CD REVIEW: Kid Cudi, "Man on the Moon II: The Legend of Mr. Rager"

(G.O.O.D./Dream On/Universal Records) Kid Cudi is one of hip-hop’s most curious cases. Snapped up by Kanye West soon after releasing his first mixtape, Cudi’s debut album MAN ON THE MOON: THE END OF THE DAY sounded like an inspired spin-off of West’s own paradigm-pushing 808S & HEARTBREAK. All maudlin melodies, moody atmosphere and Cudi’s introspective lyrics made for a murky brew that played like Pink Floyd for indie hip-hop stoners. But it was Cudi’s real-life antics that thrust him into pop consciousness at large; from getting thrown off of Lady Gaga’s tour for punching a fan to his arrest in Manhattan over drug and disturbances charges, his bad behavior has become constant tabloid fodder. Cudi addresses all of that and more on his dense, confessional sequel MAN ON THE MOON II: THE LEGEND OF MR. RAGER. Completely opening the floodgates of his sound, this album is even more self-indulgent than his debut — but it’s also a much better record for it. Spreading 17 tracks over four “acts,” the album veers from an obvious Weezer homage (“Erase Me,” featuring Kanye West) to inspired collaborations like the aptly titled “MANIAC” featuring the distinctive guitar playing of alt-rock hero St. Vincent and a guest rap from underground rapper Cage. It’s a dark and nuanced collection that solidifies Cudi’s position as rap’s new reigning tortured soul and reluctant emo king.

(originally published on Shockhound.com)

CD REVIEW: N*E*R*D, "NOTHING"

(Star Trak/Interscope) The line on NOTHING is that Pharrell Williams and N.E.R.D scrapped a finished album and simply started over. In any case, the stark militaristic cover and blatant political overtones of the album make it clear that there’s a message to be found in the music. The juxtaposition of simple party jams like “Party People” (featuring a verse from rapper T.I.) next to “The Man,” a cynical observation on how to opiate the masses, speaks volumes, as do the spacey acid-blues rants (“It’s in the Air,” “Help Me”) and bouncy, Ben Folds-styled piano-pop meditations on success (“Victory”). The dreamily melodic but too brief “Inside the Clouds” is a “hidden” track on the end of “I’ve Seen the Light” (there is full-length version worth tracking down). Somehow, the collaboration with electronic pioneers Daft Punk (the plodding “Hypnotize You”) ends up sounding like a missed opportunity. But it’s album highlight “Life As a Fish” that brings it all together into a blissfully sublime moment that invokes classic ‘60s pop acts like the Association and Classics IV. NOTHING is ample proof that N.E.R.D are fully capable of delivering music with the same quirky inventiveness that made their 2001 debut IN SEARCH OF such an instant classic.

(Originally published on Shockhound.com)

Die Antwoord, "$O$"

Is it real? Or is it a very elaborate hipster joke? Those are the questions that lingered around South African outfit Die Antwoord when they first crashed the scene. From their manic mélange of old-school rave rhythms to the colloquialism-filled rhymes of rappers Ninja and Yo-Landi Vi$$er, their sound and aesthetic is insistently unusual. Still, the band’s culture collision runs surprisingly deep. Alluding to such obscure sounds as hip-house beats, South African “zef” culture and the ruthless machismo of gangster rap, Die Antwoord is so anti-cool it veers perilously close to parody. Blending lyrics English with lyrics sung in the Afrikaans language, songs like “Evil Boy” could fill most underground dance floors, even though it’s about forced male circumcision on pubescent boys in certain South African tribes. This major label version of $O$ is an update on a free album the band distributed digitally in 2009. New songs like “In Your Face” find the band’s production style maturing without losing their signature lawless energy. While only time will tell if their appeal can transcend their current of-the-moment buzz, it’s safe to say that Die Antwoord is definitely no joke.

(Originally published on Shockhound.com)

No Age, "Everything in Between"

In 2010, the term “punk rock” has evolved into myriad meanings, each one depending on who’s doing the defining. For LA noise-punk duo No Age, it represents a fiercely independent DIY ethos that permeates everything they do. On their third full-length (and second for indie giant Sub Pop), the duo continue to steadily expand their sonic palette while creating more of their emo-tinged slabs of deceptively melodic mayhem. From the sunny Beach Boys aesthetics of “Life Prowler” to the college-radio-at-4am whirr of “Glitter,” it would be easy to say this is the band’s most accessible release to date. But it would also be true: Glossier production values don’t detract from the songs’ sneering defiance, which is never too far from the music’s surface. No Age even flirt with getting downright pretty on tunes like the dreamy, My Bloody Valentine homage “Positive Amputation” and “Chem Trails,” which is reminiscent of classic Sonic Youth. Evolving without losing sight of their roots in now-famous all-ages LA club the Smell, No Age are rightful heroes for a new generation of emerging indie rockers eager to really go their own way.

