Antonio's Music Dumping Ground
 

Hey everybody, Antonio here. Lately, I've been thinking that while i do post here on the forums a good amount, i don't really talk about the music i like too much. So yeah, this is my first attempt at a Member Journal to basically talk about music that I'm interested in as well as the idea of music itself and it's applications. Really, i want to use this journal as a personal thing; alot of what i'll be posting will concern music that really catches my ears or music to which i hold a personal connection with.

So here I'll be posting about both well known and stuff you may have not heard of, but really just music and artists in general that catch my attention as well as some of the stuff that made me the music lover that i am today.

a few things that i'll be trying to post in here:

Songs I'm Diggin'- Formerly Song of the Week
Musical Reflections- aka random thoughts on music in general
Band/Artist Spotlight- Just showing off artists that I feel need more love and attention in the music world
Awesome Sountracks- a new thing I'm trying since I've been listening to a large number of soundtracks recently. May be mostly of games, but I will pull up some things for movies and television.
Album Reviews, mostly of stuff i recently got my hands on. i'll try to review stuff on a rating system from 1-10
1-Stay the HELL away, this album will HURT YOU in ways you never thought possible. if you see any copies in the vicinity, don't hesitate to KILL IT! KILL IT WITH FIRE!!
2-Just flat out bad, only worth the 1-2 songs on it, if at all.
3-Not very good, only really worth a few songs/the main hits.
4-Slightly below average. Not a terrible listen, but overall not a very satisfying musical experience.
5-Average. Not abysmal. Not amazing. Just average.
6-Slightly above average. Not a bad listen, but you probably won't miss much if you don't check it out.
7-Really good, worth checking out. Won't knock your socks off though.
8-Great, but not amazing. Has it's obvious flaws/weak tracks, but this is a real must hear for music fans.
9-Damn near perfection, an album where the artist can sit back and take in the satisfaction that they made a piece of music like this. Legendary status.
10-Flawless, it's pretty much an eargasming masterpiece. If you don't listen to this album at some point before you die, most preferably NOW, then you have WASTED YOUR LIFE.

and anything else that tickles my fancy, hehe




so, without further ado, i'll start off with my




I found this artist off a website that had a weekly music showcase and I was hooked. This is some laid back Hip-Hop with a jazzy and layered feel to it that flows very well with the smooth delivery. The samples are in the right place at the right time and don‘t overpower the lyrics. Instead, it all works together in a solid blend of jazz, soul, and hip-hop. Dude has a bit of a Kanye West feel, so anyone who’s a fan of him will definitely want to pick up some of Danny!’s music, and anyone who just enjoys this song will want to do the same.

Owl City is a one man synthpop/electronica band from Minnesota who started in the basement of musician Adam Young in 2007. Ocean Eyes is the first major release.

I actually just got a hold of this CD a few minutes ago and now I’m reviewing it cause, well, I like it. You may have heard the song “Fireflies” on the radio at some point and quite frankly it‘s not unlike the rest of the CD. I’m not saying that as a bad thing though; the rest of this album is definitely a well produced and catchy as all hell. A fun little romp in Pop-Land that doesn't overstay its welcome or makes you regret liking it, albeit a little cheese here and there.

Now…this is some synthpop that’s HEAVY on the Pop. Enchanting, whimsical melodies using synthesizers in a dance club manner? Check. Happy-Go-Lucky lyrics delivered in a tone that says “I‘m gonna keep this smile on AAAAAAAAALLLLL DAY”? Check. Song titles like “Vanilla Twilight” and “If My Heart Was a House”, where you can feel the sap sticking to you from just how sickeningly sweet they are? Check.

But honestly, this is some really GOOD synthpop. The melodies are very well done and this is one of those rare times when voice enhancing is used not as a crutch for poor singing or as a patronizing club of over saturation being beaten over the heads of people who should know better than to listen to crap like that. Everything from the vocal dubs to the little nuances in the beats enhances the music and adds to your enjoyment, layering together in just the right spots and with enough hooks that are good enough that you can tell this wasn't just slapped together by some committee.

If you’re someone who is not a fan of this type of poppy electronic music, then this isn‘t too likely to turn you around. There’s no real deepness to the lyrics (even though the way they‘re done is very pretty) and it’s safe to say that this is the kind of stuff that’d be played on rotation at WalMart cause it’s the safest you could possibly get without becoming stupid or childish.

If you’re like me, though, and can appreciate a good bit of sugary and feel good pop from time to time, then you'll find this a very enjoyable and laid back album.



Best Songs-Cave In, The Bird and the Worm, Umbrella Beach, Fireflies, Vanilla Twilight

Worst Songs-Meteor Shower

Final Rating-7/10

a few songs if you'd like to give this a listen

YouTube - Cave In - Owl City
YouTube - ‪Hello Seattle - Owl City (NEW OCEAN EYES VERSION!!!)‬‎
YouTube - ‪Umbrella Beach - Owl City‬‎
YouTube - ‪The Bird and The Worm - Owl City‬‎

Just spent some time listening to that "Owl City" stuff, it's very good. It reminds me of a band that I spent some time listening to called "The Postal Service," the singer sounds very similar, and the musical style isn't too different either, although Owl City's music is slightly more dancy and upbeat. I really like it though, struck me as soon as I listened to it, so thanks :D

yeah, i read that the guy from Owl City cited TPS as a major influence. I've actually thought of getting into them before but i'm not too sure where to start. any suggestions?

Well, they've only ever done the one album, and that was "Give Up" which goes all the way back to 2003, I think. The best songs on the album are definitely "The District Sleeps Alone Tonight," "We Will Become Silhouettes" and "Such Great Heights," but there are a lot of other top quality songs on there apart from those. I quite like "Clark Gable" and "Nothing Better" too. Definitely worth checking out if you liked the Owl City stuff :)

Thanks, i'll definitely give it a listen :)

Ever since I was fourteen and first heard System of a Down’s B.Y.O.B. and subsequently started tuning in to Headbanger‘s Ball on MTV, I‘ve always had a great love for heavier music. Listening to a lot of the groups at this time, it was unlike anything I have ever heard before. The crushing brutality and earsplitting sounds seemed to fill a gap in my being that was missing and gave me something to vent out all sorts of frustrations during those high school years. While I may not be as largely of a metal fan today, I still hold much of this music close to my heart. So I’m going to take this spotlight right now to talk about one of my favorite heavy bands, The Red Chord.

Hailing from Revere, Massachusetts in the late 90s, The Red Chord is a band that takes the technical, calculated, and heavy side of death metal and matches it up with the sheer tearing ferocity of grindcore. This style is more commonly referred to as "deathcore", and TRC are considered one of its pioneering groups of this genre. I find these guys to be one of the better groups of this movement, as a number of other bands seem to not sound as strong or fall back on tired, overused tropes like breakdowns. While TRC does use similar techniques, it just seems more genuine in my opinion. Much of their music is crafted in a way where you could tell that they really meant to have every piece in the exact spot it is without feeling tacked on or cheesy. This is a group that really does their own thing, and they do it well.

