Denzel Curry’s music has yet to reach the masses. His aggressive style has helped him find a niche in the rap community, and with “Hate Government [demo]” he continues to embrace it. Possibly taking production notes from Kendrick Lamar (think second half of “DNA.”, when the beat switches), Curry spits over booming bass about his distaste for the government. His flow fits perfectly with the beat, but the track ends far too early at just under two minutes. Hopefully this serves as a teaser for Curry’s next album, Taboo, because it sure builds the hype for his forthcoming project. Listen to “Hate Government [demo]” here and stay tuned to Rainy Dawg Radio for future Denzel Curry news.
Unless you’ve been living under a rock since 2010, you may have a decent idea of who Kendrick Lamar is. Since his official label debut good kid, m.A.A.d city, Lamar has earned himself worldwide appeal as both a popular and conscious rapper. Now, two years since his genre-shattering To Pimp A Butterfly, Lamar has returned to the spotlight with DAMN., a record dense with personal reflection and exemplary production that once again establishes him as one of the all-time greats.
“So I was taking a walk the other day…” Kendrick starts DAMN. off with a short narrative in which he describes his own death. It seems that the remainder of the album revolves around Lamar contemplating his own life, considering if his life would have been worthy of living had he actually died. The album even reverses on “DUCKWORTH.”, the final track, and returns to where DAMN. started off. The song titles cut no corners; each previews the song’s subject matter. “HUMBLE.”, for example, delicately balances on Lamar’s own bravado and the constant reminder to “sit down” and “be humble.” Other tracks cut deeper. “FEAR.” outlines Lamar’s fears, including death’s unpredictability and of losing the fame and wealth he’s earned. The mood throughout the album sways between vulnerable and confident; it’s a blend of what made both To Pimp A Butterfly and good kid, m.A.A.d city unique. Despite relying on similar tones, Lamar delves into new topics and makes DAMN. feel just as unique as his previous two works.
Unlike To Pimp A Butterfly, DAMN. features a departure from jazz rap, rather fusing pop, electronic, alternative, and trap music into a refreshing sound that caters to Lamar’s versatility. The production credits are indicative of such; to name a few, James Blake, 9th Wonder, James Blake, Steve Lacy, and BADBADNOTGOOD all lend their production talents on DAMN. Each song is an otherworldly experience on its own, yet listened to side by side reveal the narrative of Lamar’s latest work. “XXX.” features perhaps the wildest beat switch (one of many) on the album, exploding from a dark, bass-driven beat into a flurry of sirens. Other highlights include “LUST.”, a song empowered by a delayed entry of the drums, and “PRIDE.”, whose guitar chords slow the pace to a melodic crawl.
To Pimp A Butterfly took some time to grow on me when I first heard it. I was initially disappointed because I was hoping to hear more tracks reminiscent of good kid, m.A.A.d city, but instead what I got was vastly opposite. Once I had come around to it, however, I learned that artists aren’t supposed to rely on formulaic music to become successful. Real artists grow and change; they learn and evolve to create new, exceptional music that keeps them one step ahead of the competition. Lamar’s competition, Drake, has fallen victim to this and chosen to stick to what works rather than take risks and mature as an artist. Lamar, on the other hand, continues to grow and surprise his fans, with each new album being more unprecedented than the last. DAMN. is a shining example of such. An album inspired by Lamar’s own life and attitude, it stands alone as a masterpiece and singular experience. Lamar continues to solidify his placement upon the Mount Rushmore of rap, and he will most certainly surprise us all with whatever he has planned next. Listen to DAMN. here.
In case you couldn’t tell by the album’s title, Joey Bada$$ is not merely dropping a typical rap album. Inspired by the late Capital Steez’s AmeriKKKan Korruption, Bada$$ has decided to follow in the footsteps of Pro Era’s former great. Exactly five years to the date after Steez’s album, Bada$$ has delivered a project strongly rooted in the “korruption” in present day America.
ALL-AMERIKKKAN BADA$$ features a departure from Bada$$’ typical boom-bop New York sound, favoring a tracklist highlighted by bright production and jazz rap. Long-time producer Statik Selektah produced only two of the twelve tracks on his new album, compared to four on B4.DA.$$. This time around, Bada$$’ producers implement horn sections and electric guitar on a number of tracks, elevating them from decent to fantastic, as well as displaying Bada$$’ adaptability by stepping in a new direction of melody. The middle of the tracklist includes what might be the grooviest sequence of production on an album this year, with “TEMPTATION”, “LAND OF THE FREE”, “DEVASTATED”, and “Y U DON’T LOVE ME (MISS AMERIKKKA)” following one after another. The transition from these four tracks to the next two, “ROCKABYE BABY” and “RING THE ALARM”, is completely jarring, but a welcome shift back towards Bada$$ embracing his ruthless lyricism.
The subject matter is surprisingly heavy compared to the albums upbeat production. Much like Common’s Black America Again, ALL-AMERIKKKAN BADA$$ addresses issues plaguing American’s African Americans, such as police brutality, racism, and inequality. “Y U DON’T LOVE ME (MISS AMERIKKKA)” is reminiscent of an homage to 50 Cent’s “21 Questions”, except Bada$$ questions America’s lack of acceptance towards African Americans. He spits, “Tell me why you don’t love me/Why you always misjudge me?/Why you always put so many things above me?/Why you lead me to believe that I’m ugly?”. Bada$$ doesn’t hold back, and it pays off. The last two minutes of the album are when Bada$$ is at his strongest; he effortlessly dismantles the U.S. government, accusing them of trying to start a civil war between its black and white citizens. He encourages his listeners to unite and fight back, rather than fight each other like he believes the government wants.
