Last week, Atlanta’s Future dropped Hndrxx, his sixth studio album and the follow-up to his self-titled album that was released only a week prior. With his third release in three weeks rumoured to be coming this Friday, and with his last two albums getting extremely mixed reviews, it raises the question: quality or quantity?

There’s certainly a sweet spot when it comes to the consistency of releases. While releasing too much music devalues the final product, can not releasing enough be just as damaging? Think back to the hype that Frank Ocean’s Blonde generated solely through vague announcements over four years. Sure it became painful at times but Blonde’s eventual release was met with critical acclaim, not because of it’s long lead up, but it’s undoubtable quality.

Can this be said for any of Future’s solo projects?

https://www.youtube.com/watch?v=GT1KCigshPs

There’s definitely a point where this ‘sweet spot’ can run it’s course and cause problems. Take Jay Electronica’s elusive Act II: Patents Of Nobility (The Turn) for example. Fans have been waiting almost ten years for this release, and it’s almost getting to the point where its relevance has passed, yet you can’t say that that’s something which has devalued Jay as an emcee. His sparsely distributed guest verses are continuously praised and are what keep him relevant and a point of discussion despite his solo silence.

There is a strong argument against constantly releasing music, the work ethic of say Gucci Mane for example. Gucci has now released a whopping 67 mixtapes, 3 of which were released last year alongside two more full-length studio albums and three EPs. Was this in any way wise? If he was to have picked the most relevant and heavy hitting of the singles and compiled them into one release, would it have been more widely praised and have enjoyed longer relevance? Sure these albums did score sales, but with his eleventh studio album Drop Top Wop already announced, are any of these past releases even going to maintain any relevance once the next Gucci project drops?

On the other hand, this quality approach is something that has worked for countless artists even on the small, independent scale. The now Grammy award winning Chance The Rapper had his first claim to fame with his debut mixtape 10 Days, similarly Joey Badass’ 1999, ASAP Rocky’s Live. Love. A$AP or even J.Cole’s first ever tape The Come Up; these were projects which were given at least a year of space and helped embellish the status of these artists as cutting edge emcees.

That being said, there’s a definite argument for the quantity approach too. Yet another Southern emcee, the infamous Young Thug, released three mixtapes last year, all of which managed to garner positive praise. This was especially true with the last of the trio Jeffery, which was named among the best releases of the year by several publications. And it’s not just Thugger either, 2016’s man of the year Anderson .Paak released two studio albums (one solo and one as half of NxWorries), and appeared on eleven guest features in 2016 alone. Despite what could be seen as flooding the market, he was celebrated as one of the year’s most influential artists across multiple genres.

German composer Hans Zimmer put it interestingly, saying, “we have a McDonald’s generation of music consumers,” in the sense that listeners want something quick, simple, and easily digestible. This is what the quantity approach preys on; why have a six-month marketing campaign teasing a handful of singles, when you can release two full-length albums and have a constant turnover of music.

The problem with this discussion is that ‘quality’ is subjective and is entirely a matter of opinion. You might love Future’s new albums, and love the fact that your favourite artist has released two hours of music in two weeks alone. Therefore perhaps ‘quantity’ as a synonym for substandard quality isn’t quite true; after all, through quantity comes quality.

https://www.youtube.com/watch?v=_9L3j-lVLwk

Image: Billboard

It’s been a huge 24 hours for the team behind Moonlight. ICYMI (let’s face it – you didn’t, but it’s hilarious enough to still talk about anyway), the presenters announced the wrong winner for the Best Picture Oscar, initially presenting it to La La Land before announcing the real winner was Moonlight. The film won three awards from eight nominations, making history as the first LGBTQ film to win the Oscar for Best Picture.

In November director Barry Jenkins told Pitchfork about his love for remixing in the favoured ‘chopped and screwed’ method, explaining he listens to remixes every day, even noting how it had an influence on the movie and its killer soundtrack.

