The Critic: Jaden Smith seems to occupy a peculiar space in modern Hip-Hop. Most people have heard of him, but almost none have actually heard him. He has inevitably so far stood in the megastar-sized shadow of his father, Will Smith, and the mediocre success he has enjoyed is, perhaps unfairly, dismissed by cynics as being a result of Will. On ‘ERYS’, Jaden makes a mockery of them.
It is heavily experimental, and the plot of Jaden being some kind of futuristic drug dealer who sells a mind controlling substance called ‘Pink’ to the world, and everyone subsequently degenerates into masses of zombies, is wacky to say the least. It’s interesting, but I wouldn’t say that when I listen to the album, it’s a story that can be easily gleaned from the obtuse lyrics.
The opening track is peppered with left-field musings such as, “The gold and diamonds could dissolve his pride”. It’s the sort of whimsical statement I put in my University philosophy essays to try and con my tutors into thinking I’m cleverer than I actually am.
But Jaden never comes across as someone who is trying to pull the wool over anyone’s eyes. As a whole, his plot makes sense, and he deserves respect for providing us with often witty lyrics that do not succumb to the Hip Hop stereotypes of sex, money and drugs. Of course, such references make their appearances, but as a whole this album plays with a higher purpose than merely flexing and impressing the listener.
It is deep, but also kind of accessible. The spacey production, vocal distortions and mercurial features come together to form a project packed full of beautiful moments, with each off-kilter idea improving the overall effect of the album. Some artists experiment for the sake of experimenting, and even use this to hide their actual lack of originality, with the only result being music that is nigh impossible to make any sense of.
Jaden is not one of these artists. Admittedly, it could be argued that his auto-tuned, emo rap style is heavily derivative of Kid Cudi and Travis Scott. There are definitely moments, particularly when rapping alongside Cudi on ‘On My Own’, where it is apparent where Jaden gets a lot of his inspiration from. His outlandish, self-assured antics coupled with the twitchy, euphoric nature of some ‘ERYS’ tracks provoke easy comparisons with Kanye West. Equally, Jaden’s move to regularly opt for soul-baring laments over braggadocious bars could render him a student of the Drake school of Hip Hop.
But what is this really to say? Quite frankly, 80% of rappers in today’s charts have drawn stylistic influences from at least one of Kid Cudi, Kanye and Drake. Jaden is in his own lane, and that lane sounds pretty darn good.
Some artists experiment for the sake of experimenting...Jaden is not one of these artists
The Fan: My favourite three rappers are undoubtedly Kanye, Travis Scott and Drake, so to see Jaden combining numerous strands of these artists’ styles, and then putting his own stamp on the resulting concoction obviously plays right into my hands (or my ears, I guess…).
I love experimentation in rap, but often artists such as Tyler, the Creator, Daniel Caesar and Frank Ocean are a little too introspective and cryptic for me to really get on their wavelength.
I feel like Jaden strikes the perfect balance here between being innovative and being intelligible to the listener. Oh, and there’s also the small matter of it sounding awesome - you can turn up to the electric, hard-hitting rhymes of some songs, and then wallow in the fragile sorrow of other tracks.
Standout Track: ‘Summertime in Paris’
Hidden Diamond: ‘K’
Yours sincerely, but not too seriously,
I don’t know about you, but whenever I listen to new music, there are two voices in my head.
Considering there is usually just the one, and that one voice is more often than not preoccupied with repeating the phrase ‘I’m hungry’ all day, this struck me as odd.
When I’m there with my headphones or speaker playing out the latest track from a hip hop heavyweight, or perhaps a country megastar, the first voice is always my initial reaction.
This is ‘The Fan’ in me, who is a sucker for an electrifying beat and a blistering hook.
Preferably, if it’s hip hop, I like a good helping of auto-tuned emo-rap, or if it’s something more poppy or country, then just a simple earworm of a chorus and some warm, nostalgic lyrics will do the job nicely. ‘The Fan’ knows exactly what he likes, and can usually tell within the first few lines of a song whether it fits the bill or not.
Then there’s the second voice - ‘The Critic’.
Obviously in running this blog, and in having worked as Music Editor for various student newspapers, if I let ‘The Fan’ do all the talking, then it would result in some very biased reviews. ‘The Critic’ is that voice inside us that we all have whenever we make a decision or judgement call. It’s the voice that coughs a little disapproving ‘ahem’ whenever we reach for that tenth chocolate bar, or that sighs as we opt to watch yet another episode of Black Mirror instead of working on that essay due in for tomorrow.
It might seem strange that this voice pops up when I’m listening to music, as surely there is no real right or wrong in terms of what we listen to - if you enjoy it, go for it, if you don’t, then feel free to steer clear, right? But donning the prestigious title of ‘Music Writer’ (I swear they should give me some letters after my name for that) generally means adhering to the assumption that there is some objective standard of which music is good and which is not so good. Otherwise, why should anyone take any notice as to whether the New York Times’ top Music Writer says a new album is great, or that it’s terrible?
Having said this, personally I think music is clearly subjective, and I think most would agree with this. How else can you explain the fervent adulation given by some fanbases to Kanye West, and of others to AC/DC? Of course, certain artists such as The Beatles or Elvis Presley are generally accepted to have made ‘good music’, and few would contend with this.
