Ohhhhhhhhh! See now I finally get it! He's a clever rascal, that Amine! I was sitting here for weeks trying to figure out what the title for the Portland, Oregon rapper's 2nd album (mixtape maybe?) meant, but NOW I see it all clear and crystal! The 2nd project from one of my favorite rappers of 2017 (or, more so rapper who dropped one of my favorite projects of 2017) has put out a new project (well, at least he did over 6 weeks ago... sorry for the late post!) and as you can imagine, (my) expectations were high! After playing back his 2017 album Good For You for the better part of a year (yes, on this side we actually KEEP PLAYING great projects that we like), I was excited to see what was to come next of the "Caroline" rapper. Then, after getting a Spotify exclusive email on the album's release, my ears perked up and my eyes widened... I had to listen to what one of the most diverse and interesting rappers of the last year had to offer. Now I'm sure I confused some people when I say I finally understood what the album's title meant (you know, like, 10 seconds ago? Come on people, keep up!), so allow me to explain. If Good For You is 1, then that would make ONEPOINTFIVE, well, uhm... 1.5. Is Amine building up for a number 2 before the end of the year? My conspiracy theory brain thinks so, and if that does somehow end up being the case, then maybe we could also get some hints for what to expect from Amine's #2 from this album, ONEPOINTFIVE, which for the record, is a pretty fun listen. I'll detail below.
Mixtape Vibes... Building Up Towards Something Else?
One thing I've always liked about Amine is that he's always good for fun and eclectic sounds that don't stray too far away from the conscious and real content that he is just as capable of delivering. The entire ONEPOINTFIVE album (tape) offers back to back to back short snippets of songs that seem almost like previews; songs not quite long enough to fill out an album, but long enough to get you excited for something else to come. You hear a lot of "songs for the girls to play in the car on their way to the club/bar"; easy listening that is enjoyable and not overbearing in terms of content or song length. But I am on to Amine... his abilities are not fully showcased on this album (mixtape)... and I am calling that he drops something bigger before the year ends!
Best Song Is "Shine"
(*I do not own any of these songs, or the rights to them*)
I mean if there's one song on this project that I absolutely have not been able to stop playing (not to mention me and my girl have been jamming to it nonstop), it's the quick, "catch lightning in a bottle"-like vibe, "Shine". Fellas, this is the perfect song to play for your lady if you're on the fence about taking a chance and she's sitting there being a beautifully patient and amazing young angel that she always is wondering why you're being so weird about it (oh... just me? Well then). But if it's not, then this is the song for you! Jokes aside, If Amine wanted a radio hit at this still very early stage in his (commercial at least) career, then "Shine" could quite possibly be that song. "Shine" tops off an album of fun with relationship values and undertones that make those special moments with your boo even more fun... a soundtrack to play to the perfect moments that sum up time with your loved one.
Also, "STFU 2" is a pretty great song, probably the 2nd favorite on this album for yours truly; a harder take (especially considering the original "STFU" song from Good For You) from a man who is normally light hearted and easy going, adding another fascinating layer to an artist that always comes with surprises. Not much to read into with this album, just a short, quick and painless listen that definitely has some replay value and moments from the innovative Oregon rapper. Though ONEPOINTFIVE didn't seem like much in terms of length and depth, it could quite possibly hold fans over until Amine finishes up his next journey of a project that we will all (definitely I) be eagerly waiting to hear.
Criticisms of Eminem's 10th studio LP Revival rocked the internet for a solid couple months shortly after it's release in December of 2017. While the project was mildly successful sales-wise (197k physicals sold first week, 267k pure sales when including streaming), fans and critics alike again took to bashing the (at the time) latest Eminem project, with some saying that it sounded too commercial and "bubble gum pop-ish", others saying that Em doesn't know how to make a rap record anymore, and so on. While some of those sentiments are painstakingly easy to agree with, I have been an Eminem fan since the release of his 2002 opus The Eminem Show (his best album, and it's not close), and I must say being an Eminem fan at this point is overly exhausting; dodging every nook and cranny from both trolling Twitter and Facebook users, talking about how "the Marshall Mathers LP is one of the greatest hip hop records of all time", and "nobody is lyrically on Eminem's level", and how "nobody uses that anger and frustration better than the 'Rap God' himself." Can't... stop... shaking... my... head. One thing to respect about Eminem's entire career up to this point is how he's used that anger and controlled rage to pinpoint problems he sees and shine a beaming bright light upon them, like a giant Gatman signal in the sky. So with all of that dissing, all of that "Venom"-spewing, president hating, mumble rap bashing, lyrical miracle spit... wouldn't it seem like Kamikaze is the answer to that lack of fire? So then comes the burning question; does Kamikaze hit it's target, or does it fire rapidly in any and every which way possible with no particular direction? Read on to find out.