Bada$$ hits the mark on every aspect of this album. The production is solid, the guest appearances burst each track into flames, and the themes present relevant issues that need to brought forth time and time again. The focus of ALL-AMERIKKKAN BADA$$ is much tighter than B4.DA.$$, and its production more versatile. Bada$$ has shown great signs on improvement on his sophomore effort and has proved himself deserving of the national spotlight alongside industry titans like Kendrick Lamar and Drake. Listen to ALL-AMERIKKKAN BADA$$ here.
Thundercat has been under the radar recently. He quietly released the single “Bus in These Streets” nearly half a year ago but since has made no hint of any new music. That changed today when he released the song “Show You the Way” featuring Kenny Loggins and Michael McDonald, as well as revealed that his new album Drunk would be available February 24. “Show You the Way” features Thundercat’s signature high-pitched singing and smooth instrumentation, and Loggins and McDonald both lend their voices to make the single even smoother than I thought was humanly possible. Along with the new song and album release date, Thundercat released the tracklist for Drunk. At 23 tracks long, the album is going to take time to fully digest. Check out the tracklist below (which includes some noteworthy features), and listen to “Show You the Way” here.
01. Rabbot Ho
02. Captain Stupido
03. Uh Uh
04. Bus in These Streets
05. A Fan’s Mail (Tron Song Suite II)
06. Lava Lamp
08. Day & Night
09. Show You The Way [ft. Michael McDonald and Kenny Loggins]10. Walk on By [ft. Kendrick Lamar]11. Blackkk
13. Jameel’s Space Ride
14. Friend Zone
15. Them Changes
16. Where I’m Going
17. Drink Dat [ft. Wiz Khalifa]18. Inferno
19. I Am Crazy
22. The Turn Down [ft. Pharrell]23. DUI
Happy Holidays, friends and fans!
Each year, in addition to keeping up with the best full-length studio albums, I find it important to keep track of releases that fall on the shorter side of things. Sometimes they’re merely compilations of material deemed not worthy of a just-released album, and other times they’re well-thought-out, intricate pieces of art that are shorter than the average release in that style.
Regardless, EPs are totally worth keeping track of, especially because they offer new, rare material from artists operating in between full-lengths. Below are 23 of my favorite EPs this strange, messed up year had to offer us. The definition of EP is certainly loose and up for interpretation, so if you don’t consider some of the below releases to be EPs, that’s totally fine. We can agree to disagree in that regard, and set aside our differences for the purpose of this extremely subjective list.
Hardcore punk, gangsta rap, black metal, avant-indie pop; this list runs the gamut of worthy short-form musical releases. Enjoy and stay tuned for my Top 69 Albums of the Year!
23. Bones – Useless
California-based rapper Bones is known both for his unique aesthetic — equally inspired by Internet-borne cloud-rap and ‘90s southern rap — and his prolificacy. He’s got over 40 releases to his name, and this Useless EP wasn’t even the only great project he dropped this year (Bones’ highly anticipated full-length PaidProgramming2 is certainly worth a listen). It does, however, serve as an amazingly appropriate introduction to Bones’ musical style, his influences, and the way he warps them into his own thing.
Across the eight songs (and one bonus track) on Useless, you will hear a multitude of vocal deliveries: the plaintive alt-rock moans on the first track, the effortless Bone Thugs-esque flow on personal highlight “GladWeHaveAnUnderstanding,” and the post-hardcore screams he unleashes when his songs get particularly angry.
This tape is slightly gimmicky and a bit of a mess, and most of the songs run a bit too short, but Bones is certainly onto something here. He managed to get my attention with this project, despite its flaws, and his ear for production and melody is undeniable. If Bones can hone his hip-hop style into something a bit more cohesive and fulfilling, he will continue to establish himself and his Team Sesh brand as a force to be reckoned with.
Key tracks: “RestInPeace,” “GladWeHaveAnUnderstanding,” “Soil”
22. Chimurenga Renaissance – Girlz With Gunz
While best known as the side-project of Shabazz Palaces sonic wizard Tendai Maraire, Girlz With Gunz sees Chimurenga Renaissance really come into its own as a noisy amalgamation of hip-hop, Afrobeat, R&B, and experimental production styles. Beats go as quickly as they come, as the EP’s 11 short songs seamlessly transition from one to the next.
Overall, this record can be hard to make sense of. The lyrics are bizarre, delivery fast-paced, and production completely enveloping. Putting Girlz With Gunz on is like getting sucked into a vortex that puts you through the entire history of hip-hop in under 30 minutes.
Girlz With Gunz is rough, unpredictable, and extremely underrated, and if Chimurenga Renaissance can continue delivering funky, sample-based hip-hop with spirited originality, it’ll definitely be a project worth keeping an eye on. This record isn’t just an EP, it’s a goddamn journey.
Key tracks: “She Is the Fairest Of Them All,” “I See You For Who You Are,” “Peace Always Has A Price”
21. Deathspell Omega – The Synarchy of Molten Bones
French black metal stalwart Deathspell Omega has returned for their first release in some four years, The Synarchy of Molten Bones, an intense, experimental 30 minutes of sonic noise terror. While this isn’t as expansive as some of the group’s more well-crafted studio albums, it still serves as a pleasant reminder that there isn’t any group out there like Deathspell Omega, who’ve never performed live and whose members remain anonymous to this day.
From the mind-warping, psychedelic blastbeats on the eponymous first song to the creative, intricate riffs on the stunning closer, The Synarchy of Molten Bones is a record that’ll keep you on the edge of your seat. Not to mention that its title is extremely fucking cool.
Key tracks: “The Synarchy of Molten Bones,” “Famished for Breath,” “Internecine Iatrogenesis”
20. Mr. Yote – The Terrible Tales of Scurvy Jones
Another extremely bizarre bit of rap weirdness, courtesy of Bay Area rapper/producer/mysterion Mr. Yote, who I first came across when he collaborated with Brainfeeder-signee and up-and-coming producer Iglooghost on last year’s Chinese Nü Yr EP.