So it’s a bit of a murky picture - which voice should I listen to more? ‘The Fan’ who immediately streams anything that Travis Scott so much as breathes on, or ‘The Critic’, who hears ‘The Fan’’s snap judgment, but asks, ‘You might like it, but is it actually good?’
So from now on I’m going to split some of my reviews into two sections. The first part will be ‘The Critic’ speaking, and will generally be how I would go to write a standard article. The second part will be space for ‘The Fan’ to let his opinions run wild.
I’ll leave it up to you to decide whose tastes you prefer, and whether we should generally listen to ‘The Fan’ within us, or ‘The Critic’…
Stay tuned for my next review, on Jaden’s ‘ERYS’, which will be posted in the next few days.
Yours sincerely, but not too seriously,
This morning Ed dropped the album we’ve been waiting on since ‘I Don’t Care’ with Justin Bieber set up camp at number one. There was an incredible amount of hype and promo, something Ed usually doubles down on, letting the music do the talking. Did this and the star studded line up mean Ed was finally succumbing to the temptations of being a more commercial, and less authentic artist?
Well rest assured you can suspend any worries about this being an album merely riding a wave of publicity - in fact, suspend all worries altogether. Just sit back, relax, and embrace the hits. Because that’s what this album is, it’s basically 15 number ones jam-packed into a single project.
I’ll be surprised if ‘South of the Border’, which features Camilla Cabello and Cardi B, isn’t atop the charts come the end of the day. Yes, this could probably happen on the basis of the star-studded credits alone, but don’t let this take away from how good a song this is. It’s an ear worm that will wriggle its way in and stay there for the whole day. All the tracks on this project are Ed Sheeran masterclasses in how to write the perfect hit song - and apparently, there are 15 different ways to do this.
‘Antisocial’ is a personal favourite, with Ed’s golden melodies combining forces with Travis Scott’s mercurial rhrymes, producing an alloy that is somehow both icy cold and blisteringly hot at the same time. This was confirmed to be the next single, and the hilarious video dropped earlier today.
This project is eclectically beautiful
Despite all the glitz and glamour of the cast-list, there is a refreshing theme of rejecting fame’s traditional values. On ‘Beautiful People’, Ed presents the Hollywood lifestyle in a negative light, crooning ‘Pre-nups and broken homes/Surrounded, but still alone/Let’s leave the party’. Similarly, on ‘I Don’t Care’, he muses, ‘Don’t think I fit in at this party/Everyone’s got so much to say’.
I listened to this expecting a reel of hits, and to some extent that is what I got. However there is definitely a darker undertone that is threaded through the bouncy tracks, covering themes of insecurity and loneliness that one perhaps wouldn’t assume the world-dominating Ed Sheeran would struggle with. This is what makes it all the more moving though, with ‘Best Part of Me’ with YEBBA being an emotional highlight. He confesses, ‘I bite my nails and tell the truth, I go from thin to overweight/Day to day it fluctuates’, before asking his lover, ‘Why the hell do you love me? ‘Cause I don’t even love myself’.
Ed has obviously had his fair share of touching, soul-baring tracks in the past, such as ‘Lego House’ and ‘Small Bump’. But now that he is more associated with the upbeat party-starters, epitomised by his more recent hits ‘Sing’, ‘Shape of You’ and ‘Galway Girl’, the open fragility on this album is accentuated. This project is eclectically beautiful, making you want to jump up and dance one minute, then the next minute it has you reaching for a box of tissues.
‘Remember the Name’ is an old school Hip Hop anthem, with Ed Sheeran excitedly professing his wish for a song with 50 Cent and Eminem in the first verse. What follows? A song with 50 Cent and Eminem, and an instant classic at that.
Hip Hop and R&B weave in and out of the album, and compliment Ed Sheeran’s energetic vocals brilliantly. On ‘Take Me Back to London’, the UK hit maker shows off his rapping skills, going bar for bar with London’s primary grime export, Stormzy. His lightning quick rhymes and witty lyrics put the mumble rapping Lil Pumps and Lil Uzis of today’s charts to shame.
But what’s great about this album is it doesn’t feel like Ed is in competition with anyone, nor has anything to prove. It feels totally free, and plays like a passion project that he genuinely really wanted to make. The interviews he’s done suggest the ‘No.6 Collaborations Project’ is just that. It’s Ed and his friends doing what they love - making music.
I guess it’s fortunate for us listeners (and for his record label) that Ed Sheeran’s friendship circle happens to resemble an illustrious musical pantheon. Commercial success aside, this is easily one of my favourite Ed Sheeran albums already, and it’s only been out for a few hours. On it, he reminds us why he is not only the best hit maker out there right now, but that he is also the best emoter and storyteller.
Stream Ed Sheeran's new album on all services, or purchase the CD below
this article was originally published at phaser.com
Posthumous albums are always a tricky business. It is so difficult to get the sentiment right, to make sure the intentions are clearly to honour the artist, and not just to achieve material gain. There is even a question as to whether this music should be released at all.
It is clear from reading interviews with the likes of Vargas & Lagola, Aloe Blacc, and Carl Falk, all of whom worked together to complete Avicii’s TIM, just how much they cared about their late Swedish superstar and friend. Songs from TIM are difficult to listen to now, they say, and the nature of the songs on the new album make it evident why this is so.
It would be easy to read TIM as heavily foreshadowing the DJ’s passing. It is pervaded by darkness, with the first track, ‘Peace of Mind’, opening with the lyrics,
Bad Reputation tells the tragic story of someone hiding their depression (“I don't want to be seen in this shape I'm in/I don't want you to see how depressed I've been”), while ‘SOS’ pleads for a lover to come save them from their insomnia (“I get robbed of all my sleep/As my thoughts begin to bleed”).
Having said this, it’s strange reading through the lyrics of TIM, because on the basis of them alone it’s hard to view the album as anything but a suicide note from Avicii. However, listening to the album is an entirely different experience. The melodies are often tinged with sadness, and Carl Falk explains that Avicii would combine major and minor chords in the same line, the latter giving the songs a feeling of wistfulness. But there is an energy about each track, a sense that Avicii hadn’t lost his feeling of wonder and inspiration that shines through so prominently on his Stories hit, ‘The Nights’.
‘Never Leave Me’ is a boisterous, euphoric ode to a loved one, continuing the theme from SOS with the lyrics,
She knows how I’m feeling,
'Heaven’, his collaboration with Chris Martin, is undoubtedly the standout track, and one that fans have been waiting for since it was teased in 2014. It is overwhelmingly uplifting and positive, and initially it seems a little odd that it is positioned as the second track on TIM, as it could have provided a concluding note of happiness as the album closer. But then you remember the most tragic aspect of this album - it’s a tribute to a story that didn’t end happily.
The track that was chosen to finish TIM, ‘Fades Away’, epitomises how perfectly the sentiment of the album was judged. It references the ‘troubled times’ and the ‘trials to find somewhere we belong’ that have coloured the preceding eleven songs, but ends on a note of optimism,
All I know is that with you I’m moving on
This album carries such an emotional weight with it, that it was always going to be tough to find the balance between tones of positivity and regret. TIM finds this middle ground in a way that few other posthumous albums succeed in doing, and in my view, this is Avicii’s best work to date. His collaborators spoke with sadness about how it felt like he was on the brink of something massive musically, and how he would never get to execute this vision. TIM is as close as we can get to the perfect tribute, and the perfect reminder of how influential and talented Avicii was.
I think it is easy to underestimate the impact Avicii has had on music, and people, around the world. The testimonial message board on his website is evidence of this, with tributes being posted from a whole range of nationalities - there are few artists whose music has touched so many people. We all remember when ‘Levels’ broke into the charts back in 2011, and essentially set the tempo for a decade that would be dominated by House/Pop fusions from EDM titans such as Calvin Harris, David Guetta, Martin Garrix and The Chainsmokers. Avicii’s crossovers into Folk, Rock and Country music broke down genre walls and introduced many new artists to fans that would not normally be interested in these kinds of music.
On a more personal note, it seems apt that I’m writing this review in the lead-up to Father’s Day. Zac Brown Band is my father and I’s favourite band, and we always have one of their CDs loaded into the car stereo, ready for our road trip sing-a-longs. The paths of our music tastes don’t often meet, but this is a great instance where we can really share our love of music with one another. And the only reason I ever heard about Zac Brown Band, was because they were featured on the Avicii song ‘Broken Arrows’, and I thought hey, why not give them a try.
Equally, I remember playing my dad Avicii’s ‘The Nights’, and he fell in love with the carpe diem spirit of the hook,
He said, one day you’ll leave this world behind,
Before any big event in my life, my dad will still text me the words, ‘Remember, these are the nights!’, just as a reminder to make the most of every moment. It seems a bit trivial to call an EDM song my favourite song, but because of the meaning associated with it, ‘The Nights’ is definitely up there for me.
Avicii has had a much bigger impact on me that I would have ever imagined. While the album is heavily tinged with grief, TIM is also the perfect celebration of Avicii’s talent in creating music that resonates with his listeners. Despite the pained lyrics and the tragic context, TIM has at its heart the message Avicii always tried his best to convey - one of hope.
Get this amazing album on CD or Vinyl below
Originally published at phaser.com
There is a unique quality that only the upper, upper echelon of artists ever have. I’m not talking about the way their melodies are strung together, the way their charisma shines through on the track, or the way their lyrics shake you to your core. Of course, these are qualities that great artists possess. But only a handful of artists reach a point in their career where you don’t listen to see if the album or single is any good. You know it’s going to be good, so you just relax, and enjoy it.
Surprisingly, not many of today’s musical icons seem to possess this quality. Drake, who keeps breaking record after record after record, even ones held by The Beatles, still brings out an album to hesitant ears. ‘Will it be as good as the last one?’, they ask. The same is true of Ariana Grande, Taylor Swift, Post Malone - most of today’s musical heavyweights still turn up with a sense of something to prove.
Ed Sheeran literally has nothing to prove. Every album he’s ever brought out has been a smash hit, and every single he drops is draped with a VIP pass to Number One before anyone’s even listened to it. A significant number of your favourite songs were probably written by him, with his writing credits stretching all the way from The Weeknd to One Direction via Justin Bieber. And what’s more, he seems like the nicest guy to set foot in the music industry.