Now, what i love about this band is just how all over the place they sound. While not a band that constantly switches genres ala Between the Buried and Me, these guys have their own special charm for mixing it up while not breaking the flow or letting up on the heavy. The guitars of Mike “Gunface” McKenzie combines meticulous, technical bits with grindcore sensibilities, creating a tight, yet messy and fast paced sound. The vocals by Guy Kozowyk have an instantly recognizable sound of a cross between a death metal veteran and a decades long cigarette smoker, which adds to the pain and gives a good feel when he delivers his biting and tongue in cheek lyrics. The drums of Mike Justain are both all over the place and consistent in adding to the fury and Greg Weeks‘ bass is the much needed bridge and stability to counter the frantic drums and guitar. These guys do what a lot of their contemporaries can’t and deliver hard hitting and crushing blows while at the same time having a less serious, almost silly feel at certain points, as a result of either the crazy lyrics or unpredictable guitar.

Much of their lyrical content focuses on insanity and the human condition. Their second release, Clients, is a prime example of this, with much of the album based on a relative of Kozowyk‘s experiences working for an adult development center, with much of the songs referring to real people. It covers mental problems like schizophrenia, multiple personality disorder, OCD, and including the title track, suggests that we all, in our own way, are “Clients”, or people who are in some way messed up mentally.

In the end, this is a band that I grew up listening to and one that helped to broaden my horizon of both metal and music in general. Listening to these guys over the years has really shown me what can be done musically and that you can still be a great musician without having to make more “traditional” styled songs. While there’s plenty of people these days who are very open minded about music but still detest anything heavy or rough, I’m glad that I went through this phase my life and saw what some of the limits of sound can bring, and I‘m glad that I had this band to help me see that.

but hell, what's one to know until you've actually heard them, right? take a listen to some of these songs and tell me what you think.

SONGS I'M DIGGIN'
Matisyahu-Jerusalem

Wow, I can't believe it's been a week already. The song for this week is from Matisyahu, who blends Reggae, Hip-Hop, and Rock with Jewish themes and ideals, as he is a Hassidic follower of the faith. This song is from the album Youth and is one of my favorites from him, not just because of the beats and the general catchiness of it, but also for the story it tells. The song covers several points in the history of the Jewish people, with the first part talking about their initial nomadic lifestyle, noting that even if you don't have a place to call home it can still be a place in your heart. The second part is about the Jewish internment in WWII, and here he also shows how some people at this time would forget their heritage and not show who they were out of fear. The last part tells you not to give in to lies or deception and be true to God.

I'm not Jewish, but the ideas talked about in this song are ones that I and many other people can relate to. Really, you shouldn't forget who you are or where you came from, and above all you need to stay true to yourself and what you believe in.

SONGS I'M DIGGIN'
Allman Brothers Band-Blue Sky

sorry for the lateness this week, there's been a good number of developments in life that i had to attend to. But anywho...

this week is one of my favorite songs from the Allman Brothers Band, and a really great summer pick me up. from the album Eat A Peach, i love this song for the general feel good vibe it gives off. it's really a simple and well meaning tune, a nice way to kick back and not let the stresses of the day run you down. plus you just have to love the dual soloing from Dickey Betts and Duane Allman, not only are they very proficient with their respective instruments and keep the phrasing and feel of it interesting, but when they both harmonize near the end of it, it sends chills up my spine.

so sit back, relax, and enjoy the Blue Sky

I recall a saying I heard years ago when I started learning guitar. It said

“When you end a solo on the main note, it's like putting the period at the end of a sentence. And the more you add on to a solo is like adding more to what you're trying to say”.

This got me to thinking, can playing or listening to music be the same as speaking or hearing a language?

I mean, musical notes are in a way like letters of the alphabet. There’s a set number of them to use and while they aren’t endless, the different combinations that you make with what there is can be. Now, I’m not talking about lyrics here; what I‘m saying is that maybe the actual sounds (whether it be guitar, trumpet, vocals, etc) and how they interact with each other may be able to tell their own story and make you see what’s trying to be said. Really, when you listen to an album or a song and say, "oh this is sad" or "this is a very uplifting song", it's like the music is communicating it's ideas and effecting you the same way that someone who'd be giving you a compliment or yelling at you angrily would.

Really, if it was one, I think that music would be a language of expression rather than a language that puts it all out there clear as day. You feel what's trying to be said more than just in a literal understanding of the lyrics or theory of the notes.

Take the video for the song Paranoid Android by Radiohead for example:


When coming up with an idea for the video, the artist Magnus Carlsson devised it when “he locked himself in his office for over 12 hours to stare out of the window, while listening to the song on repeat while jotting down visual ideas“. The end result is basically a journey through the song, that in my opinion explains it more than the lyrics ever could. He was letting the music speak to him and because of that you see the real essence of it more than if it was just a video of the band playing or something where the director followed the lyrics of the song without much attention to the actual music.

In cases when playing an instrument with another person, you could both communicate through what you play, like a conversation, and like any conversation, some could go on for hours where you both are sharing common ideas, like a jam session or when writing a song. And like other conversations, they could be clumsy and cut short due to not really having much to talk about or little interest from the start, like two people who play/listen to separate genres or musicians who are “one man shows“ so to speak. I know there have been times where I was playing with someone and I felt like I couldn’t get a word (or in this case, note) in edgewise because they weren’t really ones to share the spotlight or open up to other ideas. There have also been the times playing where I felt that I was in perfect sync with another person and felt my ideas heard and shared.

So just to close out, do you think music is able to be expressed to get the idea across without having to understand lyrics/without having lyrics at all? Is there any music that you think really speaks to you and makes you envision anything or various times where it would set the scene? What are some of your musical experiences (be it playing or listening) with others? Do they share the same feel for it or does different music effect them differently than you would?

I’m really just asking these as something to think about, but if anyone would like to share some of their thoughts on things like this, I‘d to hear what you have to say.

What we have this week is a track from saxophonist Albert Ayler off of his splendid album Love Cry, an uplifting and addictive piece to listen to. Ayler's music has it's grounding in spritual and brass marching band melodies, while combining it with free jazz sensibilities and improvisation. Think Ornette Coleman leading a church choir. Add one hell of a blistering tone on his sax and you have an artist that's not only creative and bursting with feeling, but also catchy and memorable.

oh, and apologies for the lack of a video, but i wasn't able to find anything on youtube and most other sites i went to only had parts of the song. but anyway, enjoy.

^ I think I'm going to download the album from your description alone. It will surprise me when I finally have it. :p:

yeah, it's a great cd. if you enjoy Love Cry, another must have is Spiritual Unity, probably his most well known work.

