Lupe Fiasco

Lupe Fiasco, “The Emperor’s Soundtrack”

There’s something so grandiose about Lupe Fiasco’s stuff. The beats are so layered, and they’re structured in a way to feel really huge, and the production of the rest of the track reinforces that massive impression.

Sebadoh, “Junk Bonds”

A Jason Loewenstein song from Smash Your Head on the Punk Rock, which is a comp of tracks from a couple import EPs. Like a lot of material from them at this time, it’s a schizophrenic record, but that’s also part of the appeal of the band. Tracks like this threw the tender material into even sharper relief.

Destroyer, “The Way of Perpetual Roads”

This is from Thief, a pretty early album from Destroyer before they became really big. Well, by indie standards. But even from this relatively early date, the ambitious melodies and elaborate pop were certainly present. The most frequent comparison I see people make with Destroyer is Bowie, and you can certainly hear why on this tune.

Tim Armstrong, “Translator”

Tim Armstrong is of course the man behind Operation Ivy and Rancid, but on his one solo record (A Poet’s Life), he lets a different side of his music shine. Backed by the Aggrolites, he put together a very straighforward ska record that embraces his influences and goes for it. It’s a fun record, and honestly, I wish he would do more like this.

Infesticons, “Night Night Theme”

Infesticons is Mike Ladd and some assorted helpers, making grimy underground hip-hop. Gun Hill Road came out in 2000, and is chock full of noise, gritty beats and loops, and frankly uneven rapping. It’s an interesting album, I think, but not really a great one.

Note that there’s a couple minutes of silence in the middle of today’s track, and then there’s an un-named instrumental bonus track. I’m delighted that the era of CD hidden bonus tracks is over.

Good one today!

Queen, “The Prophet’s Song”

I’ve made the comparison before, but I don’t know if I’ve made it here or not: power metal is just Queen played fast. All the over-the-top theatrics and corn are there in spades. Sure, there are usually fewer elves in your average Queen song, and there are more wheedly-weedly solos in power metal, but nevertheless, they’re basically the same.

Sharon Jones, “Pick It Up, Lay It In The Cut”

The first Sharon Jones record was rawer than what would follow, which is A-OK by me. Not to say that all of her records aren’t great, but there’s something about the filthy sound of those drums that gets me going.

This Friday, 8/4/2017, Bandcamp will be donating all their revenue to the Transgender Law Center. I’m planning on buying a bunch of stuff from them that day, I hope you join me in supporting both human rights and musicians at the same time. Here’s today’s music.

Astronoid, “Trail of Sulfur”

In the wake of Deafheaven’s Sunbather, I’ve noticed more bands that are working in that same area: incorporating elements of black metal, but removing some of the ugliness that’s usually associated with the genre. It’s sort of partway between the old genre of shoegaze and black metal. Astronoid (and this track) is a good example. You have some of the hallmarks of the genre in terms of the tempo and drumming, but none of the shrieks or noise that you might otherwise get. It’s an interesting hybrid.

Sorry about the flakiness in posting over the past week. I’ll try not to make a habit of it. Today’s playlist!

The Dead Kennedys, “D.M.S.O.”

This, from the Kennedys’ final album Bedtime for Democracy, is a pretty atypical track from them. Far from their usual blazing hardcore attack, we’ve instead got something that sounds more like a noir-ish song. Of course, Jello Biafra’s usual sarcasm and unique delivery are still present. The Kennedys were a staple of my high school years, and a lot of their work has held up pretty well over the years, but this is their least essential studio album.