Categories
DJ Highlights

Gucci Mane or Lil Wayne, Who Had the Bigger Influence?

Throughout all of hip hop history, there are only a few artists that fans will identify as the GOAT (greatest of all time). For this generation, the most widely agreed upon of these artists are; Lil Wayne, Snoop Dogg, Gucci Mane, Kid Cudi, and Young Thug. Of these four, Gucci Mane and Lil Wayne undoubtedly have the most influence on today’s rap culture, but who has more? Lil Wayne is notorious for his cultural impact. In fact, on his latest album, The Carter V, the song Dedicate boosts some of his most notable achievements (in terms of influence) including both his physical and lyrical impact. The most apparent impact Lil Wayne has given to the culture is his name. Though Lil Wayne was actually the second rapper to put ‘Lil’ in front of his name (proceeding Lil Troy by only a year), he is definitely the reason behind the large population of ‘Lil’ rappers today which include; Lil Uzi Vert, Lil Baby, Lil Pump, Lil Yachty, and countless others. Wayne was also one the first to make gang life cool (Behind Snoop Dogg). As bad as that sounds, before him, rappers did not often shout out gangs. Nowadays, there are thousands of rappers, underground and mainstream, who actively rep a gang whether they belong to it or not (like Young Thug for example with his constant mention of “Slime”, which is actually a gang reference). Wayne is also one of the first rappers to build a collaborative label run by artists in which all artists are successful (Young Money), which is seen now in labels like Quality Control and Bad Boy. More things that Wayne is credited for are; integrating face tats into rap culture and having merch develop into its own brand. He was notably also the first rapper to buy a Bugatti. This may seem like a lot of contributions yet when compared to those of Gucci Mane, it is hard to determine who had more. Though Lil Wayne is credited with integrating face tats into rap culture, Gucci Mane is credited with integrating face tats into pop culture. Before him, only gangster rappers would dare to tattoo their face but, after his notorious ice cream tattoo was displayed to the world, artists and icons everywhere seemed to start to get tattoos on their faces. Gucci’s largest contribution to the culture is Trap music. Gucci single-handedly created the Trap genre through rapping about trapping and making it sound cool for the first time. He also created the trap sound, emphasizing heavy beats and lyrics rather than melodies (you know what I’m talking about). Now don’t get me wrong, there was gangster rap before Gucci but, the act of trapping was never discussed and definitely never glorified. Through glorifying trap, Gucci inspired a new wave of artists to get rich through trapping and spend the money on a studio and other things to enhance their upcoming career. Gucci is also one of the first to make ad libs popular in rap culture. Through the iconic “BRR!”, we now have “SQUAD!”, “Thugger Thugger baby” and all of Migos’ various adlibs to name a few. Therefore, without Gucci, there would be no new wave of Atlanta music that hip hop is so fond of today. There would be no Young Thug, no Waka Flacka., no Young Nudy, no Migos, etc. So who had the bigger influence? Gucci or Wayne? I honestly have no clue.

-Lul Bulma

Categories
Podcasts

EOT286 Sosta Cafe & Artsplosure 6/2/19


Aaron Kling brings you another edition of “Eye on the Triangle,” every 6 p.m. on Sundays at WKNC 88.1 FM HD-1 Raleigh, wknc.org/listen and available as a downloadable podcast.

Categories
New Album Review

Album Review: Nots – 3

Album Review: Nots – 3

Best Tracks: Woman Alone, In Glass, Built Environment

FCC: Clean

Since 2011, this Memphis three-piece has been releasing gritty, noisy, yet somewhat experimental and trippy punk tunes while building a small following along the way. Some call them garage-punk, others say psychedelic-punk but for the sake of making things simple, Nots is a straight forward punk band at its core.

The album’s A-side kicks off with a nonchalant, laid-back ride along called ‘Low,’ fueled by a chugging bass line that serves as the song’s mover. It still gets the veins moving but does not reside in aggression and angst in the traditional sense of punk, though it still serves as a fantastic intro to the album.

‘Woman Alone’ is a song that swells with sound and emotion. The lyrics “What’s it like to be a subject analyzed” takes you into a world of unease that the singer feels comes with the territory of being female in American society. The trippy and experimental guitar tracks give this song its edge but flow inconceivably.

‘In Glass’ is another thrasher of dirty bass lines and hallucinatory noises that fit congruently with the direction of the song. Filled with chants and a stampede of a drum beat, it proves difficult to sit still, provoking the listener to move about in whatever rhythmic variation comes to mind.

3’s B-side starts off with ‘Half-Painted House,’ which comes off as a bit dry and repetitive but is still intriguing nonetheless. Maybe this was the intent with the lyrics “Take another pill to calm my mind” and “Make another drink to calm my mind,” in serving the purpose of showcasing the habitual actions one takes when relying on substances to function in an overstimulating world.

