I really needed this album, way more than I thought I would. When I heard Briggs and Trials were putting together a duo and an album to be released I remember thinking “cool, that’ll be worth a look”. But by the middle of 2016 I was starting to feel more and more disillusioned with the year’s oz hip-hop contributions, and although I was enjoying some downtime from Australia releases, the public discourse was invading my head space. So welcome was the record that I instantly dropped everything to listen to it on repeat which I rarely do these days for fear of over saturation. Something kept dragging me back, time and time again.
Regulars to this blog and any of my previous writing will know I have a thing for David Guetta. Not in the way you might think but more in a ‘his hair will spawn the anti-christ’ kinda way and his music will ‘bring about the demise of human civilisation’ kinda way so I’m sure you would expect this review to only go one of one ways. Yet being the moderate writer that I am (jokes) I feel it’s only fitting to give me a crack at Guetta’s latest offering for the music world, ‘Listen’. And what off this glistening offering to the gods of music reviewing? Allow me to disdain…
Reviewing a Hilltop Hoods record either gets you a heap of calls about sucking up or death threats for saying its mediocre, such is their following for better or worse. They have amassed an incredible amount of support across the world for their unusual style of South Australian hip-hop, and its no surprise there are words such as ‘epic’, ‘stunning’ and ‘critically acclaimed’ used liberally when discussing ‘Walking Under Stars’, but for this reviewer; I can’t help feeling something is missing.
About time! This has to be one of the most highly anticipated albums in the world of dance music in the past few years, notwithstanding the abominable Daft Punk fiasco which will no longer be named on this blog. Abandon Ship has been pushed back further and further release date wise and even this particular version (probably the last) was accidentally leaked by iTunes itself during the beginning of November. But does it stand up to the heavy publicity and anticipation it solicits?
Enter Shikari are not known for putting together very cohesive records, often drifting from theme to theme without any real direction and part of the charm of their albums is this chaos. So what happens when they do find some sort of order in their albums? Will it add or subtract from their disorderly musical conduct?
The Mindsweep is that very album.
Taylor Swift has done it again. She may enrage or inspire you, but either way the girl knows how to make money, well at least her manager and producers do. The release of her 2014 album “1989” has taken the tweenie world by storm with its catchy beats and as Swift herself ages; her songs are coming of age anthems for young twenty-something’s. Her album is cohesive and full of her signature catchy tunes and comically misheard lyrics – “…long list of ex-lovers” has been quoted as being “…Starbucks lovers”, much to the franchises glee I’m sure.
Amid the unrelenting hullabaloo of our modern society there are beacons of light, the occasional oasis of independence in an integrated world. Hidden within the stream of advertising, cross promotion and pop cultural overload are people who carry the spirit of DIY. Read More…
It’s the return of the One Dayers riding Mainline til there’s no rides left…or something. Ok ok, I’m not as ‘street’ as I wish I was or I think I sound in my head but I have to say One Day is like a crew from heaven. Made up of Horrorshow, Spit Syndicate, Jackie Onassis and the biggest sweetest singing DJ in Australia, Joyride; One Day is Inner Western’s Sydney’s best up and coming crew. In a move which some could call self-indulgent and others prophetic, they joined forces like one huge Oz hip-hop Voltron and produced their inaugural release ‘Mainline’. Thanks boys, you’ve done us proud again.
I’m following on from our series of breakdowns and styles to talk about one of the most famous and arguably one of the ‘Adam’s Ribs’ of sampling and electronically produced music; The Amen Break. Those not familiar with the name of the break will undoubtedly know it once they hear it. But its place in the sampling hall of fame firmly plants it near the top.
Do you remember Curtis Jackson? Back before Waka Flocka Flame and Young Jeezy took incomprehensible rapping to mean dollar signs and before getting shot at was a sport there was a dude with a story more inflated fiction than solid fact. Shot nine times and left to die and a protégé of a protégé of one the pioneers of West coast rap, 50 Cent was big enough to spawn himself a quite playable videogame alongside his highly popular ‘Get Rich or Die Tryin’ debut and infamous club shootings persona. But nearly ten years later, what does he do now? Surely he has made enough coin to get him into some mediocre mansion or have him perpetually sitting in the producer’s chair stealing lesser rapper’s income. Enter ‘Animal Ambition’, the fifth and most likely not the last attempt Jackson makes to remind us that the gangsta never leaves the man despite the Gucci manbags doused in Cristal.