Monday 28 Jul
 
 
CD reviews

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0
 

‘Got Money’? You know it.


Photos from Lil' Wayne's visit to the WinStar World Casino.

By Matt Carney December 30th, 2011

It’s half a mile from one end of the WinStarWorld Casino to the other, and that 800 meters consists mostly of slot machines. It really is a sight to behold – the overwhelming rings and buzzing of winners and losers, and enough neon flashes to rival Kanye West’s “All of the Lights” music video. It’s all so distracting that, while leaving, I overheard one older patron ask “Why are there so many damn kids in here all of a sudden?” apparently unaware that one of the planet’s most prolific rappers had just performed less than 500 feet from her for about an hour and a half.

I’m a miserable sucker for big-budget pop hip-hop, and the opportunity to shoot a major player like Drake’s boss proved too irresistible to ignore the two-hour drive to Thackerville. Unfortunately I found out when I got there that house rules prevented entry to the security pit near the stage, so I had to compete with a mongrel horde of iPhone-wielding nutjobs, but I think I got a few decent shots of the rapper.

First things first, Weezy, who makes me think he’s a gremlin who won an all-expenses-paid trip to Hot Topic whenever I see him, was sporting a cartoonish hoodie advocating Odd Future’s most mysterious member, Earl Sweatshirt when he came out onstage. He pulled “Tha Carter III” staples “Got Money” and “A Milli” out pretty early, as well as “Swag Surfin” off the excellent “No Ceilings” mixtape, all of which drove people into a frenzy. Unfortunately the mostly-Dallas crowd’s collective energy waned over the course of the show, as Wayne snuck away from his best material and into his newer, less interesting catalogue.

It’s been a good year for guest spots from the New Orleans emcee (arguably even better than most of the verses on his own “Tha Carter IV” album), and his contributions to Chris Brown’s “Look at Me Now” (gah, how awesome would it have been if he'd have pulled out that Busta Rhymes verse, too?) and Drake’s “HYFR” were sandwiched into the middle of the set with his own “John,” which is basically a Rick Ross cover anyway. A predictably lewd, comical R&B suite followed, punctuated by a cheeseball version of “Lollipop” complete with acoustic guitar and maracas, and his most recently regrettable song, “How to Love.”

And for the big, clumsy rock-and-roll near-closer Wayne strapped on an unplugged guitar and strummed it a few times for “Prom Queen,” which was really unfortunate considering much of “Tha Carter III” and the mixtapes immediately before it constitute serious low-culture art. But the people all around raged their faces off to the trumped-up tunes anyway

“6 Foot, 7 Foot” was the true final song of the night, and the dude just unleashed a deranged ferociousness that even extended to Cory Gunz’s hair-singeing speed verse that made me wish he’d attacked every song like that. Oh, well. I suppose there’s a price to becoming one of the world’s biggest pop stars, and only Kanye knows how to pay it without souring his musical output.

Full gallery below.

 
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