Comments from greenandyellow89

That’s also a very good point. To Gryffindor!

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August 7, 2015 on Premature Evaluation: Dr. Dre Compton

My best western guess would be that the hip hop world takes exemption when it comes to producer-rappers, especially those of legendary caliber like Dr. Dre (he’s a goddamn doctor!) and Mr. West. Drake has obviously been in almost everyone’s cross hairs since his inception to the point where most were (and are continually) looking for any and all reason(s) to pounce. Guessing (and probably bullshiting) again, I think that maybe his untouchable status and cockiness finally struck a (relatively…ok very small) collective nerve more recently. Maybe it’s some form of American pride (or pie, which I believe offers more pleasure than beef (too sweet?(freedom fries on fleek?( flow so weak? (maybe I’m meek?)))))?

What was the catalyst, Lester Holt? Sucks that we’ll most likely be dead 50 years from now when the government finally opens the vaults, and the truth about 311 will still remain a butterfly in the wind.

TL,DR: In a nutshell, that comment was why I don’t… comment. I go off the rails. If you’re reading this, it’s too late: nothing was the same. Take care, take care; thank me later.

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August 7, 2015 on Premature Evaluation: Dr. Dre Compton

Great write-up, Lebron Tom! I haven’t had a chance from work to listen just yet but this (RAOTW?) PE makes me psyched to dive in over the weekend.

One quick sortofrelated question: you (and a few other early reviewers) alluded to Kendrick taking shots at Drake in the “Mr. Meekseeks hasn’t given up yet” article and I wonder if anyone else thought of “King Kunta” when the first allegations of ghostwriting were made? Besides the lines about ghostwriting (and shammin’ bars), Kendrick also throws in a line about starting from the bottom. Maybe a bit of a stretch because of everything else he talk about in that song but maybe a little foreshadowing?

I’ll refrain from going any further of subject. The only shitty thing about 2015 is that 2016 can’t possibly live up to it, right? Can’t wait to hear 2016’s diss track. Fingers crossed!

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August 7, 2015 on Premature Evaluation: Dr. Dre Compton

I’ve always been an apologist for “The King of Limbs” (as I have been for “First Impressions of Earth” (but more on that connection a bit later)) so there is no need to defend the album for me. I don’t believe that you need a percussion background to appreciate Radiohead morphing from a rhythm first, melody second band for the first half of the album but I believe that this informed my listening approach and love for TKOL. From my perspective of enjoying the first half, and like everyone else, being floored by the absolute beauty of the second half (I probably sound insane but without playing versus, I would put “Separator” in my top five Radiohead songs). I’m going to cut my self way short of what I usually do when I feel passionate about an album on here (bore everyone and myself to death) and jump to why I’m replying to Inthedeadofknight.

Like Ryan, I collected the other songs from “The King of Limbs” sessions (my most level-headed purchases from amazon) and made a super cut including those singles and “These Are My Twisted Words” (the song that I believe foreshadowed TKOL). The reason why I brought up FIOE is that I took the opposite approach a long time ago (surprisingly, these are the only two album track lists of my collection that I have changed). Although I very much appreciate the brevity of TKOL (and I appreciate the “bloat” of “Hail to the Thief”) here is my alternate track list:

1. The Daily Mail
2. These Are My Twisted Words
3. Bloom
4. Morning Mr. Magpie
5. Little By Little
6. Staircase
7. Feral
8. Supercollider
9. The Butcher
10. Lotus Flower
11. Codex
12. Give Up the Ghost
13. Separator

The rhythms and grooves that open and close songs are more of a link for me than a cohesive concept, but I also liked the idea of the actual track list operating as a suite of four songs linked or “two EP’s”. So, I kept the groupings of the first three and final four together within the album but chose to use “Feral” as the central track to operate as an intermission between two sides (makes more sense as a CD than vinyl track list). The choice of opening with “The Daily Mail” and new album length almost turns the album into a sequel of “Hail to the Thief” in terms of themes presented throughout and maybe is a bit too nail on the head with Yorke’s intended choice for the name, “The King of Limbs.” I’m probably just full of shit, though…ha, if anyone checks it out, let me know what you think!

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March 10, 2015 on In Defense Of The King Of Limbs

Dammit 2015, you’re gonna draaaaain my bank account. Oh well…What a way to introduce a new album!?! If you told me that the outro was produced by Daft Punk as a remix of the previous five minutes, my gullible ass would have believed you.