This week's song comes from a band that i found through an interview. I was listening to an online interview with veteran Anime voice actor Johnny Yong Bosch(if you don't watch anime, he was also the Black Ranger in the second season of Power Rangers, hehe). When they mentioned how he had a band that he toured with and played at conventions I was naturally intrigued, and while initially i was a bit apprehensive at first with the whole tv star playing music thing, one listen to this song really impressed me. It's straight hard rock, but not in the hokey Nickelback sense. You really get the feeling that these guys want to rock out and rock out HARD. I love the initial hook at the beginning as well as the riffs the guitar and bass throw at you, really catchy and fun.

now, this isn't the most groundbreaking stuff ever and quite honestly i wouldn't be surprised if some people on MB outright hated it, but if you like to rock, this is something i'm sure you'd really get into.

if you enjoy this song, go ahead to their website and download their demo for free.

This artist is one that I’ve gotten into just recently. Nujabes (born Jun Seba in the Nishiazabu district of Minato, Tokyo, Japan) is a Japanese DJ and Hip-Hop producer. His core sound utilizes jazz sampling as well as instruments like flutes and acoustic guitar. He makes instrumental jazz influenced tracks as well as songs where he collaborates with rappers like Cise Starr, Substantial, Shing02, and much more.

Probably his most well known work is for the soundtrack to Samurai Champloo, an anime from Shinichiro Watanabe, the creator of Cowboy Bebop. He, along with fellow electronic artists Tsutchie and Fat Jon, contributed to this show set in feudal Japan, which also blended in several anachronisms that refer to Hip-Hop culture. It’s this soundtrack where I first heard him and really, it was his music most of all that I gravitated to. While the other artists had some very well done tracks and I did enjoy their contributions, Nujabes stuck out to me the most as something really special.

Along with his work in anime, he has released 4 albums, which includes two full lengths utitlizing his beats with jazz styles (Metaphorical Music, Modal Soul) and two releases where he more closely works in the hip hop realm (Hydeout Productions 1st & 2nd Collections).

What I really love about his music is how natural it feels and sounds. Yes, his music is, at its core, beats and samples, but through the way they’re produced you feel as if Mother Nature herself is singing to you through the wind, the rain, and the earth. It all feels so right together and it'd be hard to imagine some of the sounds coming from other songs. At times I have a hard time differing samples of a piece from actual instruments being used and sounds being created. The abstract feel of it, especially in a genre of music where alot is lifted from other songs in a way where it's very recognizable at first listen, is something that you don't come around very often.

It’s also is a prime example of the potential you can reach in the realm of electronic music and hip-hop. In a way, I do believe his music is a grand step for hip-hop and shows that the only limitations are those you set on yourself.

Unfortunately, he left this world in February 2010 when he was involved in a motorcycle accident in Shibuya, Tokyo and passed away in Shibuya Ward a few hours later. In passing he has left a unique and expressive sound as well as his own mark on hip hop today. Even though he’s no longer with us, he will not be forgotten.

So give some of his music a listen, if you will, and free yourself to the soul of nature.

Had a first proper listen to Ocean Eyes today (bought it over a couple of weeks ago now, but only just got round to listening :P) and it's fantastic! Thanks for the recommendation :D

Glad i could be of help :)

from the Weekly Music Trading Post Thread, i offer up a review


Described to me only as “some really noisy psychedelic from two Japanese people”, I really didn’t know too much what to expect. Christine 23 Onna is a two person instrumental band formed in 1993 by Yamazaki “Maso” Takushi and Toda Fusao. This album could be described as 60’s space psychedelic, with the effects giving you both a retro and otherworldly feel. even with it's abundance of "freak out" moments and tracks, it hardly ever seems to get too jarring or grating, it's that laid back kind of psychedelic that you can have on in the background and at the same time take notice when it kicks in.

Fantastico: Well the first thing I notice with this song is the combination of grounded distorted riffing and experimental soundscapes. It really hooks you into a groove that emulates a 60’s psychedelic bash.

Acid Now: Oh man, HERE’s where sh*t gets crazy. Everything hits you at once and the way that everything gets quiet and loud again melts your face in the minute and a half it goes on.

The Last Hunter: Things calm down in this next song and picks up the 60s vibe again. Has a good amount in common with the first song, but that’s not a bad thing, the fuzzy guitar and ethereal effects stick around.

Acid Eater: A freak out track, as was Acid Now, just this time everything’s a lot more defined and less wonky. While I’m not too big on freakout tracks, this is pretty good in how it’s not too all over the place but can still keep you interested.

Planet Unknown: This has a bit of a different vibe from the previous songs. The fuzz from the guitars isn’t here and is switched up for a more ambient feel. A real way to relax from the onslaught of psychedelic music you just went through.

Space Mondo Topless: Lovingly borrowing the name of this song from one of the works of sexploitation film maker Russ Meyer, this definitely has a carefree, fun in the sun kind of feel. The fuzz is back and in full force but not overbearing

Love Galactic: At this point it seems that the album has blasted off into space. Some more freaking out with a cool bleep-bloop sounding effect that plays off of the drums and other effects.

Top of Spot: The computer overlord feel of the last song gives in to a more subdued and frankly groovy song. You can’t help but move with the guitar lines and mood.

Wild Private: The rhythm guitar takes a decidedly different turn and gives into a clean funk guitar sound, but there’s still another one in fuzz mode. This song has more of a drive than some of the previous ones.

Erotopia (The Climax): The last track ends on a freak note and culminates in the building up of a lot into a blistering white noise that gives in to a fade out.

So in closing, this is a pretty fun romp of effects and trippiness, but a few parts of this album feel like they’d be forgotten immediately after listen. It also gets a bit samey after a couple of songs and doesn’t have too much surprise going for it. Even so, if you’re a fan of psychedelic music and are looking for something to chill out AND freak out to, I recommend this little gem.

Best Tracks: Fantastico, Planet Unknown, Space Mondo Topless, Love Galactic
Worst Tracks: Acid Now, Erotopia (The Climax)

Final Verdict: 6/10

This week was a bit of a toss up. Really, i was set for some time on putting a Motley Crue song up here, as I was listening to four of their albums in the past week, but i had a change of heart at the last second. I'd then had the urge for some Dinosaur Jr. as well as some other artists i've been wanting on here for a while, but in the end i wasn't feeling these tracks at the time. so, while i was just mucking around on my music player, this song came up, and in the end i was like "eh, what the hell?"

SO...if you're asking if i just drew straws when it came to this week's song, then yes. Yes i did :p:. It doesn't make it any less of a great song, though.

But anyway, this song was one that i've really loved for months, since i first heard it back in April. This song is from (at least from where i got it) The Skatalites' Greatest Hits record, Foundation Ska, and is a nice little piece featuring singer Jackie Opel, who has a damn distinctive voice with plenty of soul to go around. I really love the combination of the vocals with the instruments, especially with the guitar. In a way, with the lines the guitarist pulls, you really want to hear more, not just in this song.

