Podcast: Lil Nas X, “WAP” and Music Outrage with Evan Sawdey

April 26, 2021 by Leave a Comment

lil-nas-x-call-me-by-your-name

People are mad about music again. And we kinda love it! Kiel Hauck is joined by Evan Sawdey of PopMatters to discuss the cultural outrage associated with Lil Nas X‘s new single “Montero (Call Me By Your Name)”, Cardi B and Megan Thee Stallion’s Grammy performance of “WAP”, along with a general movement back toward backlash. They discuss why outrage about music seemed diminished in recent years, why it appears to have returned, and what kind of conversation should ensue. They also reflect on a previous generation of music backlash, the evolving nature of protest music, and why it’s so vital to elevate music and artists that have something important to say. Listen in!

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Posted by Kiel Hauck

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Eras of Influence: 2000-2004 – L.A. Symphony

February 15, 2021 by Leave a Comment

This article is part of an ongoing series in which I examine the artists and music that defined specific eras of my life. You can read my previous installment on Outkast, covering the years 1997-2000.

***

By the year 2000, hip hop had fully infiltrated the furthest reaches of suburban America. Even my rural hometown in Kansas, for better or for worse. With the release of The Slim Shady LP in 1999, followed by The Marshall Mathers LP a year later, Eminem had become not only one of the biggest stars on the planet, but a celebrated figure in my own high school (and probably every other high school for that matter). 

As someone who had spent the previous years immersing himself in hip hop culture, you might think I would be over the moon about this new found adoption from my classmates. Not at all. Not even a little.

There were certainly great byproducts of rap music stepping into the national limelight, not the least of which was the disruption of popular music tastes coming out of the 90s, which had been predominantly driven by white artists. Yes, Eminem dominated the airwaves, but new pockets of the country began blossoming their own sounds. The emergence of Nelly and the St. Lunatics as a voice for hip hop in the Midwest gave me particular delight, as did the arrival of a new wave of producers that begin shaping the sound of the new decade, namely the Neptunes and a new, then-unknown producer named Kanye West (more on him in a later installment).

Nevertheless, hip hop’s transition into the popular discussion sent me on a path to discover something new. Ironically, my discovery resembled something that was driven to pay homage to its past and was staunchly dedicated to its roots. Something underground.

***

In my late high school years, those early internet communities I had stumbled into began to grow and evolve. As rap made its way into top 40 radio, I became introduced to an entire portion of the genre that had been bubbling just beneath the surface all along. It was through MSN chats and online forums that I became introduced to names like Jurassic 5, The Pharcyde, Aesop Rock, Atmosphere, and more.

You can buy or stream Composition No. 1 on Apple Music.

But the biggest revelation, and the one that sent me tumbling headlong into a new community defined by shell-toe Adidas sneakers and beat up backpacks, came in the form of L.A. Symphony, a hip hop collective born out of the burgeoning West Coast underground scene.

Sometime around 1999 or 2000 – I can’t pinpoint the specific date from my memory – a friend of mine wanted me to hear something. He was a subscriber of the long-defunct alt music mag 7ball, which came wrapped in plastic bimonthly with a mix CD of new artists. This particular installment contained the track “San Diego” from the group’s debut album, Composition No. 1. I was immediately obsessed.

Fortunately for me, it didn’t take long to find people online who felt the same. That debut sent ripples through the West Coast underground, attracting the attention of major labels who were hungry for new hip hop acts. Like many underground collectives of the era, L.A. Symphony was sizeable in number – anywhere from eight to nine members at any given time. The core of the group was composed of Flynn Adam Atkins, Joey the Jerk, The Eternals (Cookbook and Uno Mas), Halieyoos Fishermen (Sharlok Poems, JBeits, and Trendi MC), and Brainwash Projects (Pigeon John and bTwice).

It was the latter duo that performed “San Diego”, and to my luck, they had released their own album a year prior that I also purchased and began obsessing over (The Rise and Fall of Brainwash Projects). Each member or duo brought their own flavor and personality to the group, creating a long tail of interest. Over the coming years, as each released their own solo albums in addition to the group material, I would gobble them up, play them relentlessly, and display their CD jewel cases in a line across a shelf in my room.

