
With a little intro to kick out the jams, easing into Still Rolling, first impressions were of an odd kind. An off-key trumpet style riff, coupled with Chikaya's following vocals, it's a loud one, with banging kicks and hard snares. I'm not sure what that intro is about, but hey. That trumpet is an ear worm. Following the first chorus, Upfront keeps the flow going, as mentioned in previous posts. An exciting intro to the album, it sets the momentum forward, never slowing. I wouldn't hire those brass players for a function though.
Mistafire takes his cue for Where's The Love Gone. A much more laid back tune, Upfront begins the track with his unique style coming through. After getting used to his accent and tone of voice, it's entertaining hearing another person rhyming on the track. Mistafire is great in his own right. No hate. Whether due to production or out straight talent, Upfront comes through as clearer on this track, heavier.
Another easy peazy slow one, My Surroundings, has much more emphasis on each element. The drums come through incredibly clear, as do the vocals. The riff is a simple tight guitar, and the vocals are the main point. Not a bad element. Elements of life.
Hurry Sundown begins like we're Clint Eastwood in the West. Not in a homo-erotic way though. Upfront flows on top of a (much more talented) brass ensemble, with vocals floating in the background. Emphasis on phonetics again ("Hurry Sun-daan"), it has numerous vocal hooks that you can't help but randomly projecting to the nearest audience at every given opportunity. With verses from Life MC and Hozay, it adds a dose of variance, always good. Tearing through Not All Bad (link below), we storm through to a personal favourite.
Keeping it real, Come Back To Me is a steady, all round fuckin' banger. Featuring the Dog of the Leaf himself in his human form, it's a standout of the album. For me. Carried with that wonky vocal harmony, a suppressed kick, Leaf's vocals being filtered or something, and lyrics being deeper than the depths of your girlfriend's ass, it can't but stand out. Gotta love Leaf. In fact, gotta love it all. The kick really carries the beat onward, and it's a shame it ends at all. Thumbs up.
Strolling casually past the police into U.P.F.R.O.N.T., it's half an interlude, half a song. Or maybe a quarter if it's half of a half. Anywho, it sets the scene in a much happier light than previously. Treading past Coming Through Your Speakers, another old-schooler, and Who Wants It with Jman (with the perfect off-kilter Family Guy sample, and reggae guitar), the album focuses towards another release featuring Chikaya.
What People Say would have been a defining song in my happening upon the Prophets. Res is on form here, and it's the release off the album that would have been most familiar to the author. Shown to the internets a whopping seven months ago, according to the TubeYou, I didn't expect it to be on the album. Not sure if anyone did. I digress. In regards to the song, the album revolves around it, being the centrepiece in a sense. A sweet, sweet guitar intro, with Chikaya sounding vocoded through strings, it's Upfront at his best. Lyrical content is unreal, and flow is something else. The beat is a simple one, with lots of crashes, keeping the flow like a river, always onward. The video is a sentimental hailing to the past, or present, or (possibly) future, and I'll post at the bottom. The chorus is straightforward, but effective. Res kicks his shit off, representing himself as a lot more serious than he usually is. Talent. A stab at other people, and the force-fed shit through the TV, the words roll off the verses. It's a song that makes you sit back and think. A personal favourite, as is so clear to see by the size of this paragraph. To entertain short readers, or not, I'll leave it at that.
Through So Be It, another phonetic chilled journey, the album launches into Scam Artists with a feature from Paro, funny voice, and Blank. A clappy snare, and an uncomplicated kick, coupled with a simple old-school Rhodes-style piano, it screams Prophets all over. Paro's accent comes through as does Upfront's, and there is no dispute as to where they're from. Flowing smoother than Jonny Bravo, it's a peaceful one. Blank has a much more unique voice to the others, but he still retains the accent. No idea what they're on about, but I like that shit.
