Read + Write + Report
Home | Start a blog | About Orble | FAQ | Blogs | Writers | My Orble | Login

Muzikal Mafia - June 2009

Snowgoons, Savage Brothers, Lord Lhus, A Fist In The Thought

Release date: May 25 2009

Genre: Indie hip-hop, rap

Label: Babygrande Records


From Germany, one of the dopest producers of the underground, the Snowgoons are back with another album on the shelves. We discovered the Snowgoons about six months ago as we were looking for Apathy tracks to listen to. After hearing "Black Snow" (the song featuring Apathy and Ill Bill), we just knew we had to keep our eyes on those guys and we quickly got a hold of their two albums, Black Snow and German Lugers. A Fist In The Thought is their third album and features up-and-comers Savage Brothers and Lord Lhus. Read on for a track-by-track review of the record.

1. Who Are You?
Ann's thoughts: The first single of the album, Who Are You? Is the perfect introduction to the Savage Brothers and Lord Lhus as they basically answer to the question “who are you?” in their verses and the chorus. As is usually the case with the Snowgoons, the instrumental is excellent with a great use of the sample. You can't help but want some more after listening to this track.

Alain's thoughts: The sample that starts the song is pretty awesome, with the girl's voice and a little guitar in the background. Being a producer, I know that finding the right sample is hard, so two thumbs up already just for the sample. As the rappers prepare to spit, the beat becomes raw and insane in a good way of course with a little “aah” voice in the background and the big bass. Lord Lhus starts spitting and goes hard on the beat. Knowledge of the Savage Brothers gets the second verse. He was good but Lord Lhus's verse was grimmier than his, therefore Lhus fit better with the beat. Qualm finished things up. He wasn't bad but definitely the worst of the three. Who Are You? Is the kind of song that stays on your mind due to its great chorus.




2. Get Down (Listen HERE)
Ann: Get Down is the kind of track that show the Snowgoons' influences. Indeed, the knocking beat is very reminiscent of Jedi Mind Tricks / Army Of The Pharaohs. Unfortunately, the Savage Brothers are nowhere near as those underground heavyweights.

Alain: Get Down's beat starts out as something like an army snare roll with some dope trumpets. Then the chorus comes in with the bass and kick added. The verse starts well but the song felt like it wasn't properly mixed. The bass was too loud when compared to the other instruments. The trumpets were very low, if they were a bit louder, the beat would've been a bigger banger. As for the rap, all the rappers struck hard on this one.

3. Platoon Goons (feat. Reef The Lost Cauze) (Listen HERE)
Ann: Platoon Goons features the first guest appearance on the album – frequent Snowgoons collaborator, Reef The Lost Cauze. His presence helped the rapping to go one step up in terms of lyrics and delivery. Overall, this track was better than Get Down. More energy, better instrumental, and better rapping.

Alain: Platoon Goons' intro is like a cool little sample. The voiceover in the intro fit well. The beat comes in hard with multiple layers of instruments, voiceover coming here and there. The scratching chorus was well done. The rap on this one was on point, fit perfectly with the beat.

4. Trapped On Earth (feat. Brainstorm) (Listen HERE)
Ann: In this track, the stirring violin gives a dramatic note to the song. The song itself is about feeling trapped in society's hierarchy. It's the best song so far since the instrumental fits with the song's theme. The voiceoivers in the beginning and the end are also a nice touch.

Alain: In Trapped On Earth, the sample was insanely well chosen. The track sounded like the announcement of a savior's coming due to the sample. The rappers did their thing on the beat. They all fit so well on the beat, we could feel their emotions. This track is the kind of song you listen to when you feel pain that you want to forget. Trapped On Earth isn't bullshit hip hop.

5. Run Run (Listen HERE)
Ann: Produced by Scorpio61, Run Run has a very different sound from the rest of the tracks. The instrumental is suspenseful as the classical instruments usually sampled by the Snowgoons make way for a keyboard. Here again, the beat goes very well with the song's theme as the rappers talk about armed confrontations in the streets.

Alain: Run Run starts with a bunch of people talking about the police. I didn't really feel the beat because it was slow but I do admit that the rappers were going at the right pace. I also didn't like the way the chorus was composed. My main issue with this song is that there too many sounds in the background – police sirens, dogs barking, etc. It was hard to listen to.

6. At War (feat. Sean Price) (Listen HERE)
Ann: The electric guitar in At War feels like a move away from their sound, but it's banging after a couple of seconds. Unfortunately, this track is pretty average. The only thing of note is that Lord Lhus seems to try really hard to sound like Vinnie Paz.

Alain: At War's beat was cool, but the voice sample was too high-pitched for the beat. The sample was just a loop. It's the bassline that really made the beat. The rappers did their job on the track. The last verse was insane, the rapper did his wordplay with the voice sample in the background really well.

7. Knuckle Up (Listen HERE)
Ann: The instrumental in the beginning of Knuckle Up sounds like something out of a dance recital/classical music piece but it ended up blending well with the drums and bass.

Alain: The beat sounded like an opera piece with all the various types of instruments, then the drums came in. I don't really like those kind of songs because they just have some bass and kicks over some instruments. This track was average, the rap was good but nothing impressive. The chorus had some good voice scratches. The song's title didn't fit at all because with “knuckle,” you'd think the beat would be a BIG FIGHT song. But it was nowhere near that.

8. One Shot
Ann: “Darkness stands and nothing more.” Those were the first words on One Shot. Needless to say that they set the tone for the song as the voiceover kept on rambling and the instrumental – similar to Trapped On Earth – kicked in.

Alain: On One Shot, it seemed to me that the beat was made of a bassline. The sample in the background was good but this track sounded too common, nothing different/original. I want to hear something fresh and new. The rap was good but with those kinds of songs, you get tired of listening to it at some point.



9. Pray Hard (feat. Sicknature) (Listen HERE)
Ann: Produced by Sicknature, Pray Hard sounds very similar to Army Of The Pharaohs. It didn't help that Lhus sounded a lot like Vinnie Paz in the first verse. Furthermore, the chorus had a nice to flow it, similar to A.O.T.P's memorable choruses.

Alain: Pray Hard's beat was cool, it sounded a little bit like an A.O.T.P track. The sample was in a loop once again but this time it was different, and that's what was good about it. Lhus went well with the song. The chorus loop but i was different,and that's what was good.the first rapper did go well with this song.The chorus was crazy, the wordplay in it was simply insane.

10. South Carolina Struggle (feat. Vibez) (Listen HERE)
Ann: South Carolina Struggle is a song about life in the projects. This track stands out of the lot because there are no chorus, the mic simply gets passed around as the rappers spit over a laid-back beat. The song ends with someone singing.

Alain: South Carolina Struggle starts with a voiceover exposing the situation. With the word “struggle” in the title, you know how the beat will be. This was a cool, smooth, chill beat. There wasn't too many sounds on it, but just enough to make a cool beat. No chorus on this song, they really wanted to get their point across using only their lyricism. The singing outro ends the track on a smooth note.

11. Michael Nobody aka Poetic Death
Ann: Michael Nobody is a relatively slow-tempo track where the rappers narrate the life story of some guy named Michael. By itself, the track isn't impressive, but watching the video, you can't help but feel some sadness.

Alain: In this track, the beat had a little scary feel to it with a high-pitched choir. Scary but insane as the sample was well-used. Lyrics-wise, they tell the story of a guy named Michael, but each verse is a different one.



12. Planetary Takeover (feat. Planet X) (Listen HERE)
Ann: In a word, Planetary Takeover is a banger. The beat has the kind of raw energy conducive to involuntary headbanging. Its rock sound probably helps in that regard.

Alain: Shit, the drums on this track are off the hook, and the background beat fits in perfectly. The rappers' flow is perfect. The beat switches to a little hardcore guitar riff in the second verse, then original beat comes back once the verse is done. The beat keeps switching all throughout the song, and it's perfect. It sounds a little bit like A.O.T.P, so if you like them, you'll love this song.

13. All In Your Mind (feat. Viro The Virus) (Listen HERE)
Ann: Featuring Viro The Virus, All In Your Mind is an exercise in rhyming. The quiet beat (sounds like a Chinese opera) is slow enough for the listeners to properly hear what they're saying.

Alain: All In Your Mind has a slow gangster flow to it. The beat is cool, the chorus is crazy – it's a great hook. The song is great and easy to listen to.

14. Capital City Streetz (Listen HERE)
Ann: Capital City Streetz starts (and ends) with a voice sample of Full Metal Jacket's Sergeant Hartman. It's a track about life in the streets. It's probably the weakest track of the album. On the beat we can only hear the drums, the other instruments can be faintly heard in the background.

Alain: This track was kind of boring, compared to the rest of the album. It felt like something was missing. The beat was too calm.