Part of what made L.A. Symphony (and underground hip hop as a whole) so intriguing, aside from the unique sound, was its purpose. At the time, the terms “underground” and “socially conscious” were nearly interchangeable. As I began experiencing my own social and political awakening during my exit from high school into college, this music was speaking my language. As corny as it sounds, it was almost like having a whole other avenue for education in my life. And I consumed as much of it as time would allow.

Conscious hip hop at the time thematically ran the gamut from social, racial, and economic issues to more philosophical topics like faith and religion. Each artist or group would bring their own perspective to the table, creating a community that felt bonded by its desire to learn and grow together. L.A. Symphony added a unique element of humor and lightheartedness that set the group apart. They wanted you to think, but weren’t afraid to crack a joke in the next verse and make you laugh.

The music led me to want to know more about the people creating it. During these years, I would scour the web for any morsel of information I could find; mainly interviews that would shed more light on the thoughts, views, and motivations of the artists I loved. But when my own curiosity couldn’t be quelled, I found a new way to keep the conversation going.

***

During my final two years of high school, I was given the opportunity to host a show on a local radio station in my town (an hours-long weekend hip hop show that I somehow sold the owner of the station on). I also began pitching article ideas to various websites I frequented, and shockingly, was given compensation to write said articles. 

I had no formal training in broadcasting or journalism, yet somehow, I was suddenly interviewing my favorite artists, asking them for answers to questions that I couldn’t find elsewhere. And they actually told me stuff. And people actually listened and read what I was saying. It’s the kind of rush that somehow still propels me to do the same all these years later.

L.A. Symphony was at the epicenter during this time. I can’t count from memory how many interviews I did with various members of the group during those years, but it was more than was likely necessary. For a fleeting moment, the group’s ship actually did arrive in the form of a record deal with Squint Entertainment, resulting in a 19-track album titled Call it What You Want, featuring production from likes of Prince Paul and will.i.am of the Black Eyed Peas. Sadly, in one of the most well-worn stories of the era, Squint was acquired by Warner Music Group, which shelved the album prior to its release. Although leaks scattered across the internet, one of the most anticipated albums in underground hip hop history never saw the light of day.

L.A. Symphony re-grouped and independently released Baloney in 2002, an incredibly unsung record that ended up producing an unexpected hit when “King Kong” was featured on a Tony Hawk Pro Skater video game. While home from college in the summer of 2003, I interviewed Pigeon John by phone in anticipation of his sophomore solo album, Pigeon John is Dating Your Sister. Near the end of the conversation, I prodded for some updates about L.A. Symphony. After a couple of ambiguous answers, he finally caved. JBeits, bTwice, and himself had all left the group. L.A. Symphony as we had all known it was no more.

It was the first big story I ever got to break. It was also deflating and the moment that marked the beginning of my next musical transition. The core remaining members of the group carried on, releasing two more full-length albums on Gotee Records. In the summer of 2004, I caught a live performance in Tulsa, Oklahoma, before being invited out to dinner after the show with the group. The high school kid that had pestered them with interviews and broken news of their semi-breakup was now dining alongside them at a TGI Fridays in the middle of Oklahoma. Maybe not quite as exciting as William Miller’s journey in “Almost Famous”, but it still somehow felt stranger than fiction. I can’t think anything that could’ve brought this period of my life more full-circle.

By now, I was halfway into my college experience, full of new friends and, of course, new sounds. Hip hop remained a passion, but for the first time in my life, I felt fully accepted into a real life community of friends that wasn’t based solely on the web. And these friends listened to some cool music. By that summer of 2004, I was sporting a checkered backpack covered in patches of my new favorite pop punk bands: MxPx, Good Charlotte, Simple Plan, The Ataris. 

I dove headfirst with my new friends down that new path of guitar-driven, angsty-lyric-filled music that had taken over Warped Tour and was about to break through on MTV. A sound that was about to literally be screamed from the rooftops by a passionate new influx of fans into “the scene.” And I was about to discover the band, my unquestionably favorite band, that would shape everything about the way I thought about and experienced music thereafter.

Second Tier: Clipse, MxPx, Deepspace5, St. Lunatics, Linkin Park

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Eras of Influence: 1997-2000 – Outkast

February 1, 2021 by Leave a Comment

This article is part of an ongoing series in which I examine the artists and music that defined specific eras of my life. You can read my introduction, covering the music that moved me in the 1980s and 1990s, respectively.