The quality of the vid is a bit wonky, but that's because it's playing directly off of vinyl. still for a really classic song like this, wouldn't you want it that way?

Hey everyone, i know it's been a while since i've posted more than just these weekly segments, but with this being the last week before i start classes and all, there has been a number of loose ends to tie up and things that needed to get done. but don't worry, i'll have some more stuff up in due time. so for now, enjoy the song of the week from Marcy Playground.

I recently got my hands on two of this band's cds, titled Marcy Playground and Shapeshifter, and this song comes from the former. any of you 90's alt-rock fans may recognize these guys as the same band who spawned the hit "Sex and Candy", and while that in itself is a really good song, i'd like to give this week to a lesser heard tune and one that's personally one of my favorites that i've heard. I will also say that for the record both albums are damn good listens and really worth your time if you're interested. ;)

this song's an upbeat little number with some catchy guitar lines and singing that brings you back to that nice little midway point in 90s music between grunge and bubblegum pop where bands weren't afraid to mix a bit of musicality with a pop sensibility and a positive feel. In the end, this song isn't something that you have to over-think or something that feels brainless, it's something in between that goes down smooth.

I like the sound of the "Poppies" song, too, Antonio, thanks mostly to the guitars but also to the serious subject matter, which appears to be the opium trade and the British empire's unethical behavior toward India and China. I think the song refers partly to this sad story from history:

"China had a positive balance sheet in trading with the British, which led to a decrease of the British silver stocks. Therefore, the British tried to encourage Chinese opium use to enhance their balance, and they delivered it from Indian provinces under British control. A massive confiscation of opium by the Chinese emperor, who tried to stop the opium deliveries, led to two Opium Wars in 1839 and 1858, in which Britain suppressed China and traded opium all over the country."
Opium - Wikipedia, the free encyclopedia

hmmmm, well now that you mention it, it does make some sense with the lyrics, thanks for the observation.

surprisingly enough the same album has a song named Opium, so that may show where their priorities are, haha

Hello there, just a little FYI. Because of my school schedule these days, the Song Of The Week will be posted on Friday instead of Tuesday/Wednesday. So yeah, just so you know. And yeah, I know that it's technically Saturday, but it took some time to get the internet on this comp.



Dinosaur Jr. is one of my favorite bands these days. I love the way the vocals and fuzzy guitars cut through and this week's song is no different. This is off of their album Farm and what I love is the melancholy tone. While that may not seem like a compliment, it works for the slow, meditative pace and each note seems carefully picked for this song. I also think that the guitar is just great and the fills that J Mascis gives you can keep one hell of a foundation while still going off on its own.

I've had this album for a while, and it's one that I wanted to review for some time now. This was actually the first Hip Hop album that I went out and bought and I'm glad that i did.

I feel like the best way that I can describe this album perfectly is Stoner Hip-Hop. I don't say this because Kid Cudi is a well reported marijuana user, or or the references to substances in his songs. I say “stoner” for the fact that this album feels like you're taking a drug fueled trip. Throughout the cd, you're carried by Cudi's trance-like rapping/singing style, while much of the beats are layered to be trippy yet peaceful, even during some of the more turbulent parts. This is produced in part by both Common and Kanye West, and contrary to what some may say I don't feel that much of an overbearing presence from them, and this is coming from someone who owns multiple albums by both artists. This feels totally like Cudi's own thing, and in my opinion this is something that sets itself apart from a lot of current mainstream music, even though it uses similar techniques and sounds as his contemporaries.

This album is split up into different “acts”, so I'm going to review it that way.

__________________________________________________ _______________
ACT I: THE END OF DAY
The first act and the album starts interestingly enough with In My Dreams, providing a fitting intro to what you're gonna be in for. The echoing singular beat and the swelling violins in the background gives way to a narration by Common that sets up the theme and concept of the CD. Next up comes Soundtrack 2 My Life and Simple As..., which both are good songs in their own right and can be seen as potential singles while still being essential songs for the flow and story on the CD. The latter song ends with another narration that leads the main character of the story into the Rise of the Night Terrors.

ACT II: RISE OF THE NIGHT TERRORS
Things start getting interesting here. the first track, Solo Dolo, reaches into the deepest depths and comes out with a desperate and pleading cry for help. You get the feeling of despair while still having something that you can sing along to, making it one of the best tracks on here. The next song, Heart of a Lion, seems to pick itself up out of the gutter and remembers that there is something out there to fight for, but is still struggling to come out on top. The last part of the Act, My World, takes a look inward at Cudi's determination and is a really downtempo song that may seem like it drags its feet to some, but can seem really laid back to others.

ACT III: TAKING A TRIP
This Act begins with Day 'N' Nite, one of the best tracks and my favorite song on the CD. Technically this was on his previous mixtape A Kid Named Cudi, but it fits so well on this album that I would be surprised if it wasn't on here. Near the end, though, it degenerates into something that denotes there's some trouble on the horizon. The next song, Sky Might Fall, conveys this well with a feeling that you're trying to run from a great fall and it's closing in on you. Then Enter Galactic comes in and while it still carries an almost worried feel in the back of your head, this song feels like it got distracted along the way and stopped for a second to party it up a bit. Not a bad song, but it breaks the flow a bit. From here, another narration takes you into the next act of the character becoming lost in his own world.


ACT IV: STUCK
This act opens up with Alive, which features Ratatat and portrays a sense that you're probably on the verge of losing yourself the inner parts of your mind. After this comes Cudi Zone, which in a way is like you're too far gone, but you're not necessarily fighting to get back. The chorus of this will have you shouting to the heavens and is a blast to sing. After this is....w…wait a minute, stop the music

*record skips*

…Alright. Sorry for the interruption, but I just want to say right now that the next track, Make Her Say, doesn't belong on here. It's not exactly a bad song, the way they use the sample from “Poker Face” is pretty good and keeps you hooked in, but the way this song is just breaks the whole flow of the album. Really, it just sounds like something Kanye West or Common wanted to do so they could slap their names onto this record a little more. To be honest I skipped over this song when I listened to the cd for this review, and it actually sounded better as a whole.

OK then, back to the rest of the CD. :D

Thankfully the next track, Pursuit of Happiness, goes back to the trippiness and lays it on thick, making it one of the best songs on the album. This was the second song on here produced by Ratatat, and they really do some good here. This song is the equivalent of how you'd feel if for the last few weeks all you did was party and live it up, and now you're really paying for all of that enjoyment you had. In a way, the song sort of knows that while there should be regrets, it still says “I'll be fine, once I get it. I'll be good.”