Chasing The Current Sound That He's Making Fun Of
So in response to all of the hate that Revival got, Eminem is back with a vengeance to essentially shit on not only his critics, but also the current state of hip hop; which in his defense... may have been the proper plan of attack; had he done it more coordinated without a care for selling albums, about 5 years ago. It's too grainy a picture to be able to pinpoint exactly how an Eminem album is supposed to sound these days, but as of the last 3 (Recovery, MMLP2, and Revival) there seems to be a certain poppy, radio friendly theme throughout the album that sounds nothing like the real Slim Shady would make (in fact, the "Real Slim Shady" would probably take a shit on the CD INSIDE OF THE STORE without even buying it), but on Kamikaze, Eminem includes a refreshing change of pace to his music. While some can be refreshing ("The Ringer"), other songs are direct and blatant parodies of the sound that Em is expressing his deep hatred for so much ("Lucky You", "Not Alike"), while others don't even sound like songs Em even wants to make ("Normal"). While "Lucky You" fits in sound wise by today's rap and hit standards, based on Eminem's past discography and, well... really everything he's ever stood for, "Lucky You" sounds more like Em trying to fit in to the rap climate than make his attempts at raising the bar like he once used to (I still VERY much would like to hear what Em's version of 4:44 sounds like), though one solid takeaway from the song is that Em is finally using his platform to put on the newer, talented and hungry artists who deserve shine (Joyner Lucas). Certainly makes you wonder what would have happened earlier on if Em may have decided to put some of his actual signed artists like Yelawolf or Slaughterhouse (R.I.P.) on his albums... All I can say is, good luck Westside Gun and Conway!
All throughout Eminem's career, he's been the rap game Rocky Balboa; constantly being chastised, ridiculed, critiqued, cast out, and had his back against the wall. And while his anger is something that people seem to see at some point during every single one of his albums (he even said in his latest Sway interview that he likes being angry), he always finds ways to use that anger to turn into inspiration for something good musically (well, maybe "good" is a strong word, but most times it's not). Kamikaze's high point lies in the entire theme of the album, which starts with the title; bombing on everybody without caring about what is said, who is hurt, or what comes of the aftermath. Kamikaze can't be compared to any of Em's past albums musically, but mindset wise, Em is at his hungriest. Em's now infamous MGK back and forth is the kind of thing the Detroit emcee froths at the mouth for, dissing people who diss him and praying they respond back, and Kamikaze is the epitome of Shady going for broke; leaving all of his cards out on the table in an attempt for one last "fuck you" before he rides out into the sunset on his own terms. The second part on "Not Alike" with long time collaborator and fellow Detroit emcee Royce Da 5'9, Eminem goes for the throat after switching the beat to some ominous, "hell-to-pay" types of foreshadowing that showcases what can come from an Eminem diss (and was given with "Killshot"). But the disses are not only on "Not Alike", but can be found sprinkled in strategic places all throughout the album. The hook on the same song is a direct shot at Migos' biggest hit "Bad & Boujee", and if you wish to see all of the disses on the album and who they're aimed at, check out this cool video from Genius. While some may view Kamikaze as an old man getting angry at the ever changing times (which I'll also discuss later), other long time Eminem listeners will know that angry Shady is Shady at his most comfortable, and most potent.
So I haven't see any production credits for Kamikaze yet, but it's probably safe to say that whoever handled the production on "Venom" should handle Eminem's entire next album. "Venom" is another shining example of what Em is capable of, yet another burning question that frustrates his fans; why aren't your albums as good as your soundtrack songs?! An interesting facet of Em's career when you really think about it, and when you think about the last soundtrack that Em has curated and exclusively handled himself just in the last few years alone, Southpaw (which included insane songs like "Phenomenal" and bad Meets Evil's "Raw"), you really start to wonder if Em is more inspired using other people's lives as motivation to create instead of his own; because maybe in not only our minds, but it Em's mind as well, he has said everything there is to say (talks of his mother, ex-wife Kim Mathers, his daughters Hailie and Alaina, drug abuse, coming up in the slums of Detroit, etc.). Is it time for Em to create a concept album that hopefully sounds nothing like Relapse (kind of joking, I enjoyed a decent amount of songs on Relapse)? certainly an interesting album idea for a man who has seemed to have said it all about his own life. You've said all there is to say about your own life Em, now how would you feel about creating a whole new concept about another's life (ala Good Kid Maad City)? If there's anyone who has the ability to do it, it's Eminem; the actor, rapper and writer (see "Stan", 8 Mile or The Wash for references).
