This mirroring of form and content is one of the ways that The Weeknd so successfully create and sustain such a complete and fully realized atmosphere. I feel it’s pretty apt that the words ‘seduced’ and ‘addicted’ come to mind when describing the experience of getting into their music. It is by turns both numbing and exhilarating and, as with any display of such relentless excesses, a prolonged encounter becomes harrowing and exhausting. The experiential quality of the Balloons trilogy means that the listener is coerced into vicariously inhabiting the same world as its selfish and debased protagonist.

Tesfaye’s gorgeous falsetto, the single pure thing about The Weeknd, is the perfect antithesis to a darkness which prevents it from cloying as some saccharine R&B vocals can. The stark contrast also creates a frisson when combined with particularly ominous lyrics such as “baby when I’m done with you, why/You ain’t sayin nothin.” There is something compelling about the depraved and monstrous being depicted in such a beautiful way. In the almost unbearably claustrophobic Initiation, however, the vocals have been totally distorted, almost as if the lascivious atmosphere in the ‘two-floor loft’ has become so dense and all encompassing that even Tesfaye’s vocals cannot survive in it intact.

“XO/The Host” opens with wavering, shimmering synth that begins to falter after only a few seconds – another example of a moment of beauty that must immediately be tempered with something fractured and corrupted. When it reappears later it is through a layer of sleaze provided by spidery beats and power chords.

There are two moments that prevent Echoes of Silence from working seamlessly as a complete work: the presumably deliberate jarring transition from The Host into Initiation about which I am still undecided, and the dumb skit by Three 6 Mafia’s Juicy J on “Same Old Song,” which instantly serves to collapse the delicately constructed layers of emotion. Apart from these blips, the fluidity between tracks allows for modulations in tone that span the entire mix-tape. These allow it to depict both the lustful, swaggering peaks and the descents into cynical melancholy inherent in a party lifestyle, as well as high points in particular tracks like the insistent hand clap beat and gospel tinged chorus to the Clams Casino produced The Fall. Like its predecessors, Echoes of Silence is a darkly compelling mix-tape. Letting The Weeknd into your head is never going to feel particularly healthy, but you would also be hard pressed to find another artist this year capable of delivering the same rush.

The Timepiece is a 12 track album that provides sounds of various styles such as jazz, pop, soul and funk, that go hand in hand with the name given to him. Some of the producers who worked alongside Freeman on the album include hip hop and soul producer DJ Khalil who worked on Eminems recent album Recovery(2010), the rising producers the SUPER 3 out of the OFWGKTA which consists of Matt Martians and Hal and Djarum, known also as the Time Traveling Man.

As the album starts from the first track to the very last you can hear sounds that appear to come from various eras which takes you on a journey as Freeman delivers with great raps that seem to lace in with beats perfectly. As the tracks end and roll from song to song as the listener its seem as though Micah Freeman does a great job of painting a picture with his words that allow the listener to sit back and be apart of the Time Travelers journey. His style leans more towards being in the conscious raps which like many of the other artist of that style such Talib Kweli and Mos Def provide their listeners with nothing but lyrical talent which Micah Freeman undoubtedly has a lot of, which many of the major artist heard on the radio today are lacking.

On “Lost” and “Untitled” he flat out lets you know that unlike many others who do not know what it is that they are trying to do or where they want to go in life that he already knows that he will make it and where his music is going to take him which is a play on words that correlate to the title. On many of the tracks he lets loose with harmonies and sings over slower tracks such as “The Elephant,” one of my personal favorite cuts off the album. The Timepiece is an easy and great listen from its great delivery of lyrics to the beats chosen for each song. It focuses on real life issues and situations many people can relate to on a day to day basis. Definitely a great summer album to have when riding in the car and to just have period to listen to, it is one of the better mixtapes that I’ve heard as of recently and one I recommend that everybody download when it comes to have on the rising talent that Micah Freeman brings to the table.

Nicki Minaj aka Onika Maraj aka Young Money Mistress aka #yougetthegist released the video for “Moment 4 Life” yesterday, which is the third single from her debut album Pink Friday. The clip takes stage as a modern fairy tale, featuring Mr. Young Money himself, Sir Drake, as Minaj’s knight in sullen armor.

Once upon a time there lived a king named Nicki. One day, while sitting on her throne, she received an enchanting visit from her fairy Godmother. She would remember that moment for life.

The video is very Nicki Minaj, very “Moment 4 Life,” very Pink Friday, very Drake, very Young Money – very veneer.

