It’s tough to believe that this is Simz’s 9th album (4th on a major label). Maybe it’s a sign of my age, but she seems like new artist to me in some ways. Perhaps because unlike the rest of the This Is Not Happen pod members I’ve never clicked with her albums, akin to drop in and out and champion the singles that click with me (note I think Boss from Simz’s Grey Area album is one of the best British songs in the last ten years). So why am I not a huge fan of her albums? Largely as a hip hop fan I’ve found her delivery lacking substance and emotion often. So why have a picked this album? In short I think she’s turned a corner for me. All niggles I’ve had previously have been pushed away with the release for Lotus.
Although I may have had issues with previous albums I’m never doubted the talent of Simz’s. Both musically and also her acting has made her a household name throughout the UK and a shining light within the UK music scene. Very much a veteran artist that continues to collect global momentum with each release, Simz delivers a versatile, well curated 49 minute end to end. Filled with emotion and confidence each song is an adventure.
Many reviews of Lotus have focussed on her public fallout with long time friend and collaborator Inflo, Friends since she was 9 years old, their came to a hard stop over publicly disputed loan of £2m that Simz lent Inflo which wasn’t paid back. The frustration, hurt and betrayal of this is weaved throughout the album starting off with the first track Thief and finished with Blue (featuring Info collaborator Michael Kiwanuka). Although this is a standout theme on a handful of songs, it’s not the only theme of the album. There is so much more to the album to go at and focus on as she touches on everything in her world.
One interesting point is that Simz hasn’t pushed her sound in a different direction due to the split. Perhaps planting her flag to the sound we know Info for and that is as much hers as his, there are familiar sounds we have got to know both of them for highlighting their sound is much as Simz as Inflo.
Simz largely leans on collaboration throughout this album with 8 of the 13 songs featuring other artists. A theme common for hip hop albums, but interestingly the guests push this album away from hip hop and expands its accessibility through a versatile selection of guests. I’m not sure you would even call this a hip hop album? What is certain is that the additional help creates a rounded offering.
Currently Lion is my favourite track. The cross over friendly sounds comfort Simz in a close to perfect flow. It may be my song of the summer. The album sadly doesn’t go without a bump. I really struggle with Young…. But I’m trying to let it grow on me.
Simz delivers a rounded, mature and accomplished album with Lotus. For me her best release to date. I’m now in the Simz camp, and if you aren’t it’s time to take a step inside.
This month we delve into the latest release from Brother Ali, an artist that has become a mainstay on the pod over the last few years and is finally getting the love he deserves as we visit his new album Satisfied Soul.
Brother Ali has been a jewel in the indie hop hop scene for over 20 years. Although always on my radar, his music only started to become a big part of my world just over 10 years ago and to the pod a few years ago when we discussed his track Sensative on spin it or bin it. His back catalogue is impressive, and essential listening (for a quick intro you can find a playlist here).
Ali is a far cry from your stereo typical hip hop artist. Born a caucasian albino, Ali felt he was more excepted by his black classmates growing up. Influenced by hip hop since a young age, he discovered Islam through a conversation with KRS One in his teens and credits him largely for the journey that later lead him to converting (this is mentioned on the album). Someone once said to me that they thought Brother Ali was misunderstood which is polarising for his music. I completely disagree with that. I can’t think of an artist that is more certain and eloquently puts across his views on his spirituality, morals, politics and his love of hip hop better than Brother Ali. It’s because of that some find his music polarising. Following up on the largely ignored 2024 release Love & Service (Ali has stated it was blocked for it’s political messages), Ali is firmly in his purple patch. Partnering with longtime collaborator Ant, the two make their debut on the exceptional hip hop label Mellow Music.
Breaking the mould of what we often think is the perfect album length, Satisfied Soul almost doubles it with a hefty 17 tracks spanning over 57 minutes. Though this comment may haunt me, I think they’ve pulled it off. Ali and Ant’s navigation of wholesome, soul drenched hip hop is a pleasure.
This album is a mixed bag of emotions; it’s serious, it’s lighthearted, it’s reflective, it’s a prevision, it’s spiritually inclusive. Ali is a confident storyteller, a hip hop journeyman that emits a mature self confidence that is infectious. Ant has created a musical curation perfect for the 17 track journey. From pure hip hop gems like Deep Cuts and The Counts to the lighthearted stories shared in Two Dudes there is a lot to go at and enough variation to keep you hooked.
To be an artist that’s career spans over 20 years is tough. How do you stay relevant? How do you keep connected to your audience? Based on this collection, you could argue that personal evolution and honestly between yourself and your audience is the trick.
Satisfied Soul has lived up to the high expectations that were set after hearing the initial EP at the back end of 2024. I look forward to hearting your thoughts….