He recently announced his upcoming No.6 Collaborations Project, following on from the No.5 that he released before he’d even been signed to a label. The two lead singles feature Justin Bieber, Chance the Rapper and PnB Rock, and are - surprise surprise - currently sitting on top of the charts. Like I said, Ed Sheeran is one of those artists you can’t help but sit back and appreciate. He said he had a bucket list of artists he really wanted to work with, so that’s what he’s going to do. And why not? He’s one of the most successful artists of all time, so why not tick off those collaborations he’s been wishing for. What do you have left to strive for when you’re the best? In Ed Sheeran’s book, it’s to simply enjoy yourself.
This album should definitely be regarded as a complete love project, with Ed simply following his heart and working with the people he genuinely wants to work with, and not just names on a list handed to him by his record label. However, while we shouldn’t overanalyse it, it could also end up being one of his most interesting albums yet. The only slight criticism that people can possibly muster against Halifax’s most prized export, is that his music is at times a little derivative. Chance the Rapper and PnB Rock are certainly not features we could ever expect on a ‘standard’ Ed Sheeran album, so maybe this is his way of answering that final question as to how versatile he really is?
To be honest, I really don’t think this has crossed his mind. No.6 looks set to simply be a fun, eclectic journey through a whole host of musical styles and genres, one that is enjoyed just as much by the artist as it is by the listener. Who can we expect on the guest-list? Ed has made no secret of his love for Hip Hop, with the ‘favourite song’ referenced in the go-to wedding track of this generation, ‘Perfect’, being revealed to be Future’s hard-hitting gangster anthem ‘March Madness’. He also worked with Future on Taylor Swift’s ‘End Game’, so an appearance from the Atlanta rapper can perhaps be presumed. Travis Scott is almost certainly on there too, with a collaboration between Scott and Sheeran leaking earlier this year, and judging by the lyrics, seems to be Track 7 on the project, called ‘Antisocial’. There will undoubtedly be some curveballs thrown at us, but all the more reason to look forward to No. 6’s release.
This is a guy at the peak of his powers, nothing to prove, and just enjoying the artistic freedom his success has brought about. Is there any pressure on Ed Sheeran to deliver us another blockbusting, record-breaking smash hit of an album? 100% not.
But are we expecting one? Absolutely.
No. 6 Collaborations Project is out on July 12th, and is available to Pre-Add on all streaming platforms now.
Shorter version of this interview published at phaser.com
Exciting new R&B duo THEMXXNLIGHT, comprising of identical twins Akash and Krish Chandani, made waves in the music industry when Wiz Khalifa featured them on three tracks off his 2018 album, Rolling Papers 2. On 20th April, a few hours after the release of a new Wiz Khalifa album, which contains two more THEMXXNLIGHT features, I sat down to chat with the 22-year olds about what’s been an unforgettable year for them...
Well, this is really the perfect time to talk to you guys, because you’ve pretty much come full circle! This time last year, Wiz Khalifa had you all over Rolling Papers 2, and then just today his latest project, Fly Times, Vol. 1: The Good Fly Young, drops and you have a big presence on it once again. How are you guys feeling after such an amazing year?
“We’re feeling good, it’s pretty crazy. The feedback last time was similar, but they were mainly newer people that never knew about us. This time it was more like, ‘You did it once again!’”
How was the process different this time around, working with Wiz a year on?
“Well, the first time was through Sledgen [Taylor Gang’s in-house producer]. We had about eight songs, he probably just took three of them for the album. This time we actually went to Club Nightingale in LA, and then Wiz comes up to us and says, ‘Yo I need you to come to my house to record.’ We go to his house, and then we’re there for like twelve hours, we record like five songs, some with Chevy Woods. It was crazy because that was the first time in the studio with him. He was writing his verses in front of us. We just wrote something for the hooks pretty fast, just recorded it, both songs were on repeat the whole time. It was really different, a lot of the Taylor Gang were there, it felt like more of a family.”
Could you clarify, because there’s been a lot of speculation online, are you signed to the Taylor Gang label, or are you still independent?
“No, we’re not signed to Taylor Gang, but we are signed to Will Dzombak, who’s the CEO and founder of Taylor Gang Entertainment. He’s also Wiz’ manager”
There’s a new EP, XX, on the way, as well as the full length album, MOOD. Any word on when we can expect those to drop?
“XX is going to be first, we want to drop that in the next couple of months. Then MOOD will hopefully come out later in the year.”
I wanted to ask you about the origin of your name, THEMXXNLIGHT, and the reasoning behind switching the O’s out for X’s.
“So in Hindi our last name means ‘the moonlight’. And then we just felt spelling it with the X’s made it more mysterious, as well as being symbolic of us being twins.”
A year before you secured the Rolling Papers 2 features, you were recording in your dorm room on the 2004 version of GarageBand. I wish it could make me sound like that! Have you upgraded your kit since then?
“(laughing) No! It’s still hella old, a really, really old version of GarageBand. I think it’s the 2007 version.”
