Odd Future Wolfgang Kill Them All Don’t Give A Fuck

They chant “Kill People, Burn Shit, Fuck School.” Their lyrics are bursting with statements like “Rape a pregnant bitch and tell my friends I had a threesome.” They condone violence, preach chaos and thrive on the unpredictable. They dedicate their lives to disrupting social norms and shattering moral barriers. They accomplish all of this through their harsh music. They are the members of the Hip Hop group Odd Future Wolfgang Kill Them All, or OFWKTA. And they are fascinating.

For the past week I have immersed myself in their music, videos and live footage. Their group dynamic is that of any friendly collection of teenagers, except they add a barrage of expletives and vulgarity unique to their own dynamic. Comprised of Tyler, the Creator and his partners Earl Sweatshirt, Hodgy Beats, Domo Genisis and Frank Ocean (among others), Odd Future is a Hip Hop team unlike anything else the world has seen. The emphasis of their music is placed almost entirely on their lyrics; the bass-heavy, steady beats prevalent in almost every Odd Future song merely provide platforms for the voices, which forces the listener to pay close attention to the words. The words, in turn, elicit an inevitably emotional response, and the response spreads the group’s message. That message is the reason for their music.

If you have never heard them, Odd Future’s lyrics are easily some of the most violent and morally insensitive statements ever imagined by mankind. However, these horribly offensive insults only serve as a blanket that hides the essence of their ideology. Odd Future’s true declaration is to not care. About anything. Ever. As children of broken families these teenagers have encapsulated the apathetic, misanthropic, Blink-182 credo that intrigues so many adolescents in our society, and have rejuvenated it into a culture much larger than any punk band could have dreamed of. Hordes of people, including (if not especially) members of every race, gender, religion and sexual orientation attacked in the music, have flung themselves at Odd Future. This cult following has formulated because of the attitude ringing out of its very name. The music allows an outlet for anger and helplessness by first accepting that anger, and then disregarding it. They don’t care that what they say is terrible. They don’t care that their lives have not followed any of the traditional paths for youths today. They don’t care that they are pissing off every well-respected adult they come in contact with. They don’t care about anything.

My initial curiosity regarding this group stemmed from my appreciation for Frank Ocean’s music. Frank Ocean, who has one of the best voices on the planet, was featured in two of the songs on Kanye and Jay-Z’s recent collaboration Watch The Throne. As this proves, he has the talent to work with the biggest names in his industry, yet he remains a member of Odd Future. This surprised me because of the contrast in their principles. While Tyler the Creator is often reprimanded for his frequent use of the word “faggot” and seemingly strong homophobia issues, Frank Ocean spreads lyrics such as “I believe that marriage isn’t between a man and woman, but between love and love.” Then I began to listen more closely to Tyler’s words, and I began to understand their relationship.

Tyler the Creator actually has a much more brilliant mind than he likes to display, one he keeps intact through his substance-free lifestyle. Tyler often attaches a sarcastic, contradictory tone to make his points in lines such as, “I’m not homophobic, faggot.” Or in his song She, he pleads, “I just want to ask you on a date, cunt.” These lines prove that Odd Future’s mentality delves much deeper than the phrases that initiate these derogatory proclamations. Tyler has nothing against homosexuality, but harsh insults transfer his anger and provoke his desired reaction. The point is that they aren’t homophobic; they aren’t racist. They’re just kids.

The true brilliance of Odd Future rests in their ultimate belief. They stress the glorification of violence and anger, and exist in a world with no rules, no morals and no restrictions. They don’t believe in right or wrong. They eliminate the concept of immorality because they don’t recognize it as a possibility. They want to rape, burn, and kill just so they can remind the world that they can. It is utter and complete indifference; they do or say anything they want and never think of the consequences. They have condensed the entire universe down to the flat line of basic primal desire. Critics of Odd Future need to stop creating a controversy because they won’t ever be able to win; they’re fighting a losing battle. They’re attempting to rationalize the irrational. Instead, they should embrace the ideas and reflect on how a bunch of teenagers have captured the attention of millions by channeling their frustration into, albeit, terribly vulgar lyrics that nevertheless precede an inspirational message. It is youth rebellion at its finest. It is the oddest future. It is pure apathy. So I join in, and chant, “Kill people Burn shit Fuck school.” Because I can.