This month we’re delving into Common and Pete Rock’s The Auditorium Vol. 1. There have been times throughout history that the human race didn’t know how much we actually needed certain super combinations (individually doing well on their own, but even better with the perfect match). Salt & pepper, fish & chips, milk & cookies, David & striped t-shirts.
Much like the aforementioned, both Pete Rock and Common have had long heralded music careers spanning over 30 years which individually are eye watering. Both have had multi generational successes in the underground and mainstream. From Pete Rock’s historic track T.R.O.Y. (They Reminisce Over You), production with Nas on Illmatic, Run DMC, House of Pain, and Kendrick Lemar there is a constant Pete Rock essence throughout music culture constantly. Common has released 15 albums to date. A mainstay within the (new) native tongues, Common has been a long time collaborator with the likes of De La Soul, Tribe Called Quest, Talib Kweli, Black thought, etc. whilst also maintaining muse stature of some of the best producers in hip hop; No ID, J Dilla, Kanye and of course Pete Rock. You can add three Grammy Awards, and Academy Award a Primetime Emmy Awards and Golden Globe Award to his achievements (did I mention he is also a pretty good actor?)…..Whilst writing this I wonder to myself if these two need any introductions at all?
Not resting on their laurels, they continue a steady output of creativity within hip hop and beyond. If you want some insight to the history of both Common and Pete Rock and their respective parts within hip hop’s story I encourage you to listen to them on Drink Champs (though you’ll need a spare 4 hours), it’s not only entertaining but mind blowing how involved they are within the cultures history. One key thing that shines through in the interview is not only each artist’s deep history within hip hop, but their love of the music and the culture. This is evident throughout The Auditorium Vol. 1.
As you can imagine, there was a lot of buzz in the build up to the albums’ release. Since world of the album broke in late 2023, expectations were high for the project being released from two of hip hop’s most respected sons. Drenched with inspiration from the golden era of hip hop (the 90’s), the album delivers arguably some of the best music both artists have released their heralded careers. Differing from recent hip hop albums we have discussed, this offering isn’t as dense. Pete Rock’s well-orchestrated laid back beats compliment Common’s welcoming narrative flow.
From the get go, all that is good in hip hop shines through on the lead track Dreamin.
There is a lovely sprinkling of soul throughout the album. Tracks like This Man, Fortunate and Now and Then not only compliments Common’s laid back story telling —-(flow)— but also highlights Pete Rock’s sample prose and highlights why he has been long heralded as one of the best beat makers in hip hop for both his production and ear to match the perfect beat with the MC he’s working with. Not forgetting their roots, they delve into the boom bap on tracks like Wise Up, Chi-Town and Stellar, reminding that a strong sample and well executed scratching can be all you need for the perfect hip hop track matched with one of Hip Hop’s most consistent MC’s is a wonderful thing.
A smorgasbord of exception tracks, the stand out for me is All Kind Of Ideas. Sliding in with its subtle bass line and clinical scratch of Rakim’s ‘all kinda ideas’, we’re welcomed by a rare 18 bars from Pete Rock ‘I’m soul brother uno, black from the future. Make beats on the table if I break my computer and still make hits like I used to. Keep your top five, I’m god’s favourite producer’. One for the hip hop heads, the song instantly puts a smile on my face.
Pete Rock & CL Smooth’s T.R.O.Y. is one of my favourite songs of all time, and Common’s Resurrection is one of my favourite albums of all time. There was a high bar for this album in my mind. Has it been met, yes and more. The Auditorium Vol. 1 is super accessible. It’s the kind of album that people that ‘sort’ of like hip hop will love whilst giving everything you want out of a positive conscious hip hop album. Common’s positive lyrics and Pete Rocks refreshing beats have served up an album that is a ray of light. I’m still early into this album, but it’s already one of the stand outs for 2024 for me.
As we’ve discussed for many years; making music is tough, consistently making fantastic music is near impossible. Vampire Weekend’s span has placed well placed albums that have all sounded great and have stood the test of time. Not bad going, nevertheless resulting in high hopes for their latest release ‘Only God Was Above Us’.
Since their debut (2008’s self titled Vampire Weekend) I’ve been a big fan of the band. It was like they were the perfect band for me. With a well balanced mixture of something old, something new, something borrowed and something Paul Simon they filled a gap that was missing. Over their previous four albums they’ve created some of the best songs to dance, sing and not know all the words to over the years. Although a pod favourite, we have only reviewed one Vampire Weekend album previously (2013’s Modern Vampire’s of the City) the love for this band has never been hidden within the ThisIsNotHappening crew.
The initial singles were great, though listening to the album as a whole for me resulted in pure joy and excitement. There’s a well-rounded confidence on this album. The evolution from their first album has been evident through their previous albums. Only God Was Above Us exudes a confidence that they have found the sound they’ve been working towards. Brother David has already (controversially) argued that this may be their best album.
