RP Boo – Legacy

Based on my research, RP Boo is somewhat of a big deal in his line of work. The putative inventor of Chicago based “footwork” music; Legacy is apparently his first legitimate album. Based on some reviews I read, I figured RP Boo’s work would sound like J Dilla’s—sample-based work without rappers—which intrigued me, since Dilla has been one of the cool things I’ve found in college thus far. When it came to actually listening to it, though, it fell short of my expectations. I felt like, listening to Legacy, that I was listening to a movie soundtrack at times. You’ve ... Read More

Vampire Weekend – Modern Vampires of the City

I have a theory that most music critics have had leads for Vampire Weekend’s third album already written for three years: “Some Oxford Comma reference or a derisive jab at hipster ivy league grads that wear boat shoes followed by why or why not Vampire Weekend’s predictable or experimental Third Album sounds good or bad.” When I gave Modern Vampires a listen, I very much repressed any opinions I had of Vampire Weekend and Contra because I hate reviews that only reference an artist’s previous projects/styles. That turned out more difficult than expected. I noticed an obvious departure from its ... Read More

Mikal Cronin – MCII

Guitar distortion, of the interesting sort, really took off in the 60s. Better guitars, better amps were being built. People tweaked with guitar noise the way they couldn’t have with, say, an acoustic guitar. You had artists like Jimi Hendrix who revolutionized the field. You also had bands like The Stooges and MC5 who used distortion to sound menacing. I want to focus, briefly, on MC5, a band that has never interested me much beyond the obligatory Kick Out The Jams, a pretty cheaply done live album with guitars that skronked with supreme urgency and clamor. That’s about it. Loud ... Read More