We meet Nicki in the boudoir of her own castle, she is the everything – the King, the Queen, the fairy Princess, the Fairy Godmother, and her own favorite company even in a crowd of guests. Yet at the same time, she’s not entirely any of those things. What’s interesting is that Nicki’s fairy tale is void of struggle or hardship: there is only the eternal eleventh hour with no looming midnight fall. There is no fragile glass slipper, only an unbreakable diamond stiletto. There are no evil stepmothers or sisters, just the soft-spoken Aubrey Graham. There is no infernal blaze or funeral only the fireworks overhead a royal matrimony.

Right now we meet Nicki at the helm of her career, she is her own everything – she is the King cover woman, she is Rolling Stone’s Queen of Hip-Hop, she’s the Princess of Pink Friday, and the matriarch of the Barbz Army; from Roman, to Nicki Minaj, to Onika, to Martha, to Rosa, to Nicki Theresa she represents a million faces – but seemingly all facades. She has built an entire empire off the costume and caricature – the influence of which, though debatable, is not to be denied. She continues to build on the mystique here; and reiterate that she’s no longer just an empress, but that she is expanding an empire from behind the mirage.

Minaj’s perfect world, consists of no reality – it is an alternate universe; in reality she came from a broken home, but here everything is whole – even if it is just a fleeting scene. Nicki’s moment is now, if she could stretch it forever what would she capture – a place void of that hardship and struggle, where you can bypass the bitter life and go straight sweet. There is no peaked career – or new-now-next hot hip-hop Queen Bee to Minaj her into a has-been, only an endless sea of Barbz. There is no iceberg to sink the Young Money ship, only Wayne’s troop and an ocean of possibilites. There is no competition in the realm of female emcess, just the boys – and she’s one of them. There is no fall of Roman’s empire, just a sky overhead from beneath the tiara, and behind the lenses of rose-color sunglasses.

Pop is just this: it’s a teenage dream, it is fantastical and false, it is narcissistic and naive, it is aspirational – even if it is illogical. This moment was necessary though; because what goes up must come down – and no matter how high the pilot, fly has yet to overcome Pop physics. Minaj remains on the brink of “it,” and with each passing single, feature, video, performance – anything – we seemingly edge closer to her core being, and peel away another layer of her artifice in pursuit of the artist’s identity. That journey is also becoming an endless rainbow ribbon from the pocket of a jester – but there’s only so much magic left to mask the matter. Eventually, the star will fade and another one will inevitably come to take Minaj’s place – but for this moment she’s captured “it” and all of whatever “it” means to be on the cusp. Maybe that’s the key, to remain forever on that bubble – because you can only break it once you make it… so if Nicki can remain “almost made,” her forever can’t fade…

At the end of the day this moment is still the nothing before you become a real made “something;” when you have nothing you have nothing to lose and everything to gain. Once you become that somebody, all that’s left is to become a nobody. Perception versus reality is funny, because the perceived value can’t be depleted if it doesn’t exist – you can’t make something out of nothing, but you can make nothing out of something; and you can’t really perish if you never truly peaked… I’m really tryna make it more than what it is, cuz everybody dies but not everybody lives

Watch This Space: Be careful what you wish for, you just might get it… the moment isn’t always what it’s made out to be

She’s so Nicki… she’s a star… but she shines, shines, shines behind pillared bars thinking, “If Onika’s heartache’s missing in my life – then why do these fears come at night?”

Nicki Minaj’s “Moment 4 Life” is up for Best Collaboration at this year’s Video Music Awards. The show airs, Sunday, August 28 at 9 pm.

SBTRKT’s debut album has been called dub, dubstep, chillwave, trillwave, dance, pop, folk and everything under the sun by critics and fans alike. I don’t blame them though. Putting a label on something this new is how we relate to things these days. But, if the album is indication of anything, genre is dead, and SBTRKT’s indescribable production is the nail in the coffin.

Mister laser-beam
I think we have a little chemistry between
It’s a crazy scene
It’s gotcha gotcha doing back flips for me

- Roisin Murphy – Modern Timing

One track in, the album pulls off a series of impressive feats. In spite of the new territory that SBTRKT embarks on sonically, it’s influences deeply rooted in the now, easily sound mainstream enough to crossover. Everything here is filled with enough semiotics to feel sophisticated enough for intense interpretation but the sound is still light enough to fill a dance floor. This is one of those rare cases where the mainstream meet the indie. Never is this more apparent than on the collaborations with Sampha such as “Hold On” and the blossomy “Something Goes Right.”

It’s no surprise that SBTRKT’s music has found a comfortable niche in this almost mainstream limbo. Drake was the first to jump on the SBTRKT bandwagon. Even remixing first single “Wildfire” and performing it onstage during a recent stop in Toronto. Word is SBTRKT will be contributing to the new Radiohead remix album. And if Radiohead isn’t a good buffer for where we can expect to hear and see SBTRKT’s music travel, I don’t know who is.

#HoldOn

Watch This Space.

“You should’ve been Drake.”