So what’s so good about the album? Each song holds its own for me which says a lot. Classical is a great example of the band’s ever so slight evolution as it tips its’ cap to the experienced ensemble at their best. Creating a welcoming hug of a song that makes you want to dance and sing along like you’ve heard the song a million times before and it’s full of memories. For clarity my wife isn’t fully sold. It’s too screechy for her. I get it what’s she’s saying; but I sort of think it makes the song.
I’ve read a few reviews of this album, and have listened to a few internet audio reviews. They generally have been very good. One unnamed reviewer had issues with The Surfer. He said it let the album down. I disagree. It nicely breaks up the album…. And it’s SO Vampire Weekend. And there it is. This is a band that have their own distinct sound. I get that their influences are vast and obvious at times. But they’ve found a seamless way of navigating through a mish mash of things that shouldn’t work together. With each album this melting pot has been more complex. With this album they seem to have found their purple patch. Connect is a great example of this. What could be a very confusing song is just, well, sonically brilliant.
Whilst previous albums have presented a Riddler like lyric sheet from Ezra Koenig, his lyrics seems less aloof this time around. Not downplaying their content and meaning as there’s a lot to go at. Perhaps his accomplished approach has allowed confidence in more upfront lyrics to communicate his thoughts? Is there anyone that makes talking about mortality, plus his and others emotions so well whilst sounding like he’s having fun?
Each song is a joy to the ears, complimented by seamless programming. Hope is a wonderful album finisher. It’s wall of sound delight. An eight minute wave goodbye (ironically) delving into not trying too hard letting go.
With the exception of their debut album, none of their albums have clicked as quickly as Only God Above Us for me. Currently at #6 on Metacritics best albums of 2024 (at time of writing in mid April), the latest effort from Vampire Weekend has already embedding itself into the hearts of many (me included). It will struggle to stay out of my top 10 for the year. But is the familiar nostalgia enough to tick the rest of your boxes. I look forward to your thoughts.
For the first time in a few years, I’ve struggled to bring a new album to the table from and artists that I have a background with that I want to stand behind. Without naming names, some of who I feel are heavy hitters, have missed the mark over the last few weeks with their new albums. The consequence of this has pushed me into a deep dive into new music, and new artists (at least to me).
The name that kept on coming up was Noname and her latest release ‘Sundail’ that is one of the ‘hot’ names of 2023. In reflection she isn’t completely new to me as previous collaborations with the likes of Chance The Rapper have peppered numerous playlist of mine historically. Upon the release of ‘Sundial’, much was written about her journey to releasing this album and her exhaustion to the realities of being a black artist releasing conscious music. She had previously put new music on hold indefinitely. The guardian sums up her history to date fairly well in this article.
Ahead of doing research on the artist, there’s a lot of value in approaching this album with virgin ears for a listen or two. Few recent albums give you an introduction to what is coming and the artist that is presenting as the first track ‘Black Mirror’. In just over 2 minutes she explains herself better than most of us do in a lifetime. As Kendrick did in the Heart P5 video, this album is as much of a look into the mirror as it is of the world of Noname, which is highlighted by the album cover.
Hip Hop as a genre is vast and ever changing. In what could be argued as it’s most confusing state to date, this album lends us some clarity to modern hip hop. Noname’s razor sharp lyrics hide behind her laidback flow like a wolf in sheep’s clothing. Conscious, astute, boldly honest and the ability to say f-you politely. We spoke on the podcast a few episodes ago about hip hop the hip hop albums of the 90’s that all of us admired. Digable Planets, Arrested Development, Spearhead, Tribe Called Quest, etc. If you like these artists; you’ll love Sundial. It could be argued that if you like PE, NWA and Paris you’ll also appreciate this album. It’s hard to pinpoint who she reminds me of. There are definite touch points to Chicagoan’s Common and Change the Rapper whilst hints of Erykah Badu constantly shine through as well.
The album doesn’t come without controversy. The album features a verse from Jay Electronica who’s opinions have polarised many music fans due to his views on many subjects. Noname’s inclusion of Electronica has ruffled a few feathers. She has been un-apologetic for his appearance. As her indifference to her music appealing to white fans. There is little doubt that Noname uses her platform to share her views. I admit that you find a need to be invested into ‘Sundial’, and at times it can be daunting. Rightfully so, the smooth jazz backing won’t be able to hide the thought-provoking lyrics throughout the album.
Do I relate to all of the album? No. This album wasn’t made for me. In fact I’m most likely the last person she made this album for. Does it make me think? Yes. Am I enjoying it? Yes.
I’m still working my way through, but what I love about this album is that she has created a complicated piece of work that sounds great and will provoke thoughts every time anyone listens to it. I’m looking forward to what you’re thinking….
