Category: Album of the Month

Posted in Album of the Month, Music chat

JULY HIP HOP 50th ANNIVERSARY SPECIAL: Q-Tip – The Renaissance

Posted on by GuyHornsby
Q-Tip’s The Renaissance

How to feel old? Realise that hip-hop turns 50 and that when it was born you weren’t even (quite) alive. But it feels pretty incredible to be celebrating a genre of music so wide and vast that is just as strong as a pop-cultural touchstone, a movement, a social bedrock and so much more. So we had to try and pick something out ourselves to celebrate it all.

It shouldn’t be any surprise to listeners of the podcast that I am not the biggest hip-hop head of the four of us. In fact if Joey, David and Nolan are all dipping for the line, I’m still sauntering around the home straight. But this doesn’t mean I don’t love it: I adore so many cuts from its five decade history. But while everyone else was getting into Nas, Public Enemy, NWA or KRS-One, my nerdy teenage self was, well, into pop music, indie and guitars. Yes, I saw the odd track on Top of the Pops, and the Chart Show, even the safest on Now albums (though White Lines is gloriously on Now 3, which I have on vinyl at home), but like dance music, it wasn’t until I went to university that this really changed. So for one, I was a late starter, and for another point, for a long time I was a singles man. So many bangers, so much great tracks through the late 90s and into the 2000s, but did I even own an album before the new millennium? No, I did not.

Given we are all choosing our favourite hip-hop album for Episode 34 of the podcast, unlike the other four, narrowing it down to even ten, I was struggling to even pick 10 I owned and knew. We’ve reviewed some brilliant, epochal albums on the blog before: Kendrick’s To Pimp A Butterfly is a modern classic, RTJ’s RTJ4 was the first episode of what would end up as the podcast, 3 years and counting. We’ve covered Rapsody, Mac Miller, Skyzoo, Apollo Brown, Little Simz, Gangstarr, N.E.R.D, Loyle Carner, Tribe…. in fact I’d go as far as saying that this blog and podcast single-handedly got me into hip-hop albums so amen to that!

But picking one that came to me via elsewhere, nominated by someone else, never felt right, however much I loved it (Tribe’s glorious comeback We Got It From Here was a flirtation though). So I had to go back to the slim pickings and actually work out what I liked in the end that was truly ‘mine’. There were some great albums, just not many! I loved Jurassic 5’s J5, a 1998 classic that I still play now. But while it was fine, it wasn’t one that would want me reaching for the repeat button. Of course, by the 90s and 2000s, I owned classics like 3 Feet High, It Takes A Nation Of Millions, Midnight Marauders, and I’d got and loved Beastie Boys long players, but I wanted to pick one I was there from the start with, and in the end, with my love of sample-based, Native Tongues-adjacent rap, it could only be Q-Tip’s The Renaissance, from 2008.

Now, if you asked me what my two favourite hip-hop acts were, it would be easy to answer: De La Soul and A Tribe Called Quest. They were incredible musicians, they went against the grain of so much hardcore and hood/gangsta hip-hop that didn’t really connect with me. But I remember seeing De La and that departure from what I thought hip-hop was, as they played with samples, conscious lyrics and it changed things for me. Tribe were not far behind. But in 2008, Q-Tip, their beating heart, released his second solo album: The Renaissance. I pretty much fell in love with it at the time. Melodies and hooks? Tick. Samples galore: tick. Q-Tip’s distinctive flow all on his own? Yep. Funk? HELL YEAH. And then some perfectly pitched guests – D’Angelo, Raphael Saadiq, and (even) Norah Jones. BINGO.

That was enough to get me in, but why is it so good? Because whatever others think – and it’s definitely considered a classic – there’s so many reasons to adore this record. For one, it is so optimistic. It arrived after Obama got into the White House – even with a sample of one of his speeches on Shaka – and seemed to evoke so much of what we all hoped would happen (and that really didn’t). Contrast it with the fantastic comeback from Tribe – We Got It From Here in 2016, to see just how far the world had fallen. From the opening bars of Johnny Is Dead, with its cascading guitar chords and that so distinctive flow (‘What good is an ear if a Q-Tip isn’t it it?’, indeed!) breaking into the harmonies in the chorus. It is simply life-affirmingly good. I challenge anyone to listen and not come out of it feeling better.

