Review: NF – The Search

Nate Feuerstein (NF) has become one of the top names in hip-hop. What sets him apart, and what draws me to him, is the fact that he refuses to sing about wasting time on anything hollow. He makes clean rap but never fails to make it almost unbearably relatable. 

If you listened to his last album, 2017’s Perception, you’ll know that the topics talked about in his latest are not new to NF. He’s simply telling his story in real time. Perception’s success is what allowed NF to keep that same raw approach on The Search.

You can buy or stream The Search on Apple Music.

It’s hard to live in today’s society. The culture we live in is as divided as ever. And that’s why NF’s music is thriving. We are interested in hearing something that’s not merely a distraction. NF refuses to cut corners. He speaks unashamedly about mental illness, imposter syndrome, and the toll that our fame-focused culture is taking on today’s youth.

I would say the best lyric that sums up the album’s main theme comes from the title track, where he says: “I’m lookin’ for the map to hope / You seen it?” I think I might want that tattooed onto me. The album is an absolute mountain: 19 tracks clocking in at an hour and 12 minutes. This isn’t an album that you throw on in your car as background noise. This album demands your absolute attention. That’s something I rarely find in today’s music, so I reveled in it for quite some time before trying to talk about it.

The album truly speaks for itself. Anything I write here will either only repeat what the album says better than I will, or completely prove the point that Feuerstein is trying to make. I got into NF when my younger brother started talking incessantly about Perception. I took him to the Boston date of that album tour and it convinced me that NF was someone to add to the list of the few rappers I have in my repertoire. Rap is my bottom genre choice, so if I’m listening to a rap album, it’s really worth listening to. 

I can’t talk about stand-out tracks or hard hitting lyrics because literally every song stands out and every lyric hits hard. “I Miss the Days” is one of the softer tracks but it made me tear up because it’s all about childhood and remembering the days when we didn’t have anything to worry about other than what time we’d get to go out to play. He hasn’t had it easy in his life, which is something he speaks often about. 

NF is not afraid to bring attention to the rough edges in his life. In “Nate”, he recalls being young and watching his parents go through a divorce, as well as watching his mother fall into drug addiction. He ends the verse by saying “You look uncomfortable / I’m sorry / Let me change the subject”. 

What I appreciate most about NF is the fact that he doesn’t pull a Kanye and say life was hard but now I have a life of luxury and beautiful women and everything I could ask for. He’s honest about the fact that life is a lot more complicated than ever before. He’s become a spokesperson for being grounded in reality and realizing that experiencing success doesn’t magically mean that life will be smooth sailing, and that it’s hard, but it’s okay.

5/5

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Advertisements

Podcast: Who Won the 2009 Hip Hop Title Belt?

Crossover episode! In our latest podcast, we share another podcast (meta, right?) Kiel Hauck and Brock Benefiel recently launched a new show called Decade Rewind, and in the latest episode, the two discuss which rapper took home the hip hop title belt in 2009. In a year of transition for hip hop, a slew of new artists hit the scene (Drake, Kid Cudi, etc.) and would shift the sound of the genre. Meanwhile, hip hop greats like Jay-Z, Eminem and others were holding fast to the sounds that led to their success. Listen in!

Like what you heard? Be sure to check out Decade Rewind and give us a review! Subscribe here.

What was your favorite hip hop album in 2009? Share in the replies!

Posted by Kiel Hauck

Podcast: Who Won the 2018 Hip Hop Title Belt?

With another year in the books, Brock Benefiel drops by the It’s All Dead podcast studio to chat with Kiel Hauck about which rapper took the Hip Hop Title Belt in 2018. The two discuss some of hip hop’s hottest storylines of the year, break down 2018’s best hip hop tracks, and look ahead to what might come in 2019. So who won the belt? The conversation includes candidates such as Cardi B, Drake, Travis Scott, Vince Staples, Pusha T, and many more. Listen in!

Subscribe to our podcast here.

What were your favorite hip hop tracks in 2018? Share in the replies!

Posted by Kiel Hauck

Most Anticipated of 2019: #1 Childish Gambino Makes His Final(?) Appearance

A year-and-a-half has passed since Donald Glover announced at the Governors Ball Music Festival his intention on releasing one final Childish Gambino album before riding off into the sunset. Since that time, Glover has released one of most powerful songs of the decade (“This is America”), unexpectedly dropped a new Summer Pack EP, created another wildly successful season of his TV series Atlanta, and starred as Lando in Solo: A Star Wars Story.

Glover has never been one to rest on his laurels, and the past several years have been a whirlwind of creative success. If the next Childish Gambino album truly is his last, we can rest assured that whenever it comes, and whatever it is, it will surely be great. His artistic progression from Camp to Because the Internet to Awaken, My Love! has been fascinating to watch, and there’s no telling where he might take his sound next.

Whether that rumored final album drops in 2019, or whether we receive something else completely (which seems just as likely), we patiently await whatever comes next from one of the most important and mysterious artistic voices on the planet.

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 online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Podcast: Talking Lauryn Hill, Frank Ocean with Cole Cuchna of Dissect

As The Miseducation of Lauryn Hill turns 20, Cole Cuchna has launched a new mini-series on the classic album for his massively successful Dissect podcast. Cuchna joins Kiel Hauck to reflect on the album and its influence before delving into the work of Frank Ocean, as covered in season 3 of Dissect. Cuchna also shares details about his process when examining music and discusses how empathy continues to play a key role in his work. The two also converse on the future of podcasting and how the medium as continued to evolve in recent years, attracting even more invested listeners. Listen in!

Subscribe to our podcast here.

Posted by Kiel Hauck

Podcast: Another Summer of Drake

Drake is back with another mammoth collection of songs, just in time for Summer 2018. On our latest podcast, Kiel Hauck talks with Drake fans Lowell Bieber and Chris Waflart about Drake’s triumphs and misfires on list latest album, Scorpion. They also break down Drake’s massive catalogue of songs, ranking some of the best (and worst) and dissect Drake’s continuing cultural cache. Listen in!

Subscribe to our podcast here.

What tracks compose your Drake playlist? Share in the replies!

Posted by Kiel Hauck

Reflecting On: Lil Wayne – Tha Carter III

Tha Carter III is truly a hip hop time capsule, memorializing extreme highs and lows of the genre. The sixth studio album from Lil Wayne would prove to be his best, showcasing the lyrical acrobatics that made him one of the most revered rappers of a generation. Unfortunately, it also displays an unmistakable misogyny and homophobia that plagued the genre for decades.

One of the greatest albums of our lifetime also serves as a stark reminder of how far we’ve come in just 10 short years, and how much further we have left to go.

You can buy Tha Carter III on Apple Music.

Tha Carter III is littered with hits and distinctive moments that make it impossible to forget, but perhaps the reason the music still stands so vivid is because of Lil Wayne himself. Coming from the projects of New Orleans, Wayne began his path to stardom at a young age as a part of Cash Money Records’ rise to power in the late 90s. In the matter of a decade, Wayne had blossomed into a star full of personality and humor, reaching the peak of the cultural zeitgeist by the time of the album’s release. By the summer of 2008, Lil Wayne was larger than life.

It’s hard to imagine most artists cashing in on that moment as firmly as Wayne did with Tha Carter III. With a running time of over 76 minutes, the album is a behemoth full of moving parts and voices, but at its core, it’s a celebration. The production is slick, the stylized autotuned vocals drip with bravado, and Wayne’s legendary wordplay is on full display, even if the constant double entendres begin to wear you thin.

No song on the album captures this motif better than “A Milli”, a track about nothing in particular that astounded upon first listen and still seems impossible to comprehend. Rumored to have been recorded in one take as a freestyle, the song quickly took on a life of its own – too winding and crass for radio but a track that you had to share with everyone you knew the moment you heard it. Wayne’s punchline of, “I can turn a crack rock into a mountain” near the song’s end still causes my hands to raise involuntarily just as the ghastly Dennis Rodman line causes me to cringe.

Even with its bloated length, Tha Carter III contains enough entertainment to make the time pass quickly. From the fantastic opening of “Mr. Carter” with Jay-Z to the unforgettable beat of “Mrs. Officer”, the album’s standouts are peppered in between hidden gems. The production on “Lollipop” and “Got Money” is appropriately over the top and drenched in autotune, serving as a glimpse into the world of pop rap in the late aughts. When Wayne manages to slur out on the latter, “I’m a Great Dane, I wear eight chains / I’m in so much ice, they yell, ‘Skate, Wayne!’” it’s an outlandish reminder of the hilariously hypnotic grip he held on listeners with such ease.

In hindsight, Tha Carter III and Lil Wayne’s own brand of over-the-top revelry arrived just in the nick of time. Later that year, 808s & Heartbreak would turn the genre on a dime, ushering in a new era of emotive, existential hip hop, driven by minimalism and dark tones that lasted until Kanye himself teamed up with Jay-Z to Watch the Throne. Perhaps it makes sense that Wayne could never follow that thread, forever cursed with a million dollar smile and a penchant for a life lived at 100.

Instead, he continues as a cultural icon and a living example of a rapper existent on both sides of hip hop’s social journey. While Wayne could never fully deliver an acclaimed follow-up, maybe it wasn’t necessary. Even amidst its growing pains, Tha Carter III helped usher in a new awareness and interest in hip hop on a mass scale, evolving Lil Wayne into a multi-faceted, bonafide star in the process.

How we’ll reflect on the more difficult moments of albums like Tha Carter III, or even albums with a more recent release date, in another 10 years’ time remains to be seen. For now, we learn while we listen and continue to ask questions of the art we love.

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 online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Podcast: Ye, Yeezus, and the Problem of Kanye West

Resident hip hop aficionado Brock Benefiel stops by It’s All Dead to chat with Kiel Hauck about Ye, the latest release from Kanye West. The two discuss their problems with the uneven album, the frustration that comes with Kanye fandom, and what to expect going forward. They also reflect on the five year anniversary of Yeezus and how the album has both held up and proven to be problematic before touching base about Daytona, the new release from Pusha T. Listen in!

Subscribe to our podcast here.

What are your feelings on Ye? Share in the replies!

Posted by Kiel Hauck

Review: Kanye West – Ye

As I watched the live stream listening party for Kanye West’s eighth studio album Ye, I couldn’t help but focus on the flames.

In the middle of a field in Jackson Hole, Wyoming, a crowd of listeners surrounded a large bonfire as speakers pulsed with music. As nightfall fell over the mountainous landscape, the fire’s glow seemed to provide a sense of warmth and comfort amidst the chilly surroundings. Yet as the fire crackled and sparked, I kept wondering how close one could stand before getting burned.

It kind of reminded me of what it’s like to be a Kanye West fan in 2018. If I’m being honest with myself, maybe it’s always felt this way.

You can buy Ye on Apple Music.

At seven tracks and just under 24 minutes long, Ye is almost the polar opposite of 2016’s mammoth-sized The Life of Pablo. It’s focused and concise, and even with its short running time, there’s plenty to dissect. It’s also problematic.

But then again, so was Pablo’s “Famous” and Yeezus’ “On Sight” and Graduation’s “Drunk and Hot Girls” and The College Dropout’s “New Workout Plan” and on and on and on. Kanye’s devil has always avoided the details, sitting in plain sight as we collectively shrugged it away, even if it got more difficult as more time passed.

This time around, the new music comes on the heels of candid support of Donald Trump, the elevation of problematic alt-right commentators, and an avalanche of non sequitur ramblings in the name of free thought, including a disastrous comment about slavery being a choice.

Even in the midst of disgust and heartbreak, a small part of me held out hope that a new album might help correct course or salve wounds. This line of thinking reveals that I have learned little – Ye doesn’t fix anything. It just sounds good.

It takes less than a minute into the album’s second track, “Yikes”, for Kanye to utter the lines, “Russell Simmons wanna pray for me, too / I’ma pray for him ‘cause he got #MeToo’d”. The cringe on my face likely mirrored the one I displayed upon hearing the now infamous Taylor Swift line in “Famous” just two years ago. In both instances, I kept listening because the beat was so good.

And in typical fashion, the production on Ye is something to be admired. But this time, it can’t cover up the flaws, because right now, the emperor truly has no clothes. “All Mine” is reckless in its ideas of women as possessions, and even a genuine attempt by West to address his own misogyny for his daughter’s sake on “Violent Crimes” comes up startlingly short, placing the impetus on North to follow a certain path in order to avoid the pitfalls of a sexist society.

In its best thematic moments, Ye deals openly with Kanye’s battle with bi-polar disorder and thoughts of suicide, and finds him grateful to his wife for not leaving his side amidst his self-created chaos. Like so many Kanye albums, Ye is messy, and in large part, this is what has made his music so approachable, relatable, and powerful. But at 40 years old and deep into his artistic career, is it time to ask for more? Or at least ask for growth in the areas that continue to cause pain and alarm?

There are no easy answers to this and the responses will be varied and deeply personal. On “Ghost Town” Kanye and Kid Cudi team up again, with 070 Shake joining late in the track with a repeated refrain of, “We’re still the kids that we used to be / I put my hand on the stove to see if I still bleed / And nothing hurts anymore, I feel kinda free”. There’s a lot packed into those lines and interpretations will differ, but for me, as long as the stove remains hot and the fire still sparks, I’m comfortable putting a little distance between myself and the flames.

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 online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Podcast: Shea Serrano Talks Rap Rivalries and More

In 2017, The Ringer‘s Shea Serrano released his second New York Times Bestseller in “Basketball and Other Things”, following up the smashing success of “The Rap Year Book”. In our latest podcast episode, Shea joins Kiel Hauck to discuss rap rivalries and how competition impacts the genre. Serrano talks the brilliance of Kendrick Lamar, the lasting greatness of Nas, the political power of hip hop and much more. Listen in!

Subscribe to our podcast here.

Which rapper will hold the hip hop title belt in 2018? Share in the replies!

Posted by Kiel Hauck

Photo courtesy of Scott Gries/Getty