Yes, over the past few years a handful of people have actually had the balls to walk over and say that to me. I know that in their mind they’re trying to convey their appreciation for my music while drawing the comparison to say, “what the fuck is wrong with the world?” but I can’t help but be offended every time it happens. I smile gracefully and carry on with my day, spending the majority of it trying to suppress the rage bubbling inside brought on by statements made by people who know nothing about me or why I’ve chosen the path that I’m on. And let me be the one to tell you, I will not, and never will be, anything like Drake or any other rapper currently dominating the mainstream.

It’s not that I don’t like any of their music. Drake has some great songs and there are a few other popular artists that get steady burn in my iPod. There are some artists that are just undeniably talented and manage to cross both musical and cultural barriers. Jay-Z is an excellent example of that. His music (post-”Reasonable Doubt”) has always had the uncanny ability to connect with people regardless of race, age or social status. His reign at the top has been like none other and I highly doubt we’ll ever see anything like it again. It’s nothing short of amazing that a man well into his 40’s can still make music appreciated by people half his age.

Perhaps a lot of what’s kept Jay-Z on top for so long, aside from being one of the greatest lyricists Hip Hop has ever seen, has to do with his willingness to mesh himself into whatever trend is happening at the time. If you look back through his discography, you can pinpoint the era in which that album was made by the featured artists, producers and overall sound. He’s a master of matching his competition and then out-doing them in their own arena while at the same time carving his own niche and pushing himself into mainstream dominance. In my opinion, Jay’s career can be summed up by the second verse of his song, “Moment Of Clarity” from “The Black Album”:

The music business hate me
Cause the industry ain’t make me
Hustlers and boosters embrace me
And the music I be makin
I dumb down for my audience and double my dollars
They criticize me for it yet they all yell “Holla”
If skills sold, truth be told
I’d probably be, lyrically, Talib Kweli
Truthfully, I wanna rhyme like Common Sense
But I did five mil, I ain’t been rhymin like Common since
When your sense got that much in common
And you been hustlin since your inception
Fuck perception, go with what makes sense

What Jay outlined was that crucial decision that all artists have to face sooner or later. It’s the moment that you have to choose between what’s more important, fame and financial status or total control over your creative direction and artistic integrity. Unfortunately, there are very few cases in which you can maintain both. Pusha T said it best; “We can’t all be Nas”.

Myself, I sit at the opposing end of the spectrum described in the lyrics above. You can literally reverse those 12 bars, switching the words for their polar opposites, and you have me. What drives me as an artist is not money or fame but an obsessive compulsion to achieve perfection. My creativity is the core of everything I do. Without it, I would cease to exist. I need to exercise it constantly or else I feel like I’m not living. When put in situations where I can’t create, my mind works in overdrive, frantically grasping to whatever thoughts that I can take and turn into words that will ultimately become songs.

I don’t know exactly when it all changed for me. In my early 20’s, as part of a group with fellow Refined Hype supported artists, e.d.g.e. and Shane Eli, our world revolved around someday eventually “making it”. A major part of what kept us together all those years was that we shared the same dream and we’d frequently talk about what life might be like when we finally signed that big record deal. The homes we’d buy, cars we’d drive and women we’d have sitting beside us in the passenger seat, we knew what we wanted and we were sure that some day we would attain it.

I can’t speak for e.d.g.e. or Shane, but over the years that dream slowly started to fade. As I came in contact with people inside the music industry and established artists, I saw their world for what it really is: a diluted, twisted, paranoid lie. The industry people could care less about the music; they were in it to make money. Time and time again I hit brick walls. The people put in place to find best and brightest the world had to offer were only looking for the closest comparable thing to whatever trend was happening at the moment. They weren’t interested in developing talent that had staying power; all they wanted was a quick buck.

As for the artists, these were some of the most delusional people I’ve ever come across. They were so lost in their own fabricated image that the only identity they had was the one manufactured by their publicist and record label. They were socially repressed, unable to hold an intelligent conversation for fear that they may infringe on who they’re supposed to be rather than who they actually are. And so they would avoid eye contact and seclude themselves to escape from any human contact not associated with talking about themselves. They were fragments of their former personalities, confused, beaten and submissive; the love for their art a vaguely distant memory.

Not everybody I encountered was this way. There were some who managed to successfully navigate the music industry without selling their souls, but I wasn’t willing to take the risk. I knew that virtually everything about myself and my music would have to change in order for me to appeal to a mainstream audience and so odds were that I wouldn’t make it out the same way I went in.

And so I chose to continue on with a new dream. Rather than be a puppet caught in the elaborate entanglement of fame and distortion, I decided to be free. If it meant that I would spend my life working a regular job and making music in my spare time, then so be it. Money could never equal the high I feel when my voice falls perfectly into the drums and a song is complete. No matter where the world takes me, my home will always be somewhere between a snare and a kick drum.

