Tag Archives: Rap

Akira The Don – ATD29

Akira the Don’s relationship to mixtape culture is as extensive as it is instrumental to his success, but perhaps the sight of ATD29 (that’s ATD Mixtape Number 29) up there is going to turn people off, maybe it’s intimidating. Twenty-Nine Mixtapes?! they’ll exclaim, shuddering at the prospect of chugging through 29 mostly album-length releases by a man somehow not 80 years old (and not Lil B of  800+ Myspace tracks). Maybe they’ll assume the mixtapes are disposable retreads on beats, or a ruse (Skrillex) to distract us from Akira’s fear of full-length releases. Akira’s as much a friend of the show here as anyone, and I’ll be quick to disclose that he’s an ally of Transylvanilla, I’m an old fan of his, and yes, 29 Mixtapes is a towering queue of releases. What’s astounding is they aren’t throwaways: Akira’s latest series (especially 25 and 26) have been on steady rotation for ages here at The Nest, and my archives show this isn’t my first encounter with his material. That said, written and recorded over 29 hours(!!) apparently on my birthday, ATD29 marks Akira’s first ‘proper’ mixtape in quite a while: other peoples’ beats, his own mixing and production, guest verses, an original production or two, an autotuned jam with his human son Hercules friggin Narkiewicz. It’s a Mixtape Mixtape, not an album in disguise (Manga Music being especially arguable). And that’s great! The stakes are low, Akira’s having fun, Big Narstie shows up to yell about #Pain. It’s enjoyable. It’s a return to form for Akira, whose discography stacks on his website like a teetering pile of zines, and deigns to drop a studio album only whenever the content suits his greater narrative arc. So kick back, and let’s dig in for around the 29th time.

Smokin’ Joe kicks off the album the same way he did  ATD25, though ‘intro’ is something of a misnomer; it’s also a screaming oldschool funk beat courtesy of DJ Mink. Akira’s all over the place: he’s energized, he’s awarding himself Nobel prizes, he’s shouting out to his kid and everyone else. The beat’s manic and so’s the MC, briefing and hyping the crowd, and slicing directly into the molasses-heavy “Hash In The Post” – based on a true story. ‘Hash hovers under a beat by Mike Will Made It and Akira’s back to his old tricks with the voice modulator. The beat’s lumbering, and Akira floats under the mix, bubbling up to echo his chorus. That vocal processing is his best friend these days for good reason: it lets him keep the tone low-key and gurgle out the verses – even if he weren’t rapping about coming up as an aspiring rapper, or flying a based spaceship to a planet unsullied by police or a lack of weed, the effect locks ‘Hash into place. In fact, Akira keeps it fairly heavy for the first several tracks, tearing into an anti-racist polemic on Chief-Keef-nod “Hate SOSA”. And again with the vocal processing: this time it’s an autotune flutter, yanking the track from Keef’s bark and into outer space. Processing song after song, and keeping the beats weighty, gives ATD29‘s opening few tracks a neat sort of consistency. Sure they aren’t long, but they’re fun – MC and audience alike can float on through (with their Hash), cracking hazy smiles at the jokes. …Until Akira breaks set over Action Bronson’s “Pouches of Tuna“. I’ll fanboy for a second and say that hearing Akira rock nasty raps over that beat, nodding to sexual misdemeanours in Bronson’s style, is a treat. This is what mixtape culture is for: taking a dope beat, even miming another artist’s style, and putting your own vocal tics and production smirks into it. It’s all in good fun, it gives him the opportunity to throw a flanger on “Tuna” and rap nasty Bronson-isms like “abstain from fuckery/a Miss Kentucky Derby depravity/a little fucky-sucky in the lavatory” – and it comes off like wordplay homage. Nice. Because it’s Akira messing around in the studio we do get awkward rhymes about his dragon-spirit-animal-thing from his childhood, but there’s a looseness and casualness that licenses it all to fit. Even when it seems to lack polish, that’s sort of what ATD29 is for.