You rejected offers to play basketball at MIT and California State, and instead ended up graduating from RPI in New York with an engineering degree. A lot of readers will be at that point in their lives where they are having to choose between what they’re being told they’re supposed to do, i.e. get a degree, get a Masters, get a secure job, etc., and their hobbies. What made you take that leap of faith and opt for music over engineering and sport?
“That’s a good question! Somehow it worked out perfectly with the timing. At first, we imagined we’d play basketball for four years while doing our degrees. But within the first two or three months, we just didn’t feel a connection with the coach. It was a new coach, as the coach that recruited us had left. So we decided to drop from the team. Initially, we just made songs for fun, but by the tenth song, Wiz discovered us! That was two and a half years into making music. We graduated, then Rolling Papers 2 dropped in July. So it didn’t really involve any leap of faith before then, it was after that album released that our parents were like, ‘Ok, you can take some time away and focus on music’. It was a family decision, it wasn’t a rebellious, 'We’re running away from home’ kind of thing. Our parents said, ‘We’ll support you, and you guys can pursue this, and see how it goes’.
You’ve spoken in the past about how your sound has been heavily influenced by one of your favourite artists, The Weeknd. What drew you to his style of R&B?
“In high school, we were kind of shower singers. We always took instrumental lessons, but we were never trained vocally, and we still haven’t been, even though we do want to be. We were kind of singing around campus, and then we first heard ‘The Zone’ by The Weeknd one morning before getting dropped off at school. We just thought, ‘Yo, he sounds super unique, he sounds like an angel.’ He’s Ethiopian too, and his music actually has close tie-ins with Indian music, so immediately we felt very accustomed to his sound. We did a few The Weeknd covers and put them out on Soundcloud. They got shared by a couple of OVO and The Weeknd fan pages. It was crazy, it felt like our idols were slowly turning into our reality.”
Speaking of Drake’s OVO label, you recently shared a photo with Roy Woods on your Instagram. What features can we expect from the upcoming EP and album?
So we have one song with Chevy Woods, that’s going to be on his album in the summer, we can’t say what it’s called just yet. Then for our own projects, yeah, we have Roy Woods and Ye Ali. We've also worked with Megan Thee Stallion, she hit us up after the Wiz songs. She sent us a song which had two verses, but the hooks were blank. We recorded something, and she replied saying, ‘Yo, my mum loves it, my whole team loves it’. To be on her album would be a major honour, she’s an amazing female artist doing great things right now. Also TM88 is producing his album sometime this year, we have a song on there that’s co-produced by Sledgren. Also, Roy Woods has a full EP in the works. We have a collab project with him too that we’re excited about.”
Wow, so a lot to look forward to! I wanted to talk to you about your Indian heritage, and how big a part that plays in your music.
“It definitely plays a big part. Jay Sean inspired us a lot, it feels like the entire world still doesn’t know he’s British Indian. Obviously, NAV with XO, signed to The Weeknd, we would love to be a part of that. It’s clear that The Weeknd supports artists no matter what their culture is. Him putting on NAV was pretty crazy, and a great step for our community. Again, NAV paved the path for South Asian artists to really make it in genres other than Bollywood music.”
How does it feel to be role models for minority groups pursuing careers in music, particularly Indian Americans, because apart from NAV, there aren’t many in the game at the moment?
“There is a lot of pressure to please the community, because we can’t do a lot of the same things. Obviously there are a lot of drug influences in NAV’s music and videos, his background is more from Rexdale from Toronto. So it’s hard to find the balance for us. Based on feedback from the community, I think we can be good role models. Local high schoolers come up to us like, ‘Yo, you guys are legends, you’re the biggest inspiration for the Indian community’. We wish we’d have had an Indian rapper come to us and say, “Yo, you should pursue music’, then we would have been way more inspired from a younger age. What’s great as well is that people from all over India are also noticing us.”
You mentioned how NAV has the freedom to make a lot of drug references in his music, and modern R&B as a genre definitely contains numerous themes of drug use, with The Weeknd, for example, also following this trend. Do you feel, as artists that are just coming into R&B and are perhaps still seen as outsiders, that there is a pressure on you to conform to these stereotypes of R&B music?
“Yeah, good question. Not really, it’s kind of the theme of R&B to be on a druggy vibe, to put you in a high mood. We don’t feel pressure to do any of that stuff. Obviously singing about it makes sense because that’s the style of music, R&B is typically very sensual. If you want to do drugs, if doing drugs helps you in listening to that kind of music, then we’re not going to judge anyone for what they want to do. But there’s no pressure for us to partake in that. Our music is not heavily drug themed, there are very, very few references to drug abuse. We focus more on passion, and love story type stuff. There are some references, because like I said, it comes with the territory, but generally that’s not what we aim to sing about.”
Finally, for my blog I have this concept called Self-Help Songs, where I pick certain lyrics that people can learn something from, and I thought it could be cool to ask you about some lyrics from one of your newest Wiz features, ‘All For You’. Your chorus reads, “If you need someone to treat you right/If you need someone to talk to, call me/I’ll do anything you like/I wanna do it all for, all for, all for you”. What was the inspiration behind these lines?