Yeah, I could’ve been Drake but I didn’t want to be. I’m sure he’s perfectly happy with his life as is and I’m very comfortable with mine. I like going places by myself and being left alone, and it’s nice to know that any woman that I spend time with is attracted to me because of who I am and not what I can do for them. It’s always a great feeling when people recognize me and come over to say they like the music and the articles, but I don’t know if I could handle it 24 hours a day, 7 days a week.

I mean, if I was Drake and with all the outlandish shit I say in these articles, could you imagine what the media would do to me? Good God man.

#WINNING

Jason James is an artist, freelance columnist and writer for RefinedHype.com. This post originally appeared on RefinedHype.com

Here’s a goodie I’ve been saving on my mac for myself. Just thought I’d share. It’s that good. Atlanta based producer Savvy Society mixed “Afromerica,” the sample for Kanye West’s single “Power” with Major Lazer’s “Pod De Floor” and A-Trak’s mix of Drake’s “Money To Blow” for Tabloid. Savvy Society’s upcoming project Tribal Dance features new songs by indie music darlings like Sye Spence, Corinne Stevie, Richelle L. Brown, Jay Scott & more will be released soon. Until now enjoy this. Listen and download after the jump.

MP3: Major Lazer x A-Trak (Savvy Society Mashup) (Right Click + Save Target As To Download)

2010 may have sucked when it came to substance and clear common sense. Chris Brown I’m talking you. And of course underage four loko lovers around the world. But at least we had a full 365 days of awesome music. I can’t say enough about the amount of exceptional material artists put out this year. Indie darlings like Theophilus London & J*DaVeY kept us content with the most ingenious tracks and music heavyweights like Kanye West & Cee Lo gave us albums. Yeezy’s twisted fantasy, Katy Perry’s sugar coated pop bliss, Gil Scott Hering’s rebel anthem, this is our soundtrack for 2010. Find out what albums made the first part of our list from Art Nouveau editor Kendrick Daye aka GreatEclectic and pop culture journalist Swiper Bootz.

17. Drake – Thank Me Later

GreatEclectic: This is one of those albums that tried to give something for everyone so how could it fail

Swiper Bootz: haha that is valid, but it’s so much of everything else and nothing in and of itself. so many empty lyrics
all punchlines no juice.

GreatEclectic: Ha, I do think it’s downright ridiculous how he raps so hard and then jumps into singing a cassie-esque hook

Swiper Bootz: EXACTLY. and even when he raps hard i hear nothing. i hear unsubstantiated swag that cancels itself out with contradiction

GreatEclectic: but what i do like about him, is he’s only rapping what he knows. i respect an artist that gives me them no matter how vain that may be

Swiper Bootz: i wanted to feel that for him. but i don’t get that from him. it’s like one of those lies people tell where they are creating it in complete reaction to your questions about what happened or assumed questions about what you’ll ask about what happened. i feel like people told him what he should be feeling about where he is. it’s the tumblr of albums

GreatEclectic: of course, drake was created to make money. but most albums now are as vain as most tumblrs

Swiper Bootz: “and we gon be alright if we put drake on every hook”

GreatEclectic: the real genius behind drake’s album and Nicki’s is Wayne. he created other versions of himself to make deals and checks he couldn’t possibly do. drake is the cleaner version of wayne, nicki is the female version.

Swiper Bootz: and that came through glaringly obvious. whereas with kanye you can argue the real genius behind his album is himself and that’s a bit rough for business hours but he can always have people pick up his mini-mes. both drake and nicki had mtv documentaries this year

GreatEclectic: yes, i caught that, and big debuts because of it

Swiper Bootz: and it humanizes them

GreatEclectic: 6.5

Swiper Bootz: 6.

Final Rating: 6.25

16. Ke$ha – Cannibal

Swiper Bootz: 7. boom as far as ke$ha goes, the deluxe edition made it happen. animal was catchy and odd and a bit of a dollar store version of GaGa – the haus for a post-foreclosure economy. it’s quite teenage dreamy in a next morning hangover sort of way it’s caught in a lot of grey hazy areas

GreatEclectic: “lol at dollar store version of GaGa”

Swiper Bootz: haha well… #letsbeserious. she wore a trashbag to the vmas

GreatEclectic: I think that’s why I always had a hard time giving her any chance. But there are some gems on the album, “Cannibal” is awesome.