The second half of the album is not as intense as the first but still reigns in the grooves and punchy-ness while not overreaching. ‘Surveillance Veil’ still has the floor tom rumbles and dirty bass lines but with a bit more fluidity. The scorching guitar riffs that buzz and resonate with soaring bends chime with a dark resolution and carry the track on a life of its own. The album’s last track ‘Built Environment’ kind of ties things up as far as the structural theme of the record by providing a mix of everything from the release: clean pockets of organized noise, sporadic drum fills, echoing vocals, and galactic guitar effects.

3 is a great album by a phenomenal band that has just met my acquaintance. I will definitely be taking that adventurous stroll through their discography as they have made a lasting impression on me.

-Justin Capoccia

Categories
New Album Review

ALBUM REVIEW: INJURY RESERVE- Injury Reserve

ALBUM REVIEW: INJURY RESERVE- Injury Reserve

Best Tracks: Jailbreak the Tesla, Wax On, Three Man Weave

Injury Reserve is the self-titled debut by the rap group Injury Reserve. Injury Reserve hails from Arizona and includes members Stepa J. Groggs, Ritchie with a T and Parker Corey, their producer. The trio formed in 2013 and have since released three mixtapes and two EPs, the most popular of them being Floss and Live From the Dentist Office. Injury Reserve is a group that embraces a lot of different sounds and infuses them into their music, injecting their sound in the veins of post-industrial, 90s boom bap, rock and electronic. On their self-titled album, Stepa J. Groggs and Ritchie spit clever lyrics in their distinct flows with the album’s guest features doing the same. This albums guest highlights include Rico Nasty in Jawbreaker who delivers a down to earth verse, Amine in Jailbreak the Tesla who comes in at the end with relevant and funny bars and Cakes Da Killa who crashes in hard and fast on GTFU. Injury Reserve begins with Koruna & Lime, backed with a beat reminiscent of Odd Future, introducing the rappers and the group itself by describing brand deals and the group’s avoidance of a genre label. Throughout the album you can find a sampling of very different, crunchy and melodic sounds on timely topics like Instagram, Elon Musk, Hypebeasts and depression. The last track ends off with Three Man Weave wherein Groggs and Ritchie rap on the group’s connectedness and collaboration throughout the duration of their careers featuring a sample of Phoenix’s Embuscade orchestrated by Parker Corey.

Some of the album’s best tracks are Jailbreak the Tesla, Wax On and Three Man Weave. It is evident throughout this work that Parker Corey, who curates the unorthodox rap beats and the guest appearances were the ones who carried a lot of the weight of this album’s freshness and boundary pushing aesthetics. However, this is not to take away from Groggs and Ritchie’s lyricism that is mostly consistent throughout the album, they preserve the “Injury Reserve sound” with their rapped lyrics and in tandem, Corey pushes it past the borders of what rap music sounds like. This album strikes me as a continuation and expansion of Injury Reserve’s fragmented, but original sound which takes hold through Parker Corey’s production while also keeping it accessible through the rhymes of Stepa and Ritchie. Injury Reserve is one of 2019’s most experimental, energetic and fun rap albums and is most definitely worth a listen.

-Makayla Mack

Categories
Classic Album Review

CLASSIC REVIEW: CALEB FRAID- The Old Rugged Me

CLASSIC REVIEW: CALEB FRAID- The Old Rugged Me

BEST TRACKS: 50/50, Anxious to Live, Vertical Blind

 

Fine, fine, this isn’t what would regularly be denoted as a “classic”.  But there’s something in this album which I haven’t found within really anything else.  It isn’t clear whether this is a result of a personal absence of knowledge surrounding this genre or simply that I have stumbled upon a long forgotten masterpiece (there’s a good chance it’s the former), but The Old Rugged me contains such a distilled spirit of creativity and self reliance that it manages to make me feel wholly lacking in every creative endeavor I’ve ever attempted.  While Caleb Fraid’s 8-track gem has been, to the extent of my knowledge, widely ignored, I would argue the (in)famous Velvet Underground quote is equally applicable to this album. Every person who listens to The Old Rugged Me is guaranteed to start a band.