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March 10, 2015 on Tame Impala – “Let It Happen”

Don’t mind my pessimism but the new layout seems to be designed in a way to generate more clicks. Maybe my poor, old operating system and Firefox browser aren’t meant to interact with the new site in an optimal manner. However, there appears to be many users that now have everything blown-up on the homepage and beyond. To my eyes, the site now looks like a poor man’s, while the previous incarnation was original, simple, and much less bright white.

I guess you can’t please everybody (and we’re all (underpaid) critics). If it makes you (Gum Crew) happy (then why the hell am I so sad?), congratulations, live (long), love (A$AP), and prosper.

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February 21, 2015 on Shut Up, Dude: This Week’s Best And Worst Comments + Redesign FAQ

You have some great points. He doesn’t have to prove anything to me because he obviously has many fans like you that can differentiate between his lyrical material.To my ears in most of his songs when he isn’t speaking on a relationship between a love interest or ex, he is almost always constantly in a stream-of-consciousness mode that involves: being the best, money spent, me/my crew against the world, fake rappers, phony people, putting on for Toronto, love for his mother, conflicting feelings for his father, and future plans to be even better than the last album. A few of those listed could also be the primary topics of a few other popular rappers at the moment (and the past) but with Drake there is a constant rotation that seems to overlap over the course of his songs and they all blur and flow from song-to-song into…conversations? I think that the beat selection is more diverse and adventuresome on the other albums before this one but he seems to be less all over the place and to have a better sense of space. He also seems to be rapping more. I don’t have a problem with him singing, I just believe that he is better at rapping and should show it. I also hope that he tops Take Care in your mind, because that would be great for everyone’s art.

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February 13, 2015 on Drake Drops Surprise Mixtape If You’re Reading This It’s Too Late

Haha my first exposure to Radiohead was by music video as well but it was “Knives Out” and the result was the same, I was scared. Thorm Yorke and also Bjork (who both ended up collaborating on the first movie that made me cry “Dancer in the Dark”) were probably the only artists that I can remember being terrified of as an underclassmen in High School. Thanks Michel Gondry and Lars Von Trier!

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February 13, 2015 on Silent Alarm Turns 10

Same boat, man, with the Bloc Party to Radiohead connection. We might be long lost brothers.

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February 13, 2015 on Silent Alarm Turns 10

Dude, check out Clap Your Hands Say Yeah’s newest album, Only Run from last year. That was one of my most played car albums of last year. That was an underrated return from Alec Ounsworth and wow how his voice and lyrics have blossomed.

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February 13, 2015 on Silent Alarm Turns 10

Same here. Silent Alarm was my red pill in going from bands like Blink 182, Incubus, and 311 (which you never escape…with your life) to Radiohead, Arctic Monkeys, and Foals (basically my nu-British invasion). I’ll never forget my older brother introducing me to SA via’s listening party (I miss that website) and going out to purchase the album when I could no longer stream it (paranoia over sharing sites made for simpler times).

Obviously, many people were (and judging by the comments section, remain) disappointed with BP’s material after Silent Alarm. I believe the albums to be more rewarding if you take them for what they are (constant and ambitious experimentation by a restless band) as opposed to what everyone else (primarily the press (hype by NME, Pitchfork, and the Interenet (created and) ruined so many great bands)) wanted them to be. I guess this is easier to see/hear in retrospect, but New Order seemed to be one of the biggest touchstones in terms of what BP were trying to accomplish in pushing forward their foundation of angular and atmospheric guitars with electronic textures and and marrying it with new and old dance music styles.

One fact that can’t be denied either way is that no matter how their songs appeared on later albums with layers of guitars and drum programming, they never lost that kickass punk energy that made Silent Alarm such a jolt to the system. I had the fortune of watching them play three times (starting with in between Silent Alarm and A Weekend in the City and after each subsequent release) and I can saw with complete honesty that each show was better than the last. I get that the studio album is what the band leaves behind when everything is said and done but holy fucking shit the live four-piece filter they put those songs through was something to behold. They never lost that immediacy and to hear/watch those guitars interlock & cascade, Russell shred & manipulate, Gordon alternate between drive & negative space, Matt pummel & groove, and Kele shout & strut was like heaven on Earth (yep, the one in Rush Hour).

Bloc Party are a pretty (understandably) guarded band of very intelligent and brave individuals. I don’t like to link to other website but Vice had a relatively recent article ( that would be great to read for more insight on the intentions of Kele and crew when they started the band and the reasons for their constant evolution (also thoughts on backlash against it). Also, if you haven’t heard Kele’s album from last year, Trick, it is different and much better than hist debut album, The Boxer. The production reminds me a bit of material by Burial and Four Tet (which will always be a compliment).

