The Breakdown, All-Amerikkkan Bada$$ by Joey Bada$$

 

Joey Bada$$ has emerged as one of the the strongest voices in the current generation of hip hop. His seminal 1999 mixtape is a throwback to the golden-era of New York boom bap, channeled by the promising young rapper and his tight-knit Pro Era crew. While the other members showed some promise, after the death of Capital Steez it was clear that Joey would emerge as the most influential and successful out of the Pro Era camp.

His commercial debut, B4.DA.$$ capitalized on his hype and departed from his gritty throwback aesthetic, adopting elements of modern trap to create a new New York sound that hit just as hard as his early material while incorporating elements of southern rhythms and west coast production gloss. Joey’s flow and vocal performance also matured as he starting singing more and rapping more aggressively. It was proof that he is determined to create his own sound and not to drown in his influences. With this next album, I was curious to see if he would continue to carve out the lane he created for himself or to continue to mature and grow by developing new styles and approaches to his music.
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The Breakdown, Drunk by Thundercat

Micah: There is a Jazz/R&B renaissance happening on the West Coast and much of it is centered around Flying Lotus’ Brainfeeder record label. Founded almost a decade ago, Brainfeeder has a lot of similarities to Peanut Butter Wolf’s legendary label, Stones Throw. They’re both independent and determined to push boundaries, taking chances on strange and experimental music that usually wouldn’t get backed. This approach has been incredibly fruitful for Brainfeeder. With a little help from his friends, including Thundercat, bandleader and saxophonist Kamasi Washington put out one of the best albums of 2015, and releases from other Brainfeeder signees The Gaslamp Killer, Jon Hopkins, Daedelus, and Lapalux have gotten a lot of attention.

Drunk is the latest album from Brainfeeder and it might be the best in Thundercat’s discography. Flying Lotus, who has played a huge part not only in putting Thundercat on, also has his hands in the creation of almost all of his music, shows up all over this new record. Whether he’s acting as an engineer, producer or mixer, the kinds of rhythms and changes found on Lotus’ You’re Dead have seeped into this album, and paired with Thundercat’s improved songwriting, singing, and one-of-a-kind basslines, making for a strange blend of heady and soulful.
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Beats from the Throne Age: A Conversation with Blacktop Megaphone

Andrew Saltzman isn’t slouching in his throne. In January, he released an instrumental album, Tape Lonely Boy, under his production alias, Blacktop Megaphone, and he hasn’t stopped there. February saw him spearheading a benefit project for Planned Parenthood–a series of singles put out by Throne Age, the label he co-founded with his brother (stage name: dug., who also released an instrumental tape in January). They aren’t slowing down, either. I caught up with Saltzman to talk tapes, beats, and the artist’s relationship with loneliness, and to get a taste of what Throne Age has in store for the rest of the year.

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2016, A Year In Review

Exactly one year ago, we launched The What, reviving our Lewis & Clark College KLC Radio show, in website form. Our goal at the start was simply to create an outlet for us to write and for you to read about music, pop culture, art, and whatever else we happen find compelling. There are, of course, countless websites doing essentially the same thing, all of us filling up the digital ethers with opinions, commentaries and counter-commentaries, words upon words upon words.

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The Breakdown: 4 Your Eyez Only, by J. Cole

I slept on J. Cole for a long time. I wasn’t bumping 2014 Forest Hills Drive when it came out and it took about six months of critical acclaim for me to realize that his music was undeniable. He’s not a complicated rapper, but his writing style is a demonstration of the value of being clear and direct. You know exactly what Cole is talking about when he raps. You don’t have to print out the lyrics and bust out a red sharpie, a dictionary and an encyclopedia (or more realistically, just check Rap Genius) to figure out what he’s trying to tell you. Cole makes it easy for his audience to understand his flaws and insecurities in the stories he tells.

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Hip-Hop is Not There

What does it take to turn culture to myth? How do we in 2016 enshrine a way of living, speaking, being? This year, The Get Down, on Netflix, and Atlanta, on FX, took on the ancient project of mythologizing, both looking at hip-hop episodically, through the lens of a television camera. But though the center of their focus is the same, their approaches are remarkable in their nearly diametric opposition to one another.

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Premium Television and the Problem of Viewer Engagement


It all started with Lost—as I’m fond of saying about nearly any network television show featuring any kind of sci-fi, fantasy, or mystery elements. Lost premiered at a time when science fiction on television was brusquely relegated to the Syfy channel or nostalgic reruns of those campy yet halcyon series of space travel;  a time when network television desperately needed something to come along and dislodge the apathetic viewership of long-slogs like CSI and American Idol; when middle class families like mine would typically gather to watch whatever sitcom was on between the rotely formulaic case-solving and bloated reality television; and maybe most importantly: when network television was all we had, unless we were paying for premium channels.

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Thoughts: Awaken My Love, by Childish Gambino


I’ve been following Donald Glover’s career since 2006 when he was a part of Derrick Comedy, making Youtube shorts. I remember showing all my high school friends videos like Bro Rape, Hip Hop, and Jerry Poops His Pants. It certainly isn’t high brow, but they were doing something unique on a brand new platform before it became ubiquitous. After they stopped making videos, Donald fell off my radar until he began writing on 30 Rock and appearing on Community. His music started to peak my interest when I heard Because the Internet, STN MTN/Kauai and his feature on Chance the Rapper’s Acid Rap. It was clear that his delivery had progressed past the nasal quality of his early work and he was proving himself to be a charismatic and engaging performer. Since then he’s amassed a huge following and had a breakout year with his TV show Atlanta. When I heard he was making a funk record, my hopes for new music from Gambino skyrocketed.

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