Mr. Muthafuckin’ eXquire
“Noble Drew Ali”
There was a brief period after Mr. Muthafuckin’ eXquire’s last release, Power and Passion, where fans would’ve been right to worry that the African-medallion-rocking, cheap-vodka-chugging, fat-girl-fucking BK MC was losing his edge. It’s not that he never had catchy hooks or a melodic delivery before, but suddenly it seemed like he was somehow dumbing it down. Not for nothing, but the EP (which marked his major label debut) being listed on iTunes and Amazon under artist name Mr. MFN eXquire didn’t help his case any either.
Fear not though, dear listeners. Mr. Muthafuckin’ eXquire (“and don’t forget the Muthafuckin’”) was right there with you in your moment of doubt. The artist came clean about his major label debut in a recent Interview Magazine feature, stating, “I mean, honestly, Power and Passion was a reach for me. It was the first time that I ever wrote and tried not to be good. I mean, I’d look at it like I was on a major [label] now kind of thing. I’d look to other rappers to see what they’d be doing and they’d never talk about shit. So, I’d find myself trying to rap and not talk about shit on purpose. And that’s really not me, you know.” He also affirmed his return to form with “Draped in Gold,” the first single off his upcoming Kismet mixtape. And now he’s re-affirming it with a song named after the founder of the Moorish Science Temple of America, perhaps carrying on in the tradition of “Galactus,” the Lost in Translation single that lyrically had little to do with Jack Kirby’s world-devouring Fantastic Four villain but did him justice nonetheless.
• Mr. Muthafuckin’ eXquire: http://lifeispassion.com
• Universal Music Group: http://www.hollywoodreporter.com/sites/default/files/custom/Documents/ES…
Oh my god, how good does key lime pie sound right now? Or one of those key lime pie yogurts? Or even a lime popsicle! Yeah, I know, that’s what the warm weather and this fresh album from minimal/ethereal/instrumental hip-hop producer Color Plus will do to you.
Just like the pie, Key Lime is dominated by soft, soothing textures and is epitomized by a base layer of acidic flavor. Color Plus’ subtly sour beats rest under scoops of fluffy synths atop a bed of flaky, buttery tape hiss.
Drool over the whole thing below, and buy the whole thing for only a buck on Bandcamp.
• Color Plus: https://soundcloud.com/colorplus
“In The Air”
Remember that scene from Paid in Full where time slows down as “In the Air Tonight” provides the ominous soundtrack to a place-in-time transition in which everybody’s hanging outside Willie’s Burgers flashing dookie chains and Dapper Dans. No? Well, get on that. In the meantime, this new Vado joint samples the Collins hit to a similar effect and just might prove to be Slime Rothstein’s most infectious solo single to date.
• Vado: https://twitter.com/VADO_MH
“Mephisto In The Water”
Anyone else feeling the weight of this weekend, crying and nodding at work because “Mephisto In The Water” reminds you of swimming with my little brother outside in a lake while he was younger? Why you thinking of my brother as a kid anyway? It’s because the beauty in Jenny Hval’s voice not only conveys this direct memory, but her vocal waves actually embed a mental image in every listener of my brother Speedo-bikini-swimming in Cedar Lake, IN. There he learned how to flip and panic every time his foot touched ANYTHING.
My coworkers are staring now ‘cause I can’t cry calmly, and “Mephisto In The Water” continues its beauty in my mind. Ok-ok, so it’s not really about my brother, but I just can’t shake the image of that… and maybe Terrence Malick filming it? Underwater/Thin Red Line intro style. Anyhow, Norway’s own Jenny Hval follows up her tender 2011 Viscera LP with Innocence Is Kinky, out now on Rune Grammofon in LP/CD/MP3 formats. FYI, NOK = Norwegian Krone… help is here.
“No Faces” ft. Danny Brown
I’m all about transparency, so hopefully TMT editor-in-chief Mr P won’t mind when I tell you how he reached out to me earlier today with the following: “This kinda seemed up your alley. You interested in covering? If not, no worries. I can throw it in the queue.” To which I replied, “Yeah, wasn’t sure you wanted me to do a 3rd article on him, but I’ll definitely hit that.”
The reason I put this all out there isn’t to illustrate how cool and tight-knit we all are here at TMT, but rather to point out that TREE (every time I write that name out in all caps, it’s meant to be read as he spits the ad-lib) is generating quite the buzz — yes, even here, the land of waves, gazes, and hisscore. And rightfully so. Sunday School II was already shaping up to be one of the best albums of the year (and maybe the the greatest hip-hop sequel since OB4CL2 sparked the trend back in 2009) before this new track shut down the internet. Is it May 15 yet?
(Oh yeah, and some dude named Danny Brown rips it on here too.)
“Element Configuration III i. Of Three Elements”
A founding member of grindcore progenitors Napalm Death, Nicholas (or Nik) Bullen established the group’s militant ethos and iconoclastic sound as early as 1981. His guttural vocalizations and bass shredding on the A-side of undisputed classic Scum remain the only (official) recorded document of his time in the group before he and Justin K. Broadrick departed in 1986. If Broadrick has since evolved into a highly-visible avatar of extreme music in all forms, Bullen has kept a relatively low profile over the years. He’s earned degrees in philosophy and computer science, worked as an experimental filmmaker, and entered the academic and fine arts institutions as a sound designer, writer, and lecturer. His musical projects — Final (with Broadrick), Scorn (with ND drummer Mick Harris), and more recently Black Galaxy — have all dealt in aural assault and abstraction, but fall more along the electro-acoustic improvisation/power electronics spectrum. On his debut solo album Component Fixations, landing May 15 on Type, Bullen demonstrates the radical concepts and sonic manipulation strategies that he’s accumulated over 30-plus years of active experimentation.
The album features two side-long slabs of computer-based electronic disfiguration. The preview excerpt of “Element Configuration III” offers us a session of mutating, suspense-laden musique concrète, speckled with noise outbursts and sudden dips into robotic murmuring that render any traces of Bullen’s field-recorded sound sources indistinguishable. The dynamic pacing and protracted high-end abuse recall Florian Hecker’s laptop experiments, and like Hecker, Bullen isn’t afraid to wade into the territory of the demonic squelching circuit. Some sounds here challenge description, possessing a glitched-out stutter that hints at hours/weeks/years of tonal fine-tuning. Chunks of static and low-end drone collide in a mix dry enough to clarify even the tiniest detail. Bullen continues to prove that his teenage years as an extreme metal pioneer were just the tip of a totally badass iceberg — here’s a chance to sink in and check out how massive and terrifying it’s become beneath the water.