“Yeah, so it’s kind of the beat that carried it. We heard it and it had that really reminiscing, slow jam R&B vibe. But we could also imagine Wiz going crazy hard on it. We thought we could make something that pleases both R&B and Rap fans. In terms of what inspired the lyrics, we came up with this story. We were kind of imaging a scenario where one of us was with a girl, maybe taking her around a shopping mall, treating her right kind of thing. Basically it means using your success in the music industry, to give back to your girl, and being unselfish, like ‘Everything I do, I’ll do for you’. Both songs are kind of about greatness, and giving back, and reminiscing.”
Interview by Maxim Mower
Hear THEMXXNLIGHT on Wiz Khalifa’s latest album, Fly Times, Vol.1: The Good Fly Young, and stream their brand new single, ‘Good Things’.
After the immense success of the Migos’ debut album, Culture, and their smash hit 'Bad and Boujee’, you would have thought they’d earned the right to be taken seriously. But they are talked of as something of a novelty, and a lot of people claim their popularity is merely the result of the ease with which they are turned into memes.
This seems a tad unfair, but regardless, the decision for each of the trio to release solo projects this year has provided Quavo, Takeoff and Offset, respectively, with the opportunity to show why they should be held in higher esteem, both collectively and as individual artists. However, Quavo’s solo album was disappointing, lacking the vocal innovation and melody that has made him such a sought-after feature, despite containing a handful of highlights. Takeoff’s project came and went without so much as a ripple in the unusually calm waters of the charts. So the onus was on Offset to redeem the rap group, and prevent critics from scratching their heads and wondering why they ever thought these solo experiments would be worth the risk.
Did he deliver? Well, he definitely succeeds in distancing himself from the typical style of the Migos, as well as the standard subject matter. There seems less self-assurance in Offset’s voice, as for the first time on a Migos album the loud posturing is replaced by hushed honesty. The title track, ‘Father of 4’, sets the mood for the rest of the project. After a very philosophical and perhaps overly poetic intro from Big Rube, Offset spares no time getting on topic - “I was 17 years old when I had you/ Trying to find my soul when I had you”. He names all his children, and unravels the layers of his relationship with them, opening up to the listener about how he perceives his identity as a father. While other rappers have often cited their offspring as their central motivation, these tributes can often sound trite, as the expression of love is enshrouded in trivial lyrics about Gucci belts and diamond chains.
Offset makes it clear this is not going to be one of those albums, with the artist being incredibly candid, often painfully so, about his personal life throughout Father of 4. ‘North Star’ is an emotional wade through Offset’s mental struggles, with the funk-oriented Cee-Lo Green seeming an odd choice at first, but ends up combining well for an outro that adds sentiment to the track. ‘After Dark’ is not catchy at all, but the chorus is uttered so statically that it gives you time to chew over each line, something unusual for Migos tracks, where the verses rattle along at such a speed that there is no time to think, or to stop and digest what is actually being said (albeit it normally not very much). ‘After Dark’ epitomises Offset’s move away from the typical tone and themes of his group.
He balances the melodies well with the quick fire bars that he has become renowned for, but Migos fanatics will inevitably ask where the celebratory anthems and triplet-fuelled explosiveness has gone. The attempts to satisfy this expectation are there, with ‘On Fleek’, ‘Clout’ and ‘Legacy’ all threatening as firecrackers, but ultimately lacking the necessary spark.
On the whole, though, Father of 4 is a pleasantly surprising listen, with Offset removing his Saint Laurent mask and baring his soul to the world, spinning the Migos blueprint on its head. When he rose to stardom and married Cardi B, Offset became one of the golden boys of Hip Hop. On Father of 4, he walks with the 24-carat necklace dangling as a heavy weight on his shoulders, rather than a symbol of his success.
Hey Guys! This is a Guest Post, written by my super-talented best friend,
David Dawson, who's in his final year studying Music at University (so he probably has more of a right to judge music than I do!). Hope you like his piece!
Who remembers the good old days when you would log onto iTunes and buy a song for 99p, or when you’d rip all your cd music onto your Sony Ericsson with the slide up screen to then sit on the back of the bus eagerly Bluetoothing them all to your mates? To say this was still happening less than ten years ago is pretty crazy, especially in comparison with how most of us consume music these days. I am one of the millions of people who pay monthly for the pleasure of accessing all of my favourite tracks in one place and in one convenient app.
I imagine that most of the people who read this will have some use or experience of Apple Music, Spotify or any other streaming service, whether it’s using seven different email addresses to push your 30-day trial to the max, having a free membership at the sacrifice of adverts or paying a full subscription. My question is, should we? Obviously, as a consumer the benefits seem logical, why wouldn’t we want all the music we could think of, and more, all playable from your tinny mobile speaker? Streaming services allow us to access music in a way we have never experienced before, giving us the chance to not only enjoy the same tunes we know and love, but to find new music quicker than ever. Obscure music for me used to mean Track 10 from an album only known for the title song, but with streaming services you can pick yourself a band no one has heard of and shove it in the faces of your mates hoping to get discovery rights - should they hit fame.