Swiper Bootz: the first four tracks off of cannibal are quite quite epic arguably the hardest first four ive heard since… i can’t remember actually possibly the fame. but coming off of animal they were defined, and more deliberately reckless

GreatEclectic: peep the credits, man Dr. Luke and Max Martin are pop music. I didn’t know they produced those same 4 four tracks

Swiper Bootz: yep, and you could hear it, she moved from misguided rebel to borderline pop anarchist but in a very britney blackout way the sound of blackout completely tweaked, dark, confused, electronic sonic trip… stemmed from a place of sheer inebriation but it’s packaged better animal versus cannibal the animal was the fame the cannibal feeds off of that weaker point of origin to fuel the bigger better badder beast where gaga faced her demons from a place of adoption and acceptance understanding they came from her and she is the beauty and the beast, the monster and the maiden fair, etc

Final Rating:6.5

14. Rihanna – Loud

Swiper Bootz: #kindof. but in the presence of cee-lo and miguel it’s like… yknow but objectively as a pop album, i mean it has catchy tracks. undeniably.  it gets a bit weak midway.

GreatEclectic:

Final Rating: 6.75

14. Miguel – All I Want Is You

Swiper Bootz: i liked it a lot, i was shocked
but not like shocked shocked in a way of justin bieber being good, because i didnt have pretense, so it was better than baseline which is good too. haha so maybe he got the benefit of the doubt

GreatEclectic: given male r&b

Swiper Bootz: which is why it was refreshing to hear his album

13. M.I.A – /\/\ /\ Y /\

Swiper Bootz: m.i.a. brought what she said she would and i cant hate her for that. it’s the electronic moshpit the digitized revolution static and cacophonus but its that chaos that will spark creation people hate on it now by and large but that’s fine. i like that it is so blatantly raw

GreatEclectic: i think she was the problem with selling this album. to diss Gaga and release XXXO, an awesome track BTW, threw everyone off.

Swiper Bootz: Like, stop being a bitch it’s okay to be a bitch like a free bitch but only when it’s being bitchy not a legit mean girl. and the GaGa diss was unsubstantiated because it came from mia. i see where she was going but when everyone’s a part of the same machine it’s easy to ping the glaring similarities

GreatEclectic: I mean, I get it, but that’s seriously the pot calling the kettle black, you both went to good schools, which most people consider privledge

Swiper Bootz: from the jump education like that you wouldnt get the kind of music they make without that fundamental piece they always say stuff with their music it’s like a dissertation or a symphonic speech and debate piece. right, and that pretense doesnt work people stop listening and talk all over your stuff

GreatEclectic: And see what’s messed up, we are discussing her and not the music. It had potential for big singles
Lovealot, Steppin Up

Swiper Bootz: it had potential to be everything it wasnt. they put a lot of press into it. but it was so much bad press that couldnt be spun right.

GreatEclectic: dope album, but the mess still factors into everything so i’d have to say 7.

Swiper Bootz: i’ll give her a 7.25 im going to give her the change i took from cudi

Final Rating: 7.125

12. Katy Perry – Teenage Draeam
GreatEclectic: she’s this generation’s britney spears

Swiper Bootz: hm i wouldnt give her that credit. there’s too much potential with ke$ha on the sonic front and miley on the social front

GreatEclectic: some wouldn’t give britney that credit

Swiper Bootz: haha it’s unfair, katy’s from california, she chose this, britney was chosen

GreatEclectic: i mean that’s how our stars are made these days, but in terms of money being poured into katy perry, it reminds me of the way Oops I did it Again was marketed. Of course they didn’t get same results. but the music is awesome. A step up from the pop of Britney’s hey days.

Swiper Bootz: right but i mean i liked teenage dream when i first heard it and then less and less each following time. it is what it is.  i think it was what christina needed bionic to be

GreatEclectic: Oh her, Xtina is Late lol. she just can’t make it work

Swiper Bootz: soooo late. happy 30th birthday to that. she also doesnt understand that she can sing and thus doesnt need to make pop albums. pop music is for pop singers. people make pop albums because they cant do what she can and she’s running from that instead she goes backwards and tries to do what they do because they cant do what she does and seemingly doesnt want to do

GreatEclectic: she could have a celine dion like career, but she’d rather gross people out

Swiper Bootz: it’s like the play no exit which (digress) has three people in a room together for eternity
a straight guy, a straight girl, and a lesbian the guy likes the lesbian, who likes the straight girl, who likes the guy, it ends and someone says ‘hell is other people” and you realize they’re in hell

GreatEclectic: her album i’d give a 2. it has a moment. but we’re not talking about boinic lol

Swiper Bootz : i’d give bionic a “see me after class”

GreatEclectic: I’d give Katy a 8. It was an awesome pop album though.