A bit more upbeat, Space Cadets contains Res again. With a weird sample reminiscent of a car door sound, the drums are a lot harder than the predecessors. Following, Prophets Get Personal features guest appearances from a lot, if not all, of the Prophets, including all, but not limited to, Bil Next, Res One, Two Tungs, Flying-Monk, Blank, Datkid, and of course, Upfront himself. A hailing to how great the Prophets are, it shows a pumping riff with a funky guitar in the back, and a strangely hard snare. More of a fucking around in the booth than a serious track, it showcases the finest in hip-hop, and fades out into the outro. Another talking about something or other, into Jealousy, the album ends on a heavy note. It's the perfect outro.
All in all, Upfront exceeds expectations by a long shot, and with features from pretty much everyone in the game, it can't but be a success. With personal high points, the album has its moments, but God knows they'll be appreciated in time. Until then, peace. Script.
PS: maybe an interview permitting.
Averagity rating: Above average, for definite.
Links:
Bandcamp: http://splitprophets.bandcamp.com/album/upfront-and-personal
With a little intro to kick out the jams, easing into Still Rolling, first impressions were of an odd kind. An off-key trumpet style riff, coupled with Chikaya's following vocals, it's a loud one, with banging kicks and hard snares. I'm not sure what that intro is about, but hey. That trumpet is an ear worm. Following the first chorus, Upfront keeps the flow going, as mentioned in previous posts. An exciting intro to the album, it sets the momentum forward, never slowing. I wouldn't hire those brass players for a function though.
Mistafire takes his cue for Where's The Love Gone. A much more laid back tune, Upfront begins the track with his unique style coming through. After getting used to his accent and tone of voice, it's entertaining hearing another person rhyming on the track. Mistafire is great in his own right. No hate. Whether due to production or out straight talent, Upfront comes through as clearer on this track, heavier.
Another easy peazy slow one, My Surroundings, has much more emphasis on each element. The drums come through incredibly clear, as do the vocals. The riff is a simple tight guitar, and the vocals are the main point. Not a bad element. Elements of life.
Hurry Sundown begins like we're Clint Eastwood in the West. Not in a homo-erotic way though. Upfront flows on top of a (much more talented) brass ensemble, with vocals floating in the background. Emphasis on phonetics again ("Hurry Sun-daan"), it has numerous vocal hooks that you can't help but randomly projecting to the nearest audience at every given opportunity. With verses from Life MC and Hozay, it adds a dose of variance, always good. Tearing through Not All Bad (link below), we storm through to a personal favourite.
Keeping it real, Come Back To Me is a steady, all round fuckin' banger. Featuring the Dog of the Leaf himself in his human form, it's a standout of the album. For me. Carried with that wonky vocal harmony, a suppressed kick, Leaf's vocals being filtered or something, and lyrics being deeper than the depths of your girlfriend's ass, it can't but stand out. Gotta love Leaf. In fact, gotta love it all. The kick really carries the beat onward, and it's a shame it ends at all. Thumbs up.
Strolling casually past the police into U.P.F.R.O.N.T., it's half an interlude, half a song. Or maybe a quarter if it's half of a half. Anywho, it sets the scene in a much happier light than previously. Treading past Coming Through Your Speakers, another old-schooler, and Who Wants It with Jman (with the perfect off-kilter Family Guy sample, and reggae guitar), the album focuses towards another release featuring Chikaya.
What People Say would have been a defining song in my happening upon the Prophets. Res is on form here, and it's the release off the album that would have been most familiar to the author. Shown to the internets a whopping seven months ago, according to the TubeYou, I didn't expect it to be on the album. Not sure if anyone did. I digress. In regards to the song, the album revolves around it, being the centrepiece in a sense. A sweet, sweet guitar intro, with Chikaya sounding vocoded through strings, it's Upfront at his best. Lyrical content is unreal, and flow is something else. The beat is a simple one, with lots of crashes, keeping the flow like a river, always onward. The video is a sentimental hailing to the past, or present, or (possibly) future, and I'll post at the bottom. The chorus is straightforward, but effective. Res kicks his shit off, representing himself as a lot more serious than he usually is. Talent. A stab at other people, and the force-fed shit through the TV, the words roll off the verses. It's a song that makes you sit back and think. A personal favourite, as is so clear to see by the size of this paragraph. To entertain short readers, or not, I'll leave it at that.