***

Like most people, my experience of middle school was awkward. As I moved into 8th grade, just a year away from high school, I remember a growing sense of a need for individuality. To that point in my life, I had no clear idea of who I was. Any interests I had were fairly general and mostly influenced by those around me. I liked basketball and drawing. Music was a safety blanket that I retreated to and was always in rotation, but none of it was solely “mine.” 

But everything was about to change.

If you’ve read the previous installments of this series, you’re aware of the role MTV played in my life from a very early age. In the summer after my sixth grade year, I won a small television from a raffle held during June Fest in my hometown. It wasn’t really big or nice enough to replace the TV we had in our family living room, which led to a crucial opening that would have never presented itself otherwise. There was nowhere else for it to go – why not put it in my bedroom?

After weeks of sprinkling the idea on my less-than-enthused parents, it finally happened, and I still have no idea why they allowed it. The cable man came and ran a new line in my bedroom wall, and before I knew it, I could watch MTV at any time, from the privacy of my own room. So I did just that. I turned the channel to MTV from the moment I got home from school until well after I was supposed to be asleep.

These were the pre-”Total Request Live” days, and while I certainly had an interest in shows like “The Real World” and “Daria”, it was the blocks of music videos that held my attention the most. And it was here that I fell in love with hip hop.

I don’t know if I can pinpoint the exact moment, but by my 8th grade year in 1997, I was obsessed. I would place a blank VHS tape in my VCR and hit record every time a rap video came on. Early favorites included Ma$e’s “Bad Boy”, Jay-Z’s “Hard Knock Life”, Juvenile’s “Ha”, A Tribe Called Quest‘s “Find a Way”, and “Hate Me Now” by Nas. Unbeknownst to me at the time, hip hop was in a state of transition as it mourned the deaths of Tupak Shakur and Notorious B.I.G. I was aware of their music and influence, but didn’t understand the genre’s full history and the changing landscape from the two coasts to a suddenly evolving movement that was about to change popular music around the world.

In 1997, hip hop hadn’t fully crossed over into the mainstream. Aside from the scattered Will Smith hit, rap music was still viewed as dangerous by the vast majority of white suburban America. To this day, I still feel fortunate that my mom allowed me to explore the genre in full, something that so many of my friends and classmates weren’t allowed. I don’t think she was crazy about her middle school son purchasing CDs with the notorious “Parental Advisory” sticker, but as long as I could explain why the music interested me, it was always allowed.

For all of the new artists I began exploring with obsession, pouring over every line and every note, feeling as though I was peering through a window into another world, none held me quite as captivated at the time as Outkast – the duo that put Atlanta on the hip hop map and proceeded to change the genre in ways that are still felt to this day.

***

You can buy or stream Aquemini on Apple Music.

While I discovered ATLiens near the end of its cycle, it was 1998’s Aquemini that changed everything for me. I would replay the video for “Rosa Parks” until I wore out my VHS tape, and I still remember the day that the CD, with its iconic cover art and spacey, atmospheric music, arrived in the mail. It must have been nearly a year straight when I listened to the album every day. For as much as I was falling in love with rap, Outkast were on another level. Their music was distinctly hip hop, but it was…weird. No one else sounded quite like them.

All these years later, the yin and yang of Andre 3000 and Big Boi has become legendary. Two completely individual artists seeming to reside on different planes of existence that still somehow combined effortlessly into something greater than their individual parts. My favorite of the two changed depending on the day or mood. My favorite tracks revolved as well, although all these years later, there’s still not a song from that time period that gets me going quite like “Skew It on the Bar-B”.

I can say with certainty that there was no one else within my limited network of acquaintances at the time that was listening to Outkast, which made them distinctly my own. Oddly, this didn’t make me any cooler. Jokes about C-rap were abundant at the time, and I became viewed as somewhat of an odd duck to be immersing myself in music that wasn’t “meant for me.” And maybe that’s a fair critique, but my love of hip hop served as the jumping off point that forever changed my view of the world and opened my eyes to experiences and culture well outside my purview – complete with all of their beauty, and sadly, the societal injustices that sought to suffocate them.