Last week the team behind the ‘chopped not slopped’ Lemonade, Blonde and Culture remixes, The Chopstars returned with yet another amazing work, Purple Moonlight. The release reworks the Moonlight soundtrack, delivering the chopped and screwed twist beloved by Jenkins.

Utilising the classic Houston style pioneered by DJ Screw, the release remains true to the original, offering hazy, down-tempo flips to the already classic soundtrack. The release features cuts from the film including Good Mob’s Cell Therapy, Mos Def’s Ms. Fat Booty and Erykah Badu’s Tyrone, along with other relevant singles Kendrick Lamar’s Alright and the recently-released DJ Khaled, Jay Z and Beyoncé collaboration Shining. All in all it’s dark, bass-heavy bliss, the perfect accompaniment to the film, and the perfect way to celebrate its mammoth achievements this week.

Image: Pitchfork

If you’re a fan of music, particularly hip-hop and jazz, chances are whether you know it or not you’ve heard Thundercat‘s music. Prominently featuring on hugely acclaimed projects by the likes of Kendrick Lamar, Kamasi Washington, Flying Lotus, and Erykah Badu just to name a select few, it’s safe to say he’s one of the most sought after collaborators in the game.

While he made his start as a session musician, his real rise to fame came when he launched his own solo career and, as we near closer to his fourth studio length album Drunk, we managed to catch up with the man himself to talk about his mysterious new project.

https://www.youtube.com/watch?v=FqE_H1A-8B4

I’ve been lucky enough to hear your new album Drunk, it’s so diverse and I already love it. One of the first things that struck me was the humour and wittiness that comes through alongside the musical works, was this something you always intended?

Yeah, I’ve always been into the details of things, and I felt like it was very important to connect art in the manner that I did. Everything down to the album art, I feel like it was very important for people to see what it was all about.

There’s certainly some serious notes throughout too though, were there any moments where recording the track actually became a challenge, perhaps like A Message For Austin, because of your closeness to the topic?

I think this was more of an overall challenge rather than a specific moment. Trying to say how I feel, sing how I feel, harmonise how I feel, that was the major challenge and I just had to attack that the best I could.

This is going to be your fourth studio album, are you finding it easier to be more open now?  

I’m definitely still finding it an interesting experience to open up, especially because of technology and the times we live in.

You yourself have been collaborating with artists for over a decade, yet this is your first studio that has its own outside features in terms of rappers and singers, was that a conscious decision or did it just fall together naturally?

A bit of both, I just had to not be afraid when they showed up, yet at the same time present the ideas and get the emotion. The funny thing would be me and Wiz Khalifa trying to find trying a way to connect to each other. Creatively he was from a different space, but he wanted to find it, so we would talk about life and our experiences. It’s moments that like which defined the album. It’s like a dance which happened over a period of time, creatively between friends.

One of those collaborators is Flying Lotus, who you’ve been working with since the beginning of your solo career. Did you two approach Drunk in any other way compared to past albums?

Not really, we approached it in the same manner, using as much care as we could. Not losing what we felt needed to be there, but not being afraid to cut details we felt should be cut out. Speeding things up, slowing things down, it’s all in our region.

Is Flying Lotus side-by-side the whole creative process then too?

Yeah, me and FlyLo have worked together for almost a decade and we’ve been side-by-side the whole time.

https://www.youtube.com/watch?v=62EmHhZSjEI

Apart from FlyLo you’ve got some other heavyweight names, Pharrell Williams, Michael McDonald, Kenny Loggins, Wiz Khalifa, along with Kendrick Lamar, many of who reached out to you thanks to some serious name-dropping in past interviews. Can we expect to hear that Drake collab that you were aspiring for anytime soon?

Not yet, but I could see it and I still would love to. I know how funky that dude is. I love listening to him and what he does. The funny thing is when you become a rapper you open yourself up for the world to judge you? I feel like that’s a very hard place to be in creatively, he’s put himself in a very hard position, which is not a situation a lot of people can handle.

Still, the fact that he’s persevered and became the rapper that he is says a lot about him creatively. I see greatness and I would love to get a chance to work with him. Maybe he’ll do something different that will freak people out.

