The free mixtape has long been a platform for emerging artists to get themselves noticed, but in 2011 the format came into its own. In fact, some of this year’s best-loved music – from the Weeknd to A$AP Rocky – were released as online mixtapes, while “proper” albums by high-profile artists such as Lil Wayne, Drake, Jay-Z and Kanye West seemed underwhelming in comparison.
This change is partly down to economics. With the music industry squeezed tighter than ever, the cost of failure is massive for record labels. One of the unfortunate consequences of this is albums become compromised in a desperate attempt to shift units. So we have a singing hip-hop princess version of Nicki Minaj, because no major label is willing to take a chance on a female rapper. A sadly faltering Jay-Z is thrown together with Kanye West, neither of which manages to shine. And finally we get heavyweight releases from Cash Money’s Lil’ Wayne and Drake, both bloated with guests and ideas in the hope that if the record is long enough, something’s going to stick. These records aren’t all terrible – and certainly sold plenty of copies – but neither seemed to excite as much as, say, A$AP Rocky.
Thankfully, this year’s mixtapes have shown that without pressure to shift units, hip-hop is at its healthiest in years, with artists making music on their own terms and getting recognition. Look at Danny Brown’s distinctive, uncompromising XXX, a record that sees the Detroit rapper finally pinning down his sound after years of being a big talent without direction. There’s also Big K.R.I.T, whose exceptional Returnof4eva is unafraid to channel the influence of his heroes OutKast and UGK into one of the year’s best releases.
Even those playing to a more mainstream demographic have found the mixtape offers a freedom not provided by major-labels. Odd Future’s R&B sensation Frank Ocean was driven to self-releasing his album Nostalgia, Ultra when Def Jam didn’t know what to do with it. Having been lavished with praise from all corners of the music industry, Def Jam is now back on board. Similarly, the Weeknd’s tapes have arguably made him the critical success of the year, but his subversive take on R&B might not have seen the light of day had he waited for a label to take notice.
The music of the last 12 months has certainly had an effect on labels, but they must be careful not to overcompensate when doing A&R through the internet. A$AP Rocky’s reported $3m deal with Sony/RCA is a good example – it’s yet to be seen whether the current crop of blog rap can turn YouTube hits into record sales.
Still, some of the year’s other mixtape successes might be considered as risks worth taking for budding A&R people. Rising Brooklyn rapper Mr Muthafuckin’ eXquire, for example, caught the eyes of many with his imaginative project Lost in Translation. It’s difficult to see majors really going for it, but eXquire has a classic flow with great potential. Similarly, if A$AP Rocky is deemed to have commercial prospects, then surely Oakland, California duo Main Attrakionz can’t be far behind. Not that they’ve struggled so far off their own backs, releasing more than 10 mixtapes in 2011 with their Green Ova Undergrounds collective.
It’s difficult to know what 2012 will hold for hip-hop. But with some critics declaring the genre’s death a couple of years ago, it would be exciting if mixtape culture gave the scene a creative boost.
I’m sure you’re all pretty sick of end-of-year lists by now, having been inundated with the things for the last month. I personally have a sort of love/hate relationship with ‘list season’, but in the spirit of things I thought I’d attempt to make sense of the year in hip hop. Rather than forcing only my own critical opinions down your throats, though, I’ve opened the column out to some of the artists that have made hip hop so exciting in 2011.
I couldn’t let them have all the fun, of course, so I’ve had a stab at listing my own favourite rap releases of the year as well. This is by no means a definitive selection, and in what was a very strong year for hip hop, there were so many other releases I could have included. What we have here, then, are an arbitrary number of hip hop records that have best defined my year, followed by picks from select members of the rap community. There’s certainly plenty of great records left out here, so please feel free to share your own favorite rap releases in the comments section below.
