CoachellAltDelight brings attention to special artists that will be featured in Indio come April. Some we love. Some we just discovered. All good stuff. Click here for more from this series. 64 (71) Days
After delivering what was the unanimous best hip-hop album of 2011, Compton, CA’s Kendrick Lamar will take the next step in his career by appearing on stage Friday at Coachella. Kendrick firmly cemented himself in the eyes of hip hop fans as one of the leaders of the game over the past few years, but this is a recommendation for any who don’t tend to steer towards the genre to pencil his set into your schedules. He continues to gain only the utmost respect from his peers as well as legends in hip-hop with a combination of unmatched lyrical finesse and a consciousness that’s currently lacking in most other new artists. His live show is filled with passion and skill – no unnecessary hype man. The future’s brighter for the young man than any lenses could shade, don’t sleep on this set (and don’t be surprised if some surprise guests grace the stage).
CoachellAltDelight brings attention to special artists that will be featured in Indio come April. Some we love. Some we just discovered. All good stuff. Click here for more from this series. 64 (71) Days
After delivering what was the unanimous best hip-hop album of 2011, Compton, CA’s Kendrick Lamar will take the next step in his career by appearing on stage Friday at Coachella. Kendrick firmly cemented himself in the eyes of hip hop fans as one of the leaders of the game over the past few years, but this is a recommendation for any who don’t tend to steer towards the genre to pencil his set into your schedules. He continues to gain only the utmost respect from his peers as well as legends in hip-hop with a combination of unmatched lyrical finesse and a consciousness that’s currently lacking in most other new artists. His live show is filled with passion and skill – no unnecessary hype man. The future’s brighter for the young man than any lenses could shade, don’t sleep on this set (and don’t be surprised if some surprise guests grace the stage).
The homie Skinny Genes started his weekly YOLO Lists with the intention to open your minds and ears to every genre of music — the idea being that life’s too short to hate on a type of music until you realize that you actually enjoy it. So when artists from different ends of the spectrum come together in harmonious musical innovation, it makes the process much easier for us. Recently, the trend has been combining hip-hop and different paces of electro; producers see it as a logical gap to forge together the two most popular genres. There’s parts of both that agree thematically with a grungy DIY feel. Both are not apprehensive about hard hitting drums. With a few exceptions (HoVeezy/ChiddyBang), it’s been low-key MCs trying to make a name and using the concept as a niche. But a few songs have been released over the past week with legitimate names in the game (not Sam Adams) that’s led to giving it further thought. Of the three, it’s most apparent to me that Joker‘s style meshes best with rhymes; I’ve yet to determine whether it’s a healthy relationship though. If you guys have any solid collabs that have pleased your ears drop em off in the comments prz. Is this a matrimony that needs a divorce or just some serious counseling? Don’t be shy with yer opinions.
The homie Skinny Genes started his weekly YOLO Lists with the intention to open your minds and ears to every genre of music — the idea being that life’s too short to hate on a type of music until you realize that you actually enjoy it. So when artists from different ends of the spectrum come together in harmonious musical innovation, it makes the process much easier for us. Recently, the trend has been combining hip-hop and different paces of electro; producers see it as a logical gap to forge together the two most popular genres. There’s parts of both that agree thematically with a grungy DIY feel. Both are not apprehensive about hard hitting drums. With a few exceptions (HoVeezy/ChiddyBang), it’s been low-key MCs trying to make a name and using the concept as a niche. But a few songs have been released over the past week with legitimate names in the game (not Sam Adams) that’s led to giving it further thought. Of the three, it’s most apparent to me that Joker‘s style meshes best with rhymes; I’ve yet to determine whether it’s a healthy relationship though. If you guys have any solid collabs that have pleased your ears drop em off in the comments prz. Is this a matrimony that needs a divorce or just some serious counseling? Don’t be shy with yer opinions.
Two new tracks from Kendrick Lamar and Asher Roth today off of Peter Rosenberg’s What’s Poppin Vol. 1 Mixtape. Asher kicks his alliterated flow over some smooth horns on “Goodbye” while Kendrick goes in for a verse on something more relaxed and spacey.
Third video from Kendrick off Section.80 and it’s the complete opposite on the greatness scale of Hiii PoWer. This seems like the lowest budget video. Still a great song though, looking forward to what he does with Rigamortus next.
FULL POST
Third video from Kendrick off Section.80 and it’s the complete opposite on the greatness scale of Hiii PoWer. This seems like the lowest budget video. Still a great song though, looking forward to what he does with Rigamortus next.