It just has so much life, energy, positivity and goodness. The bumping Won’t Trade, trading on soul vocals and Gettin’ Up’s sun-drenched vibes (with that great Black Ivory Sample) it just has you nodding and wondering where this album has been all your life. Across 46 minutes (my perfect hip-hop album length, no hour plus stuff, this is just tight and fizzes along) it goes from introspective break-ups (You), funk and soul half-songs (WeFight/WeLove), the Can-sampling ManWomanBoogie’s head-nodding brilliance (giving props to all the great artists along the way), Move’s all-out maximalism sampling the Jackson 5, and slower jams Life Is Better and Believe. Arguably its strongest effect is from the Dance On Glass, (picking up the hypocrisy of the industry, ‘ The people at the label say they want something to repeat / But all my people really want something for the streets’) with its first minute of just pure unaccompanied flow.

For an album that’s 15 years old, it still absolutely pops. There’s so much to enjoy about it, and it’s so musical, some of the tracks almost songs in their own right, even if its’ a guest vocal or sample, and with Tip let loose to do what he wanted. It’s an artist still at their top of their game, and enjoying the freedom of a solo project. It came with a lot of pressure and history, given a decade after his solo debut, Amplified, and label-denied false starts (the jazzy Kamal the Abstract from 2001 was a niche masterpiece for me too), the Renaissance came with a lot of expectation and delivered. It was when Tribe were on hiatus too, so for a creative like Q-Tip, it must’ve been a real release to put something out so good.

Talking about it ten years on, in an interview with the NME, he mused about where he was and what the album meant: “The Renaissance was about dealing with classic colloquialisms about self.…. I wanted the music to have a sound that stood the test of time, it was all about our humanity. It felt like I had re-entered hip hop. At the time I exited, music was vastly different.” In 2008, it was all about Kanye, Jay-Z, Lil’ Wayne, a world from Tribe’s heyday. But he delved into not just some of the usual subject matter, but Renaissance was a much more personal album that I’d expected: “You” was hard to go through, but easy to recount. It’s much like going through a break up and telling your boy what happened as therapy. That was to one of my ex-girlfriends, actually.” So it had layers beyond the samples, or the flow. And that’s why I still come back to it.

It’s been a total joy to get back into it. I must have rinsed it 20+ times in the last 6 weeks and I could let it go back round again and again. While I struggle to stick with hip-hop albums, this feels so easy. It has so much of everything I love about the genre in it, and it has an infectious positivity and outlook that seems to be in scant supply 15 years later, with so much of hip-hop on a much darker tip than the time of Tribe and De La (not that they didn’t talk about reality, of course). So it’s a ray of sunshine, a classic artefact of the best of hip-hop, a slice of pre-Trump goodness we could all benefit from a listen to.

And that’s why it’s got my vote.

Posted in Album of the Month, Music chat

JULY HIP HOP 50th ANNIVERSARY SPECIAL: Outkast – ATLiens

Posted on by nolankane706

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!

Posted in Album of the Month, Music chat

JULY HIP HOP 50th ANNIVERSARY SPECIAL: Reachin’ – Digable Planets

Posted on by David Allison

Some records come into your life in the perfect Time & Space (see what I did there), and to listen to them is to be transported back to that very special place.

And so it is with my choice for my favourite hip hop album of all time. Of course, choosing one is crazy, a ridiculous idea. How could I not choose IT TAKES A NATION OF MILLIONS? How can you ignore BLACK ON BOTH SIDES? What kind of idiot doesn’t go for PAUL’S BOUTIQUE? I bounced around between some obvious big hitters, but all the while, I could feel the pull of what eventually became the very clear winner: REACHIN’, the 1993 debut for Philly via NYC trio Digable Planets. Man, what does this album mean to me? Let me count the ways, and let’s start by tracing my journey to that record.

Like a lot of 80s indie kids, my first introduction to hip hop actually came via John Peel, who regularly played everything from Biz Markie to Public Enemy on his show. The first song that really got under my skin, and indeed the very hip hop song I ever bought was the 7″ single of Eric B & Rakim’s Paid In Full – or to be clear, the Coldcut remix, sampling the Turkish singer Ofra Haza’s haunting vocal.

I flirted with a few other artist, but then fell pretty hard for Public Enemy’s IT TAKES A NATION OF MILLIONS, which felt vital and angry but also surprisingly accessible and full of strong hooks and powerful beats. But it was the herald of the Daisy Age and the flourishing of the Native Tongues bands that led me headlong into hip hop as something I listened to on a daily basis. No need to restate the genius of De La Soul or A Tribe Called Quest, but what strikes me now about their music is their playfulness and willingness to experiment, their lack of bravado bullshit, and their plundering of jazz music as much as old soul and RnB tracks.