15. Snakes (Listen HERE)
Ann: Snakes is another slow-tempo track. This time it's about trust as proclaimed in the chorus:

“You can't trust nobody – They're trying to turn you into a slave
Nobody – Never put you trust into a snake
Nobody – Not even someone you think you can trust 'cause 9 times out of 10, they really don't give a fuck.”

Alain: This song was like Capital City Streetz in the way that something was also missing in the beat. It was better than Capital City, it had a little more feel to it, but still...

16. Hip Hop Crusaders (feat. King Syze & Kev Turner) (Listen HERE)
Ann: A choir starts Hip Hop Crusaders, then evolves into the beat. King Syze & Kev Turner are a welcomed addition to the track. The beat was pretty good.

Alain: The beat was cool until the rappers came on it. Let me explain. The beat sounds more like an soundtrack type of song then a rap song, but when you get used to listen to it, it does becomes a hip hop track. Unfortunately, the beat's real background comes too late. The sample using multiple layers of choir was dope.

17. Been Fighting Devilz (Listen HERE)
Ann: Been Fighting Devilz's beat felt like the Snowgoons had stolen a Mike Shinoda drum track before proceeding to put their own stamp on it. I wasn't too comfortable with it because it didn't match the keyboard.

Alain: There was too much high hat in this one. Still, the rap went well with the beat. The little piano playing in the background was cool but the distorted snare and high hats kind of messed up the beat. You do feel the struggle in the song but not too much. This beat goes hard after a good listen.

Final word
Ann: In terms of instrumentals/beats, A Fist In The Thought is an excellent album, very reminiscent of Jedi Mind Tricks and Army Of The Pharaohs. Unfortunately, the Snowgoons' decision to team up with up-and-comers instead of the heavy-hitters present on their last two albums sort of declined the overall quality of the album. Out of the three MCs, I'd say Lord Lhus was the best and really shone on a couple of tracks. Knowledge and Qualm were average, I still don't know who is who when they're rapping. All in all, I give this album a 4.25 out of 5. It's definitely one of the best albums this year, a must-have for hip hop fans.

Alain: I give this album an 8/10. This is ten times better then the commercial shit that we hear nowadays. I can't rate it any higher because I honestly think that their previous album was better. In a way, I was kind of disappointed but they still brought some dope shit on the table.
64
Vote
   


Marilyn Manson, High End Of Low
Release date: May 20, 2009

Genre: Glam rock, Alternative rock, Industrial metal

Length: 72:12

Label: Interscope

Two years after Eat Me, Drink Me, controversial rocker Marilyn Manson is back with his seventh album, The High End Of Low. The album debuted at #4 on the U.S. Billboard 200 but failed to stay in the Top 10 as it currently stands at #24, three weeks after its release.

Devour is the first song of the album. I was pretty surprised by it since the instrumental sounded a lot like Coldplay, but Manson's unique voice (and lyrics) gave the track a dark atmosphere that's far from Coldplay's image.

Pretty As A Swastika feels more like the old Marilyn Manson thanks to its industrial metal sound and controversial lyrics. One only has to look at the title to feel offended. In my mind, this is how Manson should sound like all the time. The sound in this track is quite different from Devour.

Leave A Scar is a rock track that is more intense than the slow Devour. I didn't find it all that great due to the lyrics that were a little bit too emo for my taste. With lines like “I'm just a painting that's still wet / If you touch me, I'll be smeared / You'll be stained / Stained for the rest of your life” and “Whatever doesn't kill you will leave a scar,” the song felt staged and created for a particular type of crowd.

Four Rusted Horses is another example of Manson trying to go in new directions. The military march-like drums and the Western-like guitar created a surprisingly good mix with his voice as he sang about death. The line “Forbidden in Heaven and useless in Hell” is the kind of brilliant writing that stays on your mind as you go on your daily business.

The first single, Arma-Goddamn-Motherfuckin-Ged don, is a catchy song despite the profanity-filled lyrics. The track is as infectious as “Mobscene” from The Golden Age Of Grotesque but its sound was more similar to Rammstein's “Bück Dich” from their Sehnsucht album.



Blank And White keeps the energy from Arma-Goddamn-Motherfuckin-Geddon and just runs with it. At first listen, this is probably the best song of the album, but I'd definitely change my mind after a couple of times. The lyrics are pretty ambiguous. Is he talking about politics, the music industry, or American society in general? I don't know. Perhaps someone can explain it to me.