Through So Be It, another phonetic chilled journey, the album launches into Scam Artists with a feature from Paro, funny voice, and Blank. A clappy snare, and an uncomplicated kick, coupled with a simple old-school Rhodes-style piano, it screams Prophets all over. Paro's accent comes through as does Upfront's, and there is no dispute as to where they're from. Flowing smoother than Jonny Bravo, it's a peaceful one. Blank has a much more unique voice to the others, but he still retains the accent. No idea what they're on about, but I like that shit.
A bit more upbeat, Space Cadets contains Res again. With a weird sample reminiscent of a car door sound, the drums are a lot harder than the predecessors. Following, Prophets Get Personal features guest appearances from a lot, if not all, of the Prophets, including all, but not limited to, Bil Next, Res One, Two Tungs, Flying-Monk, Blank, Datkid, and of course, Upfront himself. A hailing to how great the Prophets are, it shows a pumping riff with a funky guitar in the back, and a strangely hard snare. More of a fucking around in the booth than a serious track, it showcases the finest in hip-hop, and fades out into the outro. Another talking about something or other, into Jealousy, the album ends on a heavy note. It's the perfect outro.
All in all, Upfront exceeds expectations by a long shot, and with features from pretty much everyone in the game, it can't but be a success. With personal high points, the album has its moments, but God knows they'll be appreciated in time. Until then, peace. Script.
PS: maybe an interview permitting.
Averagity rating: Above average, for definite.
Links:
Bandcamp: http://splitprophets.bandcamp.com/album/upfront-and-personal
Saturday, 2 August 2014
Young Wonder - A Few Words
Young Wonder, straight out, are a cut above the rest. Their unusual style, Rachel's unique image, the transcendental beats, everything combines to give this strange hypnotic music that just screams to your soul. With samples of bagpipes reaching into your soul, and chopped up vocals creating waves of audible sensations, they truly are something else.
The first time I recall hearing the group was when a friend linked me, as he was in the video. Peace. To You was the video, filmed on Lough Derg if I'm not mistaken, with numerous takes to perfect the walking sequence. Following Rachel, namely, walking through the trees with a shoe box containing a (presumably) deceased cat, it's an odd one. Dressed to impress, their image is not confined to everyday charity-shop styles. More headgear than a wartime soldier, the image is flawless. However, for the video it is a plain black attire, nothing too special, all things considered. The song is a lovely little peaceful banger of a tune, drifting with the choppy bagpipes and heavy basslines. The production is incredible, and sounds even more exceptional on record, which they released and I had to buy. It was a must.
It seems they fit very well into the Irish scene. Transcendental beats, laid back in the shack, the Irish scene is much more inclined at the moment to veer towards synth-style ambient electronic music. Nothing wrong with this, as one can so clearly see. It's always a joy to hear someone on the microphone speaking in a dirty Cork accent; reminds us of the hills back home, the rain and the poverty. Like Lethal Dialect, it's a privilege to be able to relate in such a way. National pride, yo.
The first album from the duo, now a threesome, I do believe, was simply entitled Young Wonder. Featuring (a personal favourite) Flesh, Tumbling Backwards, Orange, and such, was apparently based on samples. Not entirely sure where, but you can find them if you look hard enough. Incredibly melodic, with vocal hooks everywhere, it deserves more recognition. In comparison to the next release, Show Your Teeth, with a colab on Time from Sacred Animals, the album is nowhere near as experimental. Going all out, songs like To You and Electrified are highlighted throughout the album as being much more developed than the first release. Both excellence personified in their own rights, the latter is of a different breed.
Samples used are different throughout the songs, yet they retain their individual sound throughout. Relatively soft kicks, hard snares, and deep basslines, contrasted with high vocals, create a soundscape for the listener. Wide use is made of chopping vocals, which usually I wouldn't be in favour of, but this is different. Much different.
One beef I got; it can't be called electronic pop. Acid smoking, experimental fucking, cannabis injecting, transcendental abusing electronica is a much more descriptive genre. They indulge the listener in a profound landscape, leading them on a journey through the mind. You can't call that pop. However, I repent; it is not for me to decide. Not on this occasion. I digress.