When I went to Uni in the early 90s, I ended up making a friend with a proper jazz head, and strange though it feels to recount now, I had a year when I learned all about classic be-bop era jazz, and got to know everyone from Wes Mongtomery to Art Blakey to Dexter Gordon. Armed with this new love for a genre I didn’t previously understand, I then spent a year in the States in 92-93 as part of my degree (in American Studies). There were too many highlights to mention, though seeing Clinton getting inaugurated in Washington DC was pretty cool. But it’s the music that’s stayed with me now. Fuck me, I can remember every album I listened to that year.

The US was overflowing with grunge and post grunge at the time, which I absolutely hated with a passion. Pearl Jam, Soundgarden, all those guys. It was everywhere. I retreated into random corners, discovering Brazilian music via David Byrne’s Luaka Bop label, and getting into Afro-Belgian accapella group Zap Mama (yeah, I know, nothing’s changed!). But there two hip hop albums that year that became constant friends. One was Arrested Development’s debut, which was HUGE. And the other was Digable Planets. I remember walking onto the record store near the uni campus I was on, and they were playing Cool Like That. I recognised the Art Blakey sample, and on top of it floated this playful, almost feminine male vocal, rapping with such style and panache that it blew my head off. Needless to say, I left the store with that album.

DIGABLE PLANETS were – or rather are, now they’re touring this album again! – a 3 piece from Philadelphia who moved to New York. They seem to arrive fully formed as a concept – 2 men and 1 woman, all of shared rapping duties, and who sold themselves as interplanetary insects – Butterfly, Doodlbug & Ladybug. Their album, Reachin’, felt immediately like a manifesto for a new kind of hip hop – one that was as influenced by jazz and Blue Note records as James Brown or the usual sources. One that felt slick and cool and effortlessly stylish. Both opener It’s Good To Be Here and monster sunshine groove Where I’m From seemed to welcome the listener into their world. Grooves were funky, jams were slow, lyrics and rhymes seemed to flow so perfectly with the music that it was impossible to imagine they’d ever lived apart. I was absolutely besotted.

But it wasn’t all just good vibes, even if it always sounded that way – La Femme Fetal – is an utterly blistering attack on abortion rights told through a first person narrative that builds to a wider political point, and it’s, for me, one of the most articulate and brilliant political hip hop songs ever written. I know every line. I never thought, 30 years on, that it would be even more prescient now than it ever was then.

At the end of my year in the US, I went home clutching my Digable Planets tape. No one – and I mean NO ONE – in the UK had even heard of them. Everyone was listening to Suede and Britpop was riding over the horizon. But this album has never left me, and it never will.

It’s interesting comparing this to Arrested Development’s debut, which I think has fared less well with the years. That now sounds like a kind of pop-rap hybrid who’s appeal was really obvious, but it doesn’t sounds that revolutionary today. THIS album still does – fresh, vital and forward-thinking.

The band only made one other album, the completely excellent and more overtly political BLOWOUT COMB, before disbanding. Ishmael ‘Butterfly’ Butler went on to form the highly experimental Shabazz Palaces, who I lover and and I think everyone else on the pod hates! But they mostly disappeared from sight. And though this album went Gold in the US and they won a Grammy for best song in 93, Digable Planets seem to have got lost somewhere in the conversation about hip hop greats, which is crazy, because so many other hip hop artists have acknowledged the influence this had on them – from Mos Def to The Roots.

It’s so nice to see so much positivity about them now they’re touring the 30th anniversary of the album, so maybe people do finally understand that if you wanna get Cool like Dat, y’all need to dig Digable Planets.

Posted in Album of the Month, podcast

Podcast Ep. 34 | Durand Jones | Wait Till I Get Over

Posted on by misterstory

In Part 1 we get to grips with the enchanting ‘Wait Til I Get Over’ by Durand Jones. We talk all things soul and share our opinions. In Part 2 we play a one-off version of Spin It or Bin It that we’re calling ‘Love/Hate’. We each pick a track that we love but we think the others will hate.

Part 1 | Album of the Month | Durand Jones | Wait Til I Get Over

It’s David’s choice this month and he’s chosen an album by and artist that none of us have any history with or knowledge of. The album is very much a soul album in every way that you could possibly define that word.  If you want it to be, it’s a very easy to listen to soul album that fits nicely into the sun we’ve been enjoying. But it’s also a deeply personal and emotionally moving album if you go a little deeper.

  • Go listen to the album – Here
  • Go watch some videos – Here
  • Go buy some of their stuff – Here

Some links that we reference and recommend; 

  • ‘The Show on the Road’ this is a great interview! – Click Here
  • ‘Bedroom Beethovens’ … another interview – Click Here
  • Sound and Vision interview that we reference – Click Here

Part 2 | Spin It or Bin It | Love/Hate

So. This is a new one. We all pick a track that we love and will defend to the hilt … but that we think the other 3 of us will hate. It sounds easy, but it’s actually not.