You’ve essentially managed to weave your way into music history collaborating with the likes of Kamasi, Erykah Badu, George Clinton, Kendrick to name a few. Do you prefer recording your own music or is working on others’ projects equally rewarding?

It’s just as rewarding especially when you want to be involved. A lot of the time people pull on you to different directions because they think you’ll be a good addition, they can see you somewhere but you still have to find it, because you don’t just walk into rooms like this all the time. Make the most of it, get excited about what could be and then jump right in.

How does your approach differ from solo to collab? 

It really depends on what the person would be asking of me. I try to find where they’re at, but try not to lose myself entirely. It’s a creative conversation, so you have to communicate nonetheless, so I treat it like that. I don’t treat anybody like they know where I’m coming from, and I try my hardest to meet them where they’re at.

You’re known to traverse through a range of genres in your career, from metal, R&B to hip-hop and jazz, was there one that came first that spurred you to learn bass or did it all come at once?

It all happened around the same time but I’ve always been influenced by jazz. Growing up with Kamasi, my brother Ronald Bruner Jr., Terrace Martin, getting attached to Billy Higgins, Gerald Wilson, all these people were very deep in my character as a child.

Growing up to play jazz, recording jazz albums, going to singing, I feel like jazz will always be the route of what I came from. Jazz not just being the genre, but the open mindset. It’s interwoven in all music, sometimes you find it in places you’d never expect it.

How do you feel now that the spotlight is back on the genre once again, do you feel like it’s a revival in a sense?

I hate words like revival, it’s never been dead, it’s just been in a different part of the brain. It’s very nice that people are connecting to it, but it’s never left or changed.

As far as pop culture goes, things go full circle a lot of the time so I look at it as though it never left. I don’t look at it like, ‘now it’s jazz’s time!’, it’s always been jazz, it’s always been classical, it’s always been rap. And then when there’s an inflection of something which denotes to being influenced, it’s something that people can recognise and then follow, that’s what I think it is. I compare it to “trending”.

You were last out here in Australia last year for the Laneway Festival, is there any chance we’ll be seeing you again this year in support of the album?

I hope so, I’d love to be back in Australia. Get in some sand, get all nice and uh, bogan. Hang out on the streets, see what’s going on, use my phone in the streets in Australia (laughs).  

Thundercat’s Drunk is out today.

For further reading, check out our last interview with Thundercat here!

https://www.youtube.com/watch?v=GNCd_ERZvZM

Image: Huck Mag

Today would’ve been Kurt Cobain’s 50th birthday. We celebrated by giving someone the greatest gift of all: the experience of listening to Nevermind for the first time ever. 

Born at the tail end of the 1990s, my teen years mostly consisted of songs released within that decade. Like many, my early listening habits were mainly influenced by a role model, in this case my older brother, who introduced me to his favourite rock albums during that time – Franz Ferdinand, Arctic Monkeys and Green Day, as well as a little classic ’60s rock thrown in by my dad. The rest of my younger years were a bit shaky, ruled by radio hits from Ke$ha, Jason Derulo and Flo Rida (scary right?).

Once I grew older, my own musical tastes were quickly overrun by hip-hop and electronic genres, and somehow along the way, despite my early rock and punk influences, I managed to miss Nirvana.

Before this morning my Nirvana knowledge was limited to say the least. I knew Dave Grohl was the drummer at some point (only really because of Foo Fighters fame), I knew the name Kurt Cobain and I knew he had passed away some time ago (thanks Wikipedia for filling me in with the rest of the details), and I knew they had a song called Smells Like Teen Spirit, which I first heard via the “Weird Al” Yankovic cover.

My most notable memory of Nirvana has to be the iconic Nevermind album cover; the baby floating in the pool with the dollar bill dangling before him. The image has been a source mystery and intrigue for years, having seen it plastered across record shops, as well as countless references in pop culture – there’s no wonder it’s seen as one of the most memorable album covers of all time.