(Originally published on shockhound.com)

Soundgarden, "Telephantasm"

Soundgarden was always among the more intriguing outfits of the early ‘90s rock generation. Their dichotomy of being cool, brainy guys that could rock you as hard as any mob of meatheads put them in an exclusive class. Frontman Chris Cornell was blessed with a testosterone-charged yowl comparable to Robert Plant, and just as pretty. Kim Thayill’s textured guitar playing leaned toward the sublime and substantive over flash. But it Soundgarden's ability to craft tight, explosive songs that made them famous. This comprehensive retrospective concentrates on the big hits like “Black Hole Sun,” but mixes in a few fan favorites to keep it interesting — like “Hunted Down,” a caustic down-tuned roar from their early Sub Pop era, which already hints at their expansive potential. The draw here for fans both old and new is “Black Rain,” a monstrous, previously unreleased song from their fertile BADMOTORFINGER era. But track for track, TELEPHANTASM is a fitting testament to the legacy of these rock legends.

(Originally published on Shockhound.com)

Philip Selway, "Familial"

It’s easy for the casual Radiohead listener to get lost in the cult of Thom Yorke. Of course, a band so potent is going to consist of more than just one musical prodigy, and Radiohead is no exception — but a solo record from the drummer of any band is still going elicit more than its fair share of groans and rolling eyes. All of which makes Phil Selway’s achingly graceful solo debut that much more surprising. Granted, opening tracks “By Some Miracle” and “Beyond Reason” both boast a subtle swing and ghostly vocals that will feel familiar to fans of Selway’s day job. But it’s not long before the production flourishes and implied beats give way to good old-fashioned singer-songwriter lamentations, highlighted by Selway's elegant singing style. Tastefully understated contributions from Lisa Germano and members of Selway’s most recent tour-mates Wilco blend right into the melancholy, occasionally heartbreaking collection. Songs like “Falling” even invoke images of classic Simon & Garfunkel. It’s somehow fitting that it turns out to be the drummer who provides the softer side of Radiohead. — Scott T. Sterling

Today in Detroit history: 1951 - Mammoth parade highlights Detroit's 250th birthday party

The 250th Detroit birthday in 1951 was marked with a long list of celebrations during the year, including the beginnings of the downtown Civic Center. Planning began for a new convention center, which was later named after Mayor Albert Cobo.

The new City-County Building, the new Detroit Historical Museum, the International Institute, and the Kresge Science Library at Wayne State University were dedicated or formally opened during the festival year.


The U.S. Post Office issued a commemorative three-cent stamp, “Landing of Cadillac.” Within a week, over 2 million stamps were sold.

Detroit Mayor Albert Cobo addresses the crowds at Detroit's 250th birthday celebration. To the right of Cobo is President Harry S. Truman and Michigan Gov. G. Mennen Williams .

On July 28, the final day of the 250th birthday bash, President Harry S Truman spoke at City Hall. Afterward, a parade began at 2:30 p.m., and the last unit passed at 7:30 that evening.

Floats depicting Detroit historic events were sponsored by local firms: Briggs, Cadillac, General Motors, S.S. Kresge, Buick, Pontiac, Burroughs, Detroit Edison, Saks Fifth Avenue, Booker T. Washington Trade Association, Ford Motor, Lincoln-Mercury, Kaiser-Frazer, Michigan Consolidated Gas, Oldsmobile, Hudson Motor Car, Dearborn Motors, Chevrolet, Chrysler, AFL and CIO, Nash-Kelvinator, and J.L. Hudson.

*Source: The Detroit News

M.I.A., "/\/\/\Y/\"

(N.E.E.T./Interscope) It’s impossible to talk about M.I.A.’s music without discussing her drama; she’s made sure of that. But Maya Arulpragasam has always swaggered around the music world like the most braggadocios of rappers. Where she once applied an artistic stroke to her propaganda-laden dance-pop, M.I.A.’s latest finds her crudely flying two middle fingers in the face of the same fashionable media that made her a culture star. Less songs and more dense blasts of digital noise designed for maximum impact, /\/\/\Y/\ is beyond reactionary. Like Lou Reed’s “Metal Machine Music,” /\/\/\Y/\ challenges you to like it. Couching what few melodies she grudgingly tosses out in swaths of effects and bass, M.I.A. makes it clear that she’s not here for your love or your money (“Cuz I got it,” she brags on “XXXO”). Given the corrosive crunch of tracks like “Meds and Feds” down to the eye-taxing cover art and stylized album title, it seems like she’d rather annoy you anyway. Even the lovers’ rock of “It Takes A Muscle” and 22nd century girl-group pop of “Tell Me Why” are pointy enough to go down hard. /\/\/\Y/\ is also among the most genuinely entertaining major label releases of 2010. Go figure. (Originally published on Shockhound.com)

Picture of the Day: Led Zeppelin

I grew up a crazy Led Zeppelin fan. From the 1st time I heard them (surely on one of Detroit's myriad FM rock stations), there was no turning back. But before I go into another long-winded tirade, let me just present you with the Photo of the Day. Led Zeppelin, chilling in front of the fireplace on their private jet, the legendary "Mothership." I mean, come ON. They just don't write 'em like that anymore. Taken from the Abrams book, "Good Times, Bad Times."