Following “Tuna” we hit an Akira original: “End of the Road” featuring Big Narstie and Footsie, that really wouldn’t feel out of place in Narstie’s catalogue. The two-step isn’t out of place here either, slotting into 29‘s darker first half. Narstie and Footsie are in top form, locking in as the background horns pop, and Akira’s back on his political rap scene, and tearing into UK banks in a style that would sit comfortably on one of his bigger releases. With “End of the Road” closing out the grimy half of the tape – because Akira The Don is partially a pop musician – It’s Dance Time. I’ll be the first to admit that these tracks took time to grow on me: I’ve come around on them to an extent, but there’s no mistaking the 8-minute dance party lurking in the middle of ATD29. To its credit, “When Life Gives You Lemons PUNCH LIFE IN THE FUCKING FACE” does feature a fear bit of autobiographical rap (which is great) and the chorus is a fun bit of gratuity filtered through robot-chop processing, but it does drag on a bit. This will certainly quench the thirst of anyone that needed more ATD to toss in their hardstyle mix, so perhaps I’m getting this one in the wrong context. East-Van-Cafe not so much, but in club? A blast, likely, and true of so much dance music. Which is the same deal for the next track’s re-remix of vintage ATD track “OMG (This Is So My Jam)”. Again this isn’t necessarily my, uh, jam, but couldn’t it be if I were partying? And so this is sometimes how we must approach music journalism: I’ll begrudgingly admit that ATD29‘s dance-wasteland might be quite fun! Real loud. Drunk with friends. As it is, it sits as an unexpected intermission, chopping the tape in two. It does, though, bring us to “Django”.

Go buy “Django”, seriously. Don’t mess around: here’s Don and Narstie rapping over an Akira-produced remix of that friggin’ sweet Brown/Tupac mashup from Django Unchained. I can’t stress enough: this production kicks ass. Hands down, it’s one of the finest beats Akira’s ever whipped up, and because ATD29 is a largely outsourced production, “Django” centrepieces it perfectly: this is the proper follow-up to favourites “Lord I Miss (Red Dead Redemption)” and “Big Iron” that we waited years to get. Like those tracks, it’s also a bit silly! That said, I can’t remember hearing this much obvious fun bang out of a production studio in a long time. Everyone’s having a blast, listener included, when those horns drop. To be played loud, inebriated, preferably while astride a horse.

ATD29 really has no choice but to cool down after “Django”. It drifts into space-rap about burning spliffs and Thundercats, “Burnt Teeth” that rips another Bronson beat (and slows “Buddy Guy” to its original speed), Don’s political and Satoshi-Kon-dedicated “Daylight” take, and a pair of tracks for his young son, before quietly coming to a stop. One of these odes to Hercules is the roaring, triumphant “Theme From Hercules”, the other’s simply an autotuned Akira singing his son “Moon River”. Both are touching and strange in their own odd, unexpected ways. How cool is that? I love mixtape culture. And really that’s what ATD29 is: Akira’s return to making mixtapes in the classic mode; I can’t not engage with it personally. And while it sometimes plays fast and loose, this thing was slammed together in 29 hours as an intermission between bigger releases. Great swaths of ATD29 are a blast to listen to, and while the pacing gets a bit bizarre (brief tracks, the dance tracks, the sentimental, strange ending) it’s difficult to fault a man that made this in hardly 2 days while celebrating the existence of his brand new human son. Oh right, and he’s uploaded it here if you’d like to listen, too. Real cool, Akira.

A difficult project to score, I think. But here’s a number.


Full Disclosure: As a longtime friend of Transylvanilla, Akira mailed me this release out of the blue, stating I could review it, enjoy it, whatever. And so, much later, I did. Much respect to Akira The Don and his family unit! 

Full Disclosure 2.0: I missed you guys, too. Thanks for reading.

