Category: Vinyl Recommends
Review: The Roots: “Things Fall Apart”
In 1999, Philadelphia based hip-hop group, The Roots, would reach a turning point in their career. They would release their fourth studio album, Things Fall Apart, which would help them achieve mainstream success and solidify them as pioneers in rap culture. Prior to its release the band had amassed quite a following but it never really translated into commercial success that other acts saw. This album showcases their musical abilities with their thought provoking lyricism and genre-spanning beats. The group experimented with hip-hop, jazz and even psychedelic beats. It is considered a classic.
The album starts off on a powerful note with its first track “Act Won (Things Fall Apart)”. On this track, the group samples an audio from the 1990 Spike Lee film Mo’ Better Blues. The audio is a dialogue between two characters (Bleek Gilliam and Shadow Henderson) discussing the state of Jazz music. Gilliam is complaining to Henderson that Black people never come out to support their own at their shows, however Henderson rebuttals that it is not a race thing, instead that they don’t come because they don’t like what is being played. “The people don’t come because you grandiose motherfuckers don’t play shit that they like. If you played the shit that they liked, then the people would come. Simple as that.” The audio ends with a quote from Harry Allen, best known as the “Media Assassin” from rap group Public Enemy, “Inevitably, hip-hop records are treated as though they are disposable. They are not maximized as product, not to mention as art.” This track seems to be a reflection of the group themselves. They often felt underappreciated and tried to separate themselves from other mainstream artists. They considered themselves “real shit” for people who wanted it, and just like Henderson they didn’t want to sacrifice their creative integrity just to appeal to the masses. Those who liked their music would like it, and not support them solely because they are black.
Track three, “The Next Movement”, which features DJ Jazzy and Jazzyfatnastees, reiterates some of the themes The Roots have already established for themselves. They are not the “norm” nor do they strive to be. They represent ‘the next movement’ as their lyricism helps them stand out “once again it’s the Thought / the Dalai Lama of the mic, the prime minister Thought / this directed to whoever in listenin’ range”. The Roots recognize how pop-like Hip-Hop is becoming and strive to keep it authentic for its core-audiences, but creative enough for a casual listener.
The standout song on the album “You Got Me”, which features vocals from Erykah Badu and Eve, won The Roots a Grammy for best rap performance in 2000. They explore the topic of love and how although things fall apart, how they vow to remain there for eachother. “If you were worried ’bout where / I been or who I saw or / what club I went to with my homies / baby, don’t worry, you know that you got me,” Badu croons over the chorus. She is reassuring her love interest that he doesn’t have to worry about what she does because “he’s got her”. They spend the next two verses establishing how ‘things happen’ and people will try to get between them, “I seen people caught in love like whirlwinds / Listenin’ to they squads and listenin’ to girlfriends / That’s exactly the point where they whole world ends / Lies come in, that’s where that drama begins.” The chorus comes back and we here Badu once again reassuring her lover.
Things Fall Apart is an introspective album that captures trials of the world through poetic lyricism. The Roots are able to tackle topics such as love, identity, race and struggle over infectious melodic beats. Production of the album comes from legendary producers like ?uestlove (Questlove), J Dilla and Dj Premier. Through a mix of samples and live music, the band is able to flawlessly create a piece of work that is both creatively experimental and familiar. “Table of Contents (Part 1)” features a messy breakbeat and controlled chaos, showing the group’s dedication to challenging themselves creatively. The Roots were not only able to capture the essence of the 90s but showcase the musical abilities that made them unique. Almost three decades after its release, their messages still remain relevant today. If you appreciate Hip-Hop as an art then this album is a must-listen.
Artists Who Shined at AthFest 2023
From Friday, June 23 to Sunday, June 25, the Athens community came together to enjoy local artists for Athfest 2023. This year commemorated 25 years of the festival and brought together acts of all generations and genres. In celebration of such a fun and successful event, I wanted to highlight some of my favorite artists who I saw this past weekend.
Trvy
2023 Vic Chesnutt Songwriter of the Year Award Recipient and Athens Hip Hop Titan Trvy took the stage Saturday evening at Livewire. He rapped with the aid of a backing band, collectively known as Trvy & The Enemy. Originally formed for a one-off Tiny Desk-style performance, the band soon realized the chemistry and potential they had, and thus continued to perform and make music together. A self-described mix of trap, psychedelic rock, world music, and funk, this boundary-pushing quartet put out their debut self-titled debut just a few days before AthFest began.
My favorite track off the EP is legend, in which he repeats the mantra “gotta die legend.” Built on top of a speedy bassline, the track feels like it’s about to bubble over at any moment but instead closes out with a heavy instrumental. This part especially reminds me of the climax of an action film, like a shootout through a building or a highway car chase. Trvy, as always, comes with the bars. His first verse contains my favorite lyrics from the song.