Those are big words to tie to the music I was discovering as I entered high school, but it’s a real thing that forever changed the trajectory of my life, the passions I held, and the causes I associated myself with. It was the genesis in a lifelong journey of learning and responding in kind with action and empathy.

Seeing as how I had no one with which to share the conversation, I made do in a completely new way. By the late 90s, my family had purchased a computer and connected it to a phone line via a modem. After spending two minutes listening to squeals and squalls, I could begin surfing the internet to discover more about the music I was listening to. It didn’t take long for me to find pockets of the internet dedicated to the discussion of hip hop in the form of message boards. Suddenly, I’d discovered an entirely new network of friends from around the world, including a daily pen pal in Australia who was just as obsessed with rap as me, and a group of hip hop heads with which I would go on to share a fantasy football league with for over 20 years.

Up to this time, I had made my new hip hop discoveries from MTV or the newest copy of The Source that arrived in my mailbox each month. Now I was finding new artists daily through conversations with my newfound friends who I knew almost solely by their usernames. It was through my aforementioned pen pal Rachel that I discovered influential albums like Mos Def & Talib Kweli are Black Star and the solo Mos Def follow-up, Black on Both Sides. As archaic as this all sounds now, I can still feel the excitement in the newness of it all. I had found a community. I had found music I could call my own.

***

In the time since Aquemini entered my life, my relationship with Outkast has fluctuated greatly, for better or for worse. My junior year of high school began with the release of Stankonia, an album that immediately took full ownership over the discman I took with me to school and the stereo in my bedroom. But about mid-way through the semester, just as “Ms. Jackson” was becoming a staple on Top 40 radio and MTV, something strange happened. I vividly remember overhearing a conversation about Outkast in my art class. Wait…other people were listening to this?

It was a strange introduction to an experience that would happen throughout my life going forward. The intimate relationship I shared with an artist suddenly vanishes and the secret is out. It’s a strange feeling, similar to have something stolen from you. That moment may have been the primary reason for the next shift in my musical journey that was about to take place, as well as the reason that I largely missed out on the joy of 2003’s Speakerboxxx/The Love Below. 

Fortunately, the passing of time has given me better perspective on moments such as these. Why wouldn’t I want more people to experience the joy that I had discovered? Things would come full circle at Forecastle in 2014 when I was able to experience Outkast in person for the first – and likely last – time. That night, you could feel the energy of the crowd rise as the duo entered the Aquemini porton of their set, rattling off the singles in succession. It wasn’t just me after all back in the fall of 1998. The sound of Atlanta had spread to the plains of Kansas and very much beyond.

Second Tier: Ma$e, Nas, Juvenile, Jay-Z

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Most Anticipated of 2021: Travis Scott Blasts Off

January 11, 2021 by Leave a Comment

It’s crazy to think that we’re over two years separated from Astroworld, the album that transformed Travis Scott from a rapper on the fringe of the zeitgeist to one of the biggest and most exciting voices in hip hop. It’s an album that somehow still feels underrated, despite its influence and omnipresence as a new summer staple. Scott has seized the opportunity to transform from musician to cultural icon. Did that McDonald’s thing actually happen? Yes, it did.

We do have an idea of what comes next, we just don’t know the exact time it will arrive. Scott announced Utopia last October, which has already seen singles in the form of “Highest in the Room” and “Franchise” featuring M.I.A. and Young Thug – one of the most unsung tracks of 2020. We can expect that Scott will bring the house down with Utopia, but what are we to expect in terms of tone? Astroworld dazzled in its theme park presentation and could easily exist as a standalone effort in that regard. Could Utopia trend darker?

We’ll have to wait to see, but hopefully not too long. Although we’re just in the beginning of the cold winter season, we’ll soon be looking for some spring and summer soundtracks when we’re all hopefully be able to, like, go outside and do things again. And when it happens, I can’t wait to play Travis Scott at full blast.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Complicated Feelings on the 10th Anniversary of My Beautiful Dark Twisted Fantasy

November 23, 2020 by Leave a Comment

It literally slipped my mind that My Beautiful Dark Twisted Fantasy was turning 10 years old until I saw people tweeting about it. And if you’ve followed this website since our early days, you’ll understand how strange that is. Up until around 2017, It’s All Dead’s side project was that of a Kanye West fanzine. And then, well…you know. You live long enough to see yourself become the villain or whatever.