If you were to ask me what I think is the best hip hop album of all time, after a quick hesitation I would tell you it is Illmatic by Nas. I’ve spent more than 25 years debating this with friends; and this has always been my conclusion. When tasked with choosing my favourite hip hop album it wasn’t as straight forward. Those that read the blog or listen to the pod will have at least a slight inkling to the fact that hip hop is a large part of my music collection and is a key pillar to my musical journey since a young age. I own 100’s of hip hop albums; and I love most of them. Although Nas’ debut album was and still is phenomenal, there are albums that connected with me better when they were released. Deciding which one is my favourite has been a near impossible task. Some albums haven’t dated that well, some albums I’ve loved more with time; but what album has been rock steady since my first listen? What album is timeless? What album still moves me? I widdled the list down to five, but there was one that ticked all the boxes: Outkast – Atliens.
When it comes to Outkast and their fan base, there are layers. The majority discovered the group via Stankonia and Ms. Jackson, some through Aquemini’s ‘Rosa Parks’, less through the forementioned ‘ATlien’s’ and people like me who started the ride in 1994 with their debut album ‘Southernplayalisticadillacmusik’. From the second I heard a teenage Big Bio say ‘time and time again I’ve been thinking about the future’, I’ve been in with two feet. Whilst many of my peers couldn’t get enough of gangster rap, the honest, raw view of Big Boi were on constant rotation in my Walkman. They smoked weed, were navigating life, were backed by delicious beats from the dungeon family, and were custodians to a step change in hip hop.
By 1996 I was fully committed to hip hop. It was my world. Could you argue with a 16 year old me? The genre had been releasing nonstop incredible music since late 1992 (IMO) and it was at a great pace. As the music evolved so did my taste, and hip hop in 96 flaws. The jiggy era was in its infancy and the music was embroiled in a west coast / east coast beef (enter the southern hip hop stage left).
From the first time Much Music’s Rap City played the lead single ‘Elevators’, I think hip hop changed for me. A new bar was set. You will struggle to find 18 bars by Andre 3000 that aren’t special, but his verses on Elevators were elevated; and Big Bio’s may be better. I have always felt that Elevators was their war cry to hip hop. Released in August of 2016, Andre has stated at the now infamous East Coast / West Cost tension riddled award show that ‘the south got somethin’ to say’. Little did we know that a few weeks later Outkast would release an album that would not only change the sound of hip hop.
The album was a giant step from their debut. Big Boi had become a father, Andre had given up smoking and drinking and replaced them with reading. They wanted to make something different, and wouldn’t let anything get in their way. The album as we know it almost never happened. 20 songs didn’t make the cut for Outkast. LaFace records didn’t like Elevators (the group took it to radio, and it blew up). The album cover was initially rejected because the cartoon version of Big Boi didn’t look like him (this was resolved by covering his face with an Atlanta Braves hat. The Universe had its on making sure that ATLiens saw the light of day.
From end to end the album is solid. They start with ‘Two Dope Boys’ and follow with ‘ALTiens’. On first listen I remember thinking they went too soon with two big tracks, but the quality throughout the album is consistent on every track. ‘Wheelz of Steel’, Jazzy Bell’ (which has one of my favourite lines in hip hop from Andre).. and then ‘Elevators’. Seriously!
The grittiness of ‘Ove Da Woods’ is quickly complimented by the opposite in ‘Babylon’. Wailin’ and ‘Mainstream’ again do the same whilst ‘Decatur Pslam’ is a perfect Organized Noise posse track.
Getting lost in Andre’s chorus on ‘Millennium’, the building tension of ‘E.T.’ ….. whilst encasing watertight lyrics and flows. As the end of the album approaches, ‘13th/Growing Old’ lets you loose yourself one last time as the Big Boi sample of ’96 gonna’ be that year’ echo’s though the track. For one last time you try and decide who is the best as the two mc’s trade verses without fault…. They’re both untouchable, reminding you that ‘the south has somethin’ to say’.
I could talk endlessly about each song at length (and over time have to brother Joey), but for the sake of time I think that each song is perfect.
Unlike Illmatic which was introduced to me, I introduced ATlien’s to most of the people I knew. It was a sound soundtrack to many teenage cars with big sound systems in the town I grew up in; and was a gateway to many of my friends into getting into hip hop.
In 2016, on the album’s 20th anniversary, Billboard stated that ATLiens was one of hip hop’s most celebrated opuses. Nearing it’s 30th anniversary the album for me goes from strength to strength as it still sounds fresh and is as relevant as the day it was released. This is why it’s my favourite hip hop album.
Who else were in my top 5? There was no particular order: Jeru The Damaja ‘Wrath Of The Math’, The B.U.M.S. ‘Lyfe’N’Tyme, Gza ‘Liquid Swords’ and Common Sence ‘Resurrection’. Note that this list is subject to change!
Over the last few weeks it’s been hard to avoid the excitement of the return of Everything But The Girl, and their latest release Fuse after a 23 year hiatus as a group.