Reviewed right here, October 20, 2013.

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This is a long one, folks, so let me summarize it for you here: if you work anywhere like I work, you know that A$AP’s a bit of an institution these days in popular hip-hop, and there’s a reason for that. The production work on his latest album is out of this world (frequently fairly literally), and makes up for any boredom you might get from his lyrical stylings, which are mostly par-for-the course. When it’s good, it’s Really Cool, and that’s a function of some masterful production work and A$AP Rocky’s frequently surprising ability to push that musical ambition to his rhythmic advantage. Read on, and see what the heck I mean! 

To the uninitiated (and really, are there any of us left?), A$AP Rocky’s appeal can be difficult to articulate. “Is he a great rapper?” is inevitably the first question we want answered and, well, no. Not specifically; he talks liking his clothes, his women, his ‘A$AP killers’, and on very rare occasion a couple of other things – albeit with a great sense of rhythm. “Is he a fascinating man? Is he one of rap’s new weirdos?” we ask as well, because of course sheer weirdness can be redemptive. Again, uh, nope, at least not lyrically. On an album that also features Kendrick Lamar (hyperventilating), Danny Brown (doing his best Muppet-on-Adderall) and Action Bronson (…“my shawty gallop in the morning on the beach like a Chilean horse”), Rocky’s hardly the strangest or most intriguing figure, and we have to hope he knows it: he features those three on the same damn track. At least on a vocal and lyrical level – and this is before we confront Clams Casino and Spaceghost Purrp, the elephants in the room – Rocky can come off as more of a tour guide than a rapper. And while he did co-executive-produce the album, and he is a talented curator, Professional Sideliner isn’t a promising statement for his actual rap career. So let’s ask Rocky why he’s cool:

“I said it must be cause a n– got dough/Extraordinary swag an’ a mouth full of gold” – “Goldies”

A-ha! Mystery solved! He’s rich! …And of course there’s much more to it than that, but that’s where any discussion of Rocky is doomed to start, if not end. A$AP Rocky (keeping in mind that this is par for the course in breakout hip-hop) is a rapper whose fame and hyper precede him to an absurd extent. To an earlycareer-defining extent. Come on, if you know hip-hop you have an opinion on the 24 year-old named Rakim Meyers: either you think he’s a ridiculous, overhyped combination of Tyler the Creator’s production palette (and pitch-tuned growls) and Kanye’s obsession with fashion, or you think he’s the harbinger of a new and brave sort of hip-hop, as quirkily fashion-conscious as it is concerned with repping the hood with minimalist beats. Listening through Long.Live.A$AP, and its predecessor for that matter, it’s difficult not to be drawn to extremes: the initial listen is inevitably a polarizing one. Which is one way of saying that I Hated It At First, or rather maybe I hated Rocky, or perhaps his hype machine. And so the truth of the matter and the man behind the 3-million dollar mixtape – which remains an irredeemably heavy-handed marketing ploy – lies, as it always does, in an an open-minded absorption of his album. So let’s drop the paper-bag-princess high-fashion and the worldwide sold-out shows and the hyperbolic interviews for now. This is marketing nonsense. Beyond A$AP Rocky’s name-calling and fashion-repping, what’s Long.Live.A$AP actually sound like?