Here’s a handy playlist of the 4 chosen Love/Hate tracks

In order to chose our tracks we create a long list, then a short list of 4 tracks each. Each of our 4x track short lists are collated here … have a listen … but approach with caution, this makes no sense whatsoever!

*** Enjoy the episode ***

Posted in Album of the Month, New Albums

June AOTM | Wait Til I Get Over | Durand Jones

Posted on by David Allison

It’s been quite a few years for soul music, which feels like it’s undergone quite the revival, with everyone from Mercury Music Prize winner Michael Kiwanuka to Sharon Jones and the Dap-Kings to Raphael Saadiq to Nao to Cleo Sol, and very notably of late, Anderson .Paak, making music that can squarely be described as soul or neo-soul or retro soul or whatever the heck else you’d call it. And even on hipper projects like Sault, so beloved of us 4 on the podcast, you could make a strong argument that soul is right at the beating heart of its sound.

But it’s also a tricky genre to navigate – the history of soul music is so wide and so breathtakingly diverse, and its influence is so embedded in our musical culture, that it can be hard to find a space to make anything that genuinely feels new, and there is a lot of stuff out there that treads very heavily on existing formats. Nothing wrong with that, of course, but that old discussion that we’ve had on this blog/podcast many times rears its head once again – how can you best homage to the genre you’re working in, while moving music forwards?

I should say, for the record, that soul music has been one of the bedrocks of my musical taste since I was first leant an Aretha cassette by a friend in my teens. Like a lot of folk, I first gorged on Motown, Jackie Wilson & the 60s girl groups then headed into 70s soul territory via Stevie, Curtis, Marvin, Sly Stone and the rest, and by the time I was at Uni, I was getting into contemporary stuff like Mica Paris, Young Disciples and some of the acid jazz scene of the Brand New Heavies and Galliano era. I suspect my love of late 90s/early 00s R’n’B – and boy do I love that stuff – comes from the fact that it is a souped up, dance floor friendly take on soul music – which is arguably what RnB has always been! The vocals, the arrangements, it’s all in there, just with a hefty bass and drum kick.

Cut to the chase: I’m a sucker for soul music. But in the modern era, the more ‘traditional’ the soul revival sound, the less I’m personally that engaged with it. So I don’t mind a bit of Sharon Jones, but I preferred Raphael Saadiq when he’s got a bit more R’n’B in him and he’s not just sounding like a retro soul revivalist. Ditto, Kiwanuka got more interesting when he became more experimental and had the likes of Inflo on board pushing his sound into a more contemporary space.

I first came across Durand Jones via his band Durand Jones & The Indications via their big breakout single Witchoo, which I loved. However, at the time, when I dug into the rest of that album, Private Space, I found a band and a vocalist that felt a LITTLE too enamoured of Philly Soul and 70s soul disco vibes, and the exercise felt a bit too retro and stale for me to really connect with. In comparison to Anderson .Paak, for example, who seemed to be absolutely tearing the floor up at the same time with something steeped in those same influences, but felt so fresh!

Fast forward 2 years and I’m looking for an album to choose for this AOTM. I’m struggling – there is nothing that’s been recently released that grabs my attention. And then, while flicking through Metacritic, I see Durand Jones – but this time a solo album. And the reviews are INSANE. I stick it on, and from the very first track, and that gorgeous liquid string arrangement on beguiling opener Gerri Marie, I knew I was listening to something pretty special.

I’ve devoured a bunch of podcasts and interviews that the TINH brothers have shared (and that we’ll share with you in the links section!), and what first strikes you about Durand Jones, apart from his fierce intellect and strong personality, is how much this record means to him. This is him coming to terms with himself as a Queer black man from the Deep South – I think the first time he’s openly referenced that – in the astonishing confessional ballad, That Feeling (bloody WordPress won’t let the video embed in a working fashion, but go and check out the video on YouTube). It’s openly confessional, trying to make sense of his and his family’s life in Hilaryville, Louisiana, a town formed by former slaves given the land as part of most emancipation reparations – once ‘the place you’d most like to live’ according to his grandma, but now decimated by drugs and poverty.