Everything But The Girl are one of my favorite stories in music. Together in a relationship (both as creatives and as a couple) since their teens and releasing music since 1984, Tracey Thorn and Ben Watt have walked a fine line with the music business and fame. They have been able to continuously make music whilst keeping their lives as separated as possible from the industry, fame and its pressures as possible whilst still being present. Before putting ETBTG on hold in 2000, they amassed 12 top 40 singles and 11 top 40 albums.
Fans interest in what Tracey and Ben have done together and on their own (at least in name) is like a train journey with multiple stops allowing their fans to jump on an jump off at different destinations as they have traveled through jazz, folk, pop, indie and dance influenced releases. Some destinations similar to the others, some very different. Brother Joseph is heavily vested in their earlier releases as his parents were fans. My journey started after I hopped on just after ‘Missing’ which has resulted in a journey less about the group and more about both Ben Watt and Tracey Thorn’s solo works through Ben’s community of Buzzin’ Fly and Tracy Thorne’s rare but effective collaborations with the likes of Tiefschwarz on ‘Damage’ and later four critically acclaimed solo albums. Both have had thoroughly successful individual journeys but have always been underpinned by the history of EBTG.
I’m mindful that I’m not delving too deep into the history of the group, but this article in the Guardian is worth a read.
Through both their musical efforts and also literary efforts there is little doubt in their creative talents which has allowed them to continue to stay present since first gaining recognition in the mid 80’s. Intertwined in their own creative paths and raising a family has always been Watt’s rare autoimmune disease Churg-Strauss syndrome. Those who follow Watt in socials would have had an insight into his forced isolation from his family throughout lock down which resulted in Thorn re-visiting the idea of EBTG and their collaboration. After some persuasion, Watt and Thorn started to create their long awaited follow up to 1999’s ‘Temperamental’. When it was finished, Thorn nonchalantly posted on twitter about it ahead of going out for dinner, whilst the music trainspotters of the world went into meltdown. What would it be like? Both had released a wide range of music since the last album. If anything for me it brought on the realization that my history with Everything But The Girl was actually everything but as their individual work is honestly where my love of their music lies. In the build up to the album 4 singles were released which strongly laid out their stall for a much talked about return.
The lead off track of Fuse (which was also the lead single) ‘Nothing Else To Loose’ was championed by brother David as his track of the month on a recent This Is Not Happening podcast episode and is everything I wanted from a EBTG release. Thorn’s harrowing vocals float through a well-orchestrated music journey with strong hints of the Buzzin’ Fly Records releases that were always present in my record bag throughout most of the 2000’s. There is little doubt that the track will be a favorite for many throughout 2023 and beyond. ‘Run A Red Light’ and then ‘Caution In The Wind’ followed as singles as they do on the album. All three solid tracks that easily fell into non stop plays in our house.
‘When You Mess Up’ was the first song they wrote together when starting on this project which the Vulture review called ‘culture-war commentary delivered as motherly advice’, though Thorn highlighted that in fact that she wrote it in the voice of giving advice to herself. Where the track sits in the curation of the album tracks, it also reminds us that ETBTG have never been a one trick pony and are here to give as a wide spectrum of music that they want to make. ‘Time And Time Again’ carries classic ETBTG feels, as does ‘No One Knows We’re Dancing’ which was inspired by the lack of a dance floor community during the pandemic with nods to the packed Sunday clubs that Watt used to DJ in throughout the 2000’s. A space and time that I personally loved and miss.
As we delve into the second half of the album 4/4 pace of the album eases off as slow cords and distorted synths take you to a calm place with ‘Lost’ evoking a dreamy atmosphere whilst Thorn’s ever present raspy voice before ‘Forever’ brings back a slight pace and presents itself as one of the stand out tracks on the album. On ‘Interior Space’ the unimaginable happens; Thorn’s sacred vocals are process through auto-tune with and unexpected fascinating result. Rounding off the album is ‘Karaoke’, which chimes familiar tones of EBTG tracks of the past whilst Thorn delves into her mixed feelings surrounding performing live, sadly a hint of the reality of any of us seeing them live anytime soon is fairly unlikely.
Thorn said in a recent interview with the BBC “there are lots of recurring themes of desperately trying to connect with people and then [there are] dreamlike lyrics of being out in a club or in a bar. All this stuff bubbled up from those periods of isolation, where we just weren’t allowed to do the things we loved for a long period of time” which is evident in the album and the lyrics.