The Terrible Tales of Scurvy Jones makes good on the promises that were made when I first came across Mr. Yote, as this project is goofy, catchy, and unlike anything else I’ve heard this year. With a slightly pitched-down voice, Mr. Yote delivers a concept EP about… a pirate. And not a PG Disney film pirate either.
I like the way he presents the historically accurate pirate lifestyle as analogous to the sort of bragging a lot of rappers tend to engage in, and he manages to do so without forcing himself into some weird “pirate rap” Internet trend niche. It’s wholly original and difficult to categorize, and it has me anticipating Yote’s future output.
Key tracks: “Bait,” “SS Mud,” “Boiling Bayou”
19. Adult Jazz – Earrings Off!
The general consensus on English musical group Adult Jazz seems to be either “This band is fucking incredible and completely underrated” or “This band is annoying garbage.” I personally lean toward the former, or else they wouldn’t be on this list, especially with this brilliant new EP of theirs.
See for yourself! Earrings Off! sounds like a collaborative album between Matt & Kim and Strawberry Jam-era Animal Collective. It’s noisy, gaudy, and garish, and the EP is all the better for it. It’s passionate, strange, catchy, and a truly undefinable musical experience.
While we await the full-length studio follow-up to the group’s 2014 debut album, Gist Is, this EP here serves as a nice helping of great material that should hold us all over until then.
Key tracks: “Earrings Off!,” “Eggshell,” “Pumped From Above”
18. Oddisee – Alwasta
I first caught wind of D.C. rapper Oddisee last year when I reviewed his latest studio album, The Good Fight, a record I enjoyed far more than I expected to. Thoughtful, catchy, relaxed hip-hop with a poignant political message and effortlessly great production. Ever since, I’ve closely followed Oddisee’s latest exploits, and I’ve been mostly rewarded for paying attention.
Alwasta is a fantastic EP from Oddisee, one that ties together a lot of the more serious themes from The Good Fight with even more openness and clarity. All this is met with the same, time-signature-defying jazz rap instrumentals that graced The Good Fight. This record is full of witty, memorable tracks that set Oddisee far apart from his “Conscious Rap” contemporaries, because he’s a brilliant songwriter, producer, and spokesman for the politically disenfranchised.
Key tracks: “No Reservations,” “Lifting Shadows,” “Strength & Weakness”
17. Young Thug – Slime Season 3
2016 saw a sea change in the continuing saga of eternally controversial Atlanta rapper/singer Young Thug. Before telling everyone to call him Jeffery, Thugger was following up late 2015’s first two Slime Season installments with mixtapes that were half as long.
Thug’s first foray into short-form releases was I’m Up, an admittedly underwhelming EP that was almost the highly anticipated third installment in the Slime Season trilogy. Thankfully, it didn’t take him too long to come to his senses.
While it is short like I’m Up is, Slime Season 3 proves itself as one of the finest releases Young Thug has ever put out. Its brevity saves it from the casual disinterest I’ve held for a lot of Thugger’s longer mixtapes, while also featuring some of his most ferocious vocal performances yet. This record definitely features precursors to JEFFERY, the album that took everything we thought we knew about Young Thug and ran it through a fucking shredder, and it’s a totally worthy inclusion in Young Thug’s ever-expanding discography.
Key tracks: “With Them,” “Drippin,” “Digits”
16. G.L.O.S.S. – Trans Day of Revenge
Before amicably splitting up earlier this year, Olympia-based punk group G.L.O.S.S. dropped another fierce EP of protest music. While it doesn’t progress much past the group’s 2015 Demo EP, Trans Day of Revenge sees the songwriting and lyrical content become more prescient and aware, with vocalist Sadie Switchblade tearing down the cisheteropatriarchy one hardcore scream at a time.
This EP is extremely short, but the Girls Living Outside Society’s Shit are no strangers to making poignant political statements in brief moments. It’s a brutal thrillride that just might dismantle everything you think you know about gender, femininity, and hardcore punk.
Considering this album’s pure volatility and anarcho-punk physique, it’s no wonder Epitaph Records offered them $50,000 for a record deal. It’s also no wonder the group crumbled under the newfound attention and called it quits. Regardless, this won’t be the last time punk music is altered by the artists formerly known as G.L.O.S.S.
Key tracks: “Give Violence a Chance,” “Trans Day of Revenge,” “We Live”
15. KEN mode – Nerve
Canadian post-hardcore group KEN mode has been blowing me away for several years now, especially on their 2015 Steve Albini produced LP, Success, which presented quite a change of pace for the band from metallic, progressive hardcore to off-kilter, bristling noise rock. That’s what happens when you bring Albini into the fold, I guess.
Thankfully, the nine brilliant tracks on Success aren’t the only productive outcomes of the recording sessions, with four leftovers and three circa-2012 demos making up the entirety of the EP. You can think of Nerve as an exploration of the two sides of KEN mode: the visceral screams of the demo tracks (all three songs made it onto the band’s 2013 LP, Entrench) and the cerebral nasality of the first four songs.
While not completely mind-blowing or consistent, I quite enjoy Nerve, especially the first half, and I am in high anticipation of whatever the band offers us next. Hopefully more recording sessions with Steve Albini are in the pipeline, because even this EP’s Albini B-sides are noisy, memorable, and triumphantly weird.
Key tracks: “The German Businessman,” “Let’s Get Divorced,” “Absolutely Not”
14. Tony Molina – Confront the Truth
California hardcore vet Tony Molina is back with yet another all-too-short solo release, following 2014’s highly acclaimed “studio album,” (the thing was only 11 minutes long) Dissed and Dismissed.