First thing to say is that this album is constructed in classic album format – a sprightly, tight 41 minutes, moving opener leading to chugging banger Lord Have Mercy. The entire set is a homage to the entire breadth of soul music, with so many highlights that you could name any track as one. Sadie is a slice of plaintive doo-wop; Wait Till I Get Over a straight-down-the-line gospel track that suddenly drifts off into an ambient finale; See It Through a catchy AF soul jam that will surely be another single:

The closing tracks of the album are particularly strong. Someday We’ll All Be Free is a Stevie-esque ballad that mix political and emotional yearnings that surprisingly bursts into a rap in in the middle of the song – it’s a real album highlight. Letter to My 17 Year Old Self is a rather leftfield ballad, full of musical experimentation, that reminded me of Parade-era Prince. Like earlier slow jam I Want You, it wants to play with the form as well as celebrate. Finally, we end with the gorgeous, mournful Secrets, before the set ends and we just hear the sound of water, presumably the Mississippi river. Are the secrets being washed away? Or is Durand being reborn in the river? Either way, the sound of tides lap against the listener until it fades out.

This album has got under my skin like no other this year, save for Young Fathers, and like them, it’s a personal real AOTY contender, and certainly a top 10 shoo-in. So why does it work so well? I think the fact that band recorded so much as live in the studio gives it the most ridiculous energy. It’s like you’re listening to a live performance. Despite that, it somehow never feels like an exercise in retro-soul. I think that comes down to the breadth and skill of the songwriting, as well as at the very modern persona and emotions of the record’s protagonist, Durand J. He drags every inch of emotion out of every song like a force of will! Finally, the arrangements are deft and smart throughout – in particular the use of crunchy, heavy rock guitar is a genius move, and works against it sounding neatly soul-like. Listen to it muscle its way in at the end of Lord Have Mercy, for example, and it adds such a punchy layer that takes the sounds somewhere new. The whole thing is an exercise in how you make a soul record in 2023 that feels vital and relevant. Durand, we waited, and you sure as hell got over!

Posted in Album of the Month, Music chat, New Albums, New Tunes, podcast, Spin it or Bin It, Tracks of the Month

Podcast Ep. 33 | Everything But The Girl | Fuse

Posted on by misterstory

EP.72 | Phoebe Bridgers | Lost Weekend – This Is Not Happening – An Album Of The Month Podcast

Welcome to Episode 72 of This Is Not Happening, an Album of the Month podcast. In Part 1, we do a deep drive review of our Album of the Month. This month Guy has chosen an album that feels inevitable, Phoebe Bridgers much anticipated and long awaited 'Lost Weekend'In Part 2, we play Spin It or Bin It, we pick a theme and all pick songs that represent that theme. This month, taking inspiration from Phoebe our theme is 'Miserable Music'. Tracks that make Phoebe Bridgers sound uplifting.Part 1 | Album of the Month | Phoebe Bridgers | Lost Weekend.Phoebe Bridgers is one of the biggest artists outside of mainstream pop but this is only her 3rd album in 8 years. She doesn't lack for creative output or activity but still, her albums are a rare, anticipated thing. The critical response has been mostly positive but there are some naysayers dispite its current 91 score on Metacritic. But what will we make of it? The four of us have varying degrees of fondness for her music but again mostly positive. Jump on the socials and tell us what you think?Listen to the ever brilliant Switched on Pop episode on this album.Have a look at the spread of critical response on Metacritic.Watch Rolling Stone break down the album here.Part 2 | Spin It or Bin It | Miserable MusicThe theme this month, inspired by Phoebe's melancholic machinations is 'Miserable Music'. Feels like a slam dunk for Joey but what will the brothers bring?The task is pick a track that fits the theme, the objective, get more 'spins' than your friends. We each pick four tracks for a 16 track play list . We then each pick select 1 track and ask the simple question 'Spin It Or Bin It'?Joey choseDavid choseGuy choseNolan choseWe've been writing the blog for years come and have a look – https://thisisnothappening.net/
  1. EP.72 | Phoebe Bridgers | Lost Weekend
  2. EP.71 | Steve Lacy | Oh Yeah?
  3. EP.70 | Olivia Rogrigo | You seem pretty sad …
  4. EP. 69 | Lykke Li | The Afterparty
  5. EP.68 | Robyn | Sexistential

Welcome to Episode 33.

In Part 1 we explore the new Everything But The Girl album Fuse,  and ask is it worth the 24 year wait? In Part 2 we play Spin It or Bin It? The theme this month is new music … tracks that have been released since Feb 1st 2023.

Part 1 | Album of the Month | EBTG | Fuse

It’s Nolan’s choice this month and we go with the long awaited / not even expected 12th studio album from Tracey Thorn and Ben Watt. It’s rare that we get to talk about an artist that we all have a significant relationship, but this is a great example. In January we got treated to the track Nothing Left to Loose but the album offers much more. It’s got just about every type of EBTG track you can think of and some of their best tracks ever.