It can only go one way
Trvy & The Enemy, legend
You can only grow from the pain
Least for myself
Pour from my cup till my cup runneth over
And life just gon spill in my lap
Still keep an eye for the circling vultures
Who just wanna know how it fell in my lap
Recess Party
On the Georgia Theatre Rooftop at 1:00 AM, I saw indie rock band Recess Party perform. Despite the late start time, it was one of the most energetic sets I attended. They performed tracks from their upcoming album Paid In Full and my personal favorite song of theirs, “Change of Pace.” Bassist Sam Smith closed out the night with a rendition of Metric classic “Black Sheep.” In a recent interview, the band members spoke about spending time refining their sound and listed off some of their influences. Genre-wise they, listed sixties & psychedelic rock, singer-songwriter, hardcore, industrial, and nu-metal. They specifically named drummer Ginger Baker, guitarists Jimi Hendrix, Stevie Ray Vaughan, and Chris Buck, and singer-songwriters Elliot Smith and Phoebe Bridgers. Some of their overall band influences are Turnstile, Author & Punisher, Tool, System of a Down, Average White Band, and Radiohead.
When asked about their experience at AthFest, the band responded,
Well, it was our first AthFest, but the stage was familiar and so was the crowd. It feels really special to have people that will stay after your set to talk. We really are playing to our friends and we’re so pleasantly surprised to see that many familiar faces so late at night.
Sam Smith, Recess Party
The band’s performance started just over 24 hours after the release of their latest single, “Hypocrite.” Upbeat and angsty, the song narrates an unfortunate yet inevitable life experience. In my favorite vocal moment of the song, frontman Riley Stillwagon purposefully strains his voice singing about an inevitable life experience. “Hypocrite / Just get over it / One day in your dreams enough’s enough.” Beyond just the singing though, I find myself attracted to a new moment or section of the song on each listen, whether that be the guitar lick at 1:07, the background vocals at 1:51, or the moment when the whole band drops out at 2:37.
Immaterial Possession
Standing outside of Flicker Theatre & Bar on Friday evening, a friend exalted Immaterial Possession as one of the best two bands in Athens. Their set began at 10PM and was fitting, considering the venue’s homey atmosphere. The band’s eclectic sound was matched by their gothic iconography. Immaterial Possession is beautifully anachronistic. Medieval yet modern, they combine punk-rooted bass, Greek and Spanish musical scales, and more, to bring together a truly unique, yet cohesive sound. Multi-instrumentalist Kiran Fernandes was switching instruments in nearly every song, notably playing the congas, saxophone, clarinet, and keys, guitar, bass, and more. Their sophomore album, Mercy of the Crane Folk, was released early in May of this year.
I reached out to the band about how the performance went. Frontman-bassist Cooper Holmes responded,
The performance went well. It was fun. If it was less chaotic, it would have been nice to dial in some lighting design more. The sound wasn’t perfect, but the energy was good and that’s what mostly matters to me.
Cooper Holmes, Immaterial Possession
My favorite track from their album is the eponymous and eerie “Mercy of the Crane Folk.” In the band’s own words, the song is a “Sisyphean tale of feeding a persuasive ghost that never gets full,” with a music video depicting a “magical ritual gone awry.” Sisyphus is a figure from Greek myth, punished by Hades for cheating death twice. In the same way that he endlessly rolls a bolder up a hill, the surfy bass line continues on and on. It grounds this enchanting track, while a medley of other sounds and instruments is layered on top. Holmes and Madeline Polites, on bass and guitar respectively, share vocal duties. The music video, however, only features Holmes and Fernandes.
Clover County
At 1:40 on Saturday afternoon, singer-songwriter Clover County began her performance at the Wicked Weed Stage. I sadly missed Clover County’s set but was able to get some insight into how it went from the artist herself.
Just last year, I was standing outside The 40Watt watching artists perform on the main stage with no expectation for myself to be up there the following year. This year, I found myself overwhelmed with friends and musicians who were ready to help me make AthFest special. My AthFest band consisted of Cannon Rogers, Wim Tapley, and Matt Martin. They’ve all played the fest in the past and made it really easy to feel cool and confident going into things. The most special thing to me was seeing so many familiar faces in the huge crowd on Washington St. I could name them and give you a little bio about most of the amazing locals who help keep this city so magical. I wouldn’t trade my first experience at AthFest for anything and I hope to be back next year to share even more music!
Clover County
Together in matching “Clover County” shirts, the four performed a medley of her own original songs. This performance coincided with the release day of her debut single, “Outlaw.” The aforementioned Matt Martin mixed, mastered, and played on the track. An especially strong vocal performance, the song’s premise is explained in the chorus: “It should be a crime to love him this much / And I’m an outlaw inside my own dreams.” These are words reserved for someone who completes you. Nestled between indie folk and Americana, this is an intimate love poem written about “a desert-driting, whiskey-sipping man with turquoise eyes” who’s walking “through hell and back.” Thematically, I’m reminded of Kacey Musgrave’s “good wife.” This type of pure, fulfilling love makes this song antithetical to a track like “Oh Daddy” by Fleetwood Mac.