Now, Tony is back with Confront the Truth, a radical change of pace for the musician. Exchanging ‘90s grunge and pop-punk for the unbridled pop appeal of ‘60s psychedelia, Tony Molina proves himself once again as a songwriter who can pretty much do it all, and in a far shorter duration than most bands in his league.
From the beautiful plaintiveness of “Old Enough to Know,” which comes as close to an Elliott Smith song as any I’ve heard in recent years, to the garage-rock bliss of closing track “Banshee,” Tony Molina comes through with another mic-drop of an indie rock record, and if this EP of his runs as long as the last full-length album he put out, I can only hope that means his next full-length will be much longer. Because if the world needs anything right now, it’s as much Tony Molina music as fucking possible.
Key tracks: “Old Enough to Know,” “No One Told He,” “Banshee”
13. Burial – Young Death/Nightmarket
Perhaps in a demonstration of great self-awareness, English producer Will Bevan has not followed up his 2007 album Untrue (one of the most highly acclaimed and influential electronic music releases of the millennium) with a proper full-length. Instead, under his mysterious Burial moniker, he chooses to drop short, atmospheric EPs in the dead of winter that seem to get more and more ambitious and experimental each time. 2011’s Street Halo, 2012’s Truant and Kindred, and then of course 2013’s Rival Dealer all present Burial’s increasing interest in longer songs and looser song structures.
This comes to a head on Young Death/Nightmarket which is a bit looser and less developed than the previously named EPs but still delivers 13 solid minutes of unmistakable UK garage. The first of the two songs, “Young Death,” bubbles and simmers as a manipulated sample of someone singing “I will be there for you” repeats. Perhaps this is a message to a close friend who’s undergoing the mourning process of some sort of “young death” (miscarriage? death of a child?). Maybe it’s a show of political solidarity not unlike the trans rights affirmation on Rival Dealer. Regardless, Burial is as inward and introspective as ever on this track.
In contrast, “Nightmarket” has a bit of a techno feel to it, with a repeating synth line that builds into something more moody and menacing. Like Burial’s entire discography, these two songs continue to deconstruct dance music, drawing an even bolder line in the sand separating the melodic bass music that Burial was perfecting a decade ago to something more abstract and just as rewarding.
Key tracks: “Young Death,” “Nightmarket” (there’s only two!)
12. Nails & Full of Hell – Split
Split EPs aren’t uncommon in the multitude of heavy music scenes out there. Two or more bands come together for a split release all the time, and noisy east coasters Full of Hell are certainly no stranger to them. In addition to the two powerviolence cacophonies Full of Hell contribute to this EP is a barnburner from controversial California trio Nails, whose new album You Will Never Be One Of Us is one of the catchiest, craziest metal albums of the year.
All totaled, this EP clocks in at like four minutes, making it the shortest one on this list. It’s certainly not the least effective though, as there’s enough bad ass riffing and throat-shredding vocals on this album to last your dad’s favorite metal band through December 2017. Instead, this is business as usual for the two bands, who prefer to operate in smaller scales even when they release full-length albums, which is probably a good thing.
I love the different approaches each band takes to “FAST + LOUD,” as Nails’ more straightforward approach is akin to thrash/death metal headbanging, whereas Full of Hell’s approach is more similar to the breakneck metalcore of acts like Converge and Botch. Destructive, tasteful, and one of the few instances of a split EP cohering in a meaningful way.
Key tracks: “No Longer” (Nails), “Thy Radiant Garrote Exposed,” (FOH) “Bez Bólu” (FOH) (there’s only three!)
11. Massive Attack – Ritual Spirit
Legendary English trip-hop duo Massive Attack has been on-again-off-again for pretty much its entire existence. We haven’t heard a full length album from these guys in almost seven years, but the spooky, seductive Ritual Spirit makes the wait a bit less difficult. The four songs on this record are moody, dark, and firmly in line with Massive Attack’s oeuvre.
With special guests like Roots Manuva, Young Fathers, and Tricky, the group makes excellent use of the 17 minutes of music on this EP. Rap verses are coolly exchanged, synthetic drums bounce, and a rumbling bass booms throughout. Classic Massive Attack making the style of music they essentially willed into existence nearly three decades ago and still killing it.
While not the most groundbreaking release from the group, it indicates a level of progression and modernity that a lot of old school musical acts tend to ignore. Nothing like that to worry about here.
Key tracks: “Dead Editors,” “Voodoo in my Blood,” “Take it There”
10. Drug Apts – Drug Apts
It seems like the core musical duo in Death Grips (drummer Zach Hill and producer Andy Morin) were all over some of the year’s best music (more on that in my upcoming AOTY list), including the production on this thrilling, provocative debut EP from Sacramento-based band Drug Apts, who toy with garage rock, post-punk, and hardcore punk.
Strangely, the record kicks off with what sounds like someone parodying hip-hop ad libs, making “machine gun” sounds with their mouth with such ferocity that it sounds more like a convulsing bird. It’s intense, it’s in-your-face, it’s extremely effective.
While I wasn’t so sure about this EP at first, I’ve grown to really enjoy it. I hope Drug Apts tour and continue to put out music, preferably with the further involvement of Death Grips members, because the group’s aesthetic and sense of humor definitely seems to mirror their Sacto forebearers.
Key tracks: “Mother Invention,” “Dig,” “Broadcast”
9. Clarence Clarity – Vapid Feels Are Vapid/SAME
English up-and-comer Clarence Clarity took the Internet by some sort of postmodern lightning storm early last year when he dropped his bloated, candy-coated sugar-pop extravaganza No Now, one of that year’s best. 2016 has been comparatively light in terms of Clarence Clarity releases, but thankfully he’s left us with a nice helping of songs to keep us going until LP2 drops, probably next year.
Now, Vapid Feels Are Vapid/SAME isn’t really an EP, so much as it is the compilation of two great singles he dropped earlier in autumn. The first track, “Vapid Feels Are Vapid,” is an infectious, glitchy track with an explosive series of hooks. It’s like ‘80s synthpop gone awry, with lyrics about going back in time and other sci-fi weirdness.
“SAME,” on the other hand, is a bit more grotesque, especially considering that it was initially dropped as a 5-song EP on SoundCloud that was literally the same song five times in a row (or was it?). Let’s just say Clarence Clarity is no stranger to cryptic, puzzling music. If you’re not yet a card-carrying member of the Clarence Clarity fanclub, these two songs should definitely give you a picture of what this dude’s all about, and as we anxiously anticipate the follow-up to “No Now,” these two amazing avant-pop songs will definitely satiate.
Key tracks: “Vapid Feels Are Vapid,” “SAME” (there’s only two!)
8. Deakin – Sleep Cycle
I know there’s a debate to be had about whether this debut solo release from Animal Collective participant Deakin is a full album or just an EP. I’m judging it as an EP here, obviously, but I think a strong argument could be made in favor of calling this thing an album, especially since a vast majority of the music press seems to classify it as such. The jury’s out on what Deakin thinks of the thing, to my knowledge.
Regardless, I think Sleep Cycle meets the criteria for being an EP, and it’s an amazing one at that. In fact, I’d go so far as to say that Sleep Cycle is my favorite solo release from an AnCo member yet, with its gorgeous field recordings and freak-folk fury. It’s certainly akin to the sort of music Deakin made with AnCo before they went fully electronic on Strawberry Jam. Solemn, sunny vocals, soft-plucked guitar strings, and HELLA-esque free-jazz drum freakouts pervade this record, and I think it’s one of the most accomplished psychedelic folk albums in many years.
At only a half hour long, it’s a little disappointing that seven years of recording and delays resulted in such a short record, but it’s an extremely substantive record that more than makes up for the disappointment. A bulk of the material here is musically tight and aesthetically loose, and it’s exactly what I’d hope for from a solo Deakin project. Leave it to the Forgotten Animal to drop a record that surpasses his main band’s most recent two.
Key tracks: “Golden Chords,” “Just Am,” “Footy”
7. Vince Staples – Prima Donna
My history with Vince Staples’ music has been an interesting journey, and probably not dissimilar from many people’s experiences with him. I vaguely remember him as a fairly common feature on any given Odd Future Wolf Gang Kill Them All project (I was pretty into those dudes in early high school). I also caught him live in mid-2013 as the first opener on Mac Miller’s tour in support of Watching Movies With the Sound Off, which also featured Chance the Rapper (who I was most excited to see live) and The Internet.
I made the mistake of forgetting about Vince, who blew up in 2014 with his incredible Hell Can Wait EP, and then of course in 2015 there was Summertime ‘06. Finally settling into a style and a groove all his own, Vince Staples is one of the best rappers doing it right now, and Prima Donna is simultaneously a conceptually brilliant project and a dope victory lap hip-hop record.
Working with producers like James Blake (who needs to make beats for rappers WAY more often) and DJ Dahi, Vince comes through with a concept EP told in reverse. “A rapper becomes famous and can’t handle the pressure” is the general premise, and Vince tells it almost as if it’s his life (hmmm…). The production is phenomenal, Vince’s flow is more diverse and impeccable than ever, and Prima Donna is further proof that Vince isn’t just a rapper, he’s a storyteller. Despite a few underdeveloped features, this EP is slick, satisfying, and consistent.
Key tracks: “Pimp Hand,” “Prima Donna,” “War Ready”
6. JANK – Versace Summer
Of all the bands who called it quits in 2016, I think the one that makes me the saddest is Philadelphia emo/pop-punk band JANK, who followed up last year’s brilliant Awkward Pop Songs album with perhaps an even better EP, Versace Summer. While this is the band’s final release (for now), it is no small achievement, even if it’s only 20 minutes long.
In a year that’s been somewhat short on great emo music, JANK is the band we need. The soaring hooks and strange vocals on this EP are amazing, and they almost make you forget how talented and intricate the musicianship here is.
With progressive guitar work and math-rock-inspired drums, JANK takes their brand of carefree summer rock to new heights with excellent songs about alligators, Chinese food, a bicycle named Ralph, not to mention a sax-heavy instrumental song that shows off the band’s glitchier, more electronic talents.
I know it’s wintertime and perhaps not the most suitable conditions for jammy, upbeat pop-punk music, but this EP is so good I don’t think many will notice or care. JANK, it sucks that you’re no longer a band, and I certainly understand why that’s the case (Google “JANK band breakup” if you’re curious), but goddamn if you have more music in you that’s like Versace Summer, I need to hear it.
Key tracks: “Chunks (Kool Enuff),” “Alligator,” “Versace Summer”
5. Charli XCX – Vroom Vroom
I’ve loved English pop songstress Charli XCX on-and-off since she debuted in 2013 with the still-amazing True Romance. Where that album was a nearly flawless ‘80s synthpop/’90s R&B-pop throwback, her recent material has diverged from that formula significantly. 2014’s Sucker was a fairly flaccid radio-pop effort, and I think Charli XCX feels that way about it in hindsight, hence the left turn down PC Music Lane.
For those not in the know, PC Music is a label/collective of artists out of England currently pioneering a glossy, experimental, somewhat satirical but passionately earnest form of dance-pop music. This label features artists like A.G. Cook (the label’s founder and ⅓ of QT), Hannah Diamond, GFOTY, Danny L Harle (who put out a great song with Carly Rae Jepsen this year), and Kane West (⅓ of Kero Kero Bonito).