One more thing, how much crazier would 2015 get if Bloc Party announced a new album? According to that article, there seems to be something in the oven. That would be quite the 10th anniversary treat. Either way, phenomenal write-up Chris!

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February 13, 2015 on Silent Alarm Turns 10
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February 13, 2015 on Pitchfork Music Festival 2015 Lineup

Speaking of Tyga, ya boi (Drake) skewered him.

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February 13, 2015 on Drake Drops Surprise Mixtape If You’re Reading This It’s Too Late

When I was talking about Drake’s verse on “Blessings”, “auto-pilot” was the exact phrase I used to describe his style. However, if I’m being honest, I never have warmed up to Drake. I usually refer to him as “Rap Game: Leonard Shelby” (repeating the same story in different ways by his own design (and he confirmed as much on “Tuscan Leather”). He is technically getting better at rapping with each release,very subtly trying different flows, and I’ll say that this is the cockiest I can remember him sounding for an extended time. The primary reason that I continue to check out new Drake material is that I have always liked his production team (new and old collaborators). Also, you can usually count on a Drake project to give you highlights from another artist (Kendrick and Sampha) and PARTYNEXTDOOR doesn’t disappoint with his moments in the spotlight. I’ll say that after two listens, this might be my overall favorite project of his. If edited better (like many rap albums in my opinion) I could see myself giving this the time of day more often down the road.

I guess that my biggest complaint about his music has always been his attitude and diverse subject matter (joke, he only talks about his life) and the next paragraph is where I’ll pose my questions to fans and (stans (where are you Based Corban when I need you the most)) of Drake.

I have read conflicting news over whether this is a mixtape before View from the 6 or just that material under a new name (track titles would suggest the latter to me) but if this is a “calm before the storm” how much more do you believe that he has the offer to hip-hop in general (especially with a line like this: “And I heard someone say something that stuck with me a lot
Bout how we need protection from those protectin’ the block
Nobody lookin’ out for nobody
Maybe we should try and help somebody or be somebody
Instead of bein’ somebody that makes the news
So everybody can tweet about it
And then they start to RIP about it
And four weeks later nobody even speaks about it
Damn, I just had to say my peace about it
Oh you gotta love it
But they scared of the truth so back to me showin’ out in public
That’s a hotter subject ”
I guess I can see the argument for him continuing to stay in his lane as it has gotten him this far but at what point does Drake’s stock go down for not taking risks (there are many conservative rappers that have ended up fine but would you say that he is squandering his potential)? Bonus (Tangent) Question: From a style POV and maybe career trajectory, I would say that the closest rapper/singer to Drake is J. Cole. Even though J. Cole’s most recent album, 2014 Forest Hills Drive, came out in the beginning of December, I’m curious to know first impressions of If Youre Reading This Its Too Late (it hurts me to write it as well, raptor jesus) to that album (I’m team (ice) Cole)?

TLDR: While I believe that Drake has peaked in certain avenues, this is the most that I have enjoyed him in one serving. Discuss?

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February 13, 2015 on Drake Drops Surprise Mixtape If You’re Reading This It’s Too Late

Nope, I think that you did a better job and became my best friend when you used “Who I Am” to analyze the way he raps around a beat. Honestly, that songs is when I went from hater to fan of Big Sean.

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January 30, 2015 on Big Sean – “Blessings” (Feat. Drake & Kanye West)

Kind of embarrassing but I started my defense of Big Sean a little after you but didn’t see yours until I reloaded the page. Dammit, you beat me to the punch, Parker. Now I’ll just have to go back to the shadows and become Venom…

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January 30, 2015 on Big Sean – “Blessings” (Feat. Drake & Kanye West)

The way Big Sean flows is actually my favorite part about him. When drumming (usually on a drum set), the way you play is usually described as being being behind, on-top-of, or ahead of the beat. At it’s most extreme, if you are playing behind the beat you run the risk of dragging, and if you are playing ahead of the beat you run the risk of rushing (both of which are portrayed in an abusive way in the phenomenal movie, Whiplash). Most percussionists (and rappers) get to a point where they are able to alter their feel when necessary for the music (for example when playing a variation of reggae it might make more sense to play slightly behind the beat then when playing dance music where you might stay slightly ahead to keep the energy going and not risk dropping tempo). Most dynamic performances teeter between the three but here, Big Sean is mostly right on top and inside of it (yep).