You could easily say that EBTG are a band that have always evolved and you would struggle to pigeonhole them. To me this release is a melting pot of their journey. EBTG have released an album which is so relevant to the current sound of music, pulling from their vast history of releases and seamlessly intertwining touch points of their past whilst moving forward. It feels that this release is an unintended perfection of timing in waiting for the world to catch up with them to release the album that listeners from all stops of their journey will appreciate and enjoy. I write this only a few days after the release, and there’s still a lot to digest throughout the album. I mentioned earlier that all of their albums have charted in the top 40, though none have got to number one. At the time of writing this, they are battling Enter Shikari for the top spot in the albums chart. It seems that perhaps I’m not the only one that thinks ‘Fuse’ was worth the wait, and their patience is already bearing fruit.
As we start of a new year of what I imagine will be another year of fantastic music, I like many am still mopping up the spill over of late releases in 2022. An easy choice for this month’s album of the month would have been either the new Stormzy or Little Simz releases which are both exceptional. But they have had a lot of well deserved coverage and I’m sure most of us are well into their releases being in heavy rotation. Instead I’m bringing to the table and album that is complicated, and I’m confident is going to be a challenge to at least 2 of the 4 of us. Why? Because it’s an album that I think shouldn’t be missed. The album I’ve chosen is Ab-Soul’s ‘Herbert’.
Ahead of the ‘why’, it’s important that we delve into the ‘who’. Cards on the table, though I’d like to say that I’m a big fan of hip hop and have a fairly extensive knowledge I don’t actually know that much about Ab-Soul or his music. With the exception of his membership in Black Hippy and being signed to TDE my knowledge stops there. Most recent articles focus heavily on his debut album ‘Control System’ and how his conspiracy theory lidded rhymes made him popular with underground hip hop heads and built him a strong following that lauded after him over his next few albums. All of this passed me. Though he’s signed by TDE, they have released his music independently whilst the majority of TDE artists such as Kendrick, Schoolboy Q, etc. have released their music through major labels such as Interscope. Previously happy with his underground path, Ab-Soul has admitted on numerous occasions recently that this latest release carried a heavy amount of pressure to break him into the mainstream. Part of the plan was to move away from his conspiracy theories and create an album that was personal and more of a reflection of him. Like the 3 others on this blog / podcast I have approached this album and artist with no history and previous impressions. Impressed by the initial singles I was expecting a well produced collection of solid songs. What I found is an album reflecting an artist’s internal and external turmoil, raw emotions, and a journey.
Not long after the release of Herbert, Ab-Soul confirmed in and interview with Charlamange that after completing the majority of the album he tried to commit suicide by jumping off of an overpass close to his mothers house. He largely blames substance abuse and the loss of his best friend for the attempt, though suicide has haunted Ab-Soul over the last 10 years with both his ex girlfriend Alori Joh as well as previous collaborator Mac Miller both taking their lives. Digesting this and the time of when many of the songs were recorded brings an immediacy to many of the tracks and exposes layers in the lyrics that I missed on the first few listens.
In a recent NPR interview he talked about ’the disconnect with the people around him that matter the most’ and how he dealt with this. Much of it is channeled through ‘Herbert’. The album is a journey, a musical memoir, it has a district start, middle and end. Songs interweave into each other as Ab-Soul works through his journey to getting to where he wants / needs to be.
Starting off with ‘Message In A Bottle’, the album is perfectly set up laying out his frustrations and ambitions. Whilst ’No Report Card’ gives us a hint of his state of mind through the recording of album with the chorus of ’so-low, don’t go so low, may day, grade a, no report card’ whilst dropping hints of frustration through lines like ’solar system, I’m sick of planet earth’.
Released last April, ‘Hollandaise’ was the first single from the album. It was the track that made me sit up and pay attention to Ab-Soul. I love the swagger and confidence of Ab-Soul on the track. It reminds me of Jay-Z on Reasonable Doubt. The beat also throbs of the Cali hip hop I grew to love in the early 90’s. It also sets Ab up perfectly for the next track ‘Moonshooter’.
My favourite track of 2022, Moonshooter is as close to hip hop perfection you can get. There are so many lines I love in this song, but the stand out has to be: ‘Hopped of the porch like, “One of these days I’ma hop out the Porsche”, caught up in a daze’. I’m not sure why, but it always sticks with me and makes me smile. The song alone paints such as great picture, and the video adds a next level to the track as it depicts two young boys and the mischief they can get up to on an average day.
‘FOMF’ is the first song that I struggled with on the album, it’s not my bag. With that, I can imagine the younger (under 40) listeners will really like this track as it’s got the trap feel that all the youngsters are into (I’ve shuttered whilst writing that). I can imagine a bunch of youth’s bouncing around to this will mobile phones in the air…. doing a trap dance to it.
Ab quickly won me back with ‘Goodman’ which samples one of my favourite tracks ‘Am I A Good Man’ by Them Two that we featured previously on Spin It or Bin It. It sits nicely at the midpoint and sets up ‘Do Better’ perfectly.
Whilst ‘Moonshooter’ was my favourite track of 2022, ‘Do Better’ is my theme song for 2023 as Ab highlights how he can always improve as the brilliant sample of Nick Hakim’s ‘Green Twins’ haunts the song.