Vroom Vroom was produced entirely by SOPHIE, who is not signed to PC Music but has worked closely with A.G. Cook on QT, one of the label’s main claims to Internet fame. Hannah Diamond does feature on the beautiful “Paradise,” though, bringing her unique brand of vocals to Charli XCX’s raunchy, aggressive performance.
For the EP’s full 16 minutes, it is nonstop fun. My one complaint is that there’s not enough music on this record, but regardless it’s nearly fuckin’ flawless. SOPHIE’s production is nasty, catchy, and jagged, which is exactly the direction I feel like he and Charli XCX were going for on this one. This is an extremely well executed bit of futuristic pop music that is simultaneously robotically cold and ferociously human.
Key tracks: “Vroom Vroom,” “Trophy,” “Paradise”
4. Kendrick Lamar – untitled unmastered.
Kendrick Lamar is one of those dudes who makes it seem really easy to release a masterpiece. His two studio albums are certified rap classics already, and even his 2011 breakthrough Section.80 holds up after all these years. While not a proper follow-up to last year’s epic To Pimp a Butterfly, this EP is a finely sequenced collection of loose, jazzy rap songs that don’t quite fit the general vibe of TPAB.
Thematically, you’ll find a lot of rhymes that are to be expected from Kendrick at this point. He raps a lot about how instant fame can have an effect on the formerly poor and disenfranchised, hip-hop greed, and how oral sex could be the key to world peace. It’s sexy, sultry, and dense, and it proves that even Kendrick’s throwaway songs are better than your other favorite rapper’s full-length albums.
I love the production, the performances, and the lyrics on this record, and my only complaint is that “untitled 7 | 2014 – 2016″ goes on too long. Otherwise, another excellent release from someone who is inarguably the best rapper right now. I don’t care how many verses he sells to Maroon 5, Cornrow Kenny is the G.O.A.T.
Key tracks: “untitled 2 | 06.23.2014.,” “untitled 5 | 09.21.2014.,” “untitled 8 | 09.06.2014.”
3. clipping. – Wriggle
I don’t need to tell you that Daveed Diggs has been slaying the mainstream lately; the Tonys and Grammys for “Hamilton” speak for themselves, as does the story arc on television show “Black-ish.” But, I may need to remind you that Diggs uses both his musical and theatrical gifts in his main musical venture, noise rap provocateurs clipping., who I’ve loved since debuting with Midcity in 2013.
Immediately following Diggs’ awards and the end of his run on “Hamilton,” he got back together with William Hutson and Jonathan Snipes to put the finishing touches on what would be the group’s sophomore album for Sub Pop Records, Splendor & Misery, and a short EP of great songs that didn’t fit their 2014 debut, CLPPNG. Said EP is called Wriggle, and it’s a celebration of everything that makes clipping.’s first two projects so incredible, with their harsh noise samples, pop rap reimaginings, and debaucherous depictions.
The highlight of the EP is, of course, the title track, which transforms a song by foundational noise/industrial group Whitehouse into a footwork anthem that would please the late DJ Rashad (RIP). “Wriggle like a fish, girl/Wriggle like a snake, girl/Wriggle like a worm, girl/Wriggle like an eel” Diggs raps, turning Whitehouse’s “wriggle like a fucking eel!” command into a legitimate dance-rap hook. It’s fucking genius.
If you’re unfamiliar with clipping., this project would be a much better starting place than the group’s (also amazing) new studio album, purely because it’s shorter and catchier. It’s also a strong rap project on its own merits, and it well earns its high place on this list. It’s clipping., bitch.
Key tracks: “Shooter,” “Wriggle,” “Back Up”
2. Carly Rae Jepsen – E•MO•TION SIDE B
You know how the story goes at this point. In mid-2015, Canadian pop vocalist Carly Rae Jepsen pretty much sent explosive missiles of saccharine ‘80s brilliance into the music journalism world. The album, E•MO•TION, didn’t sell well, which might make you think it’s a flop. But, slowly, the high praise started to roll in, and more people decided to see what the big deal was with Carly Rae Jepsen suddenly.
Some still dissent, but a lot of people (myself included) found a lot of greatness in this album. It’s fun, very well produced, and there’s also not a single bad song on here. Seriously, every song on this album isn’t just passable, but great. That’s extremely rare for a “mainstream” pop album. It’s artistic, goofy, and completely redeeming in terms of CRJ’s indie cred. She went from YouTube laughing stock to playing to thousands of people at fucking Pitchfork Festival.
Anyway, over 200 songs were written for this album, so naturally there was some runoff. Of the 185 songs that missed the final cut that aren’t already bonus songs, 8 were put together for this appropriately titled EP (which has an amazing cover, by the way).
And… ALL. EIGHT. SONGS. ARE. INCREDIBLE. There’s not a dull moment on this EP, whether Carly is going vulnerable (“Cry,” “Fever”) or just having a ton of fun (“Store,” “Higher”). Either you are going to really get this or you aren’t, because there’s nothing to get, really. SIDE B is a series of throwaway songs that don’t feel at all like throwaway songs, which is the mark of a True Fucking Artist.
I wouldn’t have said this in 2012, but I’ll say this now: Carly Rae Jepsen is a musician to be on the lookout for, especially now. The real question is, going into the future, will CRJ be able to top herself? I really hope so.
Key tracks: “Store,” “Cry,” “Fever”
1. Gorguts – Pleiades’ Dust
Canadian technical death metal legends Gorguts made a glorious return in 2013 with the excellent Colored Sands record, the first to feature Dysrhythmia axemen Kevin Hufnagel and Colin Marston on guitar and bass, respectively. While we await that album’s proper follow-up, the reformed Gorguts has proven itself to be an even more ambitious group of musicians than the band’s ‘90s lineup.