The overall message that Em is trying to get across throughout Kamikaze is appreciated from an old head's perspective like mine, but the delivery (like the album's title) is much too wild, inaccurate, poorly aimed, and executed. I (and probably along with a lot of older Eminem fans) had been waiting for an Eminem album that throws away that radio-friendly, pop music featuring the likes of Ed Sheeran, Alicia Keys and Beyoncé, and adds more of the hungry rapping persona that we had seen so much of from Em in the early 2000s. For being such a die hard hip hop advocate the way he talks in his interviews (and even the hip hop shirts he wears), Eminem has never been the one to take hip hop straight back to it's roots (which he almost promised to do in 2013 after the release of "Berserk"), and though this album's sound is a huge refresher considering the album he had just followed up (a terrible comparison in terms of "getting better"), in the back of my mind I suppose I'll always expect more from what many may consider a top 5 rapper of all time (and I think he's the greatest in every facet, besides musically). Without Dr. Dre behind the boards of Eminem's albums anymore, it's very hard to find enjoyment in almost anything Eminem does musically. Harsh criticisms of a rap legend, I know, but to love something (or someone) you must also hate it (or them) at times. Since I'm putting all of my thoughts out into the universe, here's what I want from another Eminem album; Dr. Dre production (throughout another ENTIRE album, not just a couple songs), that same hungry and angry (yet calculated) subject matter that we've seen from him in the past (which is one of the few things this album was good for), fitting rap features (including not only new up and coming artists, but artists that Em is supposedly FRIENDS with and has on his label, not just Royce; support your label mates for once Em...), and Em's hand at some actual grown up content (not to compare, but as I said earlier, Em needs his own version of 4:44 now). Here's to hoping Eminem can put out 1 more classic album before he finally hangs up the mic.
(*Image Originally Used By DJ Booth For This Article*)
I was in high school (circa 2009-2010) when a sudden plethora of Pittsburgh artists started paving their own way onto the hip hop scene; the likes of Wiz Khalifa, Chevy Woods, and (brief rumblings of) the young old head Beedie all had a different sound that pushed the ideas of what hip hop could sound like and turn into, more sub-categories that give people the options and follow the moods in which people feel. Then, in 2011, I was introduced to an artist who (at the time) I didn't know, or have any idea or inclination that would change my perception on music and how it could be made and heard, forever. "Kool Aid & Frozen Pizza" had a very child-like excitement about it (though with budding adolescent intentions), an excitement that I could not understand at the time. I couldn't help but think to myself, "why is this guy rapping about an after school special meal for middle class white kids to come home to? Why is he so full of himself? And why is he acting like every other wannabe kid in my high school, but actually getting recognition for it?" Well, as it turned out; every other wannabe kid... wanted to be him. Although the early years of "Eazy Mac with the cheesy raps" wasn't exactly my type of meal to indulge in, the following 8 years to come had shown me the most interesting artistic transformation from a rapper I have ever seen... and probably will hold that title for decades to come.
To see such a transformation from ANY hip hop artist, let alone a goofy white boy from Pittsburgh, PA was staggering. The younger, unpolished The High Life, KIDS, and Best Day Ever years saw a Mac that to me seemed to lack identity; a fusing of rap's culmination up to the years of 2009-2010. The beats were head bobbers and the hooks were recite-worthy, but the real artist in Malcolm McCormick hadn't seemed to come to fruition yet; it's almost as if Mac hadn't quite yet graduated to the sound that fit him, like his famous Pittsburgh fitted hats. But with that goofy white boy smile, a happy-go-lucky swagger, and the "never settle" work ethic that brought us so much Mac music in so little time (12 mixtapes and 5 studio albums since 2007) had turned Mac into not only one of the most respected rappers of the blogging era, but one of the most revered artists of this generation.