Seeing as today would’ve been Kurt Cobain’s 50th birthday, what better way to celebrate than to listen to Nirvana’s cult classic Nevermind for the very first time?

https://www.youtube.com/watch?v=hTWKbfoikeg

1. Smells Like Teen Spirit

This is the only track I’m completely familiar with from start to end. I’ve heard it hundreds of times, but this is actually the first time I’ve ever given it my full attention. It sucked me right in on the first strum, with that signature riff and opening drums fill. As track builds I’m more and more baffled by the huge sound they manage to create as a three-piece. I’m only on track one, and I already know this one, but already I think I’m in for a treat.

2. In Bloom

I never knew this was Nirvana, but I’ve definitely heard In Bloom before. This particular song is a huge reminder how much this album has directly influenced other artists I listen to now; that gritty, resonating guitar, the way it makes room for the slappy bass. The chorus is even stronger, topped off with brilliant harmonies to make it even more powerful. I also love the irony of how this poked fun at mainstream audiences, at the same time becoming one of the most mainstream rock successes of all time. In that way, it reminds me of Gang Starr’s Mass Appeal.

3. Come as You Are

Yet another instantly memorable riff and melody, and I’m now starting to realise how much Cobain’s raspy and melancholic tone is rubbing off on me. His voice sounds amazing contrasted against the variety of guitar tones. The guitar solo is incredible – this is the first track that really sticks out for me.

4. Breed

Similar to In Bloom, I’ve heard Breed somewhere before, but blasting it through my headphones is giving me a whole new level of appreciation. The heavily distorted guitars and crushing drum beats, topped off by Kurt’s classically punk enthusiasm has left my jaw is on the floor. The energy has me literally lost for words.

5. Lithium

I’m still surprised how many emotions Kurt Cobain can present not only in his song writing, but in his singing too. He can make me thoroughly energetic one minute, and haunt me the next; this is the vibe I get from Lithium as it smoothly builds from an acoustic ballad to grunge anthem. It’s really insightful to hear his viewpoint too – his manic, depressive lyrics are incredibly confronting to me.

https://www.youtube.com/watch?v=pdXy75VrQho

6. Polly

So I thought Lithium was lyrically distressing, but Polly takes it to a whole new level. The fact that this is written from the perspective of a real life kidnapper who abducted and raped a fourteen-year-old girl is more distressing than I thought possible. This is simply fucked up, and it’s only that much more eerie because of the stripped-back acoustic performance.

7. Territorial Pissings

Coming after Polly, this tune is actually huge. Hearing Kurt’s voice breaking as he yells through the chorus makes this even more moving. I never knew how outspoken and ahead of their time Nirvana were in terms of targeting social issues, but Territorial Pissings shines through with powerful feminist undertones; once again, this is totally unexpected.

8. Drain You

I don’t know why it’s surprising to me that this album has a love song, but it is, and it’s delivered with another really intriguing outlook. Still heavy and huge in terms of production, yet lyrically his words are personal and wonderfully visual.

9. Lounge Act

Continuing that interesting look into love and desire, here, he talks about cheating, as well as his qualms with affection. It’s another rampant track that just oozes emotion in every way possible, and no way I expected.

10. Stay Away

I really love how the verses and the chorus are pieced together on this one, with each line being topped off with that piercing guitar twang and the lyric, “I don’t know why”. Kurt yelling “Stay Away” against the conformities that he lists is just so awesome, and I especially love how he ends the track with a subtle “God is gay”.

11. On a Plain

This one is really cool, it seems to go off on so many different topical tangents, from drugs to love and life in general. The way he manages to link them all is for some reason is really new and intriguing to me, not to mention how chorus manages to be both so gritty and so easy to sing along to at once.

12. Something in a Way

I didn’t expect a track like Something in a Way to be on this album at all, especially in such a contrast to all the heavy tunes that came before it. Of all the tracks this is the one I really get that Beatles influence that I’ve heard about. Whether or not he really did live under the bridge as he mentions, this track is just so moving and soothing. With the moody, chant-like chorus and almost exhausted tone throughout, it’s one of the most eye-opening songs on the album.