Though the first half has a positive feel, the second half is a stark look into Ab-Soul’s mind at the time of recording the track. Do Better, thought touching on suicide, was recorded before his suicide attempt. Ironically it feels like he wrote it after. Soul has highlighted that his suicide wasn’t a direct attempt. It was driven by being under the influence and effect of his own drug use. Ab’s line of ‘Doing drugs was just a war with boredom but it’s sure to get me’ sadly foreshadows real life events that were soon to follow. We’ve talked on previous podcasts about the recent trend of artists, especially hip hop artists opening talking about mental health openly. For me this song is a glowing beacon towards the positive on a very dark subject, though I question its’ dynasty if events had ended differently.
‘Gang’nem’ slightly sidetracks the emotional flow of the album, but is special. I recently was listening to a conversation with Talib Kweli and Yassin Bay where they were discussing the concept of reality rap. Hip hop is a product of its’ environment and as it has taken over the mainstream I think some listeners forget about its’ roots. ‘Gang’nem’ taps into the gang affiliations that Ab-Soul grew up with and brought me back to hearting tracks of gang tales in my early days of getting into hip hop. Not to glorify gang culture, the track gives us a reminder that within much of metropolitan America, gang culture is still prevalent.
‘Wildside’ gives us a midway break through ‘Herbert’, though as we get to the second half I find the album hits some bumps in the road. For the brilliance of some of the songs in the first half of the album there are flaws in the second half. ’The Art of Seduction’ isn’t my personal cup of tea, whilst ‘Bucket’ and ‘Go Off’ aren’t to the level of the album and find themselves lost in the over all feel of the album. ‘Fallacy’ brings you back into the fold ahead of the James Blake produced ‘Herbert’. The title track is a reconning as he faces into his demons and layers of positivity start making their way into the album.
‘Church On The Move’ brings light to the album, it’s one of my favourite tracks on the album. I can see this as a single. The opening lyrics are a statement of intent.
“I sip my drink, I do my dance Don’t throw no stones, don’t hide my hands I played my part, I play it well I trim the fat, still tip the scale I fought that fight, I fall like Hell I ran that race, I tripped, I fell I got right back up (yeah)”
‘It Be Like That’ and ‘Positive Vibes Only’ continue to bring us to the light of the album as the inspiration of his journey continues to break through, ahead of the DJ Premier produced ‘Gotta Rap’ which brings his boom bap MC credentials to the table as he states:
“I even tried suicide and I don’t know whyI know better than most that the soul don’t die Took a leap, shattered my leg and lost some teeth And I’m still standing behind every word I speak, peep”
Ab-Soul has highlighted that the track was originally recorded before his suicide attempt, but it was important to re-wrote the lyrics of the song inline with where he wanted to leave the album.
Ab-Soul has created an album that serves the listener with some fantastic tracks that are catchy and should lead to streams, social media trends, and other tick box exercises that most artists and labels now focus on. As an album, Herbert is unintentional journey that unearths the path that he has fought through in real time. Though he’s a seasoned veteran of hip hop, you get the feeling that he is an artist with a new drive, and this album is the start of what could be an incredible run as an artist.
Presenting this album for our monthly review is risky, I get that it’s not everyones bag. Guy’s not going to like the language, Joey will think some of the lyrics are throw away and lazy, and David will need to spend more time than he perhaps has to dig into the lyrics (though when he does they will click). What I can guarantee is that when you commit to this album it’s an album that will stick with you.
I had THE BEST intro song, or so I thought until I played it for my wife. It was a fight song, it was gritty, aggressive and punched you in the face. When I played it for my wife she looked at me with disgust. ‘What’s this shit? This isn’t you?!’. She then put this track on. ‘This is your intro!’. She was right. I never want to fight anyone, I want to enter a room and make people smile, I want high 5’s, I want memories, I want hands up like the ceiling can’t hold us!
There is no scenario that this song shouldn’t be played. In fact, it’s gritty, it’s a fight song, it’s aggressive, but people will hug, smile, cry, run, walk, dance, love and motivate to it. This is actually the first song that I don’t care if it looses in spin it or bin it… this is my intro / outro and theme song.
Put me in a Western movie, walking into school as a youth, getting out of the bed..shower.. ready for work scene…. Get this on!
For May I was dead set on Pusha T’s “it’s Almost Dry’. It’s pretty impressive and has met all of my expectations. It’s perhaps my favourite album of 2022 thus far. All the stars were aligned, until Kendrick Lamar announced he was releasing new material in mid May after a 5 year hiatus. Sorry Pusha, sometime you need to make a sacrifice and this was an easy decision.