ACT V: A NEW BEGINNING
The last two songs on the album wrap up the story for now and close out the album pretty well. The first, Hyyerr, is something that's really laid back with the samples they use and is really soothing to listen to. Finally, the Act and subsequently the album closes out with Up Up & Away, that's an uplifting piece of music that feels like you're flying through the clouds, away from all of the stuff that held you down...and then it sort of fizzles out with the final narration telling us that while the story is over, it's not the end of our character here.
__________________________________________________ _______________


So there's Man On The Moon for you, an interesting trip into Cudi's mind.

Not all is fine in Cudiland, though. This album, as much as I love it, does have it's obvious flaws. First and foremost, the lyrics can go from pretty good to alright to facepalmingly bad. I mean... he rhymes “girls” with “girls”. Normally I wouldn't be as bothered by something like this, but for a rap album that's kind of a big problem. Another thing is how it tends to fall into cliché mainstream territory at it's worst and doesn't try to stretch out in some great points to a be more unique as much as it could.

Even so, this album is definitely something all it's own. It may take a few listens to let this grow, but once it does you'll find something that may surprise you. Still, it can fall short and feel weak at parts. You get the feeling that they really tried to do something different here, but at some points things were a little misguided. I feel that with this album, Kid Cudi shows some of his talent, but hasn't reached his full potential yet. Still, if some of the music here is any indication of the future, I think that Kid Cudi might be on the verge of something amazing in due time.

Best Tracks: Soundtrack 2 My Life, Solo Dolo, Day 'N' Nite, Pursuit of Happiness, Up Up & Away
Worst Tracks: Make Her Say

So, in short, at it's worst this would be a 5-6, but at it's best, it's a 9, so I'm going to give my final rating as...

Final Verdict: 8/10

I highly recommend it, even for people who aren't fans of Hip Hop or mainstream music to take the trip down the rabbit hole, and see what awaits you.


and here's some of the album's songs to help you along the way
YouTube - Kid Cudi - Day 'N' Nite
YouTube - Kid Cudi - Pursuit Of Happiness ft. MGMT
YouTube - Kid CuDi CuDi Zone
YouTube - Kid Cudi - Up, Up & Away (The Wake & Bake Song) - 'Man on the Moon: The End of Day' 2009

SONGS I'M DIGGIN'
Steve Miller Band-Fly Like An Eagle

Good day, or rather, good night to you all. The song this week is one from the 70's courtesy of the Steve Miller Band's album of the same name. Now, this song is probably one that you've all heard at one point, if not through rotation on classic rock stations, then at least through the hypnotic repetition of the words "Time keeps on slippin, slippin, slippin...". And in all honesty how can you NOT like this song? The instrumentation works together to wrap you in a spaced-out blanket and the vocals lull you into that comfort zone where you can just lay back and enjoy the sweet sounds. While it may be a bit of a shame that the rest of the CD overall can't have some of the same effect, this tune is still enough to keep you satisfied for when you feel the need to leave the normal world for a while.

OK, with the date, this would technically mean that I skipped the last week but i'm gonna count it anyway cause this is my thread, so there :P. But yeah, this was really the first song I heard from this group and still one of my favorites of theirs. This comes from their album Cobra and Phases Group Play Voltage in the Milky Night (try saying that three times fast) and is both a catchy and masterfully done tune. The way that a lot of the parts in the song circle around the main melody is hypnotizing and infectiously catchy, and the style of this band, with the combination of alt rock and lounge music, gives you a cool view of something different. I also love the danceability of it, where you can't help but move a bit and dance with the feel of the music. If you haven't gotten any of Stereolab's albums yet, I highly suggest them as they're just one hell of a great band.

man, it has been a WHILE since I updated this thread. I guess I'll try to start off with something new for this. I don't really expect any replies as this'll probably just get viewed a few times, but no matter, long as I'm enjoying this.

but yeah, stuff coming really soon.

AWESOME SOUNDTRACKS:
Bastion
http://cdn.shopify.com/s/files/1/011...g?v=1427736186

I guess this is the first review I've had in a while. Since I've been playing more games recently, I want to try a new thing where I check out some great soundtracks I've come across. So without further ado I'll start with the music to a game that I just finished recently.

Bastion is the flagship release from indie company Supergiant Games, and man what a great first impression. Set in a sort of alternate world in a Western style, Bastion takes place after a worldwide disaster by the name of The Calamity literally dismantles everything, including the once great land of Caelondia. You play a character simply known as The Kid, a Caelondian who wakes up in his room to find that everyone is gone and the world has been destroyed. He knows from plans that were made long ago, that if something like this were to ever happen, any survivors should proceed to The Bastion, a safe haven meant as a last resort when there is no where else to go. There you meet Rucks, a gruffy voiced, weathered old man who serves as a guide and overall narrator to your adventure, and you seek to find various crystals scattered around the world to restore The Bastion and unlock it's true powers; powers that would be able to fix what the Calamity has done. Along the way you meet survivors and uncover many secrets about the world and parts to the story as with what was behind this Calamity in the first place. One interesting part about the game is that the entire story is laid out by the narrator as you traverse the world, and while that may sound like something you would get sick of after a while, it makes it into one of the most unique storytelling experiences you'd ever find in a game.

The music for a game of this setting is something very interesting; it's described by composer Darren Korb as "Acoustic Frontier Hip Hop". Here you'll find alot of bluesy acoustic guitar mashed up with world influences like sitar and koto, electronic beats and foreboding but powerful strings, and the main thing here is that it all actually works. I mean, it works to the point that you couldn't imagine the music of this game without all of those elements. It works to set the perfect mood for a game about picking up the pieces after a worldwide disaster. Now, according to the company Supergiant Games, they weren't going to initially release this soundtrack as an album, but after strong fan demand they decided to release a digital format available online. That's the biggest surprise really, as it feels like this was meant for an album release from the get-go.

This soundtrack starts off with the introduction Get Used to It, a word from the narrator who reminisces about life in Caelondia while you hear some gentle guitar strumming in the distance. From there, you're thrown into A Proper Story, which introduces you to alot of the musical elements that you'll see throughout this listen. After that comes my personal favorite track, In Case of Trouble, which also serves as the main theme to the game. Bynn the Breaker comes after that, a string heavy song which takes away the chill atmosphere of the last track and replaces it with tense feeling; one that tells of unknown danger that may be coming your way. The Sole Regret features a number more string instruments in a more lonely setting, and Twisted Streets throws flutes into the mix to provide more of that tense feeling from before, but this time in a more prepared way, as if you the player are actually ready to face what's coming. After this is Terminal March, a more world influenced track with some nice hip hop layers to compliment the striking mandolin line that will stick with you.