  • Go listen to the album – Here
  • Go watch some videos – Here
  • Go buy some of their stuff – Here

Some links that we reference and recommend; 

Part 2 | Spin It or Bin It | New Music

It’s been a few months since we did new music so here we go. There’s a definite whiff of summer in the air!

In order to chose our tracks we create a long list, then a short list of 4 tracks each. Each of our 4x track short lists are collated here … have a listen. 

Posted in Album of the Month, Music chat, New Albums, New Tunes

May Album of The Month : Everything But The Girl – Fuse

Posted on by nolankane706

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.

Posted in Album of the Month, New Albums, podcast

Podcast Episode 32 | Raven | Kelela

Posted on by misterstory

EP.72 | Phoebe Bridgers | Lost Weekend – This Is Not Happening – An Album Of The Month Podcast

Welcome to Episode 72 of This Is Not Happening, an Album of the Month podcast. In Part 1, we do a deep drive review of our Album of the Month. This month Guy has chosen an album that feels inevitable, Phoebe Bridgers much anticipated and long awaited 'Lost Weekend'In Part 2, we play Spin It or Bin It, we pick a theme and all pick songs that represent that theme. This month, taking inspiration from Phoebe our theme is 'Miserable Music'. Tracks that make Phoebe Bridgers sound uplifting.Part 1 | Album of the Month | Phoebe Bridgers | Lost Weekend.Phoebe Bridgers is one of the biggest artists outside of mainstream pop but this is only her 3rd album in 8 years. She doesn't lack for creative output or activity but still, her albums are a rare, anticipated thing. The critical response has been mostly positive but there are some naysayers dispite its current 91 score on Metacritic. But what will we make of it? The four of us have varying degrees of fondness for her music but again mostly positive. Jump on the socials and tell us what you think?Listen to the ever brilliant Switched on Pop episode on this album.Have a look at the spread of critical response on Metacritic.Watch Rolling Stone break down the album here.Part 2 | Spin It or Bin It | Miserable MusicThe theme this month, inspired by Phoebe's melancholic machinations is 'Miserable Music'. Feels like a slam dunk for Joey but what will the brothers bring?The task is pick a track that fits the theme, the objective, get more 'spins' than your friends. We each pick four tracks for a 16 track play list . We then each pick select 1 track and ask the simple question 'Spin It Or Bin It'?Joey choseDavid choseGuy choseNolan choseWe've been writing the blog for years come and have a look – https://thisisnothappening.net/
  1. EP.72 | Phoebe Bridgers | Lost Weekend
  2. EP.71 | Steve Lacy | Oh Yeah?
  3. EP.70 | Olivia Rogrigo | You seem pretty sad …
  4. EP. 69 | Lykke Li | The Afterparty
  5. EP.68 | Robyn | Sexistential

In Part 1 we explore the mesmerising (but opinion dividing) 2nd album by Kelela, ‘Raven’.   In Part 2 we play ‘Spin it or bin it?’ … but do we really? The theme this month is our favourite De La Soul tracks … is anyone really going to bin a De La Soul track?

Part 1 | Album of the Month | Kelela | Raven

It’s Joey’s choice this month and we’re focusing on an intriguing, vibe of an album called Raven by Ethopian-American artist Kelela. It’s 15 tracks, over an hour and plays out like a late-90s, early-00’s post club mix tape. There’s lots of opinions on this album, in the critical sphere they’re almost universally (really) positive, the album being on of the best reviewed albums of the year. However, its a 100%, unquestioning love-in on This Is Not Happening.

  • Go listen to the album – Here
  • Go watch some videos – Here
  • Go buy some of their stuff – Here

A few ‘Raven’ that we highly recommend checking out;

  • A really interesting review of the album by BPM – Here
  • ‘Unmistakably Black’ interview with Mixmag – Here
  • Live Jimmy Fallen performance of ‘Enough for Love’ – Here

Part 2 | Spin It or Bin It | De La Soul tribute

After the sad passing of Trugoy the Dove, we pay tribute to De La Soul. This is the 1st time that the question ‘spin it or bin it’ is completely redundant.

  1. Nolan chose – Stakes is High
  2. Guy chose – So No Go
  3. David chose – Trying People
  4. Joey chose – I am I be

Check out our 16 track De La Soul tribute playlist (4 tracks each) can be found – Here (this is a good one!)

Next Month

In part 1Nolan brings ‘Fuse’ by Everything But the Girl as our Album of the Month, in Part 2 we play ‘Spin it or bin it’ with new tracks for the last 3 months.