To my ears, what Big Sean is doing on this song is much more rhythmically-challenging than Drake (not in a bad way but might as well be on autopilot and ahead of the beat in moments) and Kanye (slightly behind the beat in a great way) combined. In the first verse, he has internalized the 12/8 feel and is actually rapping with the beat in straight triplets. The craziest part for me (that lets me know that he is completely in the zone) is the part you are talking about between 0:57 and 1:03 because he uses that part to break his triplets then continue again with them so that his turn of phrase about people talking behind his back and it all coming back to him arrives back on the beat. Very challenging stuff that is so precise that it couldn’t have happened on accident. Some percussionists get to a point where they aren’t able to describe what they are doing (not all pro’s make good teachers (which is true in most artistic/academic fields)) but they are able to do what they are doing because it has become second nature or “just feels right.”

Sure the second verse is less impressive than the first and he completely changed his feel at the end because he really wanted to get in that line about Shaq and Penny but I only needed to hear his first verse versus the first verses of Kanye and Drake to know who won this round. Big Sean also had the best moment on the disappointing “Detroit Vs. Everybody.” He has always had that annoying little brother charm since his “coming out party” on “Mercy” but dude seems to have a great work ethic because he has arguably stayed rapping his ass off ever since.

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January 30, 2015 on Big Sean – “Blessings” (Feat. Drake & Kanye West)

February is almost here- come on man, fill up those (“semi to fully stellar”) vacancies!

00 D’Angelo (Yep…
01 Bjork (…you…)
02 Panda Bear (…fools…)
03 Viet Cong (…already…)
04 Sleater Kinney (…know)
05 Lupe Fiasco (Those 8+ minute tracks, holy shit! Also, the season interludes and increasing grit make me think of Requiem for a Dream (with opposite time effect)…*shudders*. You’re probably sleeping on Lu but WTFU and give T & Y at least one spin… or divide it into three EP’s to visit during morning, evening, and night)
06 Joey Bada$$ (Very impressive. NY is obviously in safe hands but mostly looking forward to him shaking its overwhelming historical influence)
07 The Dodos (Visiter is a classic for me and like others have said, Individ takes me back to those days. It has been on repeat quite a bit this weekend)
08 Mark Ronson (You Already Know: The Sequel)
09 Pond (This one will probably move up because Hobo Rocket did just that when it was released. I have only just listened to it today but they are progressing nicely as a band)
10 Belle & Sebastian (They weren’t a part of my musical upbringing or formative years like others here so their new release has been a good reintroduction for me)

(No, I haven’t had time to listen to (forget digest) all of the major releases of January yet, but who does when D’Angelo and Bjork deliberately (and accidentally) derail the train for those who plan in advance. I guess…f*** plans!?!)

(On the subject at hand) Natalie Prass is a damn good songwriter with cool arrangements backing her up but for me, her voice doesn’t quite gel with some of the material for maximum impact. I believe that the instrumentals which feature foreground brass are a bit too bombastic and busy and that she can’t quite match their power. I like the quirks in her voice but believe that if you substituted, for example, Brittany Howard of Alabama Shakes for the aforementioned songs, you have absolute fire on your hands. Prass sounds so much more natural and at home to me when she is singing over soaring instrumentals such as “Christy” and “It Is You” rather than competing over a groove. She just seems to have much more freedom and use of her range on those “Disney Songs (I would say Broadway Musical but Disney is perfect for “It Is You”).”

I guess it’s similar to the way that I felt about some of Girls’ material. That strained frail voice of Christopher Owens is fascinating with the lyrics that are coming out of it and the ju-xta-po-si-tion of the powerful arrangements surrounding it, but (especially when the gospel singers were added) I could never help but think what if Girls was just a songwriter project and songs were matched with the most stylistically appropriate singer (sort of the way Mark Ronson does it). However, I would guess that the intrigue of Owens’ background then falls…(to not quite steal a page from Mr. Breihan) to the background and Girls doesn’t work for people (primarily journalists) looking for more than the music.


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January 28, 2015 on Album Of The Week: Natalie Prass Natalie Prass

Well damn, I stand corrected for not giving Wescott any credit above. I would buy a subscription if he released a collection of the previous year’s “top songs” in 8-bit arrangements every year. I for sure “Respect [his] motherfuckin’ craft.”

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January 27, 2015 on Stream A MIDI Version Of I Love You, Honeybear On Father John Misty’s New Digital Music Service

The tragedy of hearing the 8-bit beauty of “True Affection” is knowing that Tillman missed his true calling as an early 90’s RPG composer. Between this and Meow the Jewels, please god don’t let me like these bizzaro versions of great albums more than the originals!

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January 27, 2015 on Stream A MIDI Version Of I Love You, Honeybear On Father John Misty’s New Digital Music Service