I gritted my teeth as I listed My Beautiful Dark Twisted Fantasy at #1 on our 30 Best Albums of the Decade list last year. No matter how bad things have gotten, the fact remains. It’s one of those albums that I vividly remember where I was the first time I heard it. I literally remember my emotions hearing “All of the Lights”, “Monster”, and “Hell of a Life” for the first time. I remember how it was the only thing that mattered to me for a year, or at least until Watch the Throne dropped. It was the magnum opus from an artist that I revered more than anyone.

As a music critic, I’ve written and spoken more words about Kanye West than any other artist. I stopped a few years ago because it felt like there was nothing left to say. And it’s true. I have nothing new to add to the conversation on My Beautiful Dark Twisted Fantasy today. I listened to it again as recently as a few weeks ago. I’m torn between the memories of those feelings I felt and the feelings I feel now. It makes the music forever complicated and impossible to parse out.

This summer, I played The College Dropout for my daughter for the first time. She’s much too young to process anything about it, but I pondered aloud how I would talk about the album when she was old enough. Would I be able to articulate how important this artist was to me for a time – to my musical tastes, to my politics, to my life? Would I be able to explain why his seeming abandonment of all of the things that attracted me to him caused me such frustration and anger? Does it even matter?

My Beautiful Dark Twisted Fantasy is 10 years old, and it’s a shame we can’t celebrate it more. But honestly, we’ve talked about it enough. And there’s enough brilliant art in the world to put our energy into, and I can’t wait to talk about the great music this hell of a year has given us in a few weeks when we release our end-of-the-year lists. Until then, happy anniversary, I guess. Here’s a toast to the douchebag.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Podcast: Analyzing Rolling Stone’s 500 Greatest Albums of All Time

October 12, 2020 by Leave a Comment

Recently, Rolling Stone updated their list of the 500 Greatest Albums of All Time. And guess what? There’s plenty to discuss. The It’s All Dead crew (Kiel Hauck, Kyle Schultz, and Nadia Alves) hopped on the podcast to make sense of it all.

The trio each share their thoughts on some of their favorite (and least favorite) rankings on the list, discuss the list’s welcomed and overdue shift toward diversity, and talk about a few albums that deserved to make the cut but didn’t. They also ponder how one might separate art from artist while making a list of this nature and how we can accurately and fairly look back on music and events from previous decades. Take a listen!

Like our podcast? Subscribe to our show on Apple Podcasts and be sure to leave a review.

What albums stuck out to you on this list? Let us know in the replies!

Posted by Kiel Hauck

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Run the Jewels Arrive Right on Time with “RTJ4”

June 8, 2020 by Leave a Comment

It was November 11, 2016. Just days after one of the most disastrous and damaging presidential elections in American history, iconic hip hop crew A Tribe Called Quest released their final album, We Got It from Here… Thank You 4 Your Service. It was an album 18 years in the making, set into motion in the years prior thanks to the mended relationship of key members Q-Tip and Phife Dawg, and largely recorded before Phife’s passing in March of that year.

That album was a moment. Less a celebratory victory lap for one of the genre’s most revered acts and more a statement of resistance in the aftermath of the election. Even now, tracks like “The Space Program” and “We the People…” feel as though they were penned on that dreadful Tuesday night. How was it possible for Tribe to have such foresight?

You can buy or stream RTJ4 on Apple Music.

Because foresight wasn’t required. Donald Trump’s election was just another sad, terrible moment in a country whose history is filled with the marginalization, oppression, and blatant hatred of people of color. The members of Tribe didn’t need a new reason to speak that truth.

I couldn’t help but think of that album this week upon the release of RTJ4, the fourth studio release from hip hop duo Run the Jewels. The album arrives with the country in disarray and protests taking place in every major city over the unjust deaths of George Floyd, Ahmaud Arbery, Breona Taylor, and quite literally countless black lives at the hands of a system that devalues them. RTJ4 sounds hand-crafted for this moment in time.

