W0w. A legit new Eazy-E video. From Marty Thomas, the new director’s cut of Real Muthaphuckkin G’s. I had no idea this existed, and I don’t think most of the internet did either. Not a lot to say here, but if you’re a fan of Eazy E, whether you picked up the fandom from Straight Outta Compton, or you’ve been kicking it with NWA since way back into the day, this is a must-watch. It’s prime Eazy-E and the Director’s Cut is everything you love and just a little bit more. For all of my hip hop fans who are maybe a little younger, definitely take a look at this. Take notes. This is where a lot of the flow comes from, and some of it is going back to.
Pushing past the dance party going on in the basement & the other dance party on the first floor, I finally arrived at my chosen dance party upstairs. Webster Hall is known for creating 3-4 different worlds per night, and Fridays, the place to be if you’re into underground dance music is Girls & Boys. Unlike the other parties, that spin hip hop, top 40, latin, 80s & 90s and the occasional dash of punk rock & alternative, GBH & Alex English bust their asses every Friday night to get quality EDM DJs from all over the world to blow out the main ballroom. Whether it’s Feed Me, Zedd, Joker, Madeon, Bloody Beetroots or Nero, the consistent stream of sick nasty talent is enough to make even the most jaded, cynical & ancient dance-party aficionado get off his ass and fight the crowd for a chance to hear some of the best sounds on one of the best sound systems in Gotham. Continue reading
To The Floor starts out with heavy synth work giving an already gangsta-sounding sample an even harder, west-coast edge. 45 seconds in, this triumphant, sunny bass hits, adding to the modded vocals an even more interesting spin. The track is everything an Usher track aspires to be, especially when the really danceable beat ninety seconds in hit and sticks around for just long enough for you to find a deep groove. To The Floor seems to be an instant mixable hit for a number of different genres/set styles. It’s a strong leading track for the EP and definitely allows Minnesota to introduce himself and his signature sound.
Yoga Pants starts off with another LA-infused beat to bang in your car while (ostensibly) ridin’ dirty (the lack of g is important for some reason). The production value is impressive, and connects vaguely of EdiT. Not for any bad reason, but there’s a distinct nerdcore vibe that Minnesota brings to some of his work that makes me wonder if he’d ever been to an MC Frontalot, Y2Kracker or Glitch Mob show. And to emphasize, I like those artists, and have paid to see them all. I like what I hear, and this track combines a calm understanding of West Coast Hip Hop sounds and some clever usage of bass & kick drum. The vocal is used only when needed, and the final rhythms/chords after 3:30 are massive and triumphant, besides being most welcome.
Tokyo is my second favorite track on the EP. The continuing tradition of melding slick vocal samples and some chilled out bassy beats takes on an almost chiptuney vibe on this offering. There’s a sparkle to the tune that reminds me very strongly of Mega Man music, which, again, is nothing but the highest compliment. The addition of excellent bass & vocal samples of Snoop Dogg to this ethereal chippy track is something I didn’t know I wanted out of the Mega Man games I played for the NES more than a decade ago. Four minutes in, the West Coast bass comes back in and gives the chiptuney sparkle some muscle to really give the sound a little punch before it fades out.
Many more people think they can rhyme over a bassline than actually can these days. Zion I can. Float allows the very hip hop friendly beats that Minnesota drops to feature some excellent vocal work by his partner on their recently completed Shadow Boxing tour (that I reported on a while back). This very well made match takes the camera off of the beats and lets Minnesota’s work compliment the good flow & lyrical choices that Zion I makes, which, is hard to come by these days, especially if you’re getting your rap from the radio or some chucklehead rhyming over a drum & bass DJ.\
I’m not really sure how else to emphasize how much I like Indian Summer. Any single usage of anything remotely connected to Chrono Trigger (the SNES RPG masterpiece for those of us that don’t have “Video Game Nerd” stamped on their foreheads), whether it’s a sample, a game mechanic, the characters, or the music make something a thousand times better in my mind. The soundtrack to this game was absolutely breathtaking, and the track that was chosen is the theme of the tragic sorceress you meet super late in the game in the Kingdom of Magic (OMG SPOILERS!), Schala. This is my favorite track off the EP, but let’s be real, this would’ve been my favorite track if the four previous tracks drove me to work in the morning. The production value on the sounds, bass, kick drums and ambient sounds is fantastic, and IT JUST KEEPS HAVING CHRONO TRIGGER IN IT. I’d say more about it, but then you’d be reading this and not pressing the button the soundcloud widget below this paragraph. Which you should do. Right now.