In turn, Pleiades’ Dust isn’t so much an EP of multiple songs as much as it is one 33-minute song. For a first foray into the art of the short-form release, this is certainly a difficult undertaking. The result is a pummeling half hour of strange, unpredictable death- and sludge-metal music, with elements of drone and progressive metal.
The song itself is a somewhat historical retelling of the House of Wisdom, an ancient library in Baghdad that was destroyed in the 13th century. Vocalist and principle songwriter Luc Lemay uses the library, which was said to house all of the world’s knowledge until the Mongols destroyed it, as a metaphor for the sort of scientific and mathematical achievement which we take for granted every day. Knowledge is personified, with characteristics and the ability to move and evolve.
Pleiades’ Dust is loaded with complex musical structures, ferocious performances, and a truly impressive bass solo from Colin Marston. It’s a massive EP that transitions from one movement to the next with the aplomb of a canonically admired composer of classical music. Fans of more experimental metal music may not find much to enjoy here, but Pleiades’ Dust stands out to me as the best EP of the year. It’s intricate, intelligent, cohesive, and somehow manages to be a hell of a lot of fun to listen to.
Key tracks: (you get the idea at this point)
Thank you for reading! Make sure you stay tuned over the next few weeks to catch my Top 69 Albums of 2016, 10 WORST Albums of 2016, and 10 Best Live Acts of 2016! List week never has to end!
Jakob Ross is Rainy Dawg Radio’s 2016-2017 music director. Follow him on Twitter at @jakobsross!
If you weren’t sure what to be thankful for by Thursday last
week, you definitely knew by the next day. And I’m not talking about weak deals
on TV’s or other stuff for you to take home and gift wrap. I’m talking about gift
On Friday, Kendrick Lamar and J. Cole each blessed us with a
new song, both of which were called “Black Friday” and both of which were
remixes of each other’s hits from the past year: Cole went off on “Alright” and
Kendrick erupted on “A Tale of 2 Citiez.”
“I’m yelling Mr. Kanye West for president/He probably let me
get some head inside the residence/I’m in the White House going all out/Bumping
College Dropout, God-bless Americans,” Kendrick shouts on his remix.
If that isn’t the best lyric you’ve heard since “To Pimp A
Butterfly,” then congrats, you’re not putting Kendrick on a pedestal like I am.
But I’ll stop when he gives me a reason to.
While Kendrick’s “Black Friday” basically just a four-minute
verse, Cole’s version can more accurately be called a full song. The man loves
hooks – I’ve seen him come up with one on a freestyle. Rest assured though,
Cole’s affinity for singing doesn’t mean he’s lacking bars:
“Cause on the same day a nigga doing different shit/Spit
different flows, hit different chicks/Let my Brixton hoes feed me fish and
chips/Why I do a lot of shows? I’m the shit, that’s it/Got suicidal doors, I
just slit my wrists.”
The craziest thing about Cole’s “Black Friday” definitely
has to be the end though, when he teases something dropping in February before
being cut off by a censor tone. Could that something be the long-teased
collaboration album with Kendrick? The entirety of the Internet seems to think
Coming off critical acclaim for both of their most recent
projects, Kendrick and Cole may just deliver the best collaborative album since
Jay and Kanye’s Watch the Throne in 2012. Because as much as we liked Drake
and Future’s What a Time To Be Alive, both of their individual releases this
year were much better.
But could a Kendrick/Cole collaboration possibly be better
than To Pimp A Butterfly? With Kendrick spitting on the same record, Cole is
much more likely to go harder than he did on 2014 Forest Hills Drive, which
was already an incredible effort on his behalf. But TPAB was on another level,
and I don’t think Kendrick would benefit as much as Cole from working together.
Cole could help him improve his singing?
Either way, both “Black Friday” tracks are good enough to
stand on their own and stave off our hunger for the mythical collaboration a
little longer. Let’s see how many times I can replay them between now and
Check out more from Mohammed
Kloub, aka DJ
Mohtorious, on Rainy Dawg Radio every Thursday from 12-1pm!
Jay Rock’s new single “Money Trees Deuce” is a tantalizing release for his upcoming album. The last we
heard from him was the single “Pay for It”,
featuring Kendrick Lamar and Chantal. This was all the way back in late October of last
A reference to his feature on “Money Trees” off Lamar’s good kid, mA.A.d. city, this time around
the song is all Jay Rock. At almost five and a half minutes, it offers ample
support as to why the long wait for his next album will have been worth it.
Opening with smooth, dark horns, the beat implies a dim
story is about to develop. The relaxed vibe is decreased slightly with the
addition of a clapping snare as Rock begins his first verse, and the final
layer of subtle bass and drum kick sets the tone for a laid-back but charged
Rock’s lyrics and steady flow convey a tough story that he
is all too familiar with. Over his three verses, a drug-laced, fatal stumble
towards the all-encompassing goal of getting money unfolds. He raps, “I’m a
locomotive, steam rolling, gotta fight to keep that money stream open”, which
paired with his usual raw inflection, conveys the exhausting toll that this
non-stop grind creates. Rapping about the harsh confines of the ghetto is
familiar to Rock, with songs such as “M.O.N.E.Y (feat. J. Black)”, “No Joke (feat. Ab-Soul)”, and “Life’s a
Gamble” off of his first album Follow Me
Home all describing in vivid detail where he comes from.
Towards the end of the grim song, he snarls “Had me snatch
that switch off that branch with some leaves on it, fantasizing bout some money
trees on em”. This line ultimately sums up the toxic relationship between the
chase for money in poor cities around the US, and the violence and damage
caused by this pursuit. The fantasized money tree is whipping those in pursuit
of it with the very branches being strained for.
All in all, “Money Trees Deuce” is a fantastic single from
Jay Rock, proving he is more than capable of finding shade in his own trees, no
matter how unforgiving the environment. If you haven’t listen the song already,
it’s definitely worth checking out.