Percy's Escape then busts in, taking some grizzly strings and combining them with intense percussion to increase the sense of danger and intensity, following into Faith of Jevel, a dreamlike track which depicts more or less a drug induced haze that slows the album down(in a good way). After that, Mine, Windbag, Mine, takes more strings and a scratching mandolin to fill you with a sense of adventure and awe as you try to take in the world around you. Slinger's Song is the perfect western track, with lots of slide guitar and samples of stirrups complimenting the beats behind them to a slow and chill ride.

Being a soundtrack to a video game, you can expect there to be no vocals for the music, and for the most part you would be right, but the vocals that are there certainly leave an impression in the album as well as in-game. Build That Wall (Zia's Theme) is a soulful ballad sung by Ashley Barret who has just the perfect pang of soul and pain in her singing to her voice. While it is only acoustic guitar and vocals, it perfectly fits into the tone of the soundtrack and fits perfectly in game when it comes on. Spike In A Rail brings you back in with bluesy acoustic and electric guitar combined with an ensemble of banjo and harmonica that just rocks. What's Left Undone takes the melody of Build that Wall and has it sung by the narrator, more or less a track solely for the game. Brusher Patrol comes next with a swinging slide guitar line and a cool vocal sample that's works very subtly, as well as some strong electric guitar. The Mancer's Dilemma takes a sole harp line and uses different waves of string instruments to build off of it.

The second song to feature vocals, Mother I'm Here (Zulf's Theme) takes a page from Build That Wall and has a soulful ballad sung by Darren Korb that works off of minimalism. Once again this fits perfectly with the soundtrack as well as when you hear it in game. The Pale Watchers is next and has more of an electronic/trip-hop vibe than previous tracks, giving it a very dream inducing feel. The next song, The Bottom Feeders, picks up the pace and maintains that trip-hop vibe while at the same time bringing back the world influences. From Wharf to Wilds adds in some trumpet and heroic strings which help to push you as it is the music for the last level of the game. One of the most interesting parts about the next to last track Setting Sail, Coming Home is that it takes the two previous songs Build That Wall and Mother I'm Here and combines the vocals and music into a duet that is as beautiful and striking as it is one of the best songs to end a game by. Really, this isn't just a simple mashup of the two songs as much as it is a completed song that needed the two pieces to be combined together. Truly something I haven't really seen before, even in standalone albums.

This album does end with The Pantheon (Ain't Gonna Catch You), a traditional blues song by the guy who plays the narrator, Logan Cunningham, that tells you how "you'll be sorry for what you've done". A simple song, really. Initially I didn't like this track, but after listening to it again I found the vocals smooth and relaxing. The only complaint I'd say would be that with the lyrics it seems like an odd way to end the album.


Best Songs: In Case of Trouble, Terminal March, Mine Windbag, Mine, Build That Wall, Spike In a Rail, The Mancer's Dilemma, The Bottom Feeders, Setting Sail, Coming Home
Worst Songs: Get Used to It

In short, I give this soundtrack an enthusiastic 9 out of 10. This has got to be one of if not the best video game soundtracks that I've ever heard. You can just feel the love, care and attention that was put into not only having music that fit the feel of a game, but was also a joy to listen to on it's own. Very little filler, it was hard to find any bad or unnecessary tracks, with even the less stellar stuff still being great. The only complaint that I could honestly have is that, being a video game soundtrack, it repeats some parts of songs in order to keep the flow going in-game. So some tracks have points where they hit the halfway mark and start to essentially repeat the song all over again. Even so, this is a game soundtrack that surpasses alot of actual albums that I've heard in terms of cohesiveness and quality. Even if you don't play games at all, this deserves to stand next to albums in even the most discriminating record stores and owned by people who enjoy finely crafted and just great music. Don't believe me? listen to some tracks then




Oh yeah, and you should check out Bastion too, :D I can't recommend it enough. It's a great gaming experience and a landmark in game storytelling.

You may have seen me post this in the "What are You Listening To II" thread, but I want to highlight it here as it's probably one of my favorite songs right now. As I write this, I'm listening to it on repeat and honestly I could listen to this all day it's so good. It's infectious melodies and jazzy instrumentation combines into a great piece that I'm surprised isn't used for more television or movies (although I did find that it was used as a theme for a French program by the name of "C'est au Programme"). One part I especially like is in the middle where it breaks down to just the strings and kicks right back in. I only wish that it didn't have to end!!

I defy you to not get a smile on your face when listening to this and wanting to dance like Austin Powers or something.

Diggin the Bastion stuff, very cool!

I would like to award this journal the Lazarus 2012 Award For Unexpected Resurrection! TWO YEARS later! Man, that's some lunch hour!

Good to have ya back! Never say die... :) :thumb:

hahahaha yeah thanks for reminding me :laughing:

it feels good to be back though. so yeah, thanks. :yeah:

Good morning everyone (or good afternoon/evening depending on when you're reading this). As I write this journal post, it's 8:30 am in my neck of the woods, which is funny because I didn't even go to bed until 4:30 last night (4 hours of sleep is the new cool, ladies and gentlemen). Usually, in my summer state I don't really get up until about eleven o'clock (more like 2:30), but today is different, special even. You see....

I've been completely slacking off on homework for my summer class and it's due tomorrow.....hehehe. :D

So yeah, what better music to have for the big rush than some good, high energy pop punk?

Well there's metal, hard rock, drum 'n' bass, hot jazz, swing and the little-know genre of thrash-samba, but that's not the point. This is an album that I wanted to review for a while and I'm gonna do it now, to help me get into the writing mood for the more serious paper stuff that I'll inevitably have to do.

The Story So Far is a pop punk band from Walnut Creek, California. With a name from a New Found Glory song, these guys are an unabashed pop-punk band, with alot of the best elements of the genre; there's choruses and song elements that immediately grab you, but the way that they are done don't feel formulaic or forced; the composition manages to be tight and at the same time interesting and complex, and the songs themselves are uplifting as well as genuine about what they are and what they want you to feel.

Now, when you press play, you should get a good feel as to whether you would like this album or not with the first song, States and Minds, with a very familiar sounding guitar tone for the genre and the singer just belting out the lyrics with tons of emotion to spare. While it is one of my favorites on here and the song that got me into the band(I found this near the end of a Gmod video, Team Fabulous 2, that I liked),The only negative I have to give it is that at 53 seconds it feels all too brief. The ending chord then starts off the next song, Roam which further exemplifies the singer's emotion and singing ability with a riff to ride through the whole thing and a nice break in the middle. What I also love about this song(and the rest of the album) is the dual harmonies with the backup lending a distinctly different voice but equal ability. After this, Quicksand injects more energy with some hardworking drums that jump into a really uplifting chorus. The rest of the song has some cool melodies as well, but that was the part that I found the most awesome.