13. Endless, Nameless

Funnily enough this is the kind of track I had originally expected the entire album to maybe sound like. Unrelenting and chaotic, but at the same time, totally attention grabbing to the point that I can’t look away for an instant. Screaming “death”, “violence”, “go to hell” etc., among an array of experimental, sharp and in many ways uneasy guitar tones, it’s like the definition of frustration all pieced together in a song.

https://www.youtube.com/watch?v=vabnZ9-ex7o

When you skip such an iconic album, you begin to think you know how it will sound, how it will make you feel, what it represents. I guess that’s why Nevermind never interested me enough to actually give it a go. Grunge, and Nirvana particularly was always branded to me as this ‘sad’ or ‘edgy’ movement, when in actual fact there’s so much more to it. My perception of it seems to be totally parallel to the way I get so annoyed when people think that all of hip-hop is just one sound, or that it’s all just violent and aggressive gangsta rap.

Listening to Nevermind has really opened my eyes. I never expected it to be as confronting as it was, and I didn’t think it would it actually affect me like it did.

As cliché as it sounds, there’s a real lesson here – not to judge a book by it’s cover, or in this case, an album by its genre, or how it’s perceived by the masses. These albums get branded as classic for a reason, and listening to this has really made me see just how much music I listen to which is directly influenced by this movement. So will I listen to more Nirvana? I think it’s a strong yes.

This week, the world celebrates Valentines Day. Whether you’re riding solo or you’ve got a companion, one thing is for sure: music matters; whether you’re looking to soothe an aching heart, serenade another’s, or whether you really just don’t care but want some solid tunes anyway, here’s some of the best new music for you – the most important love of your life.

NoMBe, Young Hearts

Following on from the stellar Wait, LA’s NoMBe ha just released Young Hearts, the second track from his upcoming album They Might’ve Even Loved Him. Taking the pre-album single release process a step further than the norm, he’s promised to release one track at a time throughout the year, with the full release coming out later in 2017. This latest is an incredible blend of indie rock, R&B and electronic elements, effortlessly interchanging throughout the song. Driven by his sultry, spaced out vocals, the track casually builds with the addition of synths and electronic wails into one of the most emotional releases this year. Gird your loins – who knows what’ll come next?

BJ The Chicago Kid, Roses

Fresh from his three Grammy Award nominations, and from being personally invited to sing the US National Anthem at President Obama’s Chicago send-off, the angel-voiced BJ The Chicago Kid is back with Roses, a smooth, sultry, upbeat tune released just in time for the airy romance of the week. Like his 2016 album In My Mind, it shows off his incredibly vibrant, irresistibly slick voice to perfection. Booming trap instrumentation accented with sharp guitar twangs, this dark twist on a love song fittingly mixes with the BJ’s bold, swaggering verses.

https://www.youtube.com/watch?v=vsDucVp7_No

Oscar Key Sung, Shallow

Returning again with his blend of electro-R&B and pop-leaning melodies, Oscar Key Sung’s latest single Shallow pushes the boundaries of a conventional love song once again. Inspired by the idea of how a couples perceive their futures together and the “absurd force draws you to each other”, the tune builds from a pulsing synth heavy piece into an oddly dark and dance-worthy anthem. All the while, Oscar’s broken, heartfelt voice pulls you through, keeping you entranced throughout each part of the journey.

SAATSUMA, Isolate

Melbourne-based SAATSUMA have returned with their third incredible single, a vibrant slow burner titled Isolate. Packed with a range of analogue synth tones, pulsating drums and brilliantly layered vocals, Isolate grows to become a really beautiful soundscape, perfectly fit for two.

Ray BLK, Patience (Freestyle)

Okay, so this tune came out a few weeks ago, but we just found out about it, and we love it. Ray BLK is one of the the big buzz artists coming out of London right now, and for good reason. As is the trend right now, she brilliantly blends beautiful and passionately sung verses with razor-sharp rap verses. This tune Patience particularly shows off her talents, backed by a soulful yet fresh beat, finding a perfect balance between her spine chilling falsetto choruses and flavour as an emcee, creating what is ultimately an empowering tune we simply can’t ignore.

Image: NoMBe – Supplied

While it may have come as an untimely celebration following Bey’s disappointing Album Of The Year loss at this year’s Grammys (awarded to Adele’s 25), DJ Khaled’s latest tune featuring hip-hop’s power couple Beyoncé and Jay Z is still an extremely welcome release.

Only half a year since the release of his ninth, and most successful studio album Major Key, Shining is already serving as a glimpse into his Khaled’s forthcoming album, Grateful. According to Jay’s engineer Young Guru, the track was actually recorded the night before The Grammy awards, presumably at the Carter household’s home studio.

Performing over a fast-paced, sub-bass and orchestral-driven instrumental, Shining is the first time we’ve heard the couple on the same track since back in 2013 and they don’t disappoint. Queen Bey flows similarly to the likes of her LEMONADE single Formation, half-rapping half-singing, she chants about winning in the industry for the last 20 years with nothing short of the highest level of bravado and grace. Khaled’s idiosyncratic ad-libs are obviously frustrating and monotonous throughout the entire track, but luckily they don’t diminish the talents of the couple on the track, including an entertaining verse from Jay Z.

Rapping about their recently announced twins in his signature ‘made it’ style that he pulls off so well, he even goes on to reignite the beef he and Drake have shared in the previous years. Subtly referencing him in numerous lines, it’s not exactly the meanest diss in hip-hop history, but it could certainly spark another feud between two of the genre’s most prominent figures. “I know you ain’t out here talkin’ numbers, right?/I know you ain’t out here talkin’ summers, right?/I know you ain’t walkin’ ’round talkin’ down/Sayin’ boss shit when you a runner, right?”.

It feels like a star-studded track of this nature should have made more of an impact, and while I’m not disappointed, I’m certainly not blown away either. What Shining has managed to achieve though is reigniting the rumours of that mysterious Jay/Bey collaboration album, and that is certainly something I’m not complaining about.

https://youtu.be/nD92-vOEUG8

Image: Digital Spy

Yesterday’s Grammy Awards were controversial, as always, but one of the day’s biggest winners was Chicago emcee Chance The Rapper, who took home three awards, for Best Rap Song, Best New Artist, and Best Rap Album. Not only did he change the way the Grammys accepted albums by leading the charge for indie and Soundcloud artists, but he became the first person to ever win a Grammy without selling a single physical copy of an album, and then be the first African-American hip-hop performer to win the Best New Artist category since Lauryn Hill over a decade ago in 1999. No truly independent artist has ever made it this far in the awards ceremony, and his success has really demonstrated how there is a lot more music than the stuff you find in your supermarket or CD store. His speeches echoed this sentiment, and as he screamed “This is for every indie artist!” you couldn’t help but have a sense of pride and joy.

No doubt his three Grammy wins were a cause for serious celebration, so what better than let loose at your very own Grammy afterparty. With appearances from the likes of Lil Yachty, Katy Perry, Quincy Jones, Snoop Dogg, Big Sean, Leon Bridges, Joey Bada$$, Dennis Graham (Drake’s Dad) of all people, and many more heavyweight musical figures, it’s definitely the sign off Chance deserved. While Migos came through to perform some of their huge Culture hits, Chano he also took the stage to premiere a remix of one of his competitor’s songs, Drake’s Views cut Grammy’s. What better way to celebrate your wins, seriously?

https://twitter.com/YesJulz/status/831236058004279296

Along with getting huge props from those who attended, those who couldn’t make it took to messenger to give their support. Fellow emcees Kendrick Lamar and Drake both congratulated Chance via text, seen via screenshots Chance posted to his socials. Drizzy took on a more hilarious route “I AM IN MANCHESTER HAVING A DRINK FOR U BROSKI”.