Caught Casey Veggies, Schoolboy Q, and Kendrick Lamar at The Music Box last Friday — second time I’ve got to see him but first time solo w/o the rest of Black Hippy. What a night. Dream Urban should’ve given Kendrick a trojan before he fucked our minds. A historic night for hip-hop and the West Coast. The Music Box has the best sound system I’ve heard from a venue that size, I literally was knocked back at every bass kick. I kinda want to catch even average artists in the future there just for the system. Kendrick played all the hits, brought out Snoop, Mos Def, Talib Kweli, Game, and Big Sean came out and played “I Do It.” The crowd kept murmuring as they looked up to see Snoop and Dre sitting up on the balcony next to each other. The show ended with an emotional moment between everyone on stage and a metaphorical passing of the torch from Game and Snoop (who the fuck gave Game the torch ?) and some moisture from Kendrick… that went straight into Hii PoWeR. I’m struggling to put how crazy this show was into words, watch this video to understand what I’m trying to say:
To top it off I turned 21 at midnight and afterwards got to say whatup to Ab-Soul, Talib, and got in a pic with Kendrick. Yes.
FULL POST
Caught Casey Veggies, Schoolboy Q, and Kendrick Lamar at The Music Box last Friday — second time I’ve got to see him but first time solo w/o the rest of Black Hippy. What a night. Dream Urban should’ve given Kendrick a trojan before he fucked our minds. A historic night for hip-hop and the West Coast. The Music Box has the best sound system I’ve heard from a venue that size, I literally was knocked back at every bass kick. I kinda want to catch even average artists in the future there just for the system. Kendrick played all the hits, brought out Snoop, Mos Def, Talib Kweli, Game, and Big Sean came out and played “I Do It.” The crowd kept murmuring as they looked up to see Snoop and Dre sitting up on the balcony next to each other. The show ended with an emotional moment between everyone on stage and a metaphorical passing of the torch from Game and Snoop (who the fuck gave Game the torch ?) and some moisture from Kendrick… that went straight into Hii PoWeR. I’m struggling to put how crazy this show was into words, watch this video to understand what I’m trying to say:
To top it off I turned 21 at midnight and afterwards got to say whatup to Ab-Soul, Talib, and got in a pic with Kendrick. Yes.
Much has been said of the current ‘new school’ of rappers — a group of these freshman that have now graduated into the next stage, their ascent to stardom. With his latest project, Section.80, Kendrick Lamar has risen to the top of his class as the first to release a well-structured, complete album. Although lacking the commercial appeal of many of his peers, he has gained the respect of those embedded in the true culture of hip-hop — its relevance as a medium of expression and the social nature of its background since its beginning. Through 16 tracks, Kendrick Lamar takes listeners on a journey of social expression (I don’t want to say commentary because that sells it far short) with hard bars and soulful beats.
The album begins with the crackling of a fire and a strong voice leading a community of listeners. The opening track, “Fuck Your Ethnicity,” is an important one in introducing the album, clearly highlighting that the message(s) and issues presented apply to every breathing person. The piano hits hard while Kendrick showcases his ability to stand toe to toe with the best lyrically. (I got 2/That’s a metaphor for the big shit I do/TMI, TSA, man I’m fly/Put wings on my back/That a plane or an angel?/ Both, like a pilot with a halo – whoa). He delivers them with a subtlety that contradicts how other rappers would be yelling out and delivering more chuckles than punchlines. From here he goes into “Hol’ Up,” the brightest song on the album. The trumpets bring us in to some bars and subsequently Kendrick’s repeating Hol’ Up on the chorus, which is catchy as fuck. Kinda like Dom’s “Grind’n,” you’ll catch yourself repeating it throughout the day after listening.
“A.D.H.D.” launches us into the heart of the album. If beats and rhymes are all that you feel coming from your speakers when you listen to Section.80, you’re missing the true intention of this 16-track artistry. There’s a much larger pill to swallow than the relentless flow and great production. This album serves as a wake up call to Generation Y. Much has been made of our generation’s downfalls and its potential for utter failure (I kinda touched on this on a tumblr post). A big issue that we’ve come across is how to convey these issues to the population to inspire some kind of change; many that realize the issues we face are simply overcome by apathy. It remains to be seen the impact music can have, but this album is a valiant effort, masterfully crafted over its central themes. In A.D.H.D., Kendrick watches medication overcome minds (chorus hits: 8 doobies to the face, fuck thought/12 bottles in the case, nigga fuck thought/2 pills and a half, wait fuck thought). This issue’s been on my mind a lot recently, reminded of me of something the homie Jeff over at 12FV wrote a while back “We don’t spend much time on our thoughts anymore. The present has showered us with instant gratifications. Whatever happened to meticulous cultivation and its hardworking counterparts? We want everything at our fingertips and we want it streaming from all directions.”
Kendrick shares two distinct qualities that I can see with a young Nas. The first is standing out from his peers with a truly conscious perspective on the world around him. (I’m not on the outside looking in. I’m not on the inside looking out. I’m in the dead fucking center, looking around) He’s touched on subjects before while finding himself as an artist, but Section.80 has a much more focused approach. Although there is no comparison to Nas’ work, depicting so vividly the claustraphobic hell in between 40th Side North and 41st Side South, the similarity can still be seen. The other thing I see that draws the two together is a relentless flow. Kendrick doesn’t give you a second to breathe or ingest anything. They differ in this aspect in that Kendrick’s is more of a stream which reflects a continuous thought process that needs to be expressed in that manner to retain its intended emphasis. Whereas Nas was packing so many individual lines into a song to portray visuals, it was as if he had a time limit on each track. It’s this style that really helps in setting Kendrick apart from other rappers right now. His wizardry with words isn’t characterized by compounding obscure references or metaphors, but rather by a flow of alliterating lyricism that never strays too far from the intended thought. Each line has a soulful, heavy emphasis that hits you like the rap equivalent of a Skrillex bass drum.
Kendrick continues on his path throughout the album, each song having its own unique appeal. “Ronald Reagan Era” and “Rigamortus” are two of the best tracks released this year, across genres. The album ends with “HiiiPoWer,” the J. Cole produced track that provides an uplifting end that inspires a call for action. (Opens with: The sky is falling, the wind is calling/Stand for something or die in the morning). Check the video below to get a better understanding. It serves as a reminder that the world needs he and J. Cole to get to making their supposed mixtape together. The two possess currently unrivaled lyrical skills and passion, and given influence from each onto the other they’d produce magical shit. The entire album builds up to HiiiPoWer, and I love that it’s left until the end despite being the best track on the album. It’s a testament to the fact that this needs to be listened from start to finish to be truly appreciated and understood. Best album of the year so far, looking forward to what the future holds for the only 24-year old Kendrick Lamar.
Tracklist
1.) Fuck Your Ethnicity [prod. by THC]
2.) Hol’ Up [prod. by Sounwave]
3.) A.D.H.D [prod. by Sounwave]
4.) No Makeup (Her Vice) ft Colin Munroe [prod. by Sounwave]
5.) Tammy’s Song (Her Evils) [prod. by THC]
6.) Chapter Six [prod. by Tommy Black]
7.) Ronald Reagan Era (His Evils) [prod. by Tae Beast]
8.) Poe Mans Dreams (His Vice) ft GLC [prod. by Willie B]
9.) The Spiteful Chant ft Schoolboy Q [prod. by Sounwave & Dave Free]
10.) Chapter Ten [prod. by THC]
11.) Keishas Song (Her Pain) feat. Astro Bot [prod. by Tae Beast]
12.) Rigamortis [prod. by Willie B]
13.) Kush & Corinthians (His Pain) feat BJ The Chicago Kid [prod. by Wyldfire]
14.) Members Only [prod. by Tommy Black]
15.) Ab-Soul’s Outro [prod. by Terrace Martin]
16.) HiiPoWeR [prod. by J. Cole]
You can catch Kendrick @ The Music Box 8/19 w/ Casey Veggies & Schoolboy Q for $25.
+jangbar
FULL POST
Much has been said of the current ‘new school’ of rappers — a group of these freshman that have now graduated into the next stage, their ascent to stardom. With his latest project, Section.80, Kendrick Lamar has risen to the top of his class as the first to release a well-structured, complete album. Although lacking the commercial appeal of many of his peers, he has gained the respect of those embedded in the true culture of hip-hop — its relevance as a medium of expression and the social nature of its background since its beginning. Through 16 tracks, Kendrick Lamar takes listeners on a journey of social expression (I don’t want to say commentary because that sells it far short) with hard bars and soulful beats.
The album begins with the crackling of a fire and a strong voice leading a community of listeners. The opening track, “Fuck Your Ethnicity,” is an important one in introducing the album, clearly highlighting that the message(s) and issues presented apply to every breathing person. The piano hits hard while Kendrick showcases his ability to stand toe to toe with the best lyrically. (I got 2/That’s a metaphor for the big shit I do/TMI, TSA, man I’m fly/Put wings on my back/That a plane or an angel?/ Both, like a pilot with a halo – whoa). He delivers them with a subtlety that contradicts how other rappers would be yelling out and delivering more chuckles than punchlines. From here he goes into “Hol’ Up,” the brightest song on the album. The trumpets bring us in to some bars and subsequently Kendrick’s repeating Hol’ Up on the chorus, which is catchy as fuck. Kinda like Dom’s “Grind’n,” you’ll catch yourself repeating it throughout the day after listening.
“A.D.H.D.” launches us into the heart of the album. If beats and rhymes are all that you feel coming from your speakers when you listen to Section.80, you’re missing the true intention of this 16-track artistry. There’s a much larger pill to swallow than the relentless flow and great production. This album serves as a wake up call to Generation Y. Much has been made of our generation’s downfalls and its potential for utter failure (I kinda touched on this on a tumblr post). A big issue that we’ve come across is how to convey these issues to the population to inspire some kind of change; many that realize the issues we face are simply overcome by apathy. It remains to be seen the impact music can have, but this album is a valiant effort, masterfully crafted over its central themes. In A.D.H.D., Kendrick watches medication overcome minds (chorus hits: 8 doobies to the face, fuck thought/12 bottles in the case, nigga fuck thought/2 pills and a half, wait fuck thought). This issue’s been on my mind a lot recently, reminded of me of something the homie Jeff over at 12FV wrote a while back “We don’t spend much time on our thoughts anymore. The present has showered us with instant gratifications. Whatever happened to meticulous cultivation and its hardworking counterparts? We want everything at our fingertips and we want it streaming from all directions.”
Kendrick shares two distinct qualities that I can see with a young Nas. The first is standing out from his peers with a truly conscious perspective on the world around him. (I’m not on the outside looking in. I’m not on the inside looking out. I’m in the dead fucking center, looking around) He’s touched on subjects before while finding himself as an artist, but Section.80 has a much more focused approach. Although there is no comparison to Nas’ work, depicting so vividly the claustraphobic hell in between 40th Side North and 41st Side South, the similarity can still be seen. The other thing I see that draws the two together is a relentless flow. Kendrick doesn’t give you a second to breathe or ingest anything. They differ in this aspect in that Kendrick’s is more of a stream which reflects a continuous thought process that needs to be expressed in that manner to retain its intended emphasis. Whereas Nas was packing so many individual lines into a song to portray visuals, it was as if he had a time limit on each track. It’s this style that really helps in setting Kendrick apart from other rappers right now. His wizardry with words isn’t characterized by compounding obscure references or metaphors, but rather by a flow of alliterating lyricism that never strays too far from the intended thought. Each line has a soulful, heavy emphasis that hits you like the rap equivalent of a Skrillex bass drum.
Kendrick continues on his path throughout the album, each song having its own unique appeal. “Ronald Reagan Era” and “Rigamortus” are two of the best tracks released this year, across genres. The album ends with “HiiiPoWer,” the J. Cole produced track that provides an uplifting end that inspires a call for action. (Opens with: The sky is falling, the wind is calling/Stand for something or die in the morning). Check the video below to get a better understanding. It serves as a reminder that the world needs he and J. Cole to get to making their supposed mixtape together. The two possess currently unrivaled lyrical skills and passion, and given influence from each onto the other they’d produce magical shit. The entire album builds up to HiiiPoWer, and I love that it’s left until the end despite being the best track on the album. It’s a testament to the fact that this needs to be listened from start to finish to be truly appreciated and understood. Best album of the year so far, looking forward to what the future holds for the only 24-year old Kendrick Lamar.
Tracklist
1.) Fuck Your Ethnicity [prod. by THC]
2.) Hol’ Up [prod. by Sounwave]
3.) A.D.H.D [prod. by Sounwave]
4.) No Makeup (Her Vice) ft Colin Munroe [prod. by Sounwave]
5.) Tammy’s Song (Her Evils) [prod. by THC]
6.) Chapter Six [prod. by Tommy Black]
7.) Ronald Reagan Era (His Evils) [prod. by Tae Beast]
8.) Poe Mans Dreams (His Vice) ft GLC [prod. by Willie B]
9.) The Spiteful Chant ft Schoolboy Q [prod. by Sounwave & Dave Free]
10.) Chapter Ten [prod. by THC]
11.) Keishas Song (Her Pain) feat. Astro Bot [prod. by Tae Beast]
12.) Rigamortis [prod. by Willie B]
13.) Kush & Corinthians (His Pain) feat BJ The Chicago Kid [prod. by Wyldfire]
14.) Members Only [prod. by Tommy Black]
15.) Ab-Soul’s Outro [prod. by Terrace Martin]
16.) HiiPoWeR [prod. by J. Cole]
You can catch Kendrick @ The Music Box 8/19 w/ Casey Veggies & Schoolboy Q for $25.
+jangbar