Kxng Blanco
Athens-raised Hip Hop artist Kxng Blanco also performed at Livewire on Saturday evening, taking the stage around 11 PM. This was his first performance following the early June release of his latest album, Baby Hefner. Rapping over both Jersey Club and more Atlanta-style “rage” beats, this set was filled with energy, dancing, and smiles all around. By virtue of his stage presence and crowd engagement, it’s evident that this 2x Athens Hip Hop Award winner is a seasoned performer. Along with singles and features, Kxng Blanco has been putting out at least one full-length album a year since 2018.
Kxng Blanco himself added, “the show is a memory that I won’t forget no time soon. Really felt like God gave me the moment as a ‘keep going, you doing the right thing’ type of ordeal”.
My favorite track from the aforementioned Baby Hefner is “INeed2KnoToo,” a duet with R&B artist Convict Julie. A simple guitar melody, distant background vocals, and some well-placed kicks come together to make this rap ballad. Speaking to a lover, Kxng Blanco asserts, “I need to know what’s on your mind / Do you think bout me when we not together?” The song reminds me of “Playing Games” by Summer Walker and Bryson Tiller along with many other recent male-female Rap-R/B collaborations.
Review: Sarah Kinsley: ‘Ascension’
Ascension is the latest EP from rising star Sarah Kinsley. Kinsley first rose to prominence with her viral hit “The King”, which introduced audiences to her talented musicianship, soulful voice and melancholic aura. Kinsley, 22, is young but her self-written songs showcase the craftsmanship of a well-seasoned artist, which is somewhat of a rarity amongst the current class of rising stars, who (on average) prefer to focus on marketability rather than artistry.
Kinsley, who produces her own songs, creates an alluring sonic landscape on Ascension with her knack for finding chaos and beauty in the mundane. On TikTok, she shares bits of her process which show her using a glass bottle on her guitar and hitting random object in her apartment as pieces to her songs. She says what enthralls her the most is “sounds that are individually really bizarre” and how “their essence amongst the collective creates a sonic environment that is so captivating.”
Ascension opens up with “Oh No Darling!”, which is a song Kinsley coins as “sarcastic” and “mean” but also “silly”. She grapples with age, growing up and being stuck in the past. Kinsley creates an endless melody, subverting expectations of classic pop. It’s hard to predict where the song is going, without an arc and a natural conclusion, the listener expects more.
The second track, “Black Horse”, tackles the dichotomy of sanity versus insanity. The pre-chorus builds with layers upon layers of vocals, giving a rich texture to the song, which Kinsley points to as one of her proudest moments on the record.
On the title-track, Kinsley leans into her classically trained roots, incorporating strings into her execution. Oft deemed “too emotional”, Kinsley was chastised for being unwilling to conform to the rigidity of classical music, but now she embraces it. She adorns her songs with classical elements, such as strings in the background, which give her indie pop a timeless quality.
As an early single, “Lovegod” is a standout song on the EP with biting lyrics like “singing holy praises to an indifferent god”. It’s snarky, clever and dreamy. A wistful anthem for the lonely. She packages it all off with “Sliver of Time”, where you can hear uncanny hints of Mitski and Lana Del Rey, both of whom she often draws comparisons to in the comments section of her videos. Regardless, Kinsley remains a wholly original and gifted writer/producer.
Review: Khamari: ‘A Brief Nirvana’
Up-and-coming R&B singer Khamari released his debut album, A Brief Nirvana, on May 26, 2023. The album is littered with recognizable samples, interpolations, and strikingly personal lyrics. His voice and strong songwriting are reminiscent of a Channel Orange-era Frank Ocean. He has writing credits on every track and production credits on all but the last, making this a distinctly personal album. Prominent (soul) samples, bittersweet lyrics, and heavy personal experiences are common threads that bring everything together but above all this is a journey into Khamari’s experience with growth and isolation.
Built on top of a sample of Bill Withers‘ classic track, “Use Me”, the opening track “Wax Poetic” is oxymoronic. The title phrase is often used to describe writing that is excessively verbose and flowery. Khamari, however, flips this notion on its head. He sings, “Wish that I could wax poetic / Paint a Picasso with these words like Kendrick.” He also interpolates the chorus from “Sixteen” by Rick Ross and André 3000 where André sings “Sixteen ain’t enough”. 16 bars is the standard length of a rap verse. By invoking André and Kendrick in this way, two of Hip Hop’s greatest and most wordy lyricists, he is telling the listener that he has a lot to say on this record and we need to be ready to hear him.
The third track, “Drifting”, uses a sample that rap fans may recognize from “New Day” by Kanye West and Jay-Z. That sample is “Feeling Good” by the legendary Nina Simone. On that song, she joyfully sings about finding freedom while on Khamari’s track, he sings about escapism, substance, and addiction. The album title is actually mentioned in the chorus: “Visions of a brief nirvana / Smoking way more than I should / Couple sips had more than I would.” Inspired by the monotony of peak COVID times, “Visions of a brief nirvana” describes Khamari finding happiness and letting go of his self-destructive behaviors. The sample, a poignant but soft string section, a simple drum beat, and a prominent piano come together to create a beautiful instrumental. This song evokes feelings of longing and fragility, but most importantly it is hopeful.