Running To The Edge Of The World is a rock ballad in the purest sense of the term. Although I commend Marilyn Manson for trying something new, the song didn't really offer a proper continuation from the previous two. The acoustic guitar didn't go well with his singing either. This is the kind of music best reserved for bands like Nickelback and Matchbox Twenty. It has no place here.

I Want To Kill You Like They Do In The Movies is the perfect example of two positives creating a negative. The instrumental is excellent and Manson's singing rhythm is interesting in a good way, but the two just don't mix well. It felt like Manson was listening to another instrumental when he was recording his voice.

I don't quite know how to describe WOW. The instrumental has a Depeche Mode vibe and Manson doesn't really sing on it, more like talks in a rhythmic manner. It didn't impress me that much.

Wight Spider is one of those tracks that I just couldn't connect with. I tried to find something good in it, but my mind kept urging me to skip it. Marilyn Manson fans may dig it but I simply didn't enjoy it.

Unkillable Monster has the same problem as Running To The Edge Of The World. It feels out of place on a Marilyn Manson record. The track's theme is quite similar to Leave A Scar. After Arma-Goddamn-Motherfuckin-Geddon, I was looking forward to the rest of the album but with four tracks left, it seems clear that the first single along with Blank And White are the exceptions rather than the rule.

We continue on with We're From America which is a rather shallow song as its theme gets addressed in a very straightforward manner with lyrics like “We're from America / We don't kill our unborn / We need them to grow up and fight our wars.” Although the lyrics are interesting, they don't have much depth, plus the instrumental turned the song into a rave party kind of track. I'm pretty sure that any competent DJ getting his hands on this could turn it into a decent club song.

I Have To Look Up Just To See Hell is probably one of the best tracks of the album lyrics-wise. Although the theme gets repetitive – damaged/abusive love – this song feels more worked on. Manson's singing in the chorus was particularly excellent as the words blended seamlessly with the music. It's also where the album title gets mentioned for the first – and only – time.

Into The Fire is a piano-driven ballad – another experience for Manson. I think I'm going to be honest here. The problem isn't the music (the instrumental is excellent) nor is it the lyrics (which are also pretty good), Manson just doesn't have the kind of voice required for this kind of music. His fans will probably love this song - and I must admit that it was one of the best production on this album – but his voice just doesn't fit. And that's that.

The final song, aptly titled 15 for being the fifteenth track, is a decent song. Here again, the lyrics are great but the song isn't that impressive overall. It left me with a feeling of 'meh' as it signaled the end of the record.

In the end, I expected The High End Of Low to sound like it's first single but it turned out to be a compilation of rock ballads and alt-rock tunes. The album has its weak points lyrically but most songs are well-written. In a way it reminds me of Limp Bizkit's Results May Vary where they had decided to lose the nu-metal sound in favor for a more alternative sound. The critics ripped Results May Vary to shreds, I personally found it decent at best. I could say the same here for The High End Of Low. It's a decent album with good tracks and not-so-good tracks. I give it 3/5.

35
Vote
   


blackout 2

Release date: May 19, 2009

Genre: Hip hop

Length: 57:48

Label: Def Jam

The release of the first Blackout! proved to everyone that Method Man & Redman are one of the dopest rap duo ever. Unfuckwithable, they deliver on every beat, even the ugly ones. The flow, the style, the rhymes, the wordplays – all are insanely well done. They complete each other. Blackout! is undoubtedly a classic album, but can they bring back the good old times with Volume 2 or did they change style? Let's find out.

The album starts with an intro titled BO2 (Blackout 2). The beat is smooth, laid-back but fucking raw at the same time. That's what I like about them, they can make a track that's totally different from the mainstream. I find this song crazy and it's only the first one.

I'm Dope N**** follows. Their flow sounds like a 2009-version of “Da Rockwilder” only laid on a different beat. The track goes fucking hard with Dr. Dre-like piano hits. Dope.

The first single A-Yo features Saukrates and is produced by Pete Rock.The beat is so fucking cool, you can feel it inside you. Redman starts on the mic perfectly. The chorus is a little too much with Saukrates singing but Meth brings it back perfectly with his cool, laid-back voice. Still, the more you listen to the chorus, the more it becomes chill. Just a smooth song to listen to.
A-Yo MUSIC VIDEO



Dangerous MCs'
beat is just... DANGEROUSLY CRAZY!!!! Red starts again flawlessly. That “Rocky” line at the end of his verse closes it perfectly. Then, Meth simply kills the mic. They both perfectly fit on the beat even though they have different flows.

