One of the interesting things about the existence of a group like Autechre is the reaction from those who experience the duo’s ever-changing music. There are those who cling to the first few albums, checking in for the next 20 years to critique and long for a return to Sean Booth and Rob Brown’s ambient techno style; many graduate and fixate on 2000’s Confield, judging every subsequent album according to that standard (and many of those fans initially dismissed and now either repent or play off their feedback for that record as being too complicated and “cold”). Regardless of the opinion, these people all have one, and it’s often a really fervent online-forum-esque rant. Anything that causes this much passion and tension must have something to it.
Things just ain't the same for lyricists (and journalists). Carving out a niche in the age of endless recession, social media overdose and digital platforming is a daunting task. There are 5-headed monsters lurking at every turn, whether it be putting your art out there for mass consumption or walking to your neighborhood corner store for Skittles and Arizona Iced Tea.
If "Cidida x Eibol" doesn't sound like your typical rap group, that's because they're aren't. The story of Cidida x Eibol begins in 2006 at Chung King Music Studio in New York, when the pair squatted in an unused loft on the studio’s 11th floor. Eibol had recently returned from promoting his album “Karma Kingdom”, while Cidida was gaining notoriety on BET’s Freestyle Friday. Slowly Cidida began to partner with Eibol, eventually creating “Ludwig, Can You Hear Me” -- which matches Cidida’s lyrical prowess with Eibol’s precise production. With ...
It is hard to name a recording artist/group that has never dropped a dud of an album. Perhaps De La Soul felt they were due for one, so rather than record as Plugs 1, 2 and 3 this time around, they figured they’d exclude P.A. Pasemaster Mase (who may or may not have a few voiceovers) and introduce the world to Jacob “Pop Life” & Dean “D” Witter. First Serve is far from a phoned-in effort and may just be their Modest Proposal for the industry but lifelong fans such as this listener can’t help but come away from the session more than just a bit unfulfilled.
Released by Ghostly International
On his previous releases for Moodgadget and then Ghostly, Mux Mool focused on the buzzing, electronic extremes to which trip hop can go. Harsh edges and layers or noise were piled atop the grooves. It was always distinct, arresting and worthy of a listen, but lacked a versatility to take the songs out of the dark corners of the club. Albums played out as collections of individual notions. His sound found ways to stand it out, but there was never a sense of comfort behind the beats. All that has ...