“A Sacred Place”, is the fifth and saddest track on the album. Speaking on a failing relationship, Khamari starts the song with, “What if I can’t make a believer out of you / What if it’s easier to change my point of view?” His worries have turned into resignation and bargaining. He asks himself if letting go of this love is worth letting go of his own opinions and way of being. The lyrics “How fickle a mental state / Set fire to a sacred place” encapsulate the song as a whole. This relationship wasn’t built on solid ground, but it was still special and sacred, and coming to terms with this just isn’t an easy process. Concerning both structure and instrumentation, this is a simple song, making use of two distinct short verses, strings, and a piano. The simplicity concerning the instrumentation and structure of the song is juxtaposed by the layered nature of its lyrics. All things considered, this track reminds me of Faye Webster songs like “Hurts Me Too” and “I Know You”.
The seventh track, “Changing Yourself (Gil’s Interlude)” is a ten-second sample of poet, spoken word performer, and Hip Hop progenitor Gil-Scott Heron.
Of course you want to change yourself for the better
Gil Scott-Heron, Changing Yourself (Gil’s Interlude)
You want to make yourself
A better father
A better son
A better brother
You need the help of those that you’re trying to improve for
This short segment helps tie together the album narratively. As he subtly discusses in the third track, Khamari is in pursuit of bettering himself. This sample asserts that Khamari needs to seek the help of more than just himself to improve.
Continuing with his streak of prominent sample usage, the eighth and tenth tracks each sample songs that have been sampled more than 50 times. “Right My Wrongs” samples “Didn’t I” by Darondo and “On My Way” samples Al Green‘s “Love and Happiness.”
“These Four Walls”, track nine, is a song expressly about isolation. Khamari also recorded A COLORS SHOW version that was released just over a week after the album. In Khamari’s own words, “It kind of has undertones of ‘Diamonds From Sierra Leone’ by Kanye West, where I’m making peace with what I have, and I’m happy because at least I know this is guaranteed.” The song’s chorus ends with “I’ve got these four walls / Even when you don’t call.” Despite struggling after having moved to Los Angeles, he is able to find solace in the things that he does have, like the four walls that he calls home. Sonically, Khamari goes higher up his register and softly stacks vocal harmonies, creating one of my favorite refrains on the whole project.
The album finishes out with “Requiem.” A requiem is a piece of music written in remembrance of someone or something. Over the course of the album, Khamari has learned about himself and grown accordingly. “Not guaranteed a second chance / Thank God I’m waking up / Please don’t play my requiem.” Still struggling to “escape ephemeral darkness,” he hasn’t finished growing yet. His pain is fading and he feels himself coming back to life, so he exclaims that he isn’t ready to die, to have his story finished, to fade away. He doesn’t want to “play his requiem” because there is more for him to do and more for him to be remembered by. Again, he uses his upper register, in what I feel is the most beautiful song on this record. It feels cinematic. He has awoken and come to terms with his isolation. And with this renewed spirit, he feels free in the fact that he has the rest of his story to write.
Review: CLEAR 2: SOFT LIFE EP
Fans and R&B aficionados can finally rejoice: Grammy-nominated artist Summer Walker has finally released her long-awaited CLEAR 2: SOFT LIFE EP. This nine-track project is a follow up to her CLEAR EP which was released before her debut album Over It. It features verses from J.Cole and Childish Gambino and includes production from Solange and Steve Lacy.
This sultry EP explores the topic of a “soft life”, a term popularized through social media trends, although originally coined by Nigerian women. A “soft life”, at its core, refers to a way of life that focuses on prioritizing oneself and “being audacious enough to believe you deserve better”. Walker’s natural vocals and acoustics provided the perfect harmony and helped set the vibe of the EP. Per usual, she displays raw emotions speaking from deeply personal experiences following previous highly publicized relationships. Her lyricism is a true testament to her artistry.
The R&B songstress starts the EP strong with a Cole feature in “To Summer, From Cole – Audio Hug”. Summer’s vocals are in the back singing “call me if you need some love”. J.Cole uses this track as an opportunity to sing her praises and give her the flowers she deserves for all she’s accomplished. He reassures her that, despite all obstacles, she has prevailed and should take time to bask in the moment, soaking everything up. He congratulates her on her babies (she recently welcomed twins into the world) and praises her for being able to juggle her ever-growing career, touring, and expanding family. Cole gives her this verse as a digital reminder to keep pushing and to reach out if she ever needs anything. You can sense his appreciation for her craft. It is a very intimate and beautiful track.
In the second song, “Hardlife”, she expresses how her life is actually the opposite of what she desires. The men in her life have caused her much pain and strife, although they claim they want her to have a soft life, “what have you asked of me, you say you want me soft but give me a hard life”, Walker exclaims. As stated earlier, Summer has been very open about her relationships and being a single mother. She longs for a relationship with no pain and a man to lead like she observes in other cultures. At the end you hear her stating “me and my women who like me… me and all my Black queens when will we get what we need?”
The second track is followed up nicely with “How Does It Feel.” She uses this track to question her previous romantic partners about the decisions they made regarding her love. Walker often feels like an option in their lives instead of a priority. She asks them how it will feel in the end, when they have finally and truly lost her.
The next three songs (“Mind Yo Mouth”, “Pull Up” and “New Type”) examine the kind of men she attracts, mostly of the type who lack ambition and emotional intelligence. (“Wanna be with me then you gon’ get up off your bottom / Wanna lay with me then you gon’ be a real man.”) She closes the thought out with “New Type” proclaiming, as the title states, that she has a new type. She will no longer succumb to the antics of men she feels are not worthy of her time. There are men blowing up her phone but she’s not answering anymore. Here, she reflects on some of the stuff she had to deal with, “Swear ‘fore God I never wanna see another / Arguing on the phone with your ugly baby mother / Sleeping on the couch of the house of your mother / You can’t live with me so won’t you try and find another?”
The EP closes out with “Agayu’s Revelation”. Walker spends about four minutes speaking and reflecting on her relationships. She talks about her spiritual journey and how her experiences have helped shape her. She believed she was making the men around her crumble, until she got great advice from a spiritual guide, “stop working with people who are made of glass, if you feel you are made of steel”. The revelation is made that maybe she is not as bad as she thought but that she spent too much time engaged with men who were not ready to be in a relationship and give her what she needs.
Truthfully, this EP exceeded my expectations and I’m looking forward to her next album.
Review: MAVI: ‘Let the Sun Talk’
An undergraduate student at Howard University at the time, Charlotte-born rapper MAVI released his 2019 album Let the Sun Talk just a week after his twentieth birthday. He is considered by many to make abstract hip-hop. It’s a hard-to-define sub-genre but some shared qualities amongst its artists, songs, and projects are pushing sonic boundaries, emphasizing the use of symbolism and metaphors rather than straightforward lyrics, and on some level being “weird” and/or experimental.
He explained in a 2019 tweet that “Let the sun talk is 3 movements 4 songs each. like a clock. or sundial.” Some hold that MAVI himself is the sun, telling those close to him that they need to pay attention to his words, and others hold that the sun is his own mental state, and this album is him addressing his problems. In his own words, he explains the album as being “about writing your own laws, creating your own cosmology, adapting the laws of physics to your reality, and being the center of your universe.”
A skillful mix of poem and prose, the influence of Earl Sweatshirt is evident but by no means is it derivative. In fact, many fans were introduced to MAVI on Earl’s 2019 FEET OF CLAY EP, a project that came out just two weeks after MAVI’s own album. He cites other artists like Noname, MF Doom, Stevie Wonder, Project Pat, and Thelonious Monk as influences along with rocksteady, salsa, gospel, soul, and reggae music.
The opening track, “Terms & Conditions,” begins with a speech explaining what it is “to be pro-black.” There are three tenants: the relentless pursuit of tangible assets to build and maintain black communities, the “cultivation of a culture that reinforces a unified vision of black well-being and continuous advancement”, and the use of one’s own voice to share with their community ideals such as understanding, freedom, equality, love, and happiness. A jazzy instrumental is soon introduced and the song switches to a narrative on the origin of the sun and the moon in the sky that draws largely from an Efik folktale.
Track four, “Self Love” is a fan favorite. When I attended MAVI’s “Laughing So Hard, It Hurts” Tour in April of 2023, the entire crowd sang this song together at the end of the show. A sample from Sonia Ross‘ 1969 track “Don’t Go Breaking My Heart” is used in the chorus and bridge with the repetition of “just because I love you.” So many of the messages core to this album are illustrated in this one song. “The moral of my story is I’m impure / The horror in my story is I’ve been through it and I still do it / And my pencil is in earnest.” It’s a deeply emotional song, seeing MAVI detail his relationship with marijuana and his internal struggles. He recounts how his mom has noticed how often he’s “gone” while at home and her love won’t allow him to keep poisoning himself like this any longer. His list of sins is so long that feels unworthy of even talking to God. The song climaxes in the third verse, sounding much more distressed than the rest of the song. Referencing the album title, he raps “I self-aggrandized in the past / But now the sun talking.” I think he means that in the process of making this album, he has begun to shed his arrogance.
We sprouting, now we plant seeds
MAVI, Self Love
You plant love, love will grow
You plant fear, fear will grow
If you planted me, then me would grow
But I was branded negro
He metaphorically explains that external labels hinder the fulfillment of his potential as a black man. He looks beyond just his own reality though, rapping “And I offer free smoke to any nigga behind a #MeToo / ‘Cause to my niggas, we ain’t free until she free, too.” He is deeply angered by the culture of rampant sexual abuse and harassment of women and recognizes that the black community won’t truly be free until its women are free from this as well.
