My only problem with Curren$y is consistency. He has a few different styles of music that he does and they often sound good, but the beats he chooses are very hit and miss. Meanwhile, there’s Canal Street Confidential. When I put Curren$y on, this is exactly what I want to hear! The beats are much more melodic than on some of his other albums, and the choices are just better. No forced Jadakiss and Riff Raff features, instead it’s Future flossing on Drive By, and Ty Dolla $ign on a smooth serenade that is Superstar.
Weekend at the Cape expertly finishes Apathy’s series of releases centered around his asshole raps and his New England home. Like Connecticut Casual, it’s awesome to witness how great Apathy is when he’s focused and keeps the tracklist short.
T has been patiently waiting, so let’s get into some Army of the Pharoahs material that I don’t hate. The album stream is embedded at the bottom.
I think Apathy is probably my favorite white rapper. Or maybe El-P. Both are clearly attached to the East Coast boom-bap that I love, and both SPIT. Where El-P’s music is very personal and often sonically and lyrically challenging, Apathy has much more of a back-to-basics ethos that makes him instantly likeable for any fan of hard beats and boastful lyrics. Lucky for us, none of that changed with Connecticut Casual, his 2014 album.
Everybody who’s anybody knows that the best MF DOOM albums are the collaborative ones, because the music is organically built around the artists’ chemistry and shared love for the art form. That kind of music is probably what I love the most about Madlib and 9th Wonder’s catalogs too, and it’s interesting to note that most or all of this music comes from the underground where major label rules and desires are of no concern. That freedom is just one of many reasons why underground hip-hop is so much more vibrant than the mainstream.
Anyway, although NehruvianDOOM is mostly about DOOM’s collaborator, Bishop Nehru, I came in mainly looking for new DOOM music. See, I barely knew who Bishop Nehru was, and I was thirsting for new DOOM since I hadn’t heard anything from him since 2009’s Born Like This, his last solo album. Sure I’d seen a pretty good freestyle from Bishop, and the fact that he managed to impress DOOM meant something, but whether his written rhymes could carry an album of DOOM’s beats was a big unknown for me. I want to say that Bishop Nehru managed the task, but I can’t help but note that the songs I liked the least were solo songs, and the best tracks all have DOOM verses. So it’s a still a dope album, just one that could have been much better if different choices were made.