Monthly Archives: October 2014

WHAT?

One of the first things I loved about Future’s music were the moments of complete lyrical incomprehensibility scattered throughout his first couple mixtapes.

Future – Conceited (feat. Capo)

There’s something very refreshing to me when language drifts away from literal meaning and I find myself being moved in subtle ways by the way a certain syllable is inflected, truncated, augmented, or otherwise shaped by a vocalist’s imagination.  It beautifully illustrates one of the central realizations one must come to in order to appreciate rap: the literal semantic content of the lyrics is usually secondary in importance to the manner in which those words are spoken.  Future has become a relatively more comprehensible rapper since these early days (with no loss of beauty in my opinion), but I was pleasantly surprised to get a little taste of that old unintelligibility in the opening to his newest mixtape, in an updated form of course.

Future – Radical

 

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HOPE IT TAKE AWAY ALL THIS DAMN PAIN

Monster comes out tomorrow.

Future – Hardly

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MAMA!

See this dude knows what I’m talking about.

Youri Blow – Fleurs du Péru

Thanks to Wills for this one.

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BARRE SIPPIN’, CAR DIPPIN’, GRANT WOOD GRAIN GRIPPIN’

From that same Tumblin’ Erb post from I mentioned a few days back.

Mike Jones – Still Tippin’ (feat. Slim Thug & Paul Wall)

Gioachino Rossini – William Tell Overture

 

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WOULDN’T COP THE WHITE ONE IF IT CAME IN BLACK

Clockwork Indigo – Butterfly Effect (feat. Espa)

When I first head this song I was sure the sample was from the closing credits of some forgotten 70s TV drama, it has a kind of somber-version-of-the-original-Star-Trek-theme thing going on.  I was surprised to discover that it actually comes from a British indie rock song from the mid-2000s.

Doves – Snowden

No, not that Snowden.  In my defense, Jez Williams of Doves does admit to striving for “a Marvin Gaye opera kind of sound” on “Snowden“, which isn’t too far off from my original suspicion.  Still pretty surprising though.  I just hope that the bands’ attitude toward sampling laid out in that same interview goes both directions:

Jez: The thing about samples is we just see it as another instrument these days. It’s pretty backwards, now that I start thinking about it. We built a song around the sample, but it’s the same as using chords, you just don’t have to pick it up. You just hit the keyboard and it plays it. It’s still a set of chords, they’re someone else’s, but we got a completely different song out of that.

Pitchfork: It’s totally different. You’ve recontextualized it.

Jez: Right. A lot of people have a problem with that, but I don’t see it.

Here’s a little bonus for those of you listening closely.

Carl Sagan Talks Marijuana

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LET THE BEAT BUILD #10 – MR. MUTHAFUCKIN’ EXQUIRE

I haven’t added to this series since before I liked Kendrick Lamar, but I was revisiting this song today and realized I neglected to mention its place in this series when it first came out.

Mr. Muthafuckin’ eXquire – Cari Zalloni

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HIGHER THAN JACK AND THE BEAN

This track gets into some seriously weird “Bazaar Model” territory before Tyga buzzkills the whole vibe with his conventionality.

Chief Keef – Now & Later (feat. Tyga)

Lil’ B – Bazaar Model

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JUST DON’T GET NO BETTER

This is a really great song for making you feel dumb about all the stuff you complain about.

Chance the Rapper and the Social Experiment – No Better Blues

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THE MASTER HAS BECOME THE STUDENT, PT. 2

I guess Wayne and Thug didn’t think I illustrated my point clearly enough the first time around.

Rich Gang – Take Kare (feat. Young Thug & Lil’ Wayne)

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MORE STAMINA THAN ANIMALS

Sometimes when I get desperate for something different to listen to I’ll dig into old Tumblin’ Erb posts for stuff I overlooked or under-appreciated at the time.  Today while clicking my way through this post from 2012 I discovered the origin of the hook from my favorite Sasha Go Hard track which coincidentally came out that same year.

Sasha Go Hard – Tatted

Gucci Mane – Photoshoot

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