“Sense”, the eighth track, is my personal favorite and was actually produced by Earl Sweatshirt. Just barely over a minute long, this was the album’s lone single. He describes himself as “Breathing out of love for respiration” rather than just living because he enjoys it. The majority of lines on this song begin with “I”, with MAVI using this track as an opportunity to tell listeners what he thinks about himself. Alluding to his words on the #MeToo Movement in “Self Love” he raps, “I give a lot of thought to what my daughters look like free, chainless.” In a line that is both boastful and truthful he poses and answers the question, “What kinds of songs you make? I make the kind you gotta read, baby.” MAVI, like his influences, makes lyrically dense music, whose full value can be better attained by reading the lyrics.
This album is so special to me on a personal level. This level of candid vulnerability from a fellow black man, especially one who is about the same age as I am, is something that I value deeply. Mavi is inspired by a mix of ideals and people: experimental jazz composer and poet Sun-Ra, legendary Black author Toni Morrison, cartoons, the Five-Percent Nation (whose Supreme Alphabet you may be familiar with by virtue of rappers RZA and GZA and singer SZA), and so much more. Searching for meaning and purpose in his own life, he is someone that draws from things all around him. He accepts his faults and recognizes his pain, but he still seeks to grow as a plant does toward the sun.
Review: UGA MBUS Students: 2023 Spring Releases
As a part of the University of Georgia’s Music Business Certificate Program, I am lucky enough to be classmates with a host of musicians and performers. So here, I want to highlight a few recent releases from my talented classmates.
Bea Porges is a singer-songwriter with a penchant for layered, relatable lyrics. Backed by fellow classmate Cannon Rogers on a warm but striking steel guitar, she released her new single “all day long” on March 24. A nice subtle bassline and simple drum pattern give the song a soft, jazzy feel. The true highlight of the track is Bea’s voice. Her vocal performance brings so much character and passion into a song that is otherwise muted. At 0:46 and 2:18 and specifically, her vocal slides pleasantly catch my ears and provide a necessary structural deviation. It’s a flowery track that delves into the all-too-common feeling of longing. The mellow ache of missing someone you love and wanting to share time with them. “Space and time and feeling fine and our shared sentiments,” are the words Bea herself uses to describe this situation. In her refrain she sings, “All day long, all day long I think about loving / And all day long all day long he thinks about nothing.” Love holds so much power over us all. But unfortunately she is a cruel mistress, and so often we have love for those who may not recognize and reciprocate its presence.
Ethan Faulkner, under artist name Balistix, and fellow beatboxer DEN, released collaboration “Love Love Love” on March 31. On this EDM track, both artists display a high level of vocal control and beatbox mastery. Kicks, claps, and a range of high and low synth-like sounds are reproduced to form the beat, as the pair take turns singing. In Balistix’s own words, “everything in the song was made only with the human mouth.” It feels so effortless, but it’s clear that both of these men have acquired their skills by spending their days and nights toiling over and honing their craft. Opening with “You were so hard to find / It wasn’t easy / But now that I found you / My life’s completed” is how this “somebody to love” is presented to us listeners. At 2:19, a bouncy breakdown provides an added element of variation, and this track would feel hollow without it. This fun, danceable track would do very well at energizing the crowd at an EDM show or club. Self-proclaimed “haters” of the genre could find significant value in this as well.
Tattoo Logic, a newly-formed five-member funk-punk band, released “Ghost of a Chance” on March 31. The track opens with some cymbal taps and a simple guitar riff and then it booms! Think “Misery Business” by Paramore, “Boys Don’t Cry” by The Cure, or “Helena” by My Chemical Romance. “As soon as I kicked the bucket / It was easier to forget than a Classic City obituary” starts the song off on a strong note. Silence and rests are as much a part of this song as the instruments and vocals are. The instrumental oscillates between choppy, staccato notes played in unison by the guitarists and a much wackier beat that feels almost like a cartoon chase scene. The chorus goes:
It’s not a ghost of a chance, or a whisper of faith
Tattoo Logic, Ghost of a Chance
You thought you were close but you were locked in a race
It’s a haunted dance, how it drifted away
And how we say… It’s not a ghost of a chance
Unexpectedly, the first chorus is followed by the entrance of metallic synths. It fits perfectly, giving an eerie, off-putting edge to the song. The bridge, while still teeming with nervous excitement, is more orchestral in nature. An especially strong part of the song is the head voice and slides employed by the lead female vocalist. This song reminds me of a scene in a movie; The somewhat outcast but loveably goofy and confident main character asserting themself as the looming conflict is just ready to boil over.
Whether it is passive or active, casual or impassioned, live music forms a basis of culture and community across the globe. If you can, go support these local young artists who help form this basis in Athens, Georgia. Who knows, maybe you’ll even be inspired to check out a show!
Review: Common: “Be”
Be. It’s a simple message, a direct command. And, it also happens to be the title of Chicago rapper Common‘s 2005 album: Be.