Truth of the matter is, provided you’re the one person that slept on Live.Love.A$AP, it sounds like nothing you’ve quite heard before. While Rocky’s actual lyricism is your standard fashion-rapper excess (“PMW” not meaning Professional Motorsport World, apparently), the production here is absolutely out of this world. Openers “Long.Live.A$AP” and “Goldies” cleave close to Live.Love.A$AP’s comfort zone, delivering hazy and disorienting beats that wouldn’t have seemed out of place on Live.Love.A$AP (or Goblin for that matter), but the album absolutely explodes from there. “Lvl” and “Hell” reunite listeners with Clams Casino, the minimalist-savant producer recently hailed by Brian Eno, with back-to-back production the likes of which almost seem ill-suited to rap music to begin with – and certainly mainstream rap music, which is of course Rocky’s sphere. That said, aside from “PMW”, which cleaves a little too close to lounge-commercial music, the effect is completely impressive. The beat on “Lvl” washes over like rolling waves of white static, with clipped vocal samples dropping between phasing synths and a dead-slow snare hit. To his credit – and the slow realization of this reviewer – Rocky drops in single and double-time verses, halting his flow and reversing it into seemingly every vocal cadence he can, turning what could easily have been a funeral dirge of a purple-drank track into a hazily engaging stunner of a single. This all occurs before Clams closes the track with an apparently wordless and utterly haunting choral sample that is both eery, surprising and utterly appropriate. It’s a fascinating beat, and unlike anything you’ve likely heard before. With Spaceghost Purrp out of the picture the extent to which the other producers complement – and occasionally ape – Clams Casino’s bizarre production style is Long.Live.A$AP’s greatest virtue, and man do they do it well. “Hell” gives us Santigold delivering “Me I want everything, it won’t take me long” with a sort of detached confidence that comes off more eerily prophetic than boastful over Clams’ second beat. There’s a frankness to her delivery thats powerful, as there is in Rocky’s when he delivers the surprisingly able “N-’s call me prophecy/swaggin’ in philosophy/white on white waggin’ call that mothafucka Socrates”.  The beat marches trenchantly forward: again it’s dead slow and dusty, echoing and intentionally granular. It works beautifully. So much of the album functions this way that the hazy, detached two-step quickly becomes its M.O.: “Pain” is a slow-motion nova of synths, pulsing and swelling. The Hector Delgado, Friendzone and LORD FLACKO-produced “Fashion Killa” is absolutely gorgeous and rests two-step, snapping snares over a sunny, looping vocal sample that would do Clams Casino proud. It’s likely the coolest beat I’ve yet heard in 2013’s 14 days, and it’s followed by Danger Mouse’s utterly sobering “Phoenix”, Long.Live.A$AP’s major comedown (on an album filled with, arguably, nothing but comedowns). “Phoenix” drops uncut piano and drum samples onto Rocky’s now-signature vocal echoes, concisely bringing the album back to earth in time for “Suddenly”’s last-minute centerpiece. Describing in-depth any more of the production tricks feels like a spoiler alert: if you’re a fan of ‘producers’ albums’, you can stop reading here and just buy it. Long.Live.A$AP is, for two-thirds of its running time, a masterpiece of spooky, nearly-ambient hip-hop minimalism, and a much more concise one than its predecessor. Under a good set of headphones, tracks like “Phoenix” are staggeringly cool and make a compelling argument all their own for Long.Live.A$AP’s lasting contribution to pop-rap production.