It was last Saturday that Killer Mike spoke during a press conference with Atlanta mayor Keisha Lance Bottoms in an unscripted and powerful moment that captured the attention of the country. It’s the kind of speech you would expect a leader to give – the sort of thing that is in short supply these days. By Wednesday, in the words of Run the Jewels themselves, “Fuck it. Why Wait?” RTJ4 was here.

I didn’t make it through the first track before I had to pause and compose myself. “Yankee and the brave (ep. 4)” begins with the sort of fictional, fantastical banter that sometimes backdrops Run the Jewels’ music, adding moments of levity between the weight. The track itself is punishing, highlighted by its rapid-fire drum beat and rattling bass line. Mid-way into the track, Mike drops the kind of verse that makes time stand still:

“I got one round left, a hunnid cops outside
I could shoot at them or put one between my eyes
Chose the latter, it don’t matter, it ain’t suicide”
And if the news say it was that’s a goddamn lie
I can’t let the pigs kill me, I got too much pride
And I meant it when I said it, never take me alive”

Before you can digest those lines, El-P enters the scene with humor, jerking us back into this getaway episode, spitting, “I got the Grand Nat runnin’ in the alley outside / Now, Michael, run like you hungry and get your ass in the ride”. It’s a textbook Run the Jewels moment, but this week, it hits harder than ever before.

The same applies to “walking in the snow” featuring another heartbeat-skipping moment as Mike alludes to the last words of Eric Garner, who was killed in 2014 by New York City police. His verse now lands hauntingly in the wake of George Floyd:

“And every day on evening news they feed you fear for free
And you so numb you watch the cops choke out a man like me
And ’til my voice goes from a shriek to whisper, ‘I can’t breathe’”

Jesus. And he’s not done:

“And you sit there in the house on couch and watch it on TV
The most you give’s a Twitter rant and call it a tragedy
But truly the travesty, you’ve been robbed of your empathy”

I could go on, diving in on tracks like “JU$T” featuring Pharrell and Rage Against the Machine’s Zach de la Rocha, which features the repeated cry of, “Look at all these slave masters”, but you get the point. While this past week has served as a wake-up call (hopefully) for so many white and privileged people across the country, the stories of George Floyd and Breona Taylor are nothing new for the black community. Albums like Thank You 4 Your Service and RTJ4 feel so in the moment when they arrive because they exist in a moment that never ends.

At a certain point in time as the genre evolved and expanded, hip hop as protest music became a sort of subgenre. But truthfully, protest has always been in rap’s DNA. It has to be. Because black voices are marginalized and maligned today just as they were in the 70s when the genre began to form, and just as they were for hundreds of years prior to that. And while we’d all be wise to listen, maybe it’s time to act, too. Fuck it. Why wait?

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Podcast: Making Sense of Childish Gambino’s “3.15.20”

April 20, 2020 by Leave a Comment

Last month, a surprise new album from Childish Gambino hit the web with little promotion and few details. A month later, we’re still trying to figure out 3.15.20. On this episode of the podcast, Kiel Hauck is joined by Richard Clark to discuss the twists and turns of the new album and debate 3.15.20‘s place in Childish Gambino’s discography. They also take a look back at the artistic growth of Donald Glover, one of the most fascinating pop culture figures and artists of our time. Take a listen!

Like our podcast? Subscribe to our show on Apple Podcasts and be sure to leave a review.

What is your favorite album by Childish Gambino? Share in the replies!

Posted by Kiel Hauck

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Review: The Weeknd – After Hours

March 23, 2020 by Leave a Comment

In a recent article for The Ringer, music writer Rob Harvilla described The Weeknd as “self-quarantine R&B.” That’s kind of a perfect label. Not only does it have to suffice given our current pandemic lock-down, but Abel Tesfaye has made a very illustrious, successful, wildly entertaining career out of his dark, loathsome, isolated-at-the-party persona. 

You can buy or stream After Hours on Apple Music.

And when it works, it approaches perfection. But after nine years, four EPs, three full-length albums, and an avalanche of guest appearances, when does it get tired? That kind of depends on who’s asking.

After Hours arrives at a strange time. There will be no headlining tour in support of it anytime soon, no summer festival appearances, and very few (if any) big events blaring the sounds of its singles. Instead, we all get to enjoy it in isolation. And that setting lends itself to a more purposeful, thoughtful listen. When Tesfaye is at his best, that’s truly the ideal way to consume his art.