Common explained the title of his album in a 2005 interview, stating:
The album is entitled BE because the hardest thing to do is to be yourself, although many think it’s the easiest it’s really not. Being is just to exist, you don’t have to try hard to do anything because God gave us each an individual and unique characteristic that is the core of who we are. So BE is just about that, being whoever you are, where ever you are.
AllHipHop, 2005
Track six, “Love Is…”, and the closing track, “It’s Your World (Part 1 & 2)”, are produced by the legendary J. Dilla while the other nine tracks are produced by fellow Chicagoan Kanye West. Today, both men are considered masters of the art of sampling and two of the best producers of all time. At the time of its release, Common was a member of West’s label GOOD Music, and the pair were already close friends after having met nearly a decade earlier in Chicago. Dilla and Common also shared a close relationship as they were both at one point members of the Soulquarians, an informal and experimental Black music collective active around the turn of the 21st century. This highly-influential group counted now-illustrious creatives like Questlove, Erykah Badu, Mos Def, and D’Angelo among its ranks.
Samples of classic soul records coalesce with a myriad of layered rhyme schemes as Common and guests skillfully navigate a wide variety of topics and narratives to make this album a whole that is much greater than the sum of its parts.
The host of features includes then-labelmates John Legend and Kanye West; Hip Hop progenitors The Last Poets; comedian Dave Chapelle; fellow Soulquarian Bilal; singer-songwriter-guitarist John Mayer; and several others who went uncredited.
For so many, myself included, this album inspires you to listen to and think about the world around you. Common is simply talking about his own experiences: the troubles faced in the hoods of Chicago, the waning of youthful glee, the bittersweet dichotomy of love, the unrivaled confidence he has in his rapping ability, the discrimination of African Americans in American society, the battle between monetary success and being a voice for his community. He makes his personal perspectives seem relatable and general, a quality of the most capable rappers and songwriters.
Over the course of these 11 tracks, he verbosely navigates many themes and ideas in a way that only a master of his craft could do. Each of these songs deserves a review in its own right. It almost feels like an injustice to condense the words and teachings of a seasoned veteran like Common into just a few paragraphs. So instead, I’ve highlighted some of my favorite bars and moments throughout the album, and I hope that these inspire you to listen as Common has inspired me to do the same.
The beat of “Be (Intro)” is one of my favorite musical moments ever. It slowly builds over the first minute of the song and comes together beautifully. At first, it’s just a bass slowly being plucked, then the plucking gets faster, a synth begins playing, and then the keys come in. More strings and drums make the beat finally feel whole as Common begins rapping shortly thereafter. In a strikingly political line, he asserts: “Bush pushing lies, killers immortalized / We got arms but won’t reach for the skies.”
Common has a lot to discuss on women and that’s evident on “Faithful”. He opens the track with a series of questions.
I was rolling around, in my mind it occurred
Common, Faithful
What if God was a her?
Would I treat her the same? Would I still be running game on her?
In what type of ways would I want her?
Would I want her for her mind or her heavenly body?
A vocal sample from Marvin Gaye‘s “God Is Love” backs “Love Is…”. It’s a raw track, something I listen to on a dark day when I need to get in better spirits. Common raps “Everybody loves sun, why do I attract shade / Heard of love of money, but compassion it pays.” These lines remind me of Nas‘ legendary track “The World Is Yours”, where he declares, “I need a new nigga for this black cloud to follow / Cause while it’s over me it’s too dark to see tomorrow.”
Chi-City is a braggadocio track that serves as both an homage to Chicago and a larger discussion of the role of rap in the Black community. Common’s opening line, “I rap with the passion of Christ, nigga cross me” is a perfectly blunt way to begin before Common starts going after “whack” rappers. On the other hand, Common holds his fellow Chicago MCs in high esteem, rapping, “They ask me where hip hop is going, it’s Chicagoan / Poetry’s in motion like a picture now showing.”
On “Real People”, Common speaks on the racism and discrimination that Black Americans face. He invokes key Black Rastari figures, asking “I wonder if the spirits of Bob Marley and Haile Selassie / Watch me as the cops be tryna pop and lock me?”
The second part of the last track, “It’s Your World (Part 1 & 2)”, is the culmination of the album. Common’s father Lonnie Lynn, or “Pops” delivers a spoken word outro in which he lists qualities, people, careers, emotions, and states of being that we can “be”. It’s an understated end to Common’s magnum opus. It’s cyclical in a way. Be, we do it always, unfailingly, and yet there isn’t really a start or end in the truest sense of those words. And on that note, I’ll close this off in the same way that Pops does, with a two-word instruction that I think we all can live by: “Be… eternal.”
Review: GROUPLOVE: “Hello, All!”
When the temperature reaches 70 degrees, certain things become non-negotiable for me: every outfit needs to include a pair of shorts, my car windows will be rolled down, and every playlist should contain at least one GROUPLOVE song to set the mood. Thankfully, with the surprise release of their new double single “Hello, All!” off of their upcoming album I Want It All Right Now, the band has provided me two new options to choose from.