So, what is my big issue with streaming? Well, it’s not exactly a secret, thanks to Taylor Swift and Jay-Z, that artists don’t get much money from streams. In fact, one single stream normally amounts to a fraction of a fraction of a penny being paid out to the artist. Of that tiny pie, the record label eats most of the good stuff, leaving only the accidental fruit seed and that little bit that got dropped on the floor for the artists. A look into the proper figures would tell us that labels actually do pretty well from our extensive use of streaming, with the three major labels making a combined $6.93 billion in 2018, and that this is up ten per cent from the figure in 2017 and will probably rise again for 2019. This for me causes an issue with our perception, as we all know a tiny piece of a near $7 billion dollar-sized pie is actually pretty big, but does that make it fair?
When Taylor Swift decided to effectively boycott streaming services, removing her music initially in 2012 and refusing to release her new album at the time, Red, on their services, I, as I imagine many people did, scoffed at the news. The thought of someone like Taylor Swift complaining about how much she was being paid seemed almost laughable to me, and I certainly wasn’t going to make a wooden sign and start marching in her support.
But should we have all done more to get on her side? Yes, Taylor Swift doesn’t exactly need more money, but the reality is that streaming services don’t get artists the money they deserve for the hard work they put into their music, and this is what she was protesting. Whatever job you do, and however much you earn, I’d say it’s fair for anyone to ask for an acceptable amount of payment. Of course, Taylor was brought around once some terms were put in place, but the picture hasn’t much changed since.
The issue for me seems to be that streaming services have the monopoly. Even for a huge artist, if your music is not on all the major streaming sites it is a fact that the exposure you and your music gains will be smaller, and as streaming counts for charts these days, your chances of hitting higher in the Top 40 is significantly reduced. This still may be hard for most people to relate to, so the issue I would raise, and the main issue as far as I am concerned, is how this affects smaller artists and new music. Being a user of Spotify I know how great it is for discovering new music, as is Apple Music and other streaming services. I can easily find playlists to match my exact needs or mood, or that fit into a particular genre that I enjoy, and within these playlists, while I may find some of my old favourites there is almost always one or two new tunes that really catch my attention. Therefore, for an artist that is just starting out, or even on the way up, is not being on the popular streaming services really an option? The priority for these artists at this stage is obviously to gain as much exposure as they possibly can and to find an audience for their music, which streaming allows.
However, artists like this often don’t have huge backings of record labels and to continue recording music and trying to expand revenue is a requirement. When we consider these artists, instead of millionaire popstars, we start to realise how unfair payments for music are a big issue, which is why I questioned whether we should have offered more support, or at least approval, when Swift tried to make a point. Similarly to how Swift threw her own weight around to make some progress, other larger artists are actually able to use their popularity and streaming figures to negotiate more favourable terms for themselves. However, this is a luxury that smaller artists do not enjoy, meaning that while established and rich artists may be able to make some extra money, those with smaller followings and less financial backing are only able to make the minimum, supporting that age old saying about the rich getting richer whilst the poor get poorer.
Jay-Z was another big name who recognised the injustice, setting up his own streaming site, Tidal, and moving all his music across. Despite Tidal paying more, it is still significantly small amounts per stream, which still means that artists would have to get thousands of listeners to make any significant amount, which for most artists starting out is not a reality.
The ultimate point that I am trying to make, therefore, is that as much as we use or enjoy streaming services, maybe we should have been marching with Taylor and supporting the progress she was trying to make, and that now we should still be scrutinising these big streaming services and trying to generate change. As was the problem with Swift’s actions, it is hard to get people to empathise or sympathise with a millionaire expecting more money. But I would emphasise to people that no matter what their vocation or salary, if they were not paid a fair amount for their honest labour, they too would feel a lack of justice, and that when we consider the smaller artists attempting to make a career for themselves, is it fair that they have to accept tiny payments in exchange for their exposure and advancement? After all, there would be little point in having a great platform to enjoy music on, if there was no new music for us to enjoy.
Lyric of the Week - Florida Georgia Line, People Are Different
"Slip on a pair of another man's shoes
You'll see by the time you get back
This old world would be a whole lot better place
If we'd all just embrace the fact
That people are different"
The country duo speak the truth. If anything, it's sad they even have to say it, but in this odd world where we still seem to struggle to accept one another, you can't blame them for re-iterating. A similar theme was covered in my Self Help Songs post on 6lack's Switch - check it out here.
Album Cover of the Week - Dave, Psychodrama
An album cover of a guy with his head set on fire? Yawn, seen it all before. But an album cover of a guy with his head set on blue fire? THAT. IS. AWESOME. For those of you wanting depth, you'd better move swiftly onto Song Title of the Week, because I chose Dave's Psychodrama on the basis of one criterion: it looks pretty darn cool. It's quite sparse and basic, but in a minimalist, artsy, electro-future-fire-mutant kind of way. And I like the colour blue.
Song Title of the Week - Drake, Lust for Life
An homage to the great Van Gogh's biography, this title on Drake's recently re-released So Far Gone mixtape is succinct, meaningful and evocative. The fact that this was the career-defining mixtape, one that dropped as Drake stood on the brink of his destiny to become the biggest rapper in the world, only serves to add to the poignance. Drake eventually got the life he so publicly lusted after - just maybe not the woman (but what was there not to love, Nicki?).
