Open Mike Eagle Review

Open Mike Eagle
Dark Comedy
Mello Music Group, 2014

Originally posted on RapReviews.com

L.A. transplant Open Mike Eagle is often called a smart rapper. While it is an accurate description of his brainy rhymes, it's also a backhanded compliment to both Mike and other rappers. Calling Mike a smart rapper implies that his intellect is the most interesting aspect of his music. It also implies that other rappers are dumb, or that Mike is the only person in hip-hop with a college degree. It's hard to be stupid and make a living spitting complex rhymes, and most rappers have more going on upstairs than their songs about sex, drugs, and violence let on.

As to the label "smart rapper," while Open Mike Eagle's literate rhymes and obscure references may be his most obvious trait, the "rapper" part is more important. Being smart only matters if you can rap, and Mike's biggest gift is his ability to translate his intellect into compelling rhymes. He's been working on his craft for the better part of a decade. "Dark Comedy," his fourth solo album, is his best work to date.

As on his previous albums, he works with electronica-influenced beats, avoiding boom-bap or club rap. There are eleven different producers on "Dark Comedy," unlike his last album, where Awkward produced all the beats. Most of the tracks are melodic and pretty, with the exception of Jeremiah Jae's abrasive beat on "A History of Modern Dance," and Alpha MC's menacing beat on "Doug Stamper." Mike adds to the melodicism by singing most of his rhymes. He experimented with singing rhymes on "4NML HSPTL," but he perfects it here. The sung vocals add emotion to the songs and offset Mike's sometimes monotone delivery.

There is a definite nerdy vibe to Open Mike Eagle. He quotes nerd icons They Might Be Giants, raps about role playing games, and uses ten dollar words like "synesthesia" (which is where you perceive sounds as colors). The combination of high-brow lyrics, muted vibe and indie pop sensibilities on "Dark Comedy" also mean that it will probably appeal to many of the college-educated, left-leaning intellectual types that tune in to "This American Life" on a weekly basis (a description which includes myself). However, it would be unfairly reductive and inaccurate to label Mike's music "NPR rap" or "Nerdcore." As brainy and nerdy as he gets at points, there is bite to his songs. He's said in interviews that each of his song is based on something that bothers him, and he tackles a host of problems on "Dark Comedy." Things like racism, sexism, depression, addiction, and trying to make it as an artist in a genre where people use $1,500 laptops and $800 phones to illegally download an $8 album. "And nobody ever has to pay for anything," he raps on "Golden Age Raps," "Which is pretty cool 'cause everybody's unemployed." "My friends are superheroes," he raps on "Very Much Money (Ice King Raps)," "None of us have very much money though." He takes on his detractors and freeloaders on at the chorus. "That shit's not valuable/Come say it to my face/It's all disposable/Come say it to my face." On "Qualifiers," Mike twists rap braggadocio on its head, claiming "We're the best, mostly/Sometimes the freshest rhymers/We the tightest kinda/Respect my qualifiers."

He supposedly had an album worth of songs ready to go a while back, but realized they were all downers and so decided to make a less depressing album. Hence "Dark Comedy," with Mike "on that to keep from crying tip." There is a sadness to the album that comes through in the rhymes and in the subdued beats. In that sense it is a good companion to Atmosphere's recent "Southsiders," another album of somber, contemplative rap. Also like "Southsiders," "Dark Comedy" takes a while to truly appreciate. When you are dealing with four-minute songs with whispered rapping and a beat that isn't much more than a piano ("Idaho"), you can't just put it on in the car and hope to immediately get it. It's only after a few listens that you realize it is a song that is either about driving late at night drunk and high, or a metaphor about feeling out of control in life.
"Damn near fucking blind, don't know why you trust me to drive
I guess cause everytime you trust, we survive, but it's time
Is a motherfucking gamble
Eventually lady luck will call and say she cancels
You betting on my confidence when I was extra high, now I'm extra high
We'll pull over just to rest my eyes
And the only thing, fueling me is that I'm scared to die
And I'm scared for you cause you could die and never said goodbye
Why you trust me so? Why'd you let me lead
When I don't know where I'm going and I speed?
And this vehicle's the jankiest
Feel this coffee ruining my stomach and my pancreas
Sounds make me the angriest
So foggy the words, seem to be turning in different languages"

There are a lot of rappers who complain about the state of rap music: how it is full of sex and violence, how there is a lack of lyricism, how it is full of crass pop crossovers. Open Mike Eagle does one better and shows a path forward for hip-hop. His music isn't stuck in golden age worship, it isn't trying to be street, and it is more concerned with being good than with calling out other rappers for being bad. Sure he's a smart rapper, but he's a good rapper who infuses his music with melodies and meaning. "Dark Comedy" may not be the most banging album of the year, but it is one of the better ones.