 

Picture this, it’s the mid 90s, cassettes still reign supreme simply in their pragmatism.  Wow, what a time! Of course, I won’t try and make the classic “I was born in the wrong generation :,(“ argument, but the music environment facilitated by mid-90s technology is still really fucking cool.  Though the advent of the internet has virtually eliminated 90% of distribution costs, making everything DIY an actual possibility, the inherent magnitude of the World Wide Web makes this distribution infinitely more diffuse.  With cassette tapes, the distribution wasn’t presupposed. As such, not only was the content itself DIY, but so were the means by which it was sold, advertised, and shipped. So what does all of this actually mean you ask? Super localized tape scenes where labels often simply consisted of a handful of bands recording songs on a boombox and then having their stuff advertised in a mailer and shipped out from some dude’s house.  Labels like Shrimper, Amateur Anarchy, and Asswipe all existed as “companies” which refreshingly removed barriers between artists and consumers, and built an underground (hell yeah) music scene which attracted musicians whose creativity could be fostered on something as simple as something like an 8-track. And that’s where Caleb Fraid, a Houston native, comes in. While perusing BandCamp like a certified cool man, I came across FraidAid: a decent collection of lo-fi songs.  Admittedly, I wasn’t blown away. But then I looked at what else Fraid had released and, to my surprise, found over 100 tapes recorded between the mid 80s and early 2000s. Most of the covers were plastered with doodles Fraid appeared to have drawn on napkins. And so I finally came upon The Old Rugged Me, a collection of tracks whose minimal production quality initially mask the startlingly good songwriting beneath it. But don’t be fooled, this album is genius.

 

The funniest part about The Old Rugged Me is that it doesn’t really sound that far off from the Beatles’ White Album. No, no, I’m serious.  Fraid obviously isn’t concerned with clever recording techniques; rather, he spends two to three minutes using his limited resources to display his phenomenal songwriting.  And it is phenomenal. 50/50 offers us a horribly thin guitar line coupled with Fraid’s double tracked vocals that occasionally diverge to weave in and out of harmony before returning to the binary drone by the chorus. I swear to God, it sounds just like the Velvet Underground.  And the production here actual begins to work to Fraid’s advantage, turning a pretty standard sounding blues-rock track into a playful build which can only be described as a guy playing singing and playing guitar at himself. Similarly, “Anxious to Live” and “Vertical Blind” find their tenderness significantly boosted by its rawness. Whatever may exist within Fraid’s mind for these songs is probably impossible to decipher, but there is no mistake that it’s genuine.  Honestly, it’s difficult to choose a handful of songs to highlight on this thing; every song is a rotation of impulse which sees Fraid’s sparse, yet intricate songwriting ultimately speak for itself.

 

This album is the pinnacle of everything classified as DIY.  Devoid of pretension, The Old Rugged me exists as an entirely pure expression of an artist who is clearly fully invested in what he makes.  

 – Cliff Jenkins

Categories
DJ Highlights

Metal Mount Rushmore

What’s good Butcher Crew? We all known Mount Rushmore, the massive National Memorial of some of the most important presidents of the United States. What are the bands, albums, and people that are the most important to you?

In these lists below, I give my top 4 bands, albums, songs, and people, etc. that have influenced me the most; my own Mount Rushmores. Now, these may not be the most influential to readers but, here is insight into my musical tastes.

If you could create your own metal Mount Rushmore, who/what bands would you put on it?

Metalcore Bands:

As I Lay Dying

Asking Alexandria

Miss May I

Parkway Drive

Deathcore Bands:

Job For a Cowboy

Whitechapel

Suicide Silence

Carnifex

Death Metal Bands:

Death

Obituary

Cannibal Corpse

Dying Fetus

Clean Vocals:

King Diamond (Mercyful Fate)

Corey Taylor (Slipknot, Stone Sour)

Bruce Dickinson (Iron Maiden)

Matt Heafy (Trivium)

Guttural Vocals:

Phil Bozeman (Whitechapel)

(Old) Chris Barnes (ex-Cannibal Corpse, Six Feet Under)

Darius Tehrani (Spite)

CJ McMahon (Thy Art Is Murder)

Guitarist:

Tosin Abasi (Animals As Leaders)

Tony Iommi (Black Sabbath)

Dimebag Darrell (Pantera)

Zakk Wylde (Black Label Society)

Bassist:

Cliff Burton (Metallica)

Ian “Lemmy” Kilmister (Motorhead)

Reginald Arvizu “Fieldy” (Korn)

Steve Harris (Iron Maiden)

Drummer:

Joey Jordinson (Slipknot)

Lee Stanton (Thy Art Is Muder)

Chris Adler (Lamb of God)

Daniel Erlandsson (Arch Enemy)

Best Hair:

Levi Benton (Miss May I)

Lenny Bruce (Dust Bolt)

Peter Steele (Type O Negative)

Trevor Perez (Obituary)

Best Live Performance:

Wage War

Attila

Alice Cooper

Metallica

Well-known Songs (General Public):

Walk (Pantera)

Enter Sandman (Metallica)

Back In Black (AC/DC)

Bohemian Rhapsody (Queen)  

Well-known Songs (For Me):

Chopped in Half (Obituary)

The Saw Is the Law (Whitechapel)

Forgive and Forget (Miss May I)

Evisceration Plague (Cannibal Corpse)

Best Album (General Public):

Reign in Blood (Slayer)