Flesh is one of the more uplifting songs, compared to others. Still, melody and vocals shine through, creating a wonderfully contrasting piece. A theme, one should notice, is the longing of something else. They bring forth this feeling in the pit of your stomach, the centre of your being, in which you long for someone, or miss something. It's strange, but it shows the talent of the two and/or three. Other big names in the Irish side of the game share this strange aspect, but I won't talk about this here.
On a lesser/greater note, I saw them in Christchurch Cathedral. I bet you didn't. Epic.
It's only a matter of time before I have a Young Wonder tattoo. On my forehead. Riding a giant phallus. Into the sunset. Good day, and good night. Script.
Averagity rating: Above average. Need I say it?
Facebook: https://www.facebook.com/youngwondermusic
Bandcamp: http://youngwonder.bandcamp.com/album/young-wonder
The first time I recall hearing the group was when a friend linked me, as he was in the video. Peace. To You was the video, filmed on Lough Derg if I'm not mistaken, with numerous takes to perfect the walking sequence. Following Rachel, namely, walking through the trees with a shoe box containing a (presumably) deceased cat, it's an odd one. Dressed to impress, their image is not confined to everyday charity-shop styles. More headgear than a wartime soldier, the image is flawless. However, for the video it is a plain black attire, nothing too special, all things considered. The song is a lovely little peaceful banger of a tune, drifting with the choppy bagpipes and heavy basslines. The production is incredible, and sounds even more exceptional on record, which they released and I had to buy. It was a must.
It seems they fit very well into the Irish scene. Transcendental beats, laid back in the shack, the Irish scene is much more inclined at the moment to veer towards synth-style ambient electronic music. Nothing wrong with this, as one can so clearly see. It's always a joy to hear someone on the microphone speaking in a dirty Cork accent; reminds us of the hills back home, the rain and the poverty. Like Lethal Dialect, it's a privilege to be able to relate in such a way. National pride, yo.
The first album from the duo, now a threesome, I do believe, was simply entitled Young Wonder. Featuring (a personal favourite) Flesh, Tumbling Backwards, Orange, and such, was apparently based on samples. Not entirely sure where, but you can find them if you look hard enough. Incredibly melodic, with vocal hooks everywhere, it deserves more recognition. In comparison to the next release, Show Your Teeth, with a colab on Time from Sacred Animals, the album is nowhere near as experimental. Going all out, songs like To You and Electrified are highlighted throughout the album as being much more developed than the first release. Both excellence personified in their own rights, the latter is of a different breed.
Samples used are different throughout the songs, yet they retain their individual sound throughout. Relatively soft kicks, hard snares, and deep basslines, contrasted with high vocals, create a soundscape for the listener. Wide use is made of chopping vocals, which usually I wouldn't be in favour of, but this is different. Much different.
One beef I got; it can't be called electronic pop. Acid smoking, experimental fucking, cannabis injecting, transcendental abusing electronica is a much more descriptive genre. They indulge the listener in a profound landscape, leading them on a journey through the mind. You can't call that pop. However, I repent; it is not for me to decide. Not on this occasion. I digress.
Flesh is one of the more uplifting songs, compared to others. Still, melody and vocals shine through, creating a wonderfully contrasting piece. A theme, one should notice, is the longing of something else. They bring forth this feeling in the pit of your stomach, the centre of your being, in which you long for someone, or miss something. It's strange, but it shows the talent of the two and/or three. Other big names in the Irish side of the game share this strange aspect, but I won't talk about this here.
On a lesser/greater note, I saw them in Christchurch Cathedral. I bet you didn't. Epic.
It's only a matter of time before I have a Young Wonder tattoo. On my forehead. Riding a giant phallus. Into the sunset. Good day, and good night. Script.
Averagity rating: Above average. Need I say it?
Facebook: https://www.facebook.com/youngwondermusic
Bandcamp: http://youngwonder.bandcamp.com/album/young-wonder
Sunday, 20 July 2014
Lethal Dialect - A Few Words
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/
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, 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.
Links:
Facebook: https://www.facebook.com/hawkhouseofficial
Chill Pill vid:
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