Since the release of their appropriately titled debut album Never Trust a Happy Song, GROUPLOVE has become known for creating music that sounds like happiness feels, even with songs that contain heavy themes. The first single of the pair, “Hello,” a deceptively upbeat sounding number grappling with themes like loneliness and attempting to figure out your identity, is certainly no exception. The song still somehow remains bubbly and energetic even with lyrics like “When will you ever find yourself? / Inside, you feel like someone else” and “Yeah, you’re constantly numb ‘cause nobody sees you through / So you run, and it’s not enough for you,” a true testament to the bands signature sound. Honestly, if you listened to the music without paying attention to the lyrics you may not even realize the subject matter is depressing.
Second on the double single (but not in my heart) is “All,” a song about leaning into your struggles and leaning on those in your life. By swapping out loud instruments for loud vocals and delivering the outro consisting of lines such as “I want it all right now / I wanna take a long ride / With you by my side / I wanna be alright now” via passionate shouting, the point of the song gets across very effectively and proves that GROUPLOVE is not a one trick pony. This is certainly the more somber number of the two and the band successfully capitalizes on that.
These songs are reminiscent of the bands earlier music and remind me of exactly why they dominated the Indie Pop scene for the greater part of the 2010’s and if the quality of these songs is any indication of the rest of the upcoming album, there is a good chance they will rise to the top again. To help pass the time counting down the days until I Want It All Right Now comes out July 7, check out the video for “Hello, All!” down below.
Review: Musiq Soulchild & Hit-Boy: ‘Victims and Villains’
Following a six-year hiatus from releasing his own music, Musiq Soulchild returned to the scene in early March 2023. Victims and Villains is a collab album with producer Hit-Boy. This new album comes nearly 23 years after the release of his debut studio album Aijuswanaseing (I just wanna sing), but he still continues his E.E. Cummings-esque aversion to conventional capitalization and syntax.
Musiq Soulchild is a veteran of the music world and a foundational figure for modern R&B artists. Songs like “Love” and “Halfcrazy” are timeless classics, with the latter even being heavily sampled on Lucky Daye‘s 2022 breakout hit “Over”.
Hit-Boy is known primarily for working with rappers and is no stranger to working on collab projects. Burden of Proof with Benny the Butcher along with all three iterations of Nas‘ King’s Disease series are some of his most notable recent work.
The album opens with a question: will i touch the sky. Backed by a groovy bassline and enhanced by smooth vocal layering, Musiq’s talent and artistry is evident on this track. This is the most personal song on an album where almost every song is about love or a relationship. He laments in the chorus, “Feels like I’m drownin’, tryna keep my head up / Don’t lеt this broken smile tell you a liе / Lost in the crowd with myself to find.” This feeling of anguish is a relatable phenomenon, and it provides context for his mindset on the rest of the album.
Track two, i remember you my ex and track three, imreallytrynafuckwichu, serve as foils. The former is a vulnerable male breakup anthem in which his decision to stop the relationship outweighs his fond memories of the past. On the other hand, the latter is a more macho song where he lets a girl know that he’s down for whatever. It also has the album’s only listed feature, The Husel, who in reality is Musiq Soulchild’s rap alter ego.
The crux of the album is the title track, victims and villains. On my first listen, the simple drum beat and the expressive piano clued me in that he was about to really speak from the soul. He feels fooled and betrayed by a woman who has falsely claimed vitcimhood but in truth is actually a villain. He asks her, “Just how far will you go / Your mask is comin’ down / Thought no one would ever know.” The song’s strength lies heavily in its simplicity and repetition. It feels cyclical in the same way that an argument normally does when it comes to relationships.
On the seventh track, white rice déjà vu, he employs several similes and metaphors in his descriptions of a woman like, “You would think it’s white rice by the way we spoon”, “Love like a shot of Henny, I would chase it”, and “She wanna ride like an ’84 Caprice / You’ll be my passenger all between the sheets”. This track made it evident to me that Musiq Soulchild has definitely been influenced by popular R&B singers of the last few years. These lines feel more like rap bars rather than the lines of a love song, a stylistic choice that’s characteristic of contemporary acts like Brent Faiyaz and Bryson Tiller.
The final track, we were just binging, ends the album and a relationship, comparing them to a TV show that you would binge. What was once the source of joy and fun has now become tired and bored. It’s a somber but poetic end.
Yeah, we put on quite a good show
Now it’s time’s up, next episode
No need to re-up our subscription
The season has come to an ending
Oh, and I know in good time
You’ll find someone just right
Ain’t no victims or no villains
We wasn’t in love, we were just binging
Musiq Soulchild & Hit-Boy, “we were just binging”
With recent features on projects from Kehlani, Freddie Gibbs, Robert Glasper, and EARTHGANG, this project is likely the proper introduction to Musiq Soulchild for many new-generation fans. It details either different perspectives for a single relationship over time or a collection of multiple love stories accumulated by one man with different women. It doesn’t have the same sort of magic to me that his first few projects do, but sticking too closely to his traditional style would only beget music that’s tired and forgettable. As a whole though, this is a cohesive project and a worthy return for a music legend.