Metallica [“The Black Album"] (Metallica)

Cowboys From Hell (Pantera)

Van Halen (Van Halen)

Best Album (For Me):

Dirt (Alice in Chains)

Hartford County Misery (Boundaries)

Deathless (Miss May I)

Korn (Korn)

Stay Metal,

THE SAW

Categories
Weekly Charts

Heavy Charts 5/31

# Artist Record Label
1 KNOCKED LOOSE “…And Still I Wander South” [Single] Pure Noise
2 LORD DYING Mysterium Tremendum Entertainment One
3 NINE SHRINES Retribution Therapy Mascot
4 SLIPKNOT “Unsainted” [Single] Roadrunner
5 ORGANECTOMY “Antithetical” [Single] Unique Leader
6 OSIAH Kingdom of Lies Unique Leader
7 FLESHGOD APOCALYPSE Veleno Nuclear Blast
8 SPITE “The Root of All Evil” [Single] Stay Sick
9 EARTH EATER “Swarm” [Single] Tone Traktor Audio
10 THY ART IS MURDER “Human Target” [Single] Nuclear Blast

Categories
Weekly Charts

Underground Charts 5/30

# Artist Record Label
1 VON PEA AND THE OTHER GUYS The Fiasco HiPNOTT
2 YOUNG RJ The Detroit Project [EP] Ne’Astra
3 DOS MONOS Dos city Self-Released
4 VINCE STAPLES FM! Def Jam
5 DOMINOES SLIME Pain BORN CTZN
6 ASAP ROCKY Testing RCA
7 BONES Failure TeamSesh
8 EVIDENCE Weather Or Not Rhymesayers
9 BUDDY Harlan & Alondra Lil Cool Company
10 DENZEL CURRY “RICKY” [Single] Loma Vista

Categories
Weekly Charts

Afterhours Charts 5/29

# Artist Record Label

1 SIMIAN MOBILE DISCO Murmurations Wichita
2 SAMPS, THE Breakfast Gloriette
3 LONE Ambivert Tools Volume Three [EP] R&S
4 YVES TUMOR Safe In The Hands Of Love Warp
5 SATIN SHEETS St. Francis 100% Electronica
6 NEGATIVE GEMINI Bad Baby [EP] 100% Electronica
7 GEOTIC Traversa Ghostly
8 DANCE SYSTEM Wind ‘Em Up (Radio Version) [EP] Monkeytown
9 SEB WILDBLOOD Grab The Wheel [EP] All My Thoughts
10 DORIAN CONCEPT The Nature Of Imitation Brainfeeder

Categories
Weekly Charts

Daytime Charts 5/28

# Artist Record Label
1 TACOCAT This Mess Is A Place Sub Pop
2 AA BONDY Enderness Fat Possum
3 TRUTH CLUB Not An Exit Tiny Engines
4 MORABEZA TOBACCO Morabeza Tobacco Luminelle
5 BLESSED Salt Pirates Blend
6 MEXICO CITY BLONDES Blush Burger
7 NOTS 3 (Three) Goner
8 REPTALIENS Valis Captured Tracks
9 FLAT WORMS Into The Iris [EP] GOD?
10 CHAI Punk Burger
11 PUZZLE X Hail Burger
12 POW Shift Castle Face
13 MALLSEX Discreet Services Self-Released
14 ROSE DROLL Your Dog Father/Daughter
15 SWERVEDRIVER Future Ruins Dangerbird
16 FADE EM ALL Fade Em All Self-Released
17 POTTERY No. 1 [EP] Partisan
18 EYEDRESS Sensitive G Lex Ltd
19 ROYAL CANOE Waver Paper Bag
20 TY SEGALL Fudge Sandwich In The Red
21 MADELINE KENNEY Perfect Shapes Carpark
22 GREYS Age Hasn’t Spoiled You Carpark
23 BEABADOOBEE Loveworm/Patched Up [EP] Dirty Hit
24 TOWNES VAN ZANDT Sky Blue Fat Possum
25 MAN’S BODY Put Your Family In It Beautiful Workhorse
26 GIRLPOOL What Chaos Is Imaginary Anti-
27 NATALIE PRASS The Future And The Past ATO
28 SASAMI Sasami Domino
29 ENTRACTE TWIST Entracte Twist Requiem Pour Un Twister
30 CALEB FRAID The Old Rugged Me Self-Released

Top Adds

1 PINHEADS, THE Is This Real Farmer & The Owl
2 DUMB Club Nites Mint
3 HARLAN “Fingertips” [Single] House Arrest
4 NECKING “Still Exist” [Single] Mint
5 CATE LE BON Reward Mexican Summer
6 STEF CHURA Midnight [Advance Tracks] Saddle Creek
7 SAMIA “Ode To Artifice” [Single] Grand Jury