Before we get into the new album, I think we need to remind ourselves how impactful he is. You would be hard pressed to have missed the evolution of Kendrick Lamar over the last 12 years. Through ’Section.80’, ‘good kid, M.A.D.D. city’, ’To Pimp a Butterfly’, ‘Untitled’ and ‘DAMN’ not to mention a plethora of guest appearances and film soundtrack anthems he’s created a vast catalogue with something for everyone it seems.
From early 2010 he has been surrounded by hype. Back then, backed by Ab-Soul, Jay Rock and Schoolboy Q (with their Black Hippy supergroup), they started making serious waves with their unique West Coast sound. When Kendrick released Section.80 he had my attention straight away. ‘HiiiPower’ is still one of my favourite songs. Funny enough he reminds me a bit of Pusha T on that track and a few others on the album with his flow. It was only a matter of time until he found himself on a major, and Dr Dre’s Aftermath (through TDE Artists) was a natural home. Differing from other Aftermath artists, Lamar blazed his own trail without the ever present cross pollination of Aftermath artists that we’ve come accustomed to throughout their catalogue. ‘good kid, m.A.A.d city’ pushed Kendrick into the forefront of not just hip hop but the music industry. ‘Swimming Pools’ became a summer anthem, ‘Bitch Don’t Kill My Vibe’ was a radio hit and ‘m.A.A.d city’ set foundations in hip hop that Kendrick was a serious contender as an MC.
Kendrick teased us with his fierce flow in 2014 with a verse on ‘It’s On Again’ with Alecia Keys from the Spiderman soundtrack. Little did we know that that taster was nothing like what he was working on. He was about to move the nets. When Kendrick released ‘To Pimp a Butterfly’ in 2015, it felt like he flipped music on its head. Was it hip hop, or was it a jazz album? It was the most creative album that broke the main stream in recent times and showed the world the layers that Kendrick was able to achieve. Not only musically, but also as a performance artist as he took the presentation of his live show to what felt like uncharted territory for a hip hop artist. The album wasn’t without faults. I still find it his least approachable album. Though it gained acclaim and opened him up to a new audience, it was a far step from his first album. The surprise release of Untitled brought many Kendrick fans back into the fold. We all got it, he still wanted to make the music that we loved, but the tracks on Untitled didn’t fit into what he was trying to do on Pimp a Butterfly. An album of rejected songs that were miles ahead of most albums… sort of insane, and very cool.
By the time DAMN was released in 2017 Kendrick was an established artist that seemed to have found this nonchalant confidence that made the album arguably his best to date. By that point he had won Grammy’s, the Pulitzer Prize, and almost every other music related award.
So his new album, where do you start? Well he’s taken a page from Big Thief and released an 18 song, 73 minute album. He starts with the album with the line ‘I’ve been going through something’… has he ever. There’s lots to go at!
I’m still digesting the album. Like many, I’ve spent the last week digesting (what I thought was) the lead single ’The Heart Part 5’. The lyrics and the video are amazing and so important…. but the track isn’t on the album. This guy sits in a different space!
It’s hard to name an artist that has evolved and pushed boundaries as much as Kendrick, especially within hip hop. On this album we find a rounded Kendrick that musically blends the feels of both DAMM and TPAB. Lyrically his confidence is apparent throughout. His thoughts are honest, complex and at times uncomfortable. He has a voice and he uses it. He faces into some tough subjects; religion, addiction, infidelity, relationship struggles, queerness and so much more. Hip hop gives an artist a platform to delve into subjects perhaps different than other genres and he does this masterfully.
N95 is the lead single. What a single! I’m trying to figure out what track I would share with someone as a good catchy track on this album to start? It’s tough. They’re all really deep. They all have layers. Sampha laces ‘Father Time’ with a lovely hook, but the song is beautifully honest. Perhaps too honest for some. On the flip side ‘We Cry Together’ is really hard to listen to at first, but also has a beauty to the bleak honesty. Unapologetically honest. Is anyone else like this in music? This is an album of two halves, and it being a digital only release it the moment lets you forget this is a double album. The first half cuts deeper the the second, but needs to be there for the second half to fully work.
I wrote some bullet points the other day about Kendrick when I was listing to his back catalogue:
Kendrick is honest
Kendrick lets you into his mind, not just his world
I don’t think anyone really knows Kendrick Lamar through his music
Kendrick is an anomaly
… my view still is the same after listening to the album for the first 5 times.
Lamar has stated that ‘he is not the messiah’, but he does have a voice and a message. He has extreme influence on numerous generations, and all levels within those generations. People listen to Kendrick. Kids, mums, dads, grandparents. There is A LOT to digest with this album. And many will take the time to do so. Isn’t it wonderful that someone is making music that is so complex that everyone wants / needs to listen to?
I look forward to all of us digging into this and everyones thoughts. There’s a lot to go at. Ive not even touched on who is Mr. Morale & The Big Steppers? Nor have I talked about the well thought out and controversial guest appearances?
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