word is bond
Find Me On:
“we need to accept the possibility of a record so excellent we don’t understand it yet.” Yes, that’s fucking ridiculous, but I think there’s legitimacy to the idea that those who are capable of genius can act with such decisiveness, confidence and commitment, that they are unable to see when they have committed to terrible ideas. Maybe you need to act with that type of confidence to make genius, but it blinds you to terrible.
I’m confused. Kanye didn’t have any children before Saturday, right? Why does he seem so upset about paying child support?
That was awful. I would have preferred an amateurish and poorly edited version of the original. It would’ve been humorous, and the acting would be tolerable.
In retrospect, Kim + Kanye is the most obvious pairing in the world. Can’t believe it didn’t happen earlier than it did. Can’t wait for the baby name…
I understand the Death Grips comparisons, but I think there’s a pretty fundamental difference in production approach. I love Death Grips (particularly Money Store and No Love Deep Web) cos it’s a brilliant mix of noise and melody. There’s really sweet melodies hidden in the din. Yeezus feels like it’s a brilliant mix of space and melodic din. Instead of mixing noise with melody, the noise is the melody (or the melody is noisy), and it’s mixed with a kind of echoing emptiness. Even Bound 2 with all its soul, has these hums and abrupt changes and gaps in sound.
I’m not sure how I feel about the autotune. I’m not sure if it fits the production or if that’s the point. I would love to hear live versions with Ye belting those parts, as he wraps up a long an exhausting tour. I think the flaws, strains and hoarseness of his singing voice could really add some resonance.
I think it’s just a mistake. He made a similar mistake on Mercy, that’s also always annoyed me.
“Let the suicide doors up. I threw suicides on the tour bus.” He’s confusing suicide doors and scissor doors. Scissor doors are the Lamborghini ones that go up, suicide doors are rear passengers door that open in the opposite direction flow of traffic (like JFK’s Lincoln Continental). Like the Romans/Spartans mistake, it’s one of those things that you can hear multiple times, before you realize it’s wrong.
What a write-up! I’m very excited to listen to this one. Seems like there’s been a lot of genuinely fun tapes, this year.
“Flow is seemingly of lesser value, as well, as rappers with static structures to their verses (A$AP Rocky) are still exalted. ”
That seems like a strange thing to say. I’d argue “flow” is Rocky’s strongest asset. It’s not his lyrical content. I don’t know if we define flow the same way, but the way Rocky switches between single and double time “flows” and spreads the emphasis around on different words or syllables is the appeal for me. Palace is probably my all time favorite song by either Clams or Rocky. I love the instrumental version and the Rocky’s, because Rocky changes the track with his delivery and emphasis.
I guess I think of flow as a more overarching term that can include fluid train of thought style flows, choppy flows, double time flows, etc.
To use internet speak:
Bronson’s Cartwheel >>>>>
Oops – guessed I missed that one.
I’ve been listening to a lot of Daft Punk of late in anticipation (duh – obviously – haven’t we all!), and Human After All is much better than I remembered. Maybe it’s cos my perspective of some of the tracks have changed because of Alive 2007, but in retrospect, I think we’re dismissing it a little too much.
My trouble with RAM is that I’m always very wary of artwork about artwork. Whether it’s Hugo or The Artist, or something like this. I still haven’t decided how I feel about it. It feels a bit too consciously concerned with its own impact and what it says about music. It doesn’t have the revelatory feel of Homework or Discovery, but what fourth album can capture that feeling of discovery?
For all my issues, though, it just keeps getting better and better. It might be too nostalgic, and some of the lyrics still sound incredibly corny, but I can’t help but enjoy it.
Great stuff. Is Tom gonna give us his thoughts on Acid Rap?
hahah – such seamless product integration!
“Blake’s Got A New Face,” and “Lift Off,” from Watch the Throne are easily my most skipped songs in iTunes, which I guess is a backhanded compliment to those two albums.
Best KRIT work in a while. I still rank Wuz Here and Return of 4eva above it, but this is just leagues above his other recent work.
Duh. I am an idiot.
Huh? Is this some joke about nipples on foreheads that I’m just not getting?
That song – soooo good. Suck it throat surgey haters!
Ughh. Well, thats disappointing.
Thanks. From the post, if anyone else is a bit behind:
“If you visited here Wednesday afternoon you saw all the post copy on the site replaced with 0s. That was not intentional. It was a malware attack. We’ve since fixed it, but had to disable comment voting (the plugin has known vulnerabilities we need to patch up)… Hopefully everything will be back to normal in a few days.”
Am I missing something? Does Stereogum no longer have up/down votes for comments? I agree with Max the King and oblivion, so i wanted to upvote them, rather than adding my own comment, but I don’t have any buttons in Chrome or Safari.
Brick Squad Macaroni
I mean the guy is massively important. As for “his generation,” I actually don’t know who you put him with. He’s like 30 now, but he’s been rapping since he was a little kid. And his most important period was Carter 2 -Drought 3 – Dedication 2 – The leak – Carter 3. And Carter III was what – 5 years ago? So I don’t know exactly what time period or contemporaries we’re talking about, but the guy is still really important.