Sage the Gemini Review

I reviewed Sage the Gemini's Remember Me this week at RapReviews.

If you listen to the one of the local hip-hop stations in the San Francisco Bay Area, nine times out of ten the song playing is either Sage the Gemini’s “Gas Pedal” or “Red Nose.” Those songs are so ubiquitous that Sage has admitted in interviews that he’s sick of hearing them. He worked hard to be at a point where his songs are driving people nuts. The 21-year old dropped out of high school in Fairfield, California to focus on music full time, and it took five long years before “Gas Pedal” and “Red Nose” finally took off in 2013. 

“Remember Me,” which dropped in March, collects several songs that were on 2013’s “Gas Pedal EP” plus nine new tracks (thirteen if you buy the deluxe version). Sage uses the album to prove that there is more to him than making songs to get girls shaking their asses. 

Musically, the songs on “Remember Me” stick close to the template that has earned him a spot in the Top 40: stripped-down, pulsing beats with a keyboard providing melody. It’s a sound that can trace its roots to hyphy staples like “Vans” and “Blow The Whistle,” as while as the Neptunes minimalist classic “Drop It Like It’s Hot.”  He also throws in some hi-hats, snare snaps and synthesizers. He favors ambient elements over dance elements, which gives his compositions a dreamy feel. Sage the Gemini’s music mirrors his lyrical persona: laid-back, a little street and a little romantic. P-Lo, League of Starz, the Exclusives, and Jay Ant also take the boards. The wistful beat on “Mad At Me,” the punishing 808s of “Down On Your Luck,” and the whining gangsta lean of “Second Hand Smoke” show that Sage is as adept at choosing beats as he is at making them.

“Remember Me” delivers somewhat on its promise to show that there is more to Sage than booty anthems. There are several songs where Sage flexes his newfound money and fame at the people who ignored him when he was coming up. The title track is Sage the high school dropout saying nyah nyah to the people at his school, bragging about his success and proclaiming ‘“Cool bro, bitch I’m a nerd!”“Second Hand Smoke” is about how he has tried to avoid the streets, proclaiming “I can’t handle the pen unless it’s a record deal.”  “Go Somewhere” is a surprisingly romantic song from a guy whose biggest hit asks women to dance like dogs:

“Excuse me? I know you don’t care

But I saw you from across the room

And I just want to say I like your hair

Maybe some time we can go somewhere?”

His range only goes so far, however. Sage has said in interviews that he doesn’t really drink, smoke, or hang out in the club. That’s odd considering that many of the songs on this album reference drinking and smoking in the VIP section of clubs. Sage and his HBK crew fall into the same trap a lot of younger rappers fall into,  dropping the same twenty references to luxury goods, smoking blunts, drinking champagne, and getting with bad bitches in the club. There is a rigidity and conservativeness to the subject matter that is at odds with how expansive the music is. Maybe it’s a product of being 21. At that age, what more to life is there but girls, partying, and hanging out with your friends? And do we really want to hear songs about hungover Mondays and working shit jobs to pay the rent?

It’s frustrating that so many of the songs stick to the same cliched themes because Sage can actually rap. He’s got a low-key charm, spitting his rhymes effortlessly. He sounds like a dude who knows what he is doing, not some kid who is barely old enough to buy his own liquor. “Remember Me” isn’t a perfect album, but it has some great songs and a lot of promise. Sage the Gemini has established himself as an artist worth remembering.

Danny Brown and London Posse reviews

I reviewed Danny Brown's Old on RapReviews a few weeks ago. I'm into it. It's drug music that captures how terrible drugs are.

I also reviewed London Posse's Gangster Chronicles. They were a British group from the 90s who were pretty good.