Music Video of the Week -
James Blake- Mile High (feat. Travis Scott and Metro Boomin)
Trippy and, perhaps a little guilty of self-indulgence, but nonetheless it's fun to watch, and matches the mood of the track perfectly. The video starts with Travis Scott's confused face disappearing into a tunnel of blackness as he tries to wake Blake up, before we become immersed in the UK artist's mind, which, spoiler alert, exclusively features himself and Travis Scott swirling around aimlessly. Hey, I'm not judging, 'aimless thoughts' sounds a lot like the inside of my mind. Like I said, the video's a tad over-the-top, but maybe that's what makes it so entertaining.
So these are my Aesthetics of the Week! Feel free to let me know of any good lyrics, titles, covers or videos I may have missed...
Yours sincerely, but not too seriously,
P.S. If you're looking to buy the Aesthetics of the Week:
There was a time when an offer to perform on the Grammys stage was one of the most coveted honours in music, where if the Grammys adjudicators deemed you an artist worthy of showcasing, then you’d made it. It was the seal of approval most musicians pined for.
But today’s awards ceremony is very different to how it once was. Two of the biggest artists of the day, Kendrick Lamar and Drake, both rejected opportunities to perform; Song of the Year and Music Video of the Year winner Childish Gambino didn’t turn up; and neither did the industry’s power couple Jay-Z and Beyoncé.
Notably, most of the artists that continually turn their noses up at the Grammys operate in the Hip Hop arena. This is partly because the genre has quickly become the biggest in the US, with Nielsen Music’s report suggesting 8 out of the 10 most streamed artists in the world are rappers. However, this surge has arguably not been mirrored by the genre’s award tallies, with the Grammys coming under fire for its problem acknowledging artists of colour, as well as consistently under-representing women. Clear attempts were made this year to shine the spotlight on female artists, with Kacey Musgraves winning Best Album and Dua Lipa winning Best New Artist.
But Hip Hop continued its troubled relationship with the industry’s most prestigious awards ceremony, with the biggest incident of the night arriving during Drake’s acceptance speech for Best Song. Instead of thanking the adjudicators (whoever those mysterious people are) for choosing ‘God’s Plan’ as the winner, he criticised the very existence of the Grammys. He addressed the crowd, “I want to let you know we're playing in an opinion-based sport, not a factual-based sport”, before elaborating, “Look, if there's people who have regular jobs who are coming out in the rain, in the snow, spending their hard earned money to buy tickets to come to your shows, you don't need this right here. I promise you, you already won.”
Half of this speech was ‘accidentally’ cut off, so that viewers didn’t get to see it, but it seems like Drake had a point. Although it may appear a little paradoxical for a music critic to claim that we are wrong to judge music, I think the Canadian rapper is right in that we cannot really take an objective approach, and the eclecticism that expresses itself through people’s music tastes highlights this. You’d be hard-pressed to sit a Heavy Metal fanatic opposite a Jazz connoisseur and get them to agree as to which is the ‘better’ form of art. By the same token, it seems futile for some unbiased umpire to conclude Jazz as superior to Heavy Metal, or vice versa. They’re just different, not necessarily better or worse. You could argue that the charts are this independent referee, so to speak, as the more popular a song is, the better it must be. But how come critics so frequently give an album a very bleak review, yet it subsequently leaps to number one in the charts? Whose opinion should we trust more? We can only really talk in terms of preference, rather than quality, and this is the notion Drake was trying to convey.
Can we compare Travis Scott’s Sicko Mode to Mozart’s 21st Symphony? Can we rate Tracey Emin’s ‘Unmade Bed’ higher or lower than Dali’s ‘Lobster Telephone’? Can we even judge songs within the same genre to be better than others, or is it always going to be a matter of personal palate? Some Hip Hop heads might be obsessed with the Migos, while others will complain they are garbage compared to the old guard of 2pac and the Notorious B.I.G.
So really, who are the Grammys to say that Childish Gambino had a ‘better’ song than Lady Gaga, or Shawn Mendes? How can they profess such insight as to be able to do what nobody else seems able to do, and rank music, not only within genres, but across genres. Perhaps Drake summed it up perfectly in saying, "This is a business where sometimes it's up to a bunch of people who might not understand what a mixed race kid from Canada has to say or a fly Spanish girl from New York or anybody else, or a brother from Houston right there, my brother Travis [Scott]. But my point is you've already won if you have people singing your songs word for word, if you're a hero in your hometown.”
Music is made for the public and for the fans, it’s not aimed at critics or Grammys adjudicators. By the same token, for me to talk of ‘good music’, it should really just be interchangeable with ‘music that I like’. This isn’t a fact-based sport, it’s an opinion-based one - your playlist is your pantheon of Grammy winners.
So I guess that leaves me awarding Travis Scott the Best Metal Performance, Drake the Best New Age Album, and Future the Best Jazz Vocal Album. Who knew Hip Hop was so versatile?
Yours sincerely, but not too seriously,
Hello! I'm currently studying Philosophy & Theology at Oxford University, UK. Having always loved writing and music in equal measure, and having always hated decision-making, I figured hey, why do I need to choose between the two?
Music Merchandise of the Week: