It’s been quite a rough 24 hours for A$AP Rocky. After getting a whole lot of backlash from a resurfaced 2015 interview with TimeOut in which the New York rapper responded bluntly regarding the Black Lives Matter movement and Ferguson shooting, fans are claiming he is against the Black Lives movement altogether. In the 2015 interview in question he says,
“So every time something happens because I’m black I gotta stand up? What the fuck am I, Al Sharpton now? I’m A$AP Rocky. I did not sign up to be no political activist. I wanna talk about my motherfuckin’ lean, my best friend dying, the girls that come in and out of my life, the jiggy fashion that I wear, my new inspirations in drugs!”
“I don’t wanna talk about no Ferguson and shit because I don’t live over there! I live in fucking Soho and Beverly Hills. I can’t relate. I’m in the studio; I’m in the fashion studios; I’m in these bitches’ drawers. I’m not doing anything outside of that. That’s my life.”
Now that this is getting some unexpected exposure, Rocky took to his Twitter to explain his current circumstances. While the first two Tweets were deleted, the final two still remain on his page, which you can read below.
https://twitter.com/asvpxrocky/status/754053023572324353?ref_src=twsrc%5Etfw
https://twitter.com/asvpxrocky/status/754057146631876608?ref_src=twsrc%5Etfw
While it certainly seems A$AP Rocky was just misunderstood and taken out of context when it comes to this interview, it may take some time before things completely blow over for him here and his response is taken seriously. In the meantime, just make sure you try not to call Rocky a politician.
Image: Dave Ma
Though in recent years hip-hop producers like Sonny Digital, Metro Boomin and Mike Will Made It have set themselves apart as their own artists, it’s rare that hip-hop instrumentals do much more than serve as a platform to rap atop. Without dissing, no one is likely to listen back to an Atlanta trap backing track and hear or feel anything other than Atlanta trap. It’s rare that a producer is able to produce a sound which acts in two different ways – both as its own piece of musical genius, and bringing depth and meaning to the words of another artist.
While you may not have heard Clams Casino’s name, you’ve definitely heard his style. Releasing his first EP, Rainforest, in 2011, Clams quickly became the talk of the underground hip-hop town. A bunch of collaborations with Lil B led him straight to A$AP Rocky, and consequently, the birth of the cloud rap sound, perhaps made most famous by the enigmatic Lil B. There’s no denying that tracks like Bass, Wassup and Palace are Rocky’s early best, and while his success took the sound further and out of Clams’ hands, he’s always been the king of the castle. The release of three separate Instrumental Mixtape Volumes meant budding rappers could do their own work over his, and his audience could greater appreciate the complexity and individuality of his sound on its lonesome. Though Clams was so cutting edge and ahead of the times, it’s hard to believe that over 5 years since the release of Rainforest, countless collaborations and remixes, we’re granted with his debut album – 32 Levels.
https://www.youtube.com/watch?v=BfIjIVLmhAI
“The mind is so complex when you’re Based; 32 Levels; Welcome to my world” – Lil B, I’m God
It seems fitting that the album name is taken from one of, if not the most well known and awe inspiring pieces of Clams’ music. I’m God is the definitive Clams Casino track, and is the perfect combination of vocal sampling, heavy bass, atmospheric sounds and twisting synths that are found all throughout his work. 32 Levels opener, Level 1, feels like the spiritual successor to I’m God. “Yes..” whispers Lil B in the first of many vocal features – saying what we’re all thinking, “the album is finally here.” Essays could be written on the way the vocal samples, very reminiscent of I’m God, build and finally crash into an another explosion of bass and flanging sound that’ll send your eyes rolling back – but there’s more to address first.
Without even listening to the album, you can most likely appreciate it by looking at the list of vocal features, first revealed earlier this year. We’re hit right in the face after Level 1 with Be Somebody, the first track to ever feature both Rocky and Lil B on it. “We just made history, you know that right?” Lil B asks, breaking the wall between him and the listener yet again. It’s a match made in heaven, and god knows it’s been a long time coming. Vince Staples rolls through right after that, working the same magic he and Clams had on Norf Norf, this time on All Nite. While Clams has a particular affinity for hip-hop, his production also lends itself amazingly to styles never thought before. Thanks To You, with vocals by Sam Dew is a standout on the record, taking a much lighter tone than usual in both vocal style and instrumentally, but never straying too far from the flock. Kelela also feels right at home on Breath Away, making you wonder why they’ve never worked together before – the same feeling you might experience throughout every first-time collaboration on 32 Levels. Each feels like it could have come from any of these artists’ own catalogue, which is testament to Clams’ skill for bringing out the best performances of those he works with.
https://www.youtube.com/watch?v=EhXE1fGrv_M
That said, the man himself has said before that he prefers not to get involved in the songwriting process, even going so far as to not have anyone in mind when creating his beats. Taking this into consideration, these songs have no overarching themes or tone; instead, this is an album tied together through its sonic motifs more than any thematic concerns.
Although his production has traditionally been on the darker and thicker side of the spectrum, 32 Levels operates on a number of different emotional levels through its sound. Clams’ music has always been about atmosphere, with sounds either directly taken from real life environments like throughout his Rainforest EP, and heard again on All Nite, or built from scratch via spacious sounding synths and echoing percussion. This sense of atmosphere, as all good music should, takes us to another place. Where are we where we’re hearing music like this? It’s otherworldly, almost like the artists singing and rapping inside this world are doing so in some limbo like state, with the emotion behind their words extending further than it ever could have in real life.
There’s always been something about Clams’ sound that seems larger than life, and the trend continues on 32 Levels. Skull sounds near demonic, with Bowser style laughing and haunting flute sounds set alongside clicking snares and hats. Back To You is by far the most pop track on the record, with Kelly Zutrau providing some soft spoken and breathy vocals, but it never feels out of place. Metallic echoes, and her own layered voice hitting high notes before fading away into nothing further cement this idea of place in each track. It’s in this sense of shared depth and space that the album feels completely whole. Each artist isn’t themself, but simply a voice sharing and reflecting on feelings inside the worlds that Clams Casino creates within each of his songs. While he might not play a part in songwriting, everything on this record feels very calculated and very purposeful.
https://www.youtube.com/watch?v=bLBKRKeRaL8
At times, the sheer number of voices on this record can become a little overwhelming. Clams’ environments and atmospheres are often better enjoyed in and of themselves, with no words to distract from the experience. Mr. Casino has obviously learned from the successes of his instrumental mixtapes, and blessed all of us with the same-day release of an instrumentals version of 32 Levels to get the best of both, and all, of Clams’ worlds.
32 Levels is a record that changes with every listen. The space that exists within each of its 12 tracks is like a magnifying glass to the emotions of the listener and the vocalists alike. While according to Lil B there are 32 levels in the Based Mind, it doesn’t seem like Clams Casino has any limits to his work.
Image: Jack Colquhoun for Howl & Echoes
Anticipation was high for my first listen through of A$AP Rocky’s third release. Every single that had been released prior to the album dropping was unique in its own way, and it was very clear that this Harlem rapper was going to experiment with his sound, and was pulling no punches when it came to production values. So here is one hip-hop head’s track-by-track breakdown of At.Long.Last.A$AP.
1.Holy Ghost (Feat. Joe Fox)
The story of Rocky and Joe Fox is nothing short of amazing. Homeless and trying to sell a mixtape at 4am, Joe Fox just happened to cross paths with Rocky, who invited him to the studio right away upon hearing his music, and would eventually lead to 5 features on this project alone. The first track of A.L.L.A highlights the alt/psych rock influence that is evident throughout the album, as Rocky’s trademark laid back flow weaves seamlessly amongst a guitar riff unfamiliar to a rap song.
2.Canal St. (Feat. Bones)
“I went from roaches on my bunk to red brooches on my cuff” spits Rocky as he details his rags to riches story. The sample and hook from Bones is perfectly suited to the haunting beat, and really sets a dark tone; the soft piano chords paint a stark and depressing image of growing up in the ghetto of Harlem.
3.Fine Whine (Feat. Joe Fox, Future and M.I.A)
This track is where Rocky begins to flex his muscle with the features of the album. I am not the biggest fan of Future, (I like to envision him as T-Pain for the modern era – solely manufactured for singing hooks), but he fits into this track really well, as A$AP himself is heavily auto tuned throughout. M.I.A’s British accent really steals the show on this track for me, and it’s refreshing to see her mixing it with the heavyweights of the rap game again after a long hiatus.
4.L$D
Much has been made of this track, from A$AP Rocky’s own acid use, to the experimental sound and direction the album would take. L$D shines through on this album as one of my favourite tracks after several back to back play-throughs. Rocky presents his psychedelic beat to perfection; it’s so easy to lose yourself in this track, as it just floats along with casual cool. The beat, the lyrics, the vibe of the song itself moulds together to create what is going to be a summer anthem for many. Certainly, it shows us that we’d probably really like an A$AP Rocky soul/R&B/psych album as much as we would a rap one, even though he “ain’t into makin’ love songs.”
5.Excuse Me
“They say wealth is in the mind and not the pocket”. In my opinion this is the best-produced song on the entire album. “I’ve never been this free when making music,” proclaimed Rocky in an interview with Complex earlier this year, and he has definitely taken that freedom and run with it; there is no other track in his entire discography that has a similar vibe or sound to Excuse Me.
6.JD
Yes, you heard right. That was James Franco at the start of the track, and it is here where the direction of the album begins to steer towards the heavier, trap-inspired beats that Rocky and the entire A$AP Mob are accustomed to. The beat is a chilling one, and Rocky doesn’t pull any punches when it comes to his lyrics here, “Schwarzenegger I, straight slaughter n*ggers…I want all you n*ggers dead”. The flow here is definitely more familiar with the previous releases of Long. Live.A$AP and Live.Love.A$AP, and shows us what we are in for as the album carries on.
7.Lord Pretty Flacko Jodye 2
FLACKO. JODYE. FLACKO. JODYE. If this is not stuck in your head for the rest of the week you probably haven’t listened to this album as long as I have. This track is a certified banger, and although it was the first track to be revealed from the album, it is one that has not left my music rotation. Short, snappy, in your face, LPFJ2 is the perfect song to showcase another experimental flow for Rocky, as his fast paced spitting plays perfectly off the beat.
8.Electric Body (Feat. Schoolboy Q)
Brand New Guy is one of my absolute favourite tracks from A$AP Rocky, and any song which showcases some back and forth rhyming between Rocky and Schoolboy Q is a winner in my books; these two just feed off each other perfectly. Let’s be real for a second though, Q absolutely steals the show and he unquestionably makes the song his own. As the low bass kicks in he spits a vicious verse, on a track that is sure to destroy many a car sound system.
9.Jukebox Joints (Feat. Joe Fox, Kanye West)
This track is a really nice break from the heavier beats on the album, as Rocky transitions back into a soulful and slower sound, with a real gospel vibe taking over. Kanye’s feature is honestly not his strongest, but as soon as the smooth sample on the track kicks in you can clearly see why Ye is featured on the song, as he delivers an extravagant and over the top verse – you can just picture him laughing in the studio for this one. I could be horribly wrong though and this could be the greatest verse of all time as Kanye coins his new nickname, “Ye Guevera” (Beware of an influx of Photoshop’s of Kanye on the face of the Argentinian guerrilla leader). It would be amiss for Rocky not to mention his love life somewhere on the track, and gives us a friendly reminder that he “did Azaleas from Australia”. Although I’m not exactly sure if that’s a good thing…
We couldn’t pass up the opportunity to post this. Thanks Reddit.
10. Max B (Feat. Joe Fox)
So far, this is my favourite song on the album. What I find most impressive about this album is the way that the feel of the album is not tarnished by the transitions between the psychedelic tracks and the heavier, trappy ones. This is a solid four minutes of Rocky going in on the beat, “This the kind of story that should make doves cry, fuck that, this the story that should make thugs cry”, and as the beat switches back into a chilling sample, “Did I fuck it up?” – before we are led, so seamlessly, onto the next track.
11. Pharsyde (Feat. Joe Fox)
Pharsyde is another track that really highlights the direction of the album; a soulful sample, a relaxed vibe and an innovative sound that is pushing hip-hop in a new direction. Some of the deepest lyrics on the album feature here too, and it’s tracks like this which really signify a shift in how seriously Rocky is taking himself. I can definitely see how many people would start to switch off at this point of the album, 18 tracks is an incredibly long album by modern standards, particularly in hip-hop. I think that the payoff is definitely worth it; this is an album that definitely takes you on a journey through sound and production experimentation.
12. Wavybone (Feat. Juicy J, UGK)
That’s right kids! Katy Perry did not miraculously create juicy J; he was actually a founding member of legendary rap group Three 6 Mafia (consider yourself informed). The horns that blare throughout the background of this track radiate a 90’s hip-hop feel, and Juicy J and UGK feel right at home here, with their old-school influence really making this a standout track for me.
13. West Side Highway (Feat. James Fantelrouy)
This is probably the one track on the album that doesn’t resonate with me from the get go; there is just nothing of real substance here, you can simply add it to the list of soulful songs. If there is one mark against Rocky as an artist for me, it is that he does not really have a clear message that he attempts to portray in his music; something I feel is becoming extremely important. If we look at the big artists in the rap game right now, like Childish Gambino, Vic Mensa, Run The Jewels and even Schoolboy Q, they all have a story to tell, and this is very apparent in their music, something I think is sometimes lacking in Rocky’s discography.
14. Better Things
I will forever love this song, if only for the Rita Ora diss that Rocky so blatantly delivers, and have, expectedly, dominated all headlines surrounding this album since its release. Because that’s what’s important, obviously. Let me quote it in its full glory and entirety: “I swear that bitch Rita Ora got a big mouth, next time I see her might curse the bitch out. Kicked the bitch out once ‘cause she bitched out, spit my kids out, jizzed all up in her mouth and made that bitch bounce”. Ouch.
15. M’$ (Feat- Lil’ Wayne)
I was in love with this song before the album had released, although I was sceptical whether a Weezy feature would add to this song or make me switch off halfway through, and you cannot blame me after his recent track record. Once I heard Smuckers from Tyler The Creator’s Cherry Bomb (which we reviewed here) I had hope, and Lil’ Wayne delivered! 2015 is becoming quite a rejuvenating year for this rap game veteran, as he delivers a verse that partners the beat perfectly. Rocky and Wayne make one hell of a combination here, with that trap sound, which by now almost feels nostalgic, rearing its head yet again.
16. Dreams (Interlude)
The interlude is in a fairly odd place as the third to last track, however I like to think that it is setting up a serious tone to the finale of the album. The glassy piano brings the haunting feel back into the project, and puts Rocky in a position to pay homage to his fallen friend, A$AP Yams.
17. Everyday (Feat. Rod Stewart, Miguel, Mark Ronson)
This is really the only radio friendly that I can see on this album, and this is definitely the risk that an artist takes with an experimental album. The sample is infectious to say the least, and Miguel puts his own soulful spin on it. Rocky really chose the singles for this album carefully; he provided a clear indication that diversity is one of the key characteristics of this album. Ronson’s production is reminiscent of his work on Action Bronson‘s latest album – and a pretty clear indication that he knows his way around a hip hop beat.
18. Back Home (Feat. Mos Def, A-Cyde, A$AP Yams)
Rocky closes out the album perfectly in my opinion. The cover of this album itself is a tribute to A$AP Yams, whose tragic death had a profound effect on Rocky as a person and as an artist. The beat on this track is fantastic, and really mirrors the old school vibe that “Wavybone” created. Mos Def appears on this track and does not disappoint and creates a really special moment, the young blood of New York hip-hop collaborating with one of the fathers of the genre. It is rather bittersweet hearing Yams close out the album, but it is nonetheless a touching and a fitting way to end this album.
All in all, At.Long.Last.A$AP is an innovative, experimental and forward thinking album that has cemented itself as my favourite album of 2015 already. This is a bold statement, but I feel that there is so much on offer in these 18 tracks, soulful beats, heavier trap inspired sounds, all backed by precise production which really elevates A$AP Rocky’s sound to the next level.
This is not a drill. I repeat, this is not a drill.
A$AP Rocky‘s new album A.L.L.A (At. Long. Last. A$AP) will now be dropping at midnight Eastern Time, tonight, a week ahead of the reported June 3 release date.
Midnight ET is around 2 pm Australia time. Take the afternoon off work, cancel your plans and get ready for some serious new music.
A$AP himself announced the new release date via his Twitter, where he stated that the album will be available both online and in stores. The tweet ends with “RIP YAMS,” in tribute to the late A$AP founder A$AP Yams. Rocky’s album cover continues the tribute to his late leader, with a portrait of Rocky donning the recognisable scar and cross tattoo that was on Yams’ cheeks.
The news follows the release of A$AP’s visually stunning clip for LSD, as well as a new track with ScHoolBoy Q. He’s also been in the news this week for sharing anecdotes of having multiple drug-fuelled orgies at SXSW. We didn’t think this was news though. In fact, we wrote about why it’s not news, and why it’s only positive news because he’s a man. But more importantly, HIS ALBUM IS DROPPING IN TWO HOURS FROM NOW.
From what we’ve already heard, and from what we can learn through the track listing, this is going to be one hell of an album.
1. Holy Ghost (feat. Joe Fox)
2. Canal St. (feat. Bones)
3. Fine Whine (feat. M.I.A., Future & Joe Fox)
4. L$D
5. Excuse Me
6. JD
7. Lord Pretty Flacko Jodye 2
8. Electric Body (feat. Schoolboy Q)
9. Jukebox Joints (feat. Kanye West & Joe Fox)
10. Max B (feat. Joe Fox)
11. Pharsyde (feat. Joe Fox)
12. Wavybone (feat. Juicy J & UGK)
13. Westside Highway (feat. James Fauntleroy)
14. Better Things
15. M’$ (feat. Lil Wayne)
16. Dreams (interlude)
17. Everyday (feat. Rod Stewart & Miguel)
18. Back Home (feat. Mos Def, Acyde & Yams)
Well, here’s a series of names I never, ever thought I’d be writing about in one sentence, let alone one song. Gearing up to drop his highly anticipated new album At.Long.Last.A$AP, A$AP Rocky has dropped the subdued, wonderful new track Eternity. It features Rod Stewart, (who many of our mums listed as their favourites in our recent Mother’s Day edition,) Mark Ronson and Miguel.
On first view, I can’t help but think, seriously? Did he really need that much star power on one song? But once you listen to it, that all floats away really quickly, because this is a really great track.
Far more subdued than the majority of tracks we heard on his last release, Long.Live.A$AP, the soulful samples from Stewart and Miguel, alongside Ronson’s production, make for one hell of a cool track. The vast contrast between Rocky’s aggressive verses and those bluesy phrases is strange, but wonderful, and is getting me really excited about what’s to come, once the full album is out in the world.
At.Long.Last.A$AP comes out on June 2.
A$AP Rocky grows more and more interesting every day. Now forming an identity as an outspoken critic of the hip hop industry, of which he’s one of the biggest stars right now, he recently used an interview at the Tribeca Film Festival to analyse the situation. Speaking live at a recording of CRWN, a hip hop podcast, the rapper stated, “Hip hop is the new wrestling.” That is, artists choose a weird name, make outlandish, controversial remarks and sit back and wait for people to pay attention.
It’s a really interesting comment on the industry as it is today – and really, of the wider music industry in general, particularly in pop and some forms of dance music.
He made no secret about the irony of the statement. His name is A$AP Rocky after all; his biggest hit is called Fuckin’ Problems and features a vast array of big name celebs like Drake and 2 Chainz. While he said that he didn’t want to seem like a hypocrite, he also said that he wanted everyone to hear his music – and in today’s day and age, that’s the way to go about it.
The 26-year-old seems like he’s trying to get the world to take him more seriously – conveniently in time for the press to start rolling out info about his upcoming album A.L.L.A. He spoke about his love-hate relationship with the industry and its artists. Quoting the late A$AP Yams, he said that 2014 was a really weak year for hip hop, and that he’s become far more selective about who he collaborates with.
“I can’t do no records with people who, creatively, I don’t see eye to eye with,” he said.
He spoke about the peers who inspire him too, such as Kendrick Lamar, Earl Sweatshirt, Danny Brown, Action Bronson and Joey Badass.
He went on to encourage upcoming rappers to go against the grain and to search for non-traditional paths to success, such as getting signed to a big label and working your way up to ‘system.’
“You shouldn’t try to make music just so you can be on the radio,” he said. Music should only be created to make the listener feel “some type of way.”
The discussion also touched upon his engagement to his relationship status, his affection for weed and psychedelic drugs and more.
keep an eye out for the full video, dropping later this month.
A$AP Rocky delivered a riveting, thought-provoking lecture to Red Bull Music Academy participants in London this week, in which he spoke about recording his upcoming album, his previous projects and more.
Near the very beginning of the lecture, he pulls up none other than the legendary Mos Def, aka Yasiin Bey. As it turns out, he’s known A$AP since it all began for him. Mos Def sings his praise, speaks about how the pair first met, and A$AP talks about how cool it is that he can count Mos as a fan. Mos was introduced to the A$AP mob through Chace Infinite, and speaks about how he’s watched the group, and Rocky, develop and flourish into globally respected artists that they are today.
Mos also spent a little time talking about the artists he’s big on, while A$AP revealed that there’s a distinctly British influence on his upcoming album, largely due to the energy he absorbed while recording.
Excitingly, the pair also spoke about their upcoming collaboration, to be heard on A$AP’s highly anticipated A.L.L.A – something very cool to look forward to!
Watch the full lecture right here:
it’s not the first time the pair have been publicly connected. In fact only a couple weeks ago, A$AP pulled Mos up on stage at a gig at XOYO in London, where they played a bit of Ms Fat Booty and Universal Magnetic. Watch below – the footage isn’t great but the sound is solid.
A$AP Rocky did some name dropping when asked about his album at this years’ SXSW.
He mentioned has just completed his upcoming album A.L.L.A and has said it will be “coming soon.” There’s no date yet, but we’ll keep you posted.
Aside from being produced by Danger Mouse and his late friend A$AP Yams, the album will include collaborations with FKA Twigs, Lykke Li, Juicy J and Clams Casino. Apparently, his track with FKA Twigs was made three years ago and he’s finally letting it go.
He also said that this album is a little bit different from his previous work. He hopes what we find on his album will be unexpected since “people really don’t know the other side of me. The deeper side, the more musical side, the more intellectual side.”
This will be the follow-up album to his 2013 debut Long. Live. ASAP. At the time of its released, this LP was raved about by music critics everywhere and put on a number of top 50 best album lists of 2013. Let’s hope the second one raises the bar.
Check out the first single from the album, Multiply featuring Juicy J, below.