Castle and Joey Bada$$ Reviews

I reviewed Castle's new album Gasface this week on RapReviews. It's pretty good, and has the virtue of being one of the few rap albums I've actually been able to pay money for.

I also reviewed the new Joey Bada$$ mixtape.  Makes me wish I was in New York.

DJ Mustard and Tree Reviews

I reviewed two albums last week for RapReviews. The first is DJ Mustard's Ketchup mixtape. He's an L.A. producer known for his ratchet club beats. I liked his minimalist club sound, but the I couldn't hang with the rappers, who rap exclusively about partying.

I also reviewed Tree's Sunday School II album. He's a Chicago rapper who describes his style as "soul trap," and it fits. It's a combination of raw and soulful, street and conscious. It's the second amazing free album from a Chicago rapper that I've heard in the past month, the first being Chance the Rapper's Acid Rap. The year started off with Chief Keef's high-profile release, and Kanye just dropped his crazy, noisy new album, so Chicago has been all about it this year. You should go to Tree's website and download Sunday School II now.

Snoop Lion Review

I reviewed Snoop Lion's new reggae album Reincarnated at RapReviews this week. The good news is that some of the production and guest spots aren't half bad. The bad news is that Snoop is not very good as a reggae singer. "Here Comes the King" is a good track, and there are a few others, but for the most part Snoop sounds like a high school stoner who just heard Bob Marley and now thinks he's a reggae star.

Acid Rap

I reviewed Chance the Rapper's Acid Rap this week on RapReviews. Really good stuff.

That's all I got.

Incidentally, I heard on Shots Fired that Jeff Weiss spent three days reviewing this album. I spent two hours. Read his review at Pitchfork and tell me who did a better job.  (Hint: it's Weiss. I guess taking time to write actually produces better writing. Huh.)

Homeboy Sandman, TeeFlii, and Ratchet R&B

I reviewed Homeboy Sandman's Kool Herc: Fertile Crescent EP this week for Rapreviews. It's a collaboration with producer EL RTNC that is a throwback to early hip-hop. I'm constantly on the fence about Homeboy Sandman: I like him in theory, but in practice I sometimes have issues with his delivery, but this EP is solid.

He did a video for "Peace and Love":


I also reviewed TeeFlii's AnnieRUO'Tay mixtape. It's a concept album about drinking, popping molly, and having sex with groupies in the VIP area. In other words, it has about as much to do with my life as "Game of Thrones," and yet I love it. It's totally ridiculous, but kind of amazing. Sort of like a younger, more ratchet R. Kelly.



Which got me listening to R. Kelly's 2007 album "Double Up," which is amazing. R. Kelly is sort of like Lonely Island or Flight of the Conchords, only serious and he can sing. The title track is a tasteless ode to threesomes with Snoop Dogg that is so awful I love it.

Yellowman Review

I reviewed Yellowman's Young Gifted and Yellow perspective last week on RapReviews.
I was into it.



I also deleted about five albums from my "to review" folder. They were all self-released albums that I wasn't totally feeling, and given the little time I have to listen to and write about music, I don't really want to waste it on stuff I'm not feeling. I have reviews of TeeFlii and the new Homeboy Sandman submitted, and I'm not sure what I got on my plate for the coming weeks.

Boldy James Review

I reviewed Boldy James' new EP, "Grand Quarters," this week on RapReviews. He's a Detroit rapper following in the tradition of the Clipse.



I've been on an electronic music kick. I've been enjoying Sepalcure's 2011 debut album, which is sort of dubstep meets house meets downtempo. Good late night listening.

Reviews

I've been busy with fatherhood, so I haven't had time to update this blog in a while. I have written a few reviews including:

A review of the Lions album.

A review of the new Shlohmo EP.

A review of the latest Pitbull album.

A review of the latest Pusha T mixtape.

A review of the Heliocentrics album.

I've been listening to the new Wavves, the new Rhye album, the new Devendra Banhart, Boldy James' new EP, and Prince Douglas's Roots of Dub. Mostly, though, I've been either at work or trying to spend as much time with my kid as possible.  So there's that.

Pusha T Review/What I've Been Listening To

I reviewed Pusha T's new mixtape on RapReviews this week. 