Swiper Bootz: hmmm i give katy a … 6.5 #dontshoot

Final Rating: 7.25

11. Kelis – Flesh Tone

GreatEclectic: I love Kelis, and I like some of the songs here, but the most interesting parts of the album are the bits in between each track, some of those beats are awesome. #nowplaying HOME

Swiper Bootz: so fresh i liked that even though it was electronic it was basic too. Home came out like a daft punk track
and was tron before tron haha. i love albums that are atmospheric

GreatEclectic: I still think it could have used at least 4 Neptunes tracks

Swiper Bootz: her and the neptunes make magic last decade haha that looked worse than i meant it i meant it as ever since last decade haha with in search of and truth or dare i feel like for what she wanted with this, if she brought on the neptunes there might be a divide and youd have good tracks but they wouldnt necessarily flow

GreatEclectic: she had a very heavy hand on this album i think left to his own devices david guetta would have made these tracks sound more like fun than labor flesh tone is one of those albums i like because i like the artist.

Swiper Bootz: exaaaactly #THISISNTAGAMETHISISREAL just kidding lol we can’t be playing games when im worried about divorce court and even with the room for improvements it is her imperfections and it’s her

GreatEclectic: but i wanted more. and yet the album still feels very complete

Swiper Bootz: complete in a way that will stand as a starting point from future better works, she wouldnt be able to make ‘that” album unless she had this as a launch pad right

GreatEclectic: plus i think will.i.am ruined it for me, with him attached to it I expected pop genius

Swiper Bootz: will. i. am … #lesigh so much with that one so…so much. i want him to not do some of the things he does
and not wear most of what he does or be cooler so i can back you

GreatEclectic: lol they are so rich they are beyond being cool i think bep as a unit are corny

Swiper Bootz: so so corny my goodness

GreatEclectic: but that’s what mainstream america wants

Swiper Bootz: or so they think or actually probably yeah that’s a dream the whitewashed united colors of benneton crew

GreatEclectic: so agreeable you’re unappealing but, will.i.am can make some pop hits though lol

Swiper Bootz: really cant lie about that one haha . check it out wasnt bad

GreatEclectic: Kelis’ Flesh Tone for me is a 7.5

Swiper Bootz: 7.5.

Final Rating: 7.5

10. Eminem – Recovery

Swiper Bootz: eminems album was a throwback to the marshall days but like an old man on the lawn. it was good solid
i liked it for what it was great lyrics much better than his recent efforts and a well deserved best-seller of the year i say… 7.5 because of the other people on the list and he’s not top 3.

GreatEclectic: I’ll take your word for it because I didn’t even listen to this album.

Final Rating: 7.5

09. Rick Ross – Teflon Don

GreatEclectic: most rap albums have an athem or two, this entire album is an anthem. though the content is hard, it’s made for the mainstream

Swiper Bootz: that album was beautiful. i can’t say enough about it it speaks for itself but it’s so universal as well as far as the sound and the scene and the familiarity look at maybach music 3. it is so universal. versus mc hammer and it’s so pop. it’s full of references and labels it builds the atmosphere and when you listen to it you’re in modern day miami with the hard east coast style and cred with the ever-present white girl sitting at the soul he had everyone and their mom on the album too but it wasnt gratuitous and the parallels aston martin music with drake and chrisette michele vs. maybach music with t.i. jadakiss and erykah badu aston martin is a bit more polished and safe maybach is luxury the curtains are there to keep the backseat safe now everyone knows big meech and larry hoover

GreatEclectic: Ithink it’s crazy how that whole correctional officer thing didn’t even phase him. I thought that would even this guy.

Swiper Bootz: it actually gave him greater perspective, he was able to talk from both sides without highlighting the correctional aspect, it was like he was an incognegro CO, scope out the law from the inside then know how to navigate it as a kingpin

GreatEclectic: everybody just ignored it

Swiper Bootz: haha not everybody

GreatEclectic: well not XXL

Swiper Bootz: haha and rolling stone which was surprising

GreatEclectic: rolling stone will do anything to look cool in 2010

Swiper Bootz: haha true 7.5

GreatEclectic: 8

Final Rating: 7.75

Sexy rock super trio Dragonette come to Atlanta to a pop clash in midtown’s Drunken Unicorn w/ Barry Brandon. The Canadian musicians are new to the pop scene and have a lot to say about almost nothing. We discussed the city’s lovely weather, Chipotle, and how for 23 cents a day Joel, Martina and Dan can come to your town.

Art Nouveau: Why the name Dragonette?
Dan: Tina’s named her Ipod Dragonette and the url was available.
MSD: Or you could’ve just used www.dragonettemusic.com
D: That’s true.
Martina: I can’t believe we spent $40,000 on that url!

AN: How exactly would you describe your sound and what about yourself do you put into the music to make it what it is?
D: Our sound is the sum of everything we like to play or listen to with a beat. Musically, that means we put everything we are capable of doing into it. We don’t write symphonies because we’re a pop band.
M: And because we don’t know how to write symphonies,
D: Oh come on! Anybody can write a symphony!
M: Oh yeah, Mozart is just bullshit right?! O_o
D: Lyrically, Tina tells her stories. Me and Joel have nothing to say.