That said, if you’re reading along with the track listing in mind, you know I’ve skipped the middle third of the album, as well as Rocky’s lyricism. There was a reason for that. Through all the blurriness of Long.Live.A$AP’s first fix tracks, the listener is meant to sink deep into the cuts. It’s relaxing and empowering all at once – that’d be the effect of dropping what’s effectively a swag-rapper over such cushioned, airy beats. Track seven, “Fuckin’ Problems”, produced by Hit-Boy and C. Papi (Drake, weirdly, because they all need aliases), aims to change all that. In fact, for that track and the two that follow it, Long.Live.A$AP changes completely into a very weird party album. This is a tad jarring. “Fuckin‘ Problems” gives us 2 Chainz yelling about two sentences on repeat, Drake rapping in his surprisingly capable autotune-timbre and Kendrick Lamar warming up for “1Train” by rapping about his dick a lot. The subject matter is par for the album, but Drake, Kendrick and 2 Chainz’s delivery isn’t – like the astounding and preposterous “Wild For The Night” and “1Train” that follow, this is your wakeup call, and all three artists sound fully energized. If you’re a hip-hop traditionalist or looking to party, these are the three tracks that could be safely hauled out and called and EP or a particularly potent workout mix. They’ve opted for a strange sort of pacing, but nowhere near as strange as hearing Rocky go toe-to-toe with Skrillex on “Wild For The Night”… and having it work. There’s something to be said for Rocky’s consistency, or at least his dead-set determination as a rapper: he might not have a whole lot going on creatively in his lyrics (and he doesn’t), but I’ll be damned if anyone else can keep up quite as well with Skrillex’s now hilariously-familiar laser assaults. As he does with every other beat on the album, Rocky keeps Skrillex under his thumb, and this is impressive – it’s easy to take for granted the way his delivery sinks into the production here, and it’s easy to forget that no one else is making popular, non-underground hip-hop quite this out-there in terms of production. It’s somewhat of a system-shock, then, when he brings in every other weirdo for what amounts to a drug-soaked free-for-all on the jaw-dropping “1Train”. Featuring Rocky himself, Kendrick Lamar, Joey Bada$$, Yelawolf, Danny Brown, Action Bronson and Big K.R.I.T. over a string-quartet beat opulent enough that you feel Rick Ross might drop through a wall at any moment, it’s astounding and astoundingly out of place in an album otherwise so locked into its spiritual center of floaty synths and ghostly snare hits. And, just as surprisingly as Rocky’s safely-ignored lyricism interlocks perfectly with his delivery and the beats he chooses for himself, so does “1Train” carve out a queer niche for itself on what is definitely a deeply strange album. Not everyone could deliver words as cheap as “A$AP, get like me/never met a mothafucka fresh like me” and have them sink so deep, and so this is both Rakim’s blessing and curse.

At the end of your listen, like me you’ll probably note that you can’t quote many of A$AP Rocky’s actual lyrics, and that’s fair, but the sonic presentation of the album is transfixing. Long.Live.A$AP is a very pretty thing lacking in lyrical depth, and that’s perfectly alright – so long as its intentional, or at least self-aware. There’s reason to believe this is the case. Throughout the album, up until “Phoenix”, Rocky is flagrantly hedonistic, even approaching nihilism in the name of materialism. It’s an aesthetic we’ve experienced before, but never over beats so isolating and eery. This isn’t music to feel good to, necessarily – it’s music that can evoke bleariness, disorientation and intense isolation. At times it can seem that Rocky exists in a closed universe, parallel to our own, where this sort of rampant, hollow materialism is recognized for what it is. Only production of a high calibre can draw this sort of gut reaction out of lyricism as straightforward as Rocky’s – and thankfully, he has it. And only a wink and nod from the man himself can lock this sort of presentation into place – and thankfully he has that too, on the final two tracks: the strange and show-stopping “Pheonix”, and the successfully autobiographical “Suddenly”, which ranks both technically and lyrically as his finest track yet. Quoting the tracks here won’t prove anything – go listen and see. Long.Live.A$AP’s odd, personal third act begins very, very late, but there’s no denying that it arrives.

So is A$AP Rocky more than that a tour guide and an event planner? Well, yes and no. The man with the 3 million dollar dreads still isn’t an amazing rapper, at least not on an album scale, and his subject matter isn’t going to surprise you. What will impress, and what surprised me, was the care with which Long.Live.A$AP’s architecture has been constructed. Unlike Live.Love.A$AP, this one’s an album, and the stakes have been raised accordingly. By turns fresh, surprising, sleepy and even hilarious, repeated listens turn Long.Live.A$AP into a pleasant surprise for 2013, and an extremely strong start for hip-hop’s most mainstream angle. Too repetitive to be perfect, and lyrically non-stimulating enough to avoid becoming a classic, A$AP Rocky has nevertheless dropped a second impressive album worthy of his hype, and that’s much more than can be said of many of his predecessors.


Published right here, January 2013. It’s good to be back. 

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