Posted in Album of the Month, Music chat, New Albums, New Tunes, Playlists, podcast, Spin it or Bin It, Tracks of the Month

Podcast Episode 31 | Heavy Heavy | Young Fathers

Posted on by misterstory

EP.72 | Phoebe Bridgers | Lost Weekend – This Is Not Happening – An Album Of The Month Podcast

Welcome to Episode 72 of This Is Not Happening, an Album of the Month podcast. In Part 1, we do a deep drive review of our Album of the Month. This month Guy has chosen an album that feels inevitable, Phoebe Bridgers much anticipated and long awaited 'Lost Weekend'In Part 2, we play Spin It or Bin It, we pick a theme and all pick songs that represent that theme. This month, taking inspiration from Phoebe our theme is 'Miserable Music'. Tracks that make Phoebe Bridgers sound uplifting.Part 1 | Album of the Month | Phoebe Bridgers | Lost Weekend.Phoebe Bridgers is one of the biggest artists outside of mainstream pop but this is only her 3rd album in 8 years. She doesn't lack for creative output or activity but still, her albums are a rare, anticipated thing. The critical response has been mostly positive but there are some naysayers dispite its current 91 score on Metacritic. But what will we make of it? The four of us have varying degrees of fondness for her music but again mostly positive. Jump on the socials and tell us what you think?Listen to the ever brilliant Switched on Pop episode on this album.Have a look at the spread of critical response on Metacritic.Watch Rolling Stone break down the album here.Part 2 | Spin It or Bin It | Miserable MusicThe theme this month, inspired by Phoebe's melancholic machinations is 'Miserable Music'. Feels like a slam dunk for Joey but what will the brothers bring?The task is pick a track that fits the theme, the objective, get more 'spins' than your friends. We each pick four tracks for a 16 track play list . We then each pick select 1 track and ask the simple question 'Spin It Or Bin It'?Joey choseDavid choseGuy choseNolan choseWe've been writing the blog for years come and have a look – https://thisisnothappening.net/
  1. EP.72 | Phoebe Bridgers | Lost Weekend
  2. EP.71 | Steve Lacy | Oh Yeah?
  3. EP.70 | Olivia Rogrigo | You seem pretty sad …
  4. EP. 69 | Lykke Li | The Afterparty
  5. EP.68 | Robyn | Sexistential

In Part 1 we speak in depth about Young Fathers latest album ‘Heavy Heavy’ and how it packs such a punch in 32 minutes.  In Part 2 we play ‘Spin it or bin it?’, the theme this month is the curious anomaly that is ‘Post Genre’.

Part 1 | Album of the Month | Young Fathers | Heavy Heavy

It’s Guy’s choice this month and we return back to an artist that we spoke about 9 years ago when they released their debut ‘Dead’. Across 3 previous releases, Young Fathers have secured near universal critical acclaim, yet little commercial success. Is Heavy Heavy the album that will change this. It looks like it. But that doesn’t mean this is a collection of easy listening pop tunes. We discuss what this is, what we love and the live experience.  If you know them enjoy, if you don’t dig in!

  • Go listen to the album – Here
  • Go watch some videos – Here
  • Go buy some of their stuff – Here

A few Heavy Heavy things that we highly recommend checking out;

  • Unmuted Unmastered Podcast – Here
  • Line of Best Fit interview – Here
  • Some live performances – Here and Here and Here

Part 2 | Spin It or Bin It | Post Genre

What the hell is post genre? In this discussion we prove that we’re really not sure!

  1. Guy chose – Mantra by Charlotte Adigery and Bolis Pupul 
  2. Nolan Chose – BTSTU by Jai Paul 
  3. Joey chose – B.O.B. by Outkast 
  4. David chose – L’Elephant by Tom Tom Club 

A 16 track Post Genre playlist (4 tracks each) can be found – Here (this is a good one!)

Next Month

Joey brings Kelela’s  ‘Raven’ for Album of the Month and we play ‘Spin It or Bin It?’ but what will be the theme?

We’ve been writing a blog for years come and have a look – https://thisisnothappening.net/

Posted in Album of the Month, podcast

April AOTM | Raven | Kelela

Posted on by misterstory

This month, we’re going to live with and experience Raven by Kelela. It’s an album that deserves the extended attention that a ‘This is Not Happening Album of the Month’ receives. It’s a long album, 15 tracks and just over an hour in length. But it’s not just its length that makes it worthy of spending more time with. It’s a sophisticated, rich and complex album that requires thought and reflection to fully appreciate. I get it, I’m making this sound like hard work aren’t I? For me it isn’t hard work, never was and never will be. The rewards are obvious and they come on the very first listen.