Swords and Pens starts off with a pounding riff that bursts into some spastic drums and once again the chorus delivers by being instantly pleasing but distinct as well as some multiple harmonies that call for repeat listening. This is a song that just wants to get up and feel the music and I want to do just that. The song then fades out into High Regard, which brings more of the guitars to the forefront with the vocals. This isn't the most dynamic song on here, but the vocals help to keep it afloat with alot of different melodies stuffed into one song, showing just how much creativity can be put into a melody. Still, it doesn't grab you as much as previous songs. Daughters is also a song that helps to show how into it the singer is, as he's practically screaming with earnesty. At first this seems like something that may not grab you like High Regard, but the vocals and the guitars can keep you interested. Afterwards, Mt. Diablo takes you with intro drums, and just how unified the music and the singing can be. Stinging with anger in the lyrics, it still manages to keep you full of energy and good feeling throughout. The chorus isn't as strong this time around, but other vocal melodies do much to work best together.

Four Years breaks in and for the first time the instrumentation takes center stage, but that doesn't mean the vocals are slacking, as more dual harmonies are present here than any other song on the album, and it works. Next up is my favorite song on the album and a song that I just have to listen to at least once a day now, Rally Cap. If I had to say why I love this song, I would say that it's just great as a whole. The vocal melodies, while not as numerous as previous songs, are all great and immediately stick with you. The dual harmonies work well with this and highlight just how awesome the melodies are, and while I'm not big on them usually, the lyrics here are something that grab me and work so well. The composition and instrumentation keeps you in it and catches you by surprise, especially with the drums which really charge through this. Hell, I just put it on repeat for the third time now, so that should tell you something.:D Placeholder follows up as an acoustic number and shows how these guys even have the energy on an acoustic track, with the singer putting out barrels of emotion and the drums and guitars going crazy in the background. Definitely a surprise, but not something that's jarring. Closure is the song at the end and is more of the same that you've heard throughout the album, which is fine by me, but I can see how it might be kind of meh for other people. Still, it goes by quickly and doesn't overstay it's welcome.

Best Songs- States and Minds, Roam, Quicksand, Four Years, Rally Cap, Placeholder
Worst Songs- High Regard, Daughters, Mt. Diablo

What I like the most about this album is the amount of energy and emotion that comes at you. It's an album that you would have to really get into, blasting it in your car at 11 at night while jumping around and singing every word. This is the kind of energy that being at a local show where the band can just stop singing and the audience could recite whole songs from memory. That being said, if you're not a fan of pop punk then this is won't change your mind or convert you, but if you love bands like New Found Glory and like your music equal parts catchy but rocking, then this is for you.

To make long things short(heh heh) I'm going to give this a 7 out of 10. If you asked me personally what i feel it is I would say a solid 8, but I know that this is more for someone with a specific taste for this type of music.

But yeah, here's some songs, and if you like what you hear, there's plenty more where that came from.

Can you tell I'm on a pop-punk kick yet? Can ya?? Well, i wanted to keep it going with what I feel is one of the best songs in the genre. New Found Glory is one of the quintessential bands that combines awesome and cohesive instruments with awesome, pop melodies and singing. Forget My Name is just that and it's a song that I can't get tired of. With a beginning lyric like "Tell all my friends I'm dead", how can you go wrong?

Hey y'all wanted to get one more write-up before I got back to my work that I need to do.(can you tell I'm procrastinating yet?? :D)

Anamanaguchi is a chiptune rock band from New York City. I first heard these guys when a friend of mine gave me a copy of the soundtrack to Scott Pilgrim Vs The World The Game and I was instantly hooked. What's interesting about these guys is how they literally use a cracked NES console and Game Boy to create their distinct sound rather than that faux sound you might get when someone tries to do "8-bit" in Reason or FL Studio. Along with that are guitar, bass and drums which help to round out the sound and make it much a great mix of electro-rock. That's what really separates it from other music of it's genre in how rocking it can be while still having this very electronic sound.

What I really love about this band isn't the 8-bit sound, cause these days stuff like that can come a dime-a-dozen, but it's how well composed the songs are. They utilize the 8-bit sound to really bring out their songs and give them life as well as having enough complexity with song structure and riffs that you won't find in alot of this music. All of their tracks are instrumentals, and they really use that to their advantage, making the riffs and melodies jump out and more than any singer could for them. They are a great example of how you don't always need a singer or lyrics to make great music.

The music also gives loads of energy, and with what I hear about their live shows, they not only have a very tight set, but they leave quite the impression with a high-energy performance. The music is also happy and colorful as sh*t; I can put it on and can be out of a bad mood in no time.

Along with the Scott Pilgrim game, their song "Blackout City" was used for the 2010 indie game Bit.Trip.Runner, they have an album by the name of Dawn Metropolis and an EP called Power Supply, and they have released several singles that are available for free on their website

ANAMANAGUCHI

In short, if you like happy and energetic tunes with some serious chops, give these guys and earful and let me know how you like it.

REFLECTION:
I Don't Give a Fuck About Your YouTube Cover

YouTube is a great place. I think it is one of the most important websites ever, and it is also has a monolithic presence in our current society, whether we know it or not. One of the most interesting (read:ironically hilarious) things about YouTube is how it's basically become a glorified music player over the years. At this point people more consistently use it for streaming music than for watching anything that shows up on it. I mean, while it isn't the most optimal form of sharing or listening to music, it's still the most accepted by everyone as a whole and it still works at an ok level to keep most satisfied. So yeah, I would say that (seeing 99% of the links I have in this thread) I use YouTube for my quick play needs and for my musical enjoyment.....


…..And the last thing that I want to do is watch some fucking asshat butcher one of my favorite songs in some arbitrary manner that's of use to NO ONE.


Now, I'm not talking about people doing a cover because they genuinely respect/like an artist and want to show their love for a song they feel should be heard. Sharing others' music with people is what helps them be successful and a well done representation of it is what can keep it alive, not to mention kicking.

No, I'm talking about stuff like this


and this


and this


Oh, you can play Beethoven's 5th Symphony with your tongue while juggling? Great, now can you play the Legend of Zelda theme with pipe cleaners while singing “this is gimmicky bullshit”?


Being a guy who plays a number of video games and enjoys reading up on them and their history, I find this a lot with old-school game themes. Countless times have I had some video shoved into my face of “Metal/Bluegrass/Acapella cover of Mario/Zelda/Sonic/etc.” and people around me fawning over it. I usually find that these people also have little knowledge of or don't really care about music and are just watching it to see the one tune from their childhood being “re-imagined”.

But it's not. It's not at all. The only difference is that the instrument or method may have changed, but many times the ideas that make up the songs are played as straight as an arrow. There's little deviation except for the outlandish manner that the song is being played in, and that's not as musical as it is just visually different.

What really pisses me off is not that people do stuff like this (to each his own, I guess) but that they get POPULARITY AND RECOGNITION for doing so. Even if the cover isn't bad I still feel like it cheapens the experience of the original song, turning it into some sort of punchline for the musically retarded to go “OMG LEIK, THIS IS SO ORIGINUL AND GOOD BCUZ IT WAS DONE IN ON BONGOS WHILE UNDERWATUR DURRR”.