Dear Justin Vernon, Never Stop

Bon Iver, the acoustic, rustic Wisconsin band led by Justin Vernon, famous for “Skinny Love” and that one song you thought you heard on the TV show “Chuck” once, is one of my favorite artists. Bon Iver is comprised of Vernon along with Michael Noyce, Sean Carey, and Matthew McCaughan. Even the least inclined Indie fans can find pleasure in listening to Bon Iver’s music. It is easy to comprehend why Bon Iver has such universal appeal; his flawless voice and ability to transcend multiple octaves paired with his band’s mastery of a wide variety of instruments allow the band to create meaningful, appealing, powerful music. Even if you strip the songs of their lyrics you will still appreciate the beauty in the instrumentals. Add the words back in, and you become consumed with the awe of Justin Vernon’s writing.

Bon Iver has produced two studio albums, For Emma: Forever Ago and the recent Bon Iver. Avid fans of the first album received a slight shock upon listening to Bon Iver for the first time. The second album vividly differs from its previous, a transformation that unsettled the fan base. For Emma: Forever Ago maintained an acoustic overtone throughout the album, occasionally employing different uses of vocals but sustaining an overall similar style. Bon Iver, contrarily, fluctuates in genre and provides much more depth to their original work. While tracks such as “Holocene” and “Calgary” fit into the previous mold, “Towers, Minnesota WI, Hinnom TX and Beth/Rest” most certainly do not. An electric guitar (a sharper, stronger sound than Bon Iver listeners are accustomed to) is prevalent in many of the songs, straying away from the mellow hum of For Emma. Critics instantly attacked “Beth/Rest,” the album’s last track, for its obvious 80’s influence and stark stylistic departure from their tone, which I agree with.

However, while most people were disappointed in the album, I embraced it with gratitude. It is just as stunning as its predecessor in sound quality, and even more inspiring in its lyricism. Each song is titled after a geographic location, all referring to historic places in Vernon’s life. This provides a much more personal connection than did his first album, and in my opinion only added to its appeal. While it is evident that their style is changing, Bon Iver still remains one of the most talented groups of musicians in the business today, and I cannot wait for what they produce next. Which brings me back to my initial plea: I beg of you Justin, do not stop making music.

There’s little point in me picking out the best songs, as they are all fantastic, but:

“Perth, Towers, Hinnom TX, and Wash.”

**Attention: If at any time in your life you arrive at a moment when you feel content, or satisfied, or pleased, and want to reflect on that unshakable buzz of euphoria that remains after true moments of happiness please take a few minutes to sit and listen to this song; allow yourself to be consumed with the amber light that all but perpetually radiates from it, and simply enjoy good music.

Chiddy Bang & Pusha T: Live Review

“Blue and Yellow, Blue and Yellow, Blue and Yellow…” As I walked into Hill Auditorium last night to see Pusha T and Chiddy Bang perform, I was bombarded with the Ann Arbor native rapper P.L.’s mix of Wiz Khalifa’s classic single. The chant ushered me into a unique atmosphere I had no anticipation of seeing. Having been in Hill Auditorium for the Lupe Fiasco concert last year, I expected a rambunctious and excited mob of students. Instead, I casually walked in between small groups of friends, mostly sitting patiently and waiting for the actual show to begin. Both the mezzanine and balcony sections were closed off, and still hordes of seats remained empty throughout the show. This reduced audience effected the show in both positive and negative ways: it created an intimate section that thrived during Chiddy’s performance, allowing the duo to interact easily with the crowd, but it significantly hurt Pusha T’s portion.

To my extreme chagrin the crowd did not appreciate Pusha T’s opening act. For those of you who aren’t familiar with him, Pusha T is a rapper who once belonged to the rap duo Clipse. Formed by Pusha T and his brother Malice, Clipse played an enormous role in the rap industry during the ‘90s and early 2000’s. Pusha T is by far a more accomplished and celebrated rapper than Chiddy bang, yet the crowd last night did little to recognize this. Unfortunately, it was clear after a few songs that Pusha T realized this, and it was downright painful to have to watch him attempt to feed off an energy that was completely absent. Truthfully, it was the wrong audience for a Pusha T show. Predominantly white and all young enough that they may have missed Clipse’s prime, the students in the audience were much more interested in Chiddy Bang. I was sad to see this, as Pusha killed the few songs he performed and deserves much more respect than he was given.

Chiddy Bang, conversely, began their show to an energetic audience. To my satisfaction, after two songs Xaphoon Jones (the brains behind Chiddy’s beats) paid tribute to Pusha T, referencing him as the first rap album he ever purchased and essentially condemning the audience for not supporting him more. Aside from this correction, Chiddy and Xaphoon put on a great show. As Chiddy’s intended audience is the high school through college age, this crowd was appropriate and contributed to the duo’s energy and performance. The highