It’s pretty silly, the way the author spends a good chunk of this piece describing the marketing around the release of Yeezus, even though he claims that the album had no “strategic promotional plan.” News for you: Kanye’s Times interview, SNL, and the “New Slaves” projections were ALL both strategic AND promotional.
Kanye’s production on Pusha T’s “Numbers on the Boards” reeeeeeeeeally sounds like Dead Prez though. Not that the entirety of this record doesn’t sound like them too, but the bass on that Pusha song is very clearly indebted to “Hip Hop.”
I haven’t heard the Casino tape yet, but I noticed a bunch of the Future collabs on there were already on FBG The Movie, which is kinda lame, though understandable I suppose. Casino >>> Wayne on “Karate Chop” BTW
I get what you’re saying, but I see no problem with the “internet mindset that created them” because they’re a pretty good band. So that internet mindset in ’05 or whatever just helped out with the rise of a pretty good band.
I don’t like when people take shots at Clap Your Hands Say Yeah. Sure, they have a goofy name and turned out to be sort of a flash in the pan, but their first album has some jams that I, for one, still return to. They totally hold up. The way those guys get mentioned here seems like the author just considers them some kind of embarrassing relic of a bygone era, but I don’t see any way that they lack integrity/legitimacy.
Sorry for only responding to one specific throwaway reference… But yeah.
This is a really good piece. I loathe Chris Brown, but I realized recently that that was sorta hypocritical because I continue to support rappers like Gucci Mane, who is one of my favorites, but who also once got into some trouble for throwing a chick out of a moving car… Why does Gucci get a pass for his violence against women, but Breezy doesn’t? At the end of the day, I think it’s all just about personal taste regarding the music, and a willingness to put blinders on when faced with horrible shit, as we all must do quite often these days. But I will still continue to hate Chris Brown, because you’ve got to draw the line somewhere, you know? Plus, it doesn’t hurt that Brown’s music is generally shitty (except the “Deuces” remix, which remains hot as fuck).
I admire your restraint in only using the phrase “old-timey” a few times in this piece… It usually seems to me like the only apt way to describe Mumford.
Yes, but a bunch of the others aim for the sound Clams Casino brought to “Live Love,” especially “Angels,” which uses an Imogen Heap sample, just like Clams likes to use. Full-length A$AP x Clams might explode my brain forever