L’Orange not only has free music for you in the form of an extended play, but the EP is being distributed as a free item. Yes, it’s free of charge so have a listen to After The Flowers, which features help from Blame One, Amerigo Gazaway, Chuck Inglish, Red Pill. Xiomara, Billy Woods, Meyhem Lauren, and Johaz.
This is a good hip-hop album because Uncommon Nasa goes all over the place musically and lyrically. I don’t mean he’s rapping offbeat or just saying things that are random or abstract in a Cappadonna fashion, but it reminds me of a time when Kool Keith, Jungle Brothers, and J-Zone could come up with a wide assortment of different things and it would take the listener to find a way to tie it all together. Uncommon Nasa takes things back to a certain place and time with New York Telephone and with a title that refers to a dead technology, it sets you into the world when all hip-hop seemed endless and fearless.
It feels like a basement album, the type of music you can sense was written in the kitchen or basement, writing everything down with rough drafts down by his feet, only for him to be surrounded by the equipment and get deep into the project. It feels like an album we all used to fall in love with because while it had a raw feel, it sounded perfect. Just to be able to hear a drum snare here, a bass stab there, and a cowbell that would make you go “I KNOW WHERE THAT CAME FROM!” is what made your day, week, or month. “1999 seems like a long time ago” is what he talks about in “Feedback Loop”, where he reflects on what life was like before 9/11, and how it felt as if his youth ended that day, or at least it was a way for him and many others to grow up when they weren’t ready.
Even if some of the tracks may come off as spontaneous, there is a continuity throughout, one that has Uncommon Nasa merely saying “stay with me and ride to the finish line”. There may not be a direct moral to the story, it may be an assortment of stories but perhaps reaching the finale, it’s about experiencing something in full, knowing that you felt good and want to put that in your back pocket to enjoy it again.
Mello Music Group will have a new album out next month by L’Orange called The Orchid Days, and with guests including Eric Todd Dellums, Erica Lane, Billy Woods, Jeremiah Jae, and Homeboy Sandman, it may lead to a bit of anticipation, if not anxiety attacks. Relax, my friends, for you have one track here to calm you down, this one featuring Blu.
The audio and visuals in “Are We Friends” is straight out of the 1980’s, when you could harden up your sound with mechanical beats and create a video by fooling around with your cable box. Dean Tzenos, Denholm Whale and Jarod Gibson know exactly what they’re doing, and as Odonis Odonis they’re going to take those things to CMJ next week. They’ll hit the road in Canada for a small handful of shows in late November:
October 17… New York, NY (Shea Stadium) (IMPOSE + Terroreyes + The Needle Drop showcase) ~
October 18… New York, NY (Santos Party House) (Rice and Cheese showcase) ^
October 19… New York, NY (2 Havemeyer St.) (My Social List day party) *
November 29… Hamilton, ON (Baltimore House) #
November 30… London, ON (APT) #
December 1… Kitchener, ON (NEW FWEST) #
~ = w/ Billy Woods, Wreck And Reference
^ = w/ Saul Williams, HSY, Weaves
* = w/ Weekend, Hunters, HSY
# = w/ Teenanger, Soupcans
No, this is not a reference to The Moody Blues album, but Days of Future Past is a brand new product from Willie Green, and this one is packed with some nice tracks and beat excursions, a total of 38 songs in total. Whether it’s a view of tracks featuring other rappers or explorations of his beat genius, this is one that serves as a decent street or beat album, but also as a “resume tape” of sorts, including a few gems you might be familiar with, including the great “Diary Of A Dreamer” featuring PremRock.
It’s free for the taking, so stream and listen if you like, and if you really like, download it in the format of your choice.
PremRock‘s Mark’s Wild Years is an album that takes the music of Tom Waits and chops it up in hip-hop form to create a set of songs that unite both styles in the most perfect way. Just as Waits’ music touches on the fabric of America, PremRock uses his style to tell stories in a fashion that is made more effective with the backdrop of Waits. Some of the tracks utilizes the stories of Waits while others are of PremRock’s own doing, but each talk about the struggles of life, the complexities of being and in truth are the perfect display of modern storytelling done in the best and most effective way: through music.
By the time the album reaches the end, you feel like you fully understand where PremRock is coming from, or at least fully understand a chapter or two from his songbook and what he meant to express to you for this project. What moved me the most is that this is storytelling, not bullshit words over bullshit music, this is part of a template that was once treated with respect. Allow me to let you know why this template is one that still works, and why in a better world, this would be a great example of how to do hip-hop in a proper fashion.