Art Nouveau: How is your work with The New Deal different from what you do now with Dragonette?
D: New Deal songs are 20 minutes long with no vocals. Dragonette songs are 3 minutes long and they’re all about the vocal. I think the similarities are that there are some aggressive base and big beat drums with The New Deal.
M: Big fat sounds! Ultimately, we fall into pop format and The New Deal doesn’t fall anywhere.
D: The New Deal floats above that. And when we made “I Get Around,” I would not have been able to do that had I not spent a lot of time in the New Deal and world of synthesis.

AN: What have you discovered about yourself individually about music while in Dragonette?
Joel: My love of pop music. I think we all discovered that getting into this band. Tina was a folk, rootsy, country song writer, Dan was in a jam band, I was in a roots rock band. We all sort of discovered shiny pop music at the same time.

AN: Who are some of your favorite artists to possibly collab?
J: I listen to the Sleigh Bells a lot. Not the instrument.
M: Me and Dan are like monks and we don’t listen to much music.
D: Talk Talk, Ricky Lee Jones, Febe Snow. There is nothing else in the world that you need.

AN: Do people ask you because you are from Canada if you listen to Drake?

M: I didn’t know who Drake was until 4 days ago.
D: Are you living under a fuckin’ rock?!
MSD: That’s probably what they would probably say to her.
D: We listen to the radio until the shitty music comes on and then we listen to silence. It’s really nice.
MSD: It’s the best music.
M: I just listen to stories on my Ipod and I don’t want to intentionally listen to music because I don’t feel relaxed. Stories are more relaxing and inspiring lyrically and story-wise as much as music.

Want More? Read the full interview in the Fall Issue of Art Nouveau Magazine which drops Sept 30.

2010 has been a good year in terms of music. Gil Scott-Heron, Drake, Janelle Monae all dropped albums already. Not to mention this Summer we can expect hot stuff from M.I.A., The Dream and more. Here’s our favorite 12 albums of 2010. What were yours?

12. Corinne Stevie & Ka’Ra Kersey – Land of the Free

You ready to get free? Nothing will take you there like Corinne Stevie & Ka’Ra Kersey’s new project “Land of The Free.” The new age anthem “Our War 2 Freedom” opens the EP. By the time the war horns start on “Mo’Ammo” you know these ladies musically have something to say. The dub-step inspired “Turn Off,” the self-love anthem “Amazing” and Corinne’s clever freestyle “Water” are among the EP’s many highlights. Download “Land of the Free” here.

11. Nas & Damien Marley – Distant Relatives

Nas may be tight-lipped on his now ex-wife Kelis. Lucky for us he saved all he had to say for his latest album with Damien Marley Distant Relatives. Two of the best lyricists around team up for Hip-hop’s best shout ode to Africa. Nas & Damien Marley’s album Distant Relatives is out out now.

10. Janelle Monae – The ArchAndroid
The ArchAndroid is everything you’d except from Miss Monae & her Wondaland cohorts. It’s theatrical, moody, soulful and filled with passion that is rarely heard in contemporary music. She’s at her best on tracks like “Cold War” where she combines emotional lyrics with a funky production to create the most perfect mix of pop and soul, since Gnarls Barkley’s “Crazy.” Janelle Monae’s The ArchAndroid is out now.

9. Kelis – Flesh Tone
When it’s all said and done Kelis is going to do what Kelis does best: be creative. The moment I heard Flesh Tone‘s first single “Acapella” I knew this album was going to be something. I mean with will.i.am backing a project how can it go wrong. David Guetta, Will and Free School provide the beats that keep coming as Kelis acends to the status of disco queen. Kelis’ Flesh Tone is set to be released July 6.

8. Massive Attack – Heligoland

Massive Attack waited seven years to release Heliogland, their previous release was 2003′s 100th Window. Their return was more than welcomed. With apperances fro TV On The Radio’s Tunde Adebimpe Massive Attack has evolved and it’s seen throughout Heligoland. Heligoland is out now.

7. LCD Soundsystem – This Is Happening

James Murphy throws in David Bowie and Brian Eno influences and mixes him with his vast knowledge of post punk to create LCD Soundsystem’s latest album This Is Happening. This is an album even the Strokes would have to smirk at.

6. Hot Chip – One Life Stand
Hot Chip’s new album One Night Stand proves they have a sophisicated side. This is a band that delivered rhymes about “20 inch rims” in a British accent. They’ve managed to craft some musical gems here. Hot Chip’s One Life Stand is out now.

5. Gorillaz – Plastic Beach
Okay, so the Gorillaz are real. At least that’s what Plastic Beach, the animated band’s third album will have you believe. This is their most engaging album yet. A diverse group of collaborators that include Bobby Womack, Mos Def & Little Dragon helps.
Gorillaz’s Plastic Beach is out now.

