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Review: Freddie Gibbs & Madlib, Piñata

On Piñata, eccentric sample masher Madlib and MC Freddie Gibbs employ the vintage sounds of the 1970s and storytelling beats of Blaxploitation movies.

 

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Freddie Gibbs & Madlib, Piñata

On Piñata, eccentric sample masher Madlib and MC Freddie Gibbs employ the vintage sounds of the 1970s and storytelling beats of Blaxploitation movies to create an album that sounds like it could have been released in the mid ’90s. For those who were lucky enough to spend their teens immersed in hip-hop’s golden age, Piñata is a generous slab of comfort food: the crackling movie sample of a philosophizing street hustler that serves as the album’s intro; loops built from old funk and quiet-storm LPs, with drums that always sound live; lyrics that tell it like it is with just enough artistic remove to work as adrenaline-pumping entertainment. And thanks to the talents of the artists involved, the album is more than a fun glimpse at the past. These beats and rhymes stick to your ribs.

It’s been 10 years since Madlib and MF Doom made the ultimate rule-breaking underground rap album, Madvillainy, and Piñata presents a producer who’s more interested in setting a tone than pushing the envelope. His stylistic trademarks are still present (snippets of distorted movie clips abound, tempos fluctuate unexpectedly, loops crash into one another with little regard for fluidity), but they don’t hog the spotlight. The producer is content painting compelling backdrops for his vocalist this time around, and the result is a crackling synergy.

Gibbs deserves a lot of the credit for the album’s clarity of vision as well. Not as flashy or commanding as peers like Killer Mike, the MC is completely comfortable holding down the fort, his street tales rarely overblown, his boasts simple and in your face, his flow sounding like it was developed over the course of long nights practicing on Indiana street corners. The fruits of this artistic union are perhaps most apparent on “High”: After a classic Madlib bait and switch (the beat and tempo that begin the song are swapped out within the first 30 seconds), a sultry groove is served up for Gibbs, whose commanding syncopation brings it down to Earth, setting the stage for guest Danny Brown to go apeshit on it with his usual aplomb. “Shitsville” showcases Gibbs’s ability to build nuanced worlds with his verses; he digs into his childhood for stories both depressing (a grandmother with an addict brother) and sweet (watching Friday with his friends), and both emotions feel earned.

Piñata does suffer from a bloated middle, with a few too many beats derived from ’70s slow jams (imagine Shaft with less Richard Roundtree gunplay and more Richard Roundtree “gunplay”). But by the time the title track hits its groove to close things out, it’s clear that all the foreplay was worth it. An electrifying crew track that picks up the gauntlet thrown down by last year’s A$AP Rocky cut “1 Train,” “Piñata” gives Gibbs and guests like Mac Miller and Domo Genesis an insidiously funky loop to ride into the sunset. Unfortunately, like all nostalgia trips, it has to end eventually.

Label: Madlib Invazion Release Date: March 18, 2014 Buy: Amazon

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Review: Guster’s Look Alive Is the Sound of a Band Rejuvenated

Guster’s eighth album buzzes with inventiveness, charm, and youthful dynamism.

3.5

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Guster, Look Alive

Guster has long been associated with “college rock,” and not without reason. Even though every member of the Boston-based band is now over 40, they still make bright, hyper-polished alt-pop tailor-made for campus radio. The band’s eighth album, Look Alive, adds synths and contemporary production flourishes to their sonic repertoire, but all the hallmarks of their sound remain: winsome melodies, soaring hooks, and tight, immaculate songcraft that combines the best of Britpop, 1960s folk, and post-grunge.

Like most Guster albums, Look Alive has a few duds, a few modest successes, and at least one showstopper—a song that makes you wonder why the band was never more successful. On 2006’s Ganging Up on the Sun, that song was “Satellite,” a shimmering power-pop masterpiece that split the difference between the Shins and Neutral Milk Hotel. Here, it’s “Hard Times,” which also happens to be the least Guster-like track on the album. Drenched in Auto-Tune, buzzing synth frequencies, and stadium-ready percussion, the song doesn’t sound anything like “Satellite,” let alone like the band’s output before 2000. Yet, true to form, it’s a remarkable piece of pop. “Sinister systems keep us satisfied/These are hard times,” Ryan Miller wails. It’s a simple statement, but it makes for a stunning chorus, and Miller’s effusive delivery renders it the most cathartic moment on the album.

On “Not for Nothing,” the band ventures into dream-rock territory, surrounding themselves with icy synth textures that wouldn’t sound out of place on a Wild Nothing track, while “Hello Mister Sun” is unabashed bubblegum pop that pays homage to whimsical Paul McCartney tracks like “Penny Lane” and “Good Day Sunshine.” Likewise, the sprightly “Overexcited” bounces along with a spoken-word verse and pounding, piano-centric chorus. While none of these tracks tackle complex themes, they’re playful, infectious, and eminently listenable.

Many of Guster’s best-known songs delve into same subject matter: newfound love, crippling heartache, the pain of being young, restless, and alone. Yet much of Look Alive is more elliptical. “Maybe we’re all criminals and this is just the scene of a crime,” Miller sings ambiguously on “Terrified,” forcing the listener to fill in the blanks. “Summertime” similarly defies easy explanation: Brimming with obscure religious imagery, whispered background vocals, and references to an unspecified war, it follows no logical narrative, instead allowing the track’s mood—a feeling of triumph over some great adversity—to tell the story.

For better and worse, Look Alive’s production mimics the spacious, ‘80s-inspired aesthetic that pervades much of contemporary indie-rock. “Don’t Go” transplants a prototypical Guster melody into a synth-soaked songscape, while the title track seems expressly engineered for Spotify’s Left of Center playlist. Still, the album never feels like the work of aging musicians struggling to stay relevant; it buzzes with inventiveness, charm, and youthful dynamism.

Label: Nettwerk Release Date: January 18, 2019 Buy: Amazon

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Review: Toro y Moi’s Outer Peace Bends Boundaries with Mixed Results

Chaz Bear’s sixth album as Toro y Moi bends the boundaries of club music, albeit with mixed results.

3.0

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Toro y Moi, Outer Peace

Having already concocted brainy dance music under the alter ego Les Sins, chillwave trailblazer, synth-pop alchemist, and psychedelic rock enthusiast Chaz Bear fully embraces the dance floor on Outer Peace, his sixth studio album as Toro y Moi. Pulling from sources as disparate as R&B, tropical house, and trap, the California-based singer bends the boundaries of club music, albeit with mixed results.

Upon first listen, it seems like Outer Peace colors a rough sketch of a dystopian future where the material is mistaken for the immaterial, technology becomes a gateway to the metaphysical, and fleeting pleasures, prompting ever greater hedonistic pursuits. It doesn’t take long to realize, though, that this dystopia isn’t some future prospect, but the present moment. With lines like “Mystic staring at his phone for oneness,” Bear masterfully defamiliarizes our world, exposing the absurdity of the digital age.

Bear charmingly pairs this oft-heavy subject matter with club-ready grooves. The existential crisis of “Who Am I” is juxtaposed with sweetly pitched-up vocals and a fizzy patchwork of synths. Bear’s playful approach to house music ensures that no amount of existential dread and doom can dampen the mood he creates throughout the album.

Bear’s tinkering, however, isn’t always transportive. The rather vanilla tropical house beat of “Baby Drive It Down” recalls Drake’s dancehall-lite, with a lifeless performance from Bear. His experimentation with trap is at first promising on “Monte Carlo,” with the support of a dreamy pillow of vocal samples, but coming in at two minutes, the track feels one note, lacking any tempo changes or even a bridge, suggesting it was perhaps better fit for an interlude.

The cover of Outer Peace depicts Bear gazing intently at a computer screen, surrounded by instruments in a clean, sterile room. He reportedly created the majority of the album during an unaccompanied two-week retreat off Northern California’s Russian River, and this isolation can be felt throughout. The album’s title represents the remarkable possibility of finding freedom from the outside world by letting loose on the dance floor and experiencing liberation in a crowd of strangers. Bear certainly takes the album there at several points, but in the limited scope and cerebral slant of these too-brief songs, he loses that outer peace.

Label: Carpark Release Date: January 18, 2019 Buy: Amazon

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Review: Joe Jackson’s Fool Is a Concise and Punchy Nostalgia Trip

On Fool, Joe Jackson sounds younger and angrier than he has in years.

3.0

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Joe Jackson, Fool

Joe Jackson has spent the better part of four decades trying to put some distance between himself and his debut, Look Sharp!, a collection of acerbic new-wave pop songs that earned him the label of “angry young man.” But on his 21st album, Fool, he sounds younger and angrier than he has since 2003’s deliberately retro Volume 4. Maybe it’s a symptom of nostalgia: Fool, after all, is being released almost 40 years to the day after Look Sharp!, accompanied by a tour that promises to draw from Jackson’s entire career.

The album’s first two singles, “Fabulously Absolute” and “Friend Better,” both seem to deliberately rekindle the spirit of 1979: the former with its wiry post-punk guitar and synth riffs, the latter with its snotty vocal cut from the same cloth as early Jackson hits like “Is She Really Going Out with Him?” Even the refrain of the opening track “Big Black Cloud”—“No luck, no money, no sex, no fun”—is torn straight out of the London punk playbook.

Not all of the album calls back so specifically to Jackson’s debut: With its jazz-inflected piano and flute, closing track “Alchemy” is a welcome return to the moody sophisti-pop of 1982’s Night and Day. More often, however, Fool‘s refined pop-rock recalls an amalgamation of styles from Jackson’s “classic” era while also reflecting his late-career maturity. Tracks like the elegiac “Strange Land” marry his long-standing jazz and classical ambitions with his undeniable knack for pop melody in a way that doesn’t shortchange either.

Jackson, though, still hasn’t quite shaken his tendency to overextend himself. The title track is well-played, with some virtuosic runs by longtime bassist Graham Maby, but it also careens from Jackson rapping into a megaphone to a madrigal-like bridge to a synthesized surf guitar solo. The Beatles-esque “Dave” holds together better musically, but its character study of a pure-hearted but simple-minded everyman, who could have something to teach us about slowing down and enjoying life, feels cloying and condescending.

If Fool doesn’t quite measure up to Jackson’s sterling early work, it’s still more concise and punchy than 2015’s Fast Forward and less self-consciously arty than his late-‘80s and ‘90s work. By now, Jackson has surely come to terms with the fact that he’ll never be able to outrun his new wave days; keeping it as just one of the tools in his expansive arsenal is a fine compromise.

Label: earMUSIC Release Date: January 18, 2019 Buy: Amazon

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