And while the spotlight is truly on Lil Chano (finally), it’s not just the celebs who are feeling his loveable style. The Fader is reporting that since The Grammys, Chance has seen more than a 200% spike in overall Spotify streams, and a 461% increase in the deep cut How Great, which he brilliantly performed in a medley at last night’s ceremony. No-one can bring Chance The Rapper down now; at the peak of his game, all we can say is we can’t wait to see what he has next up his sleeves!

Image: Twitter – Chance The Rapper

Dedicated to Phife Dawg, rest in peace.

9th November 1993 was a huge day for hip-hop, with two of the most important albums in its history out at the same time. The first was east coast classic Enter The 36 Chambers by The Wu-Tang Clan. The second was Midnight Marauders by A Tribe Called Quest going on to release their highly anticipated third album. Music groups are lucky enough if they have one album considered a ‘classic’. Along with The Low End Theory and last year’s We Got It From here… Thank You 4 Your Service, Tribe have three.

Personally, my introduction to Tribe in general was fairly recent. While I’d love to say someone handed me a cassette, or the radio spun one of their hits, I was simply linked to a few of their big songs when I was younger. Tracks like Can I Kick It?, Check The Rhime, Award Tour, played a huge role in my high school years, yet funnily enough I was in love with the singles before even thinking of checking out the albums they resided in. It took some time for me to get my hands on the album after that, but boy was I in for a treat.

Midnight Marauders showcases the signature jazz-rap style they had pioneered on their first two albums. Everything is taken to the unthinkably higher level. Q-Tip’s beats are just that much more intricate, skilfully composed with increasing finesse. Together, the pair are lyrically sharper than ever. Where The Low End Theory was where we really heard Phife Dawg shine, Midnight Marauders saw Q-Tip meet him at the fore.

https://www.youtube.com/watch?v=WHRnvjCkTsw

The solo Phife track 8 Million Stories is a great example of this, where he describes his everyday problems and relates that back to you, the listener, with unique and witty insight. His flow is backed by crafty metaphors, wordplay, references and a deep boom-bap bassy beat, making for one of the album’s biggest standouts.

Tip’s solo piece, Sucka N***a is another album highlight. The beat teases you, a mixture of vocal and horn stabs which give way to a subtle piano groove and crushing drums – and that’s before we talk about the lyrics, which are among Tribe’s most insightful, ever, studying the rising use of the controversial word. He looks at it’s past and how it’s become a term of endearment among black communities; it’s a fan favourite for sure, along with being an important analytical slice of hip-hop history.

While their solo output is incredible – furthered on their post-A Tribe Called Quest releases – it’s their work together that really turns heads and sets them apart from the rest. Electric Relaxation, arguably one of the most romantic songs in hip-hop history, is one of the best examples on the album, as Phife and Q-Tip’s tangling verses demand your attention. Thumping drums, a slapping bassline, contrasted by a timeless heartfelt key and guitar chord sample, the pair spit some pretty provocative lines in an attempt to seduce their lady. An extra fun fact, the beat to the tune plays out as a three bar loop, rather than the traditional 4/4 style, something which was rarely seen and is rarely attempted in hip-hop to this day.

The continuity and cohesiveness of the album is well worth a mention too. Upon first needle drop, we are immediately greeted by our the album’s ‘tour guide’, the mysterious woman on the cover who contextualises certain tracks throughout. She leads the listener from one track to the next, and just as a guide would, provides random facts that lead you onto the next destination. It truly feels like a serious work of art, so ahead of it’s time that it’s hard to imagine what hip-hop would be like without it today.