Lamar’s latest album, To Pimp a Butterfly,
was undeniably brilliant. It was both lyrically and sonically divine. One
of the album’s most beautiful aspects was its funky, jazz-infused sound. I
wasn’t a fan of jazz before To Pimp a
Butterfly, but now I’m obsessed. Thank you based Kendrick.
as a genre, can be quite daunting. I had no idea where to start with it. So I
did the only thing I could do: I searched for “jazz” on Spotify. There was so much to listen to! I found some
cool Spotify playlists (Shouts to “Late Night Jazz”) that helped narrow down my
So, two months of jazz-capades
later, here are my three favorite albums. If you want to get started with jazz—and
you totally should, it’s dope—these albums would make for an ideal starting
Dave Brubeck Quartet – Time Out
Dave Brubeck sure can
play the hell out of a piano. This album’s sound is playful and sunny. Perfect music
for rolling down a grassy hill, or for a wine-soaked picnic on the beach. The
seven pieces on this album each elegantly swell to their euphoric peaks.
“Strange Meadow Lark” is my personal favorite on this album. It’s pure bliss
when the horns kick in:
Coltrane – A Love Supreme
About six minutes into this glorious beast
of an album, Coltrane puts down his saxophone to chant “A Love Supreme.” The
other instruments carry on, providing a smooth backdrop for his chant. It’s a
simple and fleeting moment, lasting only about thirty seconds. But somehow, it’s
my favorite thirty seconds on this album. It’s amazing. It’s catchy. It’s
This album is abundant with such
moments of wonder. The whole thing just swings into your ears. Tension
frantically rises and falls in a majestic tide of harmony. This album feels
like an insane action movie. Like Die Hard. A Love Supreme is the jazz
equivalent of Die Hard.
Davis – Kind of Blue
This is a phenomenal album. Miles
Davis and his trumpet are a soothing balm to the ear. Also, the man himself,
John Coltrane, plays the tenor saxophone on this album.
The album kicks off with pensive
piano notes, an oddball bassline and tentative bursts from the trumpet. It’s so chill:
This album makes me feel like I own a
yacht. That’s a great way to feel, no doubt about it. I listen to this album almost every day. I brush
my teeth to it. I fall asleep to it. I even ate pizza to it once. If you haven’t
heard anything on this album yet, get with the program.
But, don’t just take my word for it all. Venture into the wonderful world of jazz and experience the magic for yourself. In the words of the great jazz pianist, Bill Evans (He also played on Miles’s Kind of Blue. That album is straight up star-studded), “You can’t explain jazz to anyone without losing the experience. Because it’s feeling, not words.”
It’s here! The lineup for Sasquatch! has finally been released! This annual music festival is held at the Gorge Amphitheater in George, Washington every Memorial Day weekend. That’s May 22-May 25; mark your calendars!
Every year thousands of music lovers from all over the world flock to The Gorge for this festival. Known for it’s scenic back drop and diverse lineup, Sasquatch! has become a gathering spot for fans of all types of music.
Check it out-
This year the festival is featuring headliners Kendrick Lamar, Led Zeppelin legacy Robert Plant, Modest Mouse and Lana Del Ray. Personally, though, I’m looking forward to seeing St. Vincent, Sylvan Esso, Thunderpussy and Dan Mangan + Blacksmith.
Still not convinced? Get this: Sasquatch! is also known for its comedy side-shows. This year’s list includes names like Doug Benson, Leslie Jones, Cameron Esposito and more.
Great music and funny people? Sasquatch! 2015 is a no-brainer; count me in.
Looking for the perfect opportunity to submerge yourself into Washington’s beautiful greenery, too? You’re in luck. Considering this venue is pretty remote and there aren’t any huge cities nearby, most of the festival attendees choose to campout in the designated camping ground near the amphitheater.
Tickets will be on sale starting February 7 on the festival website and a regular 4-day pass will cost $350. Grab yours before they sell out!
I’ll see you out there (stay tuned for tomorrow’s post, DJ Desman reviews the Sasquatch Launch Party)
if you’ve gone home for thanksgiving, and theres a bus ride/train ride/long drive/plane ride involved, don’t you worry. i’ve got the playlist for you. this will make the longest of rides easy with an hour and a half of hip hop to bob your head to.
however, if you’re like me and you’re stuck thousands of miles from home, this is a great playlist to bump so you don’t miss home, quite as much.
safe travels ☺
Sky’s The Limit (feat. 112) – The Notorious B.I.G.
Backwards – Tame Impala, Kendrick Lamar
Multiply – A$AP Rocky, Juicy J
Lean and Weed (feat. Problem) – Skeme
Can’t Stop (feat. Kanye West) – Theophilus London
Hol’ Up – Kendrick Lamar
See No Evil – The Game, Kendrick Lamar, Tank
Chaining Day – J. Cole
Who I Am – Pusha T, 2 Chainz, Big Sean
Sorry Momma – YG, Ty Dolla $ign
PMW (All I Really Need) – A$AP Rocky, Schoolboy Q
Do You Think About Me – 50 Cent
Drive Slow – Kanye West, Paul Wall, GLC
What They Want – Schoolboy Q, 2 Chainz
God’s Reign (feat. Sza) – Ab-Soul
Blow My High (Members Only) – Kendrick Lamar
Driving Ms Daisy – Logic, Childish Gambino
Pain – A$AP Rocky, OverDoz.
Cold Blooded – Kid Cudi
Chapter Six – Kendrick Lamar
I Won – Future, Kanye West
Black People (feat. Kendrick Lamar) – Jay Rock
Ain’t That Some Shit (Interlude) – J. Cole
Jesus Piece – The Game, Kanye West, Common