But let’s start at the beginning, with the simple question of who Kelela is? Kelela Mizanekristos is a 39 year old Ethiopian American who started releasing music in the early to mid 2010s and her first studio Album ‘Take Me Apart’ in 2017. The album received near universal acclaim (see link to Metacritic 84% review score). Even the most negative review of this album described it as ‘Forward thinking R&B animated by restless innovation’. There is something about her relative maturity as an artist in her 30’s making her way in the industry that can be clearly heard in her music. She speaks of this in interviews “I had to learn how oppression works in the music industry, specific to my experience as a queer black woman.” Her sense of self and agency is palpable. It’s what her music sounds like.

It’s been a long time since 2017. It’s been strange since 2017. There’s a lot of ground to cover and much for an artist to reflect on when creating their 2nd album. So what does Raven bring us? What does it sound like? Last month we had a healthy debate about Genre and Post-Genre when discussing ‘Heavy Heavy’ by Young Fathers. And genre is going to come up again here and it’s another interesting discussion. To categorize and define is to be human, yes it can be reductive but it’s so natural it’s impossible to avoid. What genre is Raven? I have read lots of reviews of Raven, lots of them, all of them? You get from a work of art what you bring to it, your experience of it is in itself a self-portrait. This is proven by one review referring to this album as ‘ambient’ another refers to it as ‘dance’ another as ‘R&B’. In truth (at least my truth) it’s all of those things. I do think that predominantly it is an R&B album, but an R&B album that uses worldly influences and the legacy of 40 years of ‘dance’ music to speak it’s truth. I refer you back to ‘Forward thinking R&B animated by restless innovation’, a comment made about her debut that applies perhaps even more to Raven. This is avant garde, experimental R&B. But I also think it’s ‘not ‘R&B’ enough to interest people who have an aversion to ‘R&B’. Or perhaps it’s enough about ‘dance music’ or ‘ambience’ for people with an aversion to ‘R&B’ to still find it massively rewarding.

Beyond genre descriptions, it’s a very interesting album to talk about. It plays out like a late 90’s or early 00’s post-club mix. Its eclectic-ness comes from its exploration of genre but it’s tied together tightly and cohesively with the single minded vision of a true artist. Some tracks feel like you’re on the dance floor, some feel like you’ve left the dance floor but you’re still in the club, you’re still in the realm of that experience but somewhat dislocated from the drive of the main room. Some tracks feel like the woozy, trippy, half connected experience of a post-club taxi or train ride home. Other tracks feel like a post-night-early-AM intimate sexual experience.

Dance floor energy is intwined with ambient comedowns but always in a way that perfectly meshes these experiences and never feels disjointed or anything other than perfectly curated (back to the post-club-mix vibe). The build of tension and it’s subsequent release is a recurring theme and it is a theme that is explored to perfection.

The overwhelming feeling that I get from experiencing this album is one of immersion. I can think of few more immersive albums. If you can humour me while I make a small semantic detour … I think perhaps ‘submerge’ is more accurate than ‘immerse’. Its close to impossible not to use water-based simile and metaphor to describe this album. It is inherently moist (!!!). It’s fluid, sweaty, flowing, dripping, at times mist-like in it’s ambience and then tidal in it’s shear power. You get the point, this is an album that you can actually drown in.

One thing I love about this album is that despite the 6 year wait since Kelela’s last album, this was recorded in a fortnight in Berlin. Obviously post production can be added but there is something in this compressed recording period that can be heard and benefits the albums cohesiveness. This cohesiveness belies the vast list of producers that worked on this album (Kelela, Asmara Yo van Lenz, LSDXOXO Bambii, Florian, TM Zeisig, Brandon Peralta, Kaytranada Khalí Carela, AceMo Fauzia, Paris Strother Badsista Mocky). The only way that that there can be this many different artists contributing to something that sounds this cohesive is for someone to be in total control of the vision. It is clear that this clarity of vision is Kelela’s.

I’ve written this early in the month, before my thoughts and feelings have fully formed. I hope this introduction is a useful doorway into the album. Somethings that I’ve not even mentioned that are worth thinking about;

  • Her voice … wow
  • The song writing …
  • How the lyrics reflect the global experience since her debut
  • The sequencing of the tracks … and the side A / side B structure
  • The opening track / closing track perfection
  • … there is more but I will leave you to find it

For me Raven is a work of rare genius. It’s my ‘Album of the Year So Far’. So much so that I am nervous to put this up for discussion. But that’s what we do. Enjoy.