Award Tour was the single which first introduced me to Midnight Marauders; like so many others, it was an instant favourite – it’s unsurprising that this track charted higher than any other on the record. Their augmented flows are reminiscent of jazzy scat singing, while their voices themselves, each so different to one another, are instruments themselves. “Lyrically I’m Mario Andretti on the MOMO, ludicrously speedy, or infectious with the slow-mo,” is one of the best lines on the record. Combine this with an upbeat pianos and xylophones, and a hook courtesy of De La Soul‘s Dave, it’s a certified classic anthem.

https://www.youtube.com/watch?v=P800UWoE9xs

No track is too complicated, no track is so overwhelming that the lyrics or music trump the other; it’s a perfect balance throughout. In many ways, there’s a simplicity to it that brings it together and makes it work so well. Oh My God embodies this brilliantly, crafted around head churning double bass plucks and a ferocious trumpet chorus which chops in and out of the mix. Similarly, Clap Your Hands is driven by smooth piano chords throughout the verses, never suffering from repetition thanks to constantly interchanging trumpets, scratches, and other samples.

From the rock influenced guitar stabs which shrill throughout Lyrics To Go, to the psychedelic, atmospheric samples of Midnight, the beats and musical influences were more diverse than anything coming out at the time.

A Tribe Called Quest are one of the most important groups in hip-hop history, and this album directly influenced hip-hop in immeasurable ways. Every beat, every rhyme scheme, everything down to the cover art (which features over 71 influential hip-hop figures) is meticulously thought out, and cements it as a major player in hip-hop’s hall of fame. A timeless, stunning, monumental record that even those who don’t like hip-hop should listen to at least once in their lives.

https://www.youtube.com/watch?v=OIah18jcJko

Image: Ego Trip

Beloved local label I Oh You, responsible for artists like Violent Soho, DZ Deathrays and DMA’s, have just announced that multi-instrumentalist Alex Knight, otherwise known as Brightness, is the newest signee to join their roster.

The name ‘Brightness’ and the name of debut single Oblivion are in direct descriptive contradiction, and indeed the track finds itself at the halfway mark between the two; the track and its accompanying video marries jangly guitar riffs and a vivid melody with brooding lyrics and churning chords, adding a blurry dizziness to the otherwise airy track. The line “you’ve lost your poise again, so you neck a few more pills and hope that it’s enough to get you through the day” in particular is perhaps a sobering reflection on Knight’s time spent living in London, from which he draws inspiration.

The music video fits this kind of sad yet sentimental nostalgia too, running like an old home video crackling out through a projector. Genuine and somehow quite dark, director Mclean Stephenson’s visual work complements the song perfectly.

With Brightness’ debut album Teething set for release later this year, boasting “unusually intimate and personal” tunes, we’re eager to hear what Knight has next up his sleeves. With any luck it will be as refreshing and layered as this bold debut.

https://www.youtube.com/watch?v=ZuO-oISeuTU

Image: Supplied

After emerging back in 2014 via Triple J Unearthed, Brisbane’s Hannah Shepherd aka Airling has now finally announced her debut album, Hard To Sleep, Easy To Dream, and released a new single, Not A Fighter. 

The new single follows on from 2016’s Move On. Yet another sultry electro-pop offering, the tune is driven by simple synth and piano driven, embellished with pulsing drum tones, all topped by Airling’s masterful, soaring vocals.

Bravely going for a deep 14-song tracklist, the album took two years to conceive, and features guest artists Emma Louise and Fractures as well as being produced by the great Tom Iansek of Big Scary, who also runs Pieater, the label putting out Airling’s album. In a press release Shepherd explained, “These songs and stories have been a big part and a product of me getting to know life, death and myself – while at the same time expressing myself to others.

“Aligning my thoughts and emotions with songs and words. Trying to live life free of fear while still acknowledging its existence and exploring its pain. Learning to love myself so I can explore my ability to love others and my potential to create. I am insanely proud of this record.”

https://soundcloud.com/pieater/airling-not-a-fighter

Hard To Sleep, Easy To Dream Tracklist:

1. //Introduction
2. I am Just a Body
3. Take Care of You
4. Move Me
5. Give Me All You Got
6. Not a Fighter
7. A Day In the Park
8. Far Away
9. //Always Returning
10. Vessel
11. Bloodshot Blue
12. //There Will Be Good Days
13. Shut the Light Out
14. Roma Rose

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Image: Supplied