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I first wrote the lyrics down in a notepad, next to a drawing I had done of a guy who had just finished wanking. Pretty much sums it up.
Nothing could exemplify the terrifyingly short attention span of indie media supermarket, Pitchfork, than Joshua Love’s insanely dumb comparison of Let’s Wrestle’s 2nd LP to last month’s hype sensation of about 15 seconds, Odd Future on the basis that they are both young and energetic. I can barely even express how painfully useless and uninformative of a point it is, even amongst a review that would have been better served had it been consumed and then vomited up by one’s pet. Kevin forbid any actual insight into the album, or contextualization in reference to the band’s previous work… No, ‘Weezer meets Green Day.’ Oh, and The Libertines! Right, because they’re English!
That site would be better off if it was just a list of albums that got released. Srsly.
Yesterday, while stopped at a traffic light with my windows down to enjoy the fantastic mid-60° Los Angeles weather, the woman in the car next to me started listening along to The War On Drugs‘ “Baby Missiles,” asked me who they were, and commented that “it sounds good!” Don’t mind my noise pollution… It was perfect Sunday driving music, actually… except maybe that the length of Future Weather couldn’t last my car trip, and I had to cycle through it twice. Lucky for me, they have a follow-up coming on August 16th, em>Slave Ambient, which has a couple teaser samples from the album up on their website.
Wow. It’s about all I can say. Elzhi, probably Detroit’s most skilled rapper, formerly of Slum Village, and heir apparent to Nas’ throne for story- and concept-driven lyrics, dropped his long-awaited remake of Nas’ 1994 classic, Illmatic, understandibly titled Elmatic today via his website. I first heard about the project years ago (2?), I think through Los Angeles-by-way-of-Detroit producer House Shoes’ podcast/website. I was intrigued at the time – Elzhi is a favorite of mine and his Black Milk-produced album, The Preface, is a generally under-appreciated gem of post-Dilla Detroit hip-hop. But I remained skeptical over the idea of remaking another’s album. The Walkmen remade Harry Nilsson’s Pussy Cats in 2006 and on top of me disliking the musical result, the track-by-track remake didn’t seem to add much to the original, coming off only slightly more considered than a drunken karaoke performance.
A winning personality. A balanced approach. An honest voice. Only time can write a song that’s really really real. The best a man can say is the way its playing feels. And know that he only knows as much as time to him reveals…
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