4. How To Destroy Animals – How To Destroy Animals
Trent Reznor may have transcended to new hiehgts of musical acheivement with his latest side project How To Destroy Animals. The EP is a collaboration with his wife–and former West Indian Girl singer – Mariqueen Maandig and is the Trent Reznor directed musical that a Nine Inch Nails record could never be.  Download How To Destroy Animals here.

3. Black Keys – Brothers
What an absolutely fabulous album this is. To those that think there is hardly any good music being made these days, you just need to switch off from top 40 radio and TV and discover gems like this. Black Keys’ album Brothers is out now.

Read The Rest Of The Review Here

2. Drake – Thank Me Later
Drake brought it with this album. After years of feeling like Hip-hop became out of touch, Drake is like braille to me. I’m more drawn to Drake’s singing songs so I forget sometimes Drake is a rapper. Lyrically, Drake is at his best. He’s cocky, witty, personal and sharp throughout the album. Listening to him rap lines like…

Read The Rest Of The Review Here

1. Gil Scott-Heron – I’m New Here
Gil Scott Heron’s new album starts with a spoken word piece randomly paired over Kanye West’s “Flashing Lights.” But like most of this folk, blues and electronic leaning album, this works in a quirky way. Gil’s lyrics and metaphors are still on point. It’s lines like “she said I had an ego the size of Texas” or “Not running for cover, because if I knew where cover was, I would stay there and never have to run” that should make all these emcees step their pen game up. Track highlights include “New York is Killing Me,” “Where Did The Night Go” and the passion filled ballad “I’ll Take Care of You.”

Young Money has a leaky faucet somewhere. I mean albums leak, but they seem to have the worst luck with it. Three of their biggest releases to date have been leaked, sometimes well in advance. When arguably the Summer’s biggest Hip-hop album leaked yesterday, the Internet exploded. “Drake Album” was one of the top three trending topics the entire day which even forced the Canadian rapper to respond via his own Twitter account.

“I gave away free music for years so we’re good over here…just allow it to be the soundtrack to your summer and ENJOY! JUNE 15th!” he tweeted. At least he’s not uptight about the album leaking. It was bound to happen sooner than later. He’s right. Drake’s fans are used to downloading his music. Drake, and Nicki Minaj’s and all of other Young Money have become famous off mixtapes, essentially free music. But will they be able to convert fans who are accustomed to just downloading their music to consumers? Everyone is wondering about the numbers, but the music is really what matters here.

Drake brought it with this album. After years of feeling like Hip-hop became out of touch, Drake is like braille to me. I’m more drawn to Drake’s singing songs so I forget sometimes Drake is a rapper. A really good one. Lyrically, Drake is at his best on Thank Me Later. He’s cocky, witty, personal and sharp throughout the album. Listening to him rap lines like “I can teach you how to speak my language–Rosetta Stone” with a clever mixture of Kanye’s snarl and Wayne’s delivery makes me know he’s up in the upper echelon of rappers.

Thank Me Later is collabo heavy though. The usual suspects for a standard big Hip-Hop album these days: Jay-Z, Nicki Minaj, Alicia Keys, Young Jeezy, T.I., The Dream and of course Lil’ Wayne make appearances. These tracks are thrown in the middle of the album, in between stronger solo tracks. A smart move on Drake’s part. The album follows a interesting theme: fame and Drake’s obvious anxiety with it that’s heard on tracks like “Fireworks” “Cece’s Interlude” and the first single “Over.”

Trust me, the only thing bad about this album is the awful cover. Drake, brought tricks up his sleeves to please pop fans and Hip-hop fans alike. This is the album of the Summer. Thank Me Later is Drake’s Blueprint, College Dropout and The Carter wrapped in one. If Drake isn’t Wayne’s replacement, he’s better.

Download: “Fireworks” “Up All Night” “Find Your Love” “The Resistance”

Singer/Songwriter Jay Scott offers his take on Drake’s “Find Your Love” and we approve. Jay produced the track.  You can hear more from Jay when his debut album “Fear of Love” drops July 20, 2010.

If you’re in Atlanta June 18, catch Jay at WonderRoot. Click here for more information. Listen & Download “Find Your Love” below.

Here’s the latest from emcee Carmine. This is a freestyle over Drake’s new single “Over.” Here’s what Carmine had to say about the track.

“I went in and did more than 60 bars over [it],” Carmine explains. “This is not like the rest of these “Over” freestyles out there, you’ll see, listen close to all of the wordplay and metaphors. I’m proud of myself for this one.”

Listen and download the track below.

MP3: Carmine – Overlooked & Underrated (Right Click + Save Target As)