2012 saw Mac taking a different route musically; a sonic transformation that (whether due to critical scrutiny or personal wishes) molded and morphed Mac into an era of artistic experimentation incomparable to any other rapper. His dark mind and vivid imagination started to allow Mac to experiment in parameters never before explored by hip hop artists with his descriptive and off-the-wall style and comedy in his writing, which was met with an equal level of high as much as his realistic and brutal talks of death, depression and despair brought on fiery depths of the lowest of lows that no human should wish to see. Mac for so long danced with the "Diablo" of the deep in what can only be described as a form of "method music making"; using his ability to craft real and raw songs from almost every emotion he ever felt at any given time. At Mac's highs, his fans experienced The High Life with him. But at Mac's lows, his people watched movies with the sound off while experimenting in creative ways that exercised the brain, and pushed the mind to it's absolute limits, somehow without reaching levels that would put the happiest person in a mental hospital. This was Mac's way of expression, an outlet that represented the true extra terrestrial nature of a man from Pittsburgh; who was for Earth, but not from it. A being that understood the every ways of humans more than any one of us pedestrians ever could.
(Just as great a performer as he was an emcee, Mac thrived off of using live instruments and wasn't afraid to use his singing talents, pushing that emotion he felt and transforming it into great music)
Watching Movies With The Sound Off brought that same sound, magnified. I spent a solid month to 2 months listening to the album out of curiosity and research (a couple years after the album came out, circa 2015), and feeling Mac tow the line between skilled emcee and talented musician was astounding. I had only been able to get that real and raw reaction and emotion from 1 other rapper, who is famous for his Man On The Moon series. Mac's fearlessness in being weird and unaccepted allowed not only me, but an entire generation of kids to feel okay about not being okay. To be able to be weird and explore yourself could ultimately lead to the loving of yourself, and it probably wouldn't be far fetched to say that that was Mac's intention all along. On songs like "I Am Who I Am (Killin' Time)" and "Objects In The Mirror", Mac's brutal honesty and uncomfortable sadness was not only an experiment for his own happiness, but a representation of the places we may have to travel to in order to ultimately reach happiness. "Aquarium" is the hand that reaches out to catch you on an album that represents falling to your death; the saving grace that says even after all of the bullshit... we will be okay, as long as you "follow yourself wherever your mind goes."
Despite the terribly unfortunate circumstances, it would be untrue to say that Mac had not experienced happiness. In an eerily profound way, his music also represented happier times in the Pittsburgh emcee's life, which you can already picture when you imagine that ear to ear grin he always gave right before letting out a laugh that could change the mood of almost anybody. His 3rd studio album, GO:OD AM showed the brightest side of Mac that we had seen to date, with Mac finally coming to grips with his failures as much as he had his success, his flaws as a man finally accepted by the most important person in his life; himself. He stopped trying so much to become his own idea of great and started attempting more to enjoy his life, which was very much represented on GO:OD AM. Mac's focus had finally shifted to enjoying what he did, and it showed in his happiness and the fun he was having in making songs again ("Cut The Check", "100 Grandkids", "Weekend", "Clubhouse", "In The Bag", "Cut The Check"), while that signature ability to tap into his emotions better than almost anyone still remained sharp as a sword, the little nuances spread all throughout the album.
(Mac's chilling last music video he ever released *I do not own these videos, or the rights to them*)
It's truly frightening to think about the signs of depression and drug addiction that Malcolm James McCormick showed throughout the years, but our regret lies in not being able to help him when he needed it. His struggle with addiction was well documented for years, but for an extended period of time his music seemed to be the saving grace of not only his fans, but Mac himself. Mac Miller will go down as one of the most expressive, delightfully weird, thought provoking and open minded rappers that hip hop has ever seen. His ever changing metamorphosis as an artist pushed hip hop to it's absolute boundaries, and though he passed at a tragically young age, his influence will reign on hip hop and it's own cult following, as well as his own cult following inside of the already scrutinized medium of expression for yea... decades to come. His mind bending concepts and at times, uncomfortably honest music not only represents Mac Miller as the expressive artist that he always was, but the beautiful human that he will always be remembered as. For every moment of positive recognition that Mac received, he shined a beaming spotlight on his shortcomings ten times brighter, with the utmost hope and effort to better himself in any and every way possible; an example that every human should follow and take notes on. We should take Malcolm's comfortability in speaking so heavily about death not as regretful or remorseful, but as acceptance that he is finally comfortable, and most of all; content. Rest Easy, Mac.
I woke up from a long night of Watching Movies With The Sound Off to quite a GO:OD AM. The light shined through the blinds harder than I had ever seen it, and though I was slightly blinded by the light, I finally felt awake. As I made my way to Blue Slide Park to reminisce in memories, I saw a bunch of KIDS playing on the slide, at the same time I also wished for better days. But then I thought, I didn't need to wish anymore... I finally feel as if I got my wish. I made my way to the pool to go Swimming, and prepared to Jump in. For some reason, this Jump felt the most in the moment I had ever felt in my life. In the air I thought about nothing, nothing at all. Not a single thing besides the anticipation of the cool water sending waves of pleasure and fulfillment through me... I finally hit the water and came to a realization. I plopped out of the water with the brightest eyes and the biggest pupils possible... was I high? Not at all. But I was finally living The High Life.
If you were to ask me my favorite project that has dropped in the last 5 years, I might give you a decent list of 4 to 5 albums... Cole's 2014 FHD still makes that 5 year mark,Kendrick's TPAB, K.R.I.T's 4Eva Is A Mighty Long Time that dropped in the last 2 months of last year, there's definitely a nice little selection of very meaty and dense projects that could make a case to deserve the "classic" title. One of the most unexpected of those projects, however, came from the Dreamville signee from Queens, New York; Bas. His 2016 album Too High To Riot, which hit me like a "Methylone" train (of unexpected awesomeness, though), was my favorite hip hop project of 2016, a year that saw many, many dope releases. For those that had listened to previous Bas projects, it was no surprise that Too High To Riot offered the profound and somehow scholarly take on drug rap that it did, but for those of us that hadn't heard of Bas at that point were hit with a refreshing take on "quality over quantity" hip hop that offered more than just a lit track to play over your system. And here, now, at the end of August of 2018, Bas offered another project for us all to sink our drugged-like minds into; Milky Way. Not to use bad puns, but if Milky Way has you so hypnotized that you're seeing stars, well... you're most definitely not alone. Here's my observations from Bas' Milky Way.
The Sweetest Sounding Sense Of Saltiness & Disconnection... A Poetic Lesson In Revenge, And Not Caring After Pain Inflicted
Some might say that the best and most honest art is created through pain and the rawest forms of emotion... Bas takes this statement to heart. In his past Bas has made waves (of tears, get it?) with his unreserved bluntness and emotional depth, and though Milky Way demonstrates Bas in a somewhat more positive light than Too High To Riot, he shows that it takes a low point to get back up to that high point, both found all throughout the album. On the album's introductory track, "Icarus", the track's title can be easily understood from the song's chorus; "since I let go of you and I, lately I've been feeling too alive, flying too close to the sun now, flying too close to the sun now." There's a poetic feeling to the pain ("Icarus", and the numbness resulting from that pain ("Front Desk", "Boca Raton", Fragrance"), which progresses seamlessly to the happiness that results in not caring; a justice serving transition that shows growth, all throughout one 14-song body of work.
Bitterness Resulting In Happiness
(*I do not own these songs, or the rights to them*)
And to do some poetic justice by seamlessly transitioning the feelings felt throughout the album, that numbness and lack of care (specifically from "these hoes" as one may put it) is shown through different examples like Bas focusing on his career ("Fragrance"), still being able to live life through racism and the ever changing cultures of America ("Barack Obama Special"), living while in love ("PDA"), and being able to live without a girl while focusing on self ("Purge"). Bas takes those everyday problematic struggles that hinder the common man's progression and use them as fuel to progress, almost like moving on to the next chapter in the mind of a man who's focus isn't always on his career; because he wants to live, love, and experience, just like any other man.
So does Bas actually milk his way across the Cosmos like the drug laden poetic astronomer that he is? In Bas' universe, maybe it takes quite a few roads blocks and uhm... spaceship troubles to be able to finally sail and coast around the galaxy with the ease and comfort that he wishes. But that's the beauty in the journey. On Milky Way, Bas keeps un all enlightened that though the road may be tough, there's still quite a few sights to see, and reinforces the old saying; it's about the journey, not the destination. Well, that, and the fact that Boca Raton sounds like the absolute tits to party in. The much more light hearted, fun spirited Bas comes out along with a lump sum of fun new sounds and melodies, of which Bas is just as good at making, if not better than the next artist. His expert, yet subtle thesis of man and the troubles of man come out in exciting new ways that could drive even the most long faced fellow to shuffle a jig or 2, and his awareness of self and society are utilized in his beautiful song crafting abilities. Yes, Bas is still surfing the Milky Way, and though he may encounter an asteroid of sorts every few light years, he's still set the ship to cruise control and has found a way to enjoy the scenery.