Errbody Scream features Keith Murray. I thought this would be the crazy type song. Oh no, this is the jumpy one. The kick, bass and claps just make you feel cool and relaxed. Red kills the mic first. The beat changes for the chorus, gets a little dimmer and slower, and goes back dope. Keith Murray comes on naturally on the second verse, just cool and jumpy. Then, Meth easily buries the mic.

Hey Zulu's beat has a phat African voice saying “Hey Zulu.” This track sounds like a dope little freestyle. Red starts again. The beat and the rapping both go hard non-stop. Fresh track fo' sho'.

City Lights, featuring Bun B, is the kind of track you listen to full volume on your balcony while singing the chorus. The chorus is insanely hot. All three rappers definitely bring their skills on the table. I can bang this track non-stop.

The beat of Father's Day is really laid-back but dope. Meth starts this time around – a very good start of course. There's nothing really important in the chorus, some voices here and there. I found the way they bring back the rap with the “oooooooooooooohhh” really cool. Red comes hard no doubt. This track is dope.

A skit titled Mrs International precedes the song by the same name. We'll just skip to the song. This is the cool laid-back track for the ladies but this isn't a song like “Lollipop,” this is a song for the true ladies out there, not them street gold-digging girls. A song to listen to when you're with your girl.

How Bout That, featuring Ready Roc & Streetlife, is another BANGER that you blast on the radio. Red starts on the kicks then the claps appear and then the full beat clicks in. The beat is flawless. The flow insane. As usual, the chprus is dope, but I prefer the censored version because in the uncensored version, they say “n****” but it doesn't quite fit. Ready Roc comes hard with some hard-hitting lines. He clearly makes you notice them by either having the beat stop for his punchlines or having someone echoing the line with some backing vocals. Stretlife's voice fit really well on the beat, so of course it's tight. Meth comes on and, once again, he goes and bury the mic at the cemetary.

Dis Iz 4 All My Smokers is up next. Damn, if this beat was sampled, then the sample is DOPE. The song sounds like a warning, like “don't come out or you're gonna get killed, boy.” Both rappers definitely killed the beat with their lyrical flow. The chorus is also dope. This song is just... dope. This track is just like weed, you gotta smoke it just like it says in the chorus.

The skit Lock Down is followed by Four Minutes To Lock Down which features Raekwon & Ghostface Killah. The beat is cool but grimmy at the same time – dope. The "Oh God" voice in the background fits perfectly. Every single rapper on this track goes hard. Just by their names you know this song would be on top. There's nothing else to say except D.O.P.E.

Neva Herd Dis B 4's beat has a little techno sound. The snare was hard in this one - I found it a bit too hard. It sounded like the beat had too much noise even though it didn't. The lyrics/metaphors are on point in this one. It's probably the worst song of the album but that doesn't mean that it's bad. It's still cool.

I Know Sumptn, featuring Poo Bear, had a little reggeaton feel to it before switching to some African gangsta style. The beat kept switching from one style to the other, it was pretty cool. Red & Meth's flow is so unbelievable, it's crazy. Still, I truly didn't like the auto-tune in the chorus, it messed up the song. This track proves that Red & Meth can spit on any type of beat.

Last but not least is A Lil Bit featuring Melanie Rutherford. The non-stop kicks in the beginning get you ready for the track, then it starts. The girl sings while a robotic voice says “a lil' bit.” I find the idea quite similar to 50 Cent's "A Lil' Bit." Not the beat or the flow but the idea of a little voice in the background constantly saying “a lil' bit.” This song was average but listenable.

So, I give this album an obvious 9/10. With all the commercial rap we've been hearing those days, Red & Meth managed to bring back the 90's style. This album is dope from beginning to end, I never skipped a single song. Method Man and Redman are the dopest duo in hip hop, they complete each other perfectly. The lyrics, the beat, the flow, everything is always on point. They're NO JOKE. Blackout! 2 is definitely worth buying.


29
Vote
   


Green Day, 21st Century Breakdown
Release date: May 15, 2009

Genre: Punk rock, Alternative rock


[ Click here to read more ]
37
Vote
   


More Posts
3 Posts
2 Posts
5 Posts
131 Posts dating from October 2003
Email Subscription
Receive e-mail notifications of new posts on this blog:
Moderated by Ann 2
Copyright © 2006 2007 2008 On Topic Media PTY LTD. All Rights Reserved. Design by Vimu.com.
On Topic Media ZPages: Sydney |  Melbourne |  Brisbane |  London |  Birmingham |  Leeds     [ Advertise ] [ Contact Us ] [ Privacy Policy ]