12: Hail Mary Mallon – Are You Gonna Eat That? (Rhymesayers)
11: Curren$y & The Alchemist – Covert Coup (mixtape)
10: Paul WhiteRapping With Paul White (One-handed)
9: Don Trip & StarlitoStep Brothers (mixtape)
8: A$AP RockyLiveLoveA$AP (mixtape)
7: Action BronsonDr Lectar (Fine Fabric Delegates)
6: DJ Quik – The Book of David (Mad Science)
5: Danny BrownXXX (mixtape)
4: Mr Muthafuckin’ eXquireLost in Translation (mixtape)
3: Main Attrakionz808s and Dark Grapes II (mixtape)
2: JehstThe Dragon of An Ordinary Family (YNR Productions)
1: Big K.R.I.TReturnof4eva (mixtape)
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ST 2 Lettaz (G-Side) & Block Beataz: We really enjoyed Kendrick Lamar’s Section.80mixtape for a couple of reasons. First off, you can tell that the music was properly produced. If you listen closely you hear how tight the harmonies are aligned with his main vocals. A lot of rappers and so called engineers don’t pay attention to detail. Secondly, this is the first time we’ve ever been this tuned in to a monotonic rapper. His sharp & quick delivery rides the beats perfectly. His dialect, definitely is Cali (‘ADHD’ is a perfect example.). Our production styles are definitely similar; hopefully we can work together soon.
Clams Casino: One of my favourite projects of this year, was Main Attrakionz’s 808s & Dark Grapes II. They have been doing their thing and making their own lane for the past few years, but it’s great to see them really getting some shine this year
Blockhead: This year has been a real comeback year for hip hop in my eyes. Between Danny Brown, Open Mike Eagle, Mr Muthafuckin’ eXquire , Roc Marciano etc. there have been some seriously stellar releases. All that considered, my #1 album this year is Brooklyn based rapper Billy Woods’ mixtape, Cowardly Threats. It’s a compilation of all of Woods’ work he’s done since he started doing solo stuff. A pretty obscure release, but it’s the one I’ve given the most run to. He has a new album dropping early next year called History will absolve me that’s easily the album I’m most looking forward to hearing. Look into this dude, he’s no joke.
Danny Brown: My favourite album of the year had to be Main Attrakionz’s Chandelier. Squadda and Mondre has always been the yang to odd futures ying, spitting drugged out verses filled with emotion about two kids approaching their twenties coming from Oakland. But see, where they’re from is not the determining factor here. You won’t hear MAz doing any hyphy songs or make the mobbed out sound that E40 use to in the past, or even the fun party element that Mac Dre use to come with. All of that’s there, but its presenting in a way no one’s ever heard before. In terms of the production, Julian Wass of Fol Chen and LWH also provided some one of the best soundtracks of 2011. From the industrial sound of ‘Desperado’ to the beautiful piano roll of ‘Youngin Tho’ and the chimed out ’Swaggin Hard’, this album has more personality than any project you heard this year.
Davinci: Prince Aries, Clean Ass Whip mixtape. This was probably my favourite mixtape that came out this year. A compilation of new and classic west coast hip-hop mixed in with their original samples. Ice Cube, E40, spice1, Rappin 4tay, Too $hort and more. If you try to play this on your laptop, you’re missing the point; you have to play in your ride when the sun is out. It literally took me back to the soundtrack of my childhood.
Mr. Muthafuckin eXquire: Two mixtapes that definitely caught my attention this year were 2Chainz’s True Religion and Kendrick Lamar’s Section.80. 2chainz just has that down-south wild trap swag, but he’s mad lyrical at the same time. For me being from Brooklyn, real MC’s have to be lyrical, and they gotta say some real shit. 2Chainz is real & his indie grind needs to be respected. Kendrick’s message is important as hell too and I’m glad he’s winning right now, because too many cats just wanna talk about what people think rappers should rap about. Like mother fuckers forgot the artist makes the music. These two dudes are about the artist making the music real artists make.
Cities Aviv: 2011 was basically overloaded with one notable release after another but my favourite record overall is without a doubt Higher Ground by Rimar. In a year where artists and writers alike became more pre-occupied with genre titles it is refreshing to hear a record so in tune with its own aesthetic that it can’t be pigeonholed. Faded out sex trax and hypnagogic R&B worship. For ladies who came feet first.
Ayinde (The Jealous Guys): Purity Ring’s ‘Lofticries’ is the most memorable and influential record I’ve heard all this year. Not a mixtape, but everything they dropped was crazy and I can’t say anything else hit me so hard. The sound Purity Ring carries is so refreshing, synths play a huge part in my art and when I listen to that song it’s like deep love with a hint of weirdness to it. Plus it makes you bounce too, on some Trap shit. I’ve actually got close to a woman I met a party because of that song and she loved me ever since – and I hate partying. But that is our song now.
Homeboy Sandman: Earlier this year I Am Many put out the Born Again Sinner mixtape. This cat I Am Many, he’s a musician. He’s a one of a kind talent, nobody can rap like him. He’s got mad styles, delivers with confidence, with force. Personality. Insight. Born Again Sinner was impressive from top to bottom as far as originality and gift. Saying things others don’t say, peppered with saying things others have said in a way that nobody’s said them. My favourite release of 2011. Honourable mention: Paul White’s Rapping with Paul White.
Stalley: One of my favourite records from the past year is Foster the People’s Torches. Although it’s kinda poppy, the songwriting is excellent and the production is perfect for any time you’re in the mood for something upbeat. They really did a great job of melding genres together and coming up with their own unique twist on pop music.
Apollo Brown: One of my standout albums of the year 2011 is Median’s The Sender. I’ve always been a big fan of Median and his sound. The song ‘How Big Is Your World’ is actually one of my favourite hip hop songs, period. The new album is pretty dope with production by 9th Wonder, Khrysis, SV, Kev Brown and more. My favourite joints on the album happen to be starting the album off at #1 and #2, ‘Take A Chance’, produced by Kev Brown, and ‘Bright Individual’, produced by Khrysis. I’d love to work with him down the road.
Squadda B (Main Attrakionz):The Shady Bambino Project. I got to make beats for Shady Blaze from Green Ova instead of me beggin’ for his beats, and it worked. I was runnin’ in and outta town hearing what he was sending back, so to see the world feel that shit was priceless.
Oddisee (Diamond District): My favourite record of the year is without a doubt, Metals by Feist. From start to finish this record had me in awe. The range of her voice and the control she has over it never ceases to amaze me. The orchestration & instrumentation of this album is truly some next level shit. The mix of the record alone makes me want to scrap everything I’ve done this year & start over. Truly a masterpiece, it’s a record I’ll keep coming back to for inspiration and reference.
yU (Diamond District): I thought A Sucker for Pumps by Tiron & Ayomari was a great album. It plays like a movie from beginning to end. First and foremost, both the cats were rhyming like a mug. The sound was cohesive all the way through. The features were minimal besides two very dope ones, with Thundercat on the bass & Yummy Bingham on a hook. A very well thought out & put together record.
Nacho Picasso: When I had my El Camino (RIP) I was listening to Yelawolf’s ‘Box Chevy’ like every day. I’m always listening to Mac Dre and vintage Cam’ron, but as far as the new shit, I’ve been slapping some Kendrick Lamar, The Weeknd and Frank Ocean. It’s hard to really get in to other music, because I’ve been working on music constantly this past year, so usually I’m listening to Blue Sky Black Death or Raised by Wolves instrumentals. I’m always working. I try to check everybody’s shit out so I know what’s going on, though. Today I was watching Danny Brown’s new video – I like him.
Lazerbeak (Doomtree):Take Care, by Drake. I know a lot of people can’t stand this dude (“soft as baby thighs” as Paper Tiger puts it), but this record is simply too awesome to deny. It’s probably because I’m such a big R&B guy, who knows. I really liked Thank Me Later though and I ride for this one even harder. The beats rule, he can actually kinda rap his ass off when he wants to, and he got Stevie Wonder to co-write and play harmonica on a track. Just don’t look at the album cover when you listen to this and you’ll be fine.
Rob Sonic: In terms of 2011 I could sum it up with the phrase, “who is this dude? He’s ill!” I asked this about Danny Brown early and then people asked me later. XXX is the album I probably listened to most this year; there is just something right about what Danny Brown does on the mic. The album itself is like a throwback to a time that had dudes not really giving a fuck about what rap was supposed to be, because they embody it. I miss this for the most part because everyone is trying to be so next, or just don’t care about rap enough to sit down and pen whole verses that are concise and keep you intrigued enough to not rely on hooks. I was only introduced to Danny Brown’s music earlier this year with ‘Hybrid’ and it was a breath of fresh air. See, as a rapper I need to hear rappers go in, and this was a good year for that led by Danny Brown’s XXX.
Matt Martians (The Internet / OFWGKTA): All throughout 2010 I would fly back and forth from Atlanta to Los Angeles working on music with Tyler and the fellas. During that period I would also spend a lot of time at my mentor Om’mas Keith’s studio. Om’mas would always tell me about Thundercat and how there wasn’t anybody funking with him as far as bass players go. When his album was released, the first listen blew me away instantly! It reminded me of the 60-70′s soul music my parents raised me on. This album was really the ‘soundtrack of my year’; I would listen to it at all times no matter what I was doing for six months straight. No lie. Very inspiring.
Considering the state of the world, the themes on Watch the Throne are absolutely absurd… even the title. But i think how out of touch this album is has a lot to do with its charm. Somehow this is the only album this year i find myself going back to. I’m sure it helps that this album came out in the summer, because if it had come out in February I might be saying Lupe Fiasco’s Friend of the People mixtape is album of the year. Its actually better but since I have only had it for a week I don’t think its fair to call it album of the year…but its really fucking good.
I love how ripe with conflict and contradiction hip hop artists are. Lupe while railing against Corporate excesses always seems to sneak in a line about some designer clothes I’ve never heard of, but I gotta respect him; he is literally the only major label rap artist that says anything worthwhile, and he practices what he preaches. Ask the folks who slept in the tents he donated to Occupy Denver! Jay Z and Kanye did not donate tents to Occupy Denver but have built an image around similar sorts of contradictions; “Armani Suit but I”m Homeless / Support the troops put gold rims on their hummers and land rovers.” Ok, they never actually said this, but they can use the line if they want.
Watch The Throne was essentially a Greenthink album made by Jay-Z & Kanye. Even though Kanye’s rap parts were pretty sub par, his influence on the song writing/beat selection is what really makes this such a great album. This recprd has some of Jay Z’s finest moments as of late, particularly “Niggaz in Paris” & “Why I Love you.” I loved the free wheeling experimental spirit of this record and the beats they chose, it just sounded like two egomaniacs having a blast, and laughing all the way to the bank.
Friend of the People on the other hand was given away for free, released on Thanksgiving Day. and what would anyone rather listen to when they are slicing up a tofurkey than howard zinn samples over club beats? I love how Lupe lays out these issues in an artistic, yet poppy way. one moment that stands out is when he calls iphones “a revolutionary new way to be alone.” I would love to see him do an album produced entirely by Kanye (ghost produced by flying lotus on a few tracks), this could literally be the best album of the decade.
To me a good “album” in the hip hop world has 3 songs, and these albums definitely had more than that. 3-4 stars(each).
For a moment, let’s put talk of line-up changes, wrestling leagues and teargarden kaleidyscopes to one side, and cast our minds back to The Smashing Pumpkins in 1991. Okay, so I was three years old, but having spent my teenage years obsessing over Pumpkins bootlegs and rarities, let’s also put aside the unfortunate year of my birth. Released four months before the meteoric success of Nirvana’s Nevermind, The Smashing Pumpkins’ debut album, Gish, was an oddball surprise-hit representative of a peculiar period of musical history. This was an album of outsider music with stadium-filling sonics, and wall of sound psychadelia with genuine intimacy. It was the tangible proof that the music industry might just have a space for your weirdo subculture.
Not everyone agrees, of course, and some members of the indie community would accuse the Pumpkins of careerism and conforming to popular sounds. Most notably Steve Albini, who, in a letter to the Chicago Reader, described the band as the REO Speedwagon of the generation. Stephen Malkmus was also unconvinced by the band’s status, famously referencing the band in the song ‘Range Life’. But the Pumpkins’ supposed alternativeness, or lack of, is really by the by, as Billy Corgan’s songwriting during this period still stands up remarkably well today. Because for all Albini might have had to say about the Pumpkins’ music being stylistically appropriate for the time, history has shown that Corgan will basically do as he pleases. If this involves sacking his band members and writing an unwanted synth-pop solo album, then so be it, but in 1991, the year that punk broke, he wrote big choruses and chugging rock riffs.
There is more to the Smashing Pumpkins story than just Billy Corgan, of course, but not a whole lot of it is massively important. With the possible exception of supremely talented drummer Jimmy Chamberlain, the band basically pandered to Corgan’s vision. In fact, according to Gish producer Butch Vig, the majority of the final guitar and bass parts were also recorded by Corgan. He was a control freak, certainly. But while this element of his character would eventually split the band in two, it’s also the thing that makes Gish so special. Every aspect of the record sounds so incredibly measured; from the perfect bass and drum grooves of ‘Bury Me’ and ‘I Am One’, to the euphoric outbursts of fuzz guitar on ‘Snail’ and ‘Rhinocerous’. With this attention to detail Corgan would probably do a great job of producing other people’s records, and while he would briefly dabble with this, his natural position is firmly in the front seat.
Although Gish would inevitably become tarred with the grunge brush, in retrospect this seems mostly due to its proximity to Nevermind, and the fact the two records shared a producer. The Smashing Pumpkins had sniffed around the Seattle movement, even releasing ‘I Am One’ as part of the Sub Pop singles club, but they would never truly belong to that or any other scene. While Kurt Cobain was an obvious poster boy for whatever the hell was happening in the early Nineties, Corgan, with his nasal vocals and hippie attire, was a different kind of frontman. Although Gish has its share of rifftastic headbangery, it also has its delicate songs, its weirder moments, and the kind of guitar freak-outs that I probably shouldn’t feel quite so comfortable enjoying. In fact, if The Smashing Pumpkins are to be held responsible for the conception of anything, then it’s probably the third-generation emo scene that began to explode in the late Nineties. Pumpkins tribute CD The Killer in You is as good a testament to this as any, but perhaps the less said about that the better.
Before I run of space entirely, let’s try and squeeze in some of the record’s highlights. The album’s only official single, ‘Rhinoceros’ (above), is certainly one of those. By today’s standards, it’s a pretty wacky introduction for a band essentially running out of a major label, but there’s something completely mesmerising about this extended, six minute plodder. It’s a song that has remained a set staple throughout the band’s career, and for them to have put out one of the album’s more instant moments as a single would somehow have seemed unrepresentative of the Gish sound. Best of all perhaps, is ‘Snail’. It’s got everything I want in a Pumpkins track, from its terrific use of space, to the gorgeous melodies and all-consuming guitars that trace a soon to be trademark loud/soft dynamic. While still feeling completely at home on Gish, ‘Snail’ is perhaps the biggest indication of what they’d go on to make with Siamese Dream.
As for the deluxe aspects of this release, the record sounds about as good as it always did. I mean, the re-mastering here seems pretty redundant for an album that sounded so good to me originally. What this version does bring, though, is a great collection of demos, live versions and b-sides packaged in a shiny purple box. For me, The Smashing Pumpkins were always a band that delivered in this area, with some of the band’s very best work hidden away in the depths of the archives. Particularly attractive gems unearthed here are the raw Reel Sessions version of ‘Bury Me’, fan favourite ‘Drown’ (complete with extended solo), and a version of ‘Daydream’ in which Corgan replaces D’arcy on lead vocals. There’s also a DVD of a full performance from Chicago’s Metro taken in 1990, including yet more rarities in reasonable enough viewing quality. Oh, and finally, there is a Polaroid of Billy Corgan’s face, as well as some of the other band members. Y’know, to stick on your wall or something.
The Smashing Pumpkins were probably the last ‘favourite band’ I ever had, and yet, prior to writing this I hadn’t listened to Gish for several years. Under re-examination, it’s a welcome surprise to find it in pretty much the same condition I left it in, neither aged nor made any more significant by what followed. Much like my relationship with Weezer, it’s comforting to know that whatever The Smashing Pumpkins look and sound like in the present day, Gish will still exist as a time capsule remaining in pristine condition.
Today I came across this short documentary profiling possibly my favorite record label of the year; Butterz. Featuring interviews with label founders Elijah and Skilliam as well some of the grime scene’s major players, the 12 minute video is the perfect introduction to both the style and ethos behind the label.
In 2o11 Butterz have really consolidated their position within underground music. Before they came along the grime genre was looking unsteady on its feet, but to their credit it now stands tall, ready to take on the world again. Not only have they managed to re-insert the credibility back in to the genre, but they’ve done so in a way that should act as a blueprint for young labels. Despite the rapid nature of the online music industry butterz haven’t rushed out digital releases, they’ve taken their time and released vinyl versions of tracks that have already been tried and tested on the dancefloor.
Here are a few of the highlights from an excellent year;
While ultimately beat tapes will always be judged on the quality of the beats, the best are those that come together to create a world entirely of the artist’s making. Stones Throw stalwarts Madlib and Oh No specialise in this, drawing on their extensive record collections to paint tributes to different cultures from around the world. For my money, though, one of the finest examples of beat tape excellence is Onra’s Chinoiseries. Released back in 2007, Onra visited the birthplace of his grandparents in Vietnam where he purchased 30 second-hand Chinese and Vietnamese pop records and began to make beats. The results were spectacular, and four years later, Onra has repeated the process to give us Chinoiseries Pt. 2.
Onra’s vision of China is one of pure fantasy, inspired by kung-fu films and Wu-Tang records that were inspired by those very films. While clearly extremely proud of his heritage, Onra’s comic book portrayal of China and Vietnam views the two countries through a western lens to produce a record that is unmistakeably hip hop. This much is blatant from the beginning, as opening track ‘The Arrival’ throws GZA and Inspectah Deck samples in among a myriad of unfamiliar eastern sounds. From there on the sampling is pretty much unknown to me, but the finished beats are instant, emotive and most of all, fun. ‘It’s All Memories’ effectively combines swelling cinematic strings with pots and pans percussion, while ‘Through the Flesh’ is all intricate guitars and boom bap beats.
But while Chinoiseries Pt. 2 sounds distinctly like an Onra record, he is also careful to retain the authentic charm of his sampled records as he found them. The crackle of vinyl is ever-present, and chopped vocal interludes add a further level of depth into the record’s 32 separate beats. It’s perhaps the character of those eastern pop records that makes Choinoiseries so evocative. Under Onra’s direction the stunning melodies are brought to life, creating a listening experience that is fully immersive like the best video games or film. The meandering flute intro of ‘Where I’m from’ takes you drifting down the river Yangtze, before an emphatic kick-snare lands you back in Brooklyn with your head in a map.
Chinoiseries Pt. 2 compares favourably with its predecessor, and while very much a repetition of what was done first time round, it’s a welcome sequel. Having never visited Asia it can be difficult to picture such a radically different landscape to our own, but at least through Onra’s eyes the views are utterly breathtaking.
As 2011 draws to a close, the majority of albums that we looked forward to at the beginning of the year have now been released, digested, loved or discarded. For better or worse. Most ‘indie’ artists choose to avoid releasing music around the festive period, a time which is usually reserved for a few of the bigger pop records of the year and a string of novelty christmas collections. There still, however, remains a few albums left to hold our breath for, and perhaps most of all for me, it’s Sam Mickens’ Slay and Slake.
Sam Mickens is probably best known as the idiosyncratic voice behind Seattle, Washington’s The Dead Science. Those who’ve tried and failed to like that particular band might as well stop reading here; Mickens’ voice and delivery won’t be for everyone, and from what I’ve heard his solo project won’t deviate too much from what you’d expect. For fans and newcomers, though, Slay and Slake sounds like it could be something quite special.
Three tracks from the project have surfaced so far (below), and for me, the pick of the bunch is ‘Witches Cauldren’. One of the great things about Mickens is that despite his leftfield approach, he’s also capable of producing moments of pure, glorious melody. And with just the squeal of a guitar and those irresistible vocal harmonies, ‘Witches Cauldren’ manages to be one of the most arresting songs I’ve heard all year. Album opener ‘Lord Death Man’ is similarly beautiful, while ‘Grisly Ghouls’ throws something a bit different into the mix with a cameo from MF Grimm. An unexpected collaboration, but bizarrely enough, one that works.
Slay and Slake will be released through Shatter Your Leaves on November 22nd, and I can’t wait to hear what else it has to offer.