I've also been digging Grimes' 2012 album Visions, which I was late to. It's sort of Goth dance music. 

I'm trying to get into the new Thao and the Get Down Stay Down album, which came out on my daughter's birthday, but so far it hasn't grabbed me. I loved their last album, and I want to be Thao's friend, but I just haven't gotten into this one yet. 

I've also been listening to the Lion's album. It's guys from Hepcat hooking up with OG reggae musicians to make OG reggae music. Sort of what the Daptones did for R&B. pretty good stuff. 

I'm also trying to digest the Heliocentrics new one, which is no easy task.

I also bought the two English Beat albums I didn't own, Just Can't Stop It and Special Beat Service. Both albums totally hold up, by the way, even though they are thirty years old. 

Etana and Kevin Gates Reviews

I did two reviews this week. First up is a review of Etana's new album, Better Tomorrow. She's a reggae singer with a gorgeous voice. The production can get a little adult contemporary for my tastes, but there are some good songs on the album.

The other review is for Kevin Gates' The Luca Brasi Story mixtape. He's a Baton Rouge rapper with sing/rap style that seems destined to be huge.

I'm currently listening to Pusha T's Wrath of Cain mixtape, the Underachiever's mixtape, and a lot of reggae and dub. I have a theory that the mellow, repetitive riddims of reggae are just the thing to soothe a newborn. It seems to be working so far with my daughter. Oh, and Andy Stott's hypnotic Luxury Problems.

Quanstar and Outsiders Review

I reviewed Atlanta rapper Quanstar's latest, Yo Soy La Mierda, as well as the Outsiders album. Quanstar is an independent rapper who has put out ten albums, done a documentary, written a book, does a web show about cooking, and makes Android apps. The Outsiders make Christian club rap. Neither were my thing, but they were both sincere and committed to their craft, so props to them.

I've been listening to a lot of downtempo electronic music. Nosaj Thing just came out with a new album, Home, which I've been listening to. Burial has a new single which I'm enjoying. In a similar vein their is Andy Stott's album Luxury Problems, which is dark and moody.

Best of/JJ Doom Review

My year-end best of is up at RapReviews.com.

I did it alphabetically, which is cheating. If I was forced to do it ranking, the order might be
1. El-P
2. Kendrick Lamar
3. Burial
4. Killer Mike
5. Brother Ali
6. Death Grips
7. Oddisee
8. Apollo Brown
9. Brother Ali
10. Quakers

Or something like that.

As is my review of the JJ DOOM album. Meh.

My review of Chief Keef is up as well, which I'll post next week.

Iron Lyon Review

I reviewed Iron Lyon's "From the Ground Up" last week on RapReviews. I should have a best-of up there soon.

The review is here.

Chief, Gaslamp Killer, and Heems Reviews

I've written three new reviews for RapReviews.

Shadows Crossing is the new instrumental album by Swiss producer Chief.

Nehru Jackets, a mixtape by ex-Das Racist rapper Heems.

Breakthrough, the debut album by The Gaslamp Killer.

Reggae Golden Jubilee Review

I reviewed the new box set Reggae Golden Jubilee on RapReviews this week. It's a four-disc set that goes from the earliest days of ska and rocksteady, through the roots reggae 70s, the dancehall 80s, and beyond. The first three discs (through the 80s) were fantastic, even if there is some overlap with other compilations, including VP's own Out of Many compilation released earlier this year. I wasn't as in love with the final disc, which concentrated on contemporary reggae. I didn't really need to hear Sean Paul again, you know?

RoyceBIRTH and Guilty Simpson Reviews

I reviewed Apollo Brown and Guilty Simpson's Dice Game this week on RapReviews. I've been a fan of Guilty since hearing him on some tracks back in 2007, and I'm happy to see him progressing (just a little) as an artist. Apollo Brown is a consistently good producer, and this disc is definitely worth check out.

I also reviewed royceBIRTH's "TheREBIRTH."

Tricky and Flying Lotus Review

I reviewed Tricky's 1996 album  Pre-Millennium Tension for RapReviews last week. It remains one of my favorite albums ever, even if the second half drags.

I also reviewed Flying Lotus's Until the Quiet Comes. I always enjoy what Flying Lotus puts down.