I believe that if you have to tack on some needless visual stuff to get people to watch your cover of a song then it's not really worth watching in the first place. I especially feel sorry for the original artists, many of whom have tons of other songs that are equal or better in quality but people only want to hear the one song that they can immediately recognize. Not only that, but 9 times out of 10 a lot of those people don't even know the name of the artist and just see them as the “<insert song title here> guy”.

Really, it's kind of a kick in the teeth to see a great song by an artist that should be respected reduced to some idiot thinking that he needs to add a needless gimmick to become “Internet famous”. Most of the time when people do this they think that they can keep up the same gimmick with different songs, but once the novelty wears off they just become another flash-in-the-pan expendable musician. Think the next generation of the One-Hit Wonder.

And as a musician of about 8 years, it feels like my craft has been cheapened to the point where I'm messing with my guitar and someone who wouldn't know an oboe from their asshole thinks I'm immediately shit just cause I didn't learn how to play random ass song from random shitty game.

In short, if you're going to do a cover on YouTube please have something to offer me that I wouldn't be able to get on the street or at some side show for 5 dollars. And if you try to show me a “re-imagining” of a song, I’m not going to watch it, but I'm going to listen to it, and if it doesn't interest me musically then it goes right back into that part of the internet where uninteresting crap goes to die.

Goddamn do I have a headache now..... :S

Happy Independence Day everyone. I'm just poppin in here right now to add a little something to my journal, and what better to celebrate the day that the United States declared independence than by listening to a song written by a British band and performed by a Cuban singer?

But yeah, this is something I've been listening to constantly, a salsa version of the Beatles' classic. I caught the video for this one Saturday while my mom had the television on and when I heard the familiar chorus it made me stand at attention and do a double take. I'm glad I noticed it too, cause damn do I enjoy it!

It's got a really infectious groove, solid instrumentation and smooth singing in the part of the singer here, where it feels that his accent (I'm assuming he has a Spanish accent) really gives a new look to a timeless song, not sounding like anything else.

While some may not really feel this reworking of the original, I feel that it is well done and enjoyable enough to deserve at least a listen.

Hey everyone, just popping in to let you know that no, I'm not dead. I've been pretty busy for the last few months due to work and a couple of changes with my life, but here's an album review to chomp on.

For those not in the know, Big K.R.I.T.(or King Remembered In Time) is a rapper and producer from Mississippi who released his first mixtape, Krit Wuz Here back in 2010. I first heard his music on the critically acclaimed Return of 4Eva, and the main thing that makes him standout as opposed to many other mixtape rappers is that his work is almost entirely self produced, both rapping and production (and even singing). Along with that is how versatile of a rapper he is; being able to spit verses on money and hoes and still be able to talk about racial issues, problems with relationships and the state of Hip Hop and the rap game today.

He's someone who really puts his own self into his work, not some rapper who tries to personify a fake lifestyle or belief system in order to sell records. Yes, he loves nice cars and beautiful women, but at the same time he is one to tell you of his struggle making a name for himself and how connected to his southern roots he is. He is who he is.

This is another one of his free mixtapes, and the whole of it gives you just that. It has a very relaxed, laid back vibe that harkens back to Southern hip hop acts a la OutKast and Goodie Mob, but at the same time works in such a whole. What really impresses me is Krit's lush production, which has clearly grown in quality from Krit Wuz Here and Return of 4Eva, and how it bounces off of his smooth lyricism and tight rhymes. Tracks like Boobie Miles, 4EvaNaDay Theme, Country Rap Tunes, Me And My Old School and the ender Alarm have those type of multi-layered and soulful beats that blow you away on first listen and wash over you upon repeat, giving you such an impression as to where you don't know what part is sampled and what part is originally produced. Krit backs this up with some nimble lyricism that make you think as well as sit back and just appreciate it.

At this point in listening to him (my third mixtape from him), I can finally see Krit starting to break out of the shadow of those aforementioned bands and instead starting to be much more introspective and personal with his music. Songs like Yesterday, Down Out, and Handwriting show how good of a descriptive storyteller he is, with him talking about people close to him that have passed, his struggle to break out in hip hop as well as him before he got big, where he was worrying about keeping the lights on in his house. Tracks like Package Store and 1986 have Krit giving his view on the outside world, where he both laments the more downtrodden of us all while at the same time telling people to be proud of where they came from. Even on songs like Red Eye, Temptation and Insomnia indirectly shows his weakness towards the fairer sex that some rappers may not readily admit to as well as him saying that no, he isn't perfect and he has his own problems to work through.

Not everything is perfect in Kritland though, as some tracks, like Wake Up and Sky Club fall flat when compared to the rest of the album, in both production and lyrical content, and far too often you hear him falling back on the old money, cars, women template.

Overall though, this isn't just an album that gives you wonderful beats to sink your teeth into, but also some food for thought and slick rhymes that show you just how serious of an artist Krit is. In the end, even including the superficial elements, this is Big K.R.I.T. at his most personal, and that's something that I can certainly get behind.

8/10

Best Songs-Boobie Miles, 4EvaNaDay Theme, Country Rap Tunes, Down Out, Package Store, Handwriting
Worst Songs-Wake Up, Sky Club, Temptation

Here's some of the tracks to check out

So yeah, this is a song that I've just been putting on repeat after repeat after repeat. It has so much that I love in a rock song; catchy riffs with a great hook that pumps you up and makes you want to take on anything, and with that an interesting time signature thrown in for good measure.

For anybody here who skateboards(I've recently gotten back into it recently), you may know this song from the video for Thrasher Magazine's 2011 Skater of the Year Grant Taylor:


And that's the same way I found out about this song as well as this band, which I'm gonna get an album or two from pretty soon.

This is good, hard and fast Rock&Roll with no pretenses, and that's just the way I like it.

Now if you'll excuse me, I gotta get my board and F**K SH*T UP

Nice review, Antonio, and good to see you back in journalland again. I'm not at all interested in rap/hip-hop/whatever, but as with so many other posters here, I love reading good writing, and yours is very good. Your love for the guy comes through but not as a lickarse, and I love that you're prepared to accept the fact that as you see it, he has his failings and weaknesses too. About the furthest thing removed from a fanboy I can think of.

Well done: not completely unbiased of course, but then, my journal entries couldn't be accused of that either. We love our music (or hate it) and it shows in our writing, so of course it's going to be slanted in one direction or the other. But this shows you taking quite a balanced view, and without bigging him up too much or resorting to things like (now I don't know, maybe this guy has nothing to do with that style, I told you I know nothing of this genre but) "50 cent ain't fit to clean this guy's microphone", or whatever.

Fine writing; hope you'll favour us with some more real soon.
As they say I believe in that world, props! :D
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