Upon the release of My Dear Melancholy in 2018, I noted how Tesfaye’s return to more emotional depths after his brief celebration at the summit felt oddly refreshing. Starboy served its purpose as making the most of a moment in which The Weeknd had fully crossed over from Coachella darling to mainstream celebrity. It comes as a relief and a surprise that After Hours picks up where Melancholy left off.

Much like Tesfaye’s breakthrough smash “I Can’t Feel My Face” served as a red herring prior to the release of Beauty Behind the Madness, early After Hours singles “Heartless” and “Blinding Lights” find new life and meaning within the flow of the album. Also like Madness, After Hours moves at its own pace, gradually shifting shape across its 14 tracks and blending into something cohesive.

Buzzing opener “Alone Again” sets the early pace and makes clear that After Hours will live up to its name. This isn’t a collection of club bangers. This is what you play at 3 a.m. when it’s clear that your demons won’t be allowing you to sleep. Just two tracks later, “Hardest to Love” jars the listener with its off-key synthesizers, sounding like the evil twin of an 80’s ballad. It would almost be sweet if it weren’t so drenched in self-loathing: “I don’t feel it anymore / The house I bought is not a home / Together we are so alone”.

But lest the album feel like a dredge, the pace picks up when Metro Boomin enters the mix around “Escape from LA”, right before “Heartless” turns up the volume. It’s here that Tesfaye reveals his hand: He hasn’t changed. And the track feels like Weeknd circa 2012 with the line, “I’ve been dodging death in the six-speed / Amphetamine got my stummy feelin’ sickly”.

“Faith” follows suit by leaning all the way into the pain. It would almost feel like caricature if the track wasn’t so goddamn smooth: “But if I OD, I want you to OD right beside me / I want you to follow right behind me / I want you to hold me while I’m smiling / While I’m dying”. The song’s outro takes note of the blinding ambulance and city lights fluttering across his eyes before spilling into the previously innocuous single “Blinding Lights”.

Stop me if you’ve heard this before, right? But that’s the thing. I’m a firm believer that 2015’s Beauty Behind the Madness stands as The Weeknd’s best work, which is why his Starboy journey into broad daylight felt so…off. After Hours is a return to Tesfaye’s wheelhouse in every sense, and if it feels too familiar, well, that’s totally fine with me. Because that’s kind of what I’m looking for right now.

I saw The Weeknd perform during his Starboy arena tour in 2017. It was a spectacle and a hell of a night. It also didn’t feel true to what I loved about his music. In many ways, After Hours is built to be listened to in solitude, in the dark. Fortunately, we all have plenty of time on our hands right now. But it’s understandable if that’s not what you’re looking for. 

For me, it’s a welcome return to form for an artist who has soundtracked so many of my favorite, albeit tipsy and spinny memories over the past decade. It’s also an invitation to explore an anti-hero type narrative around an artist who probably needs to change, but is bound by bad habits and old demons. “I thought I’d be a better man, but I lied to me and to you”, he slurs on the chorus of “Faith”. If that’s something that resonates with you, dim the lights and indulge.

4/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Most Anticipated Music of 2020: Kendrick Lamar Continues His Streak

January 16, 2020 by Leave a Comment

In case you missed it, Compton rapper Kendrick Lamar spent the 2010s crafting one of the greatest three-album stretches in recorded music history, capped in 2017 with the Pulitzer Prize-winning DAMN. So essentially, it was a pretty great decade for Lamar – and hip hop music in general. But what comes next?

Rumor has it that he has put the finishing touches on album number five, which will likely drop this year. Lamar has explored a variety of sounds across his previous work, at times blending a variety of genres, such as jazz, funk, and soul. A tweet from one Billboard columnist suggests that rock could be added to the mix on this latest effort.

No matter what it sounds like, one can rest assured that Lamar has plenty left to say. In 2015, To Pimp a Butterfly became a piercing exposition of institutional racism, full of deep reflections on the black experience in America. DAMN. followed suit while taking an internal detour into Lamar’s own pysche. Whatever is to follow is sure to kick the decade off right and continue the artistic trajectory of one of the most powerful voices in music.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

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