Party at the end of the world! Everyone’s invited! Prince Rama’s greatest hits album got tarred and glittered and then electrocuted itself during a bubble bath. Huge, glamorous production — so obsessed with itself…deprived of oxygen from too much hair gel. A+++
Surprise! Chillwave is still not over. And I am totally OK with it, and all of that funky/fuzzy synthy bouncy poppy-pop that this CD brings to the party.
FYI: pronounced “on you in you,” which makes sense, sort of.
I’m really into rap right now, probably a little too much. After last month’s A$AP Rocky concert, I can’t stop listening. It got to the point that my friends had to sit me down and remind me there is more music to be heard than solely Danny Brown. I realized I had to broaden my pallet; there is such a thing as overplaying an artist. But while staying within the confines of my beloved rap genre, I began to expand, listening to various other artists. In my expansion, I began listening to Kendrick Lamar. As his 2010 album, Section 80, was critically acclaimed, immense hype surrounded his latest release, good kid, m.A.A.d. city. I had to give it a listen. And though I can’t call it groundbreaking, “good kid, m.A.A.d. city” is nonetheless a great album.
Although I don’t agree that “good kid, m.A.A.d. city” is the instant classic it has been deemed by various music publications, it still is ultimately a success. The production is varied, encompassing pseudo- electronica and hard guttural beats, with Lamar effectively
navigating his way lyrically through each song. The lyrical content on the album is varied, and while contained mostly in today’s usual rap themes of women, money, poverty, there is creativity in all he says. The sole problem I have with “good Kid, m.A.A.d. city” is that it forces the listener to ask, is Kendrick Lamar really that good or is hip-hop today just that bad? Rappers are often given too much credit; if an artist manages to say something mildly creative or original they are excessively praised. Kendrick Lamar embodies this to an extent. Although in “good kid, m.A.A.d. city,” Kendrick is able to avoid the Lil Wayne pitfall of rhyming “hoes” with “hoes”, overall he struggles to say something new. His lyrics are indeed good, but occasionally formulaic: while Kendrick strives for so-called “intellectual hip-hop,” lines like “I pray my dick get big as the Eiffel tower/so I can f*ck the world for 72 hours” don’t help his cause.
With my “Lil Wayne is killing hip-hop” rant aside, I need to emphasize that, while I don’t view “good kid, m.A.A.d. city” as wildly original, it still is to me the best rap album of the year.
I have no clue what that says about the hip-hop genre as a whole, but regardless, “good kid, m.A.A.d. city” is definitely worth a listen.
Crash Symbols is a casette label with headquarters in West Virginia and North Carolina. Founders Jheri Evans and Dwight and Liz Pavlovic efforts have gained the attention of publications such as WIRED Magazine, NBC, Altered Zones, Rebel Magazine and many more. Their extensive catalog features recording artists such as Blackbird Blackbird, Beggars in a New Land, SPORTS, Born Gold, Honeydrum, and MillionYoung.
We Are the Catalyst is an emerging network and publication with content generated entirely by and about young artists. The We Are the Catalyst website launches December 5th. Until then catch Catalyst Radio on the air, Thursdays 11am-12pm on WOBC 91.5 FM and check out the We Are the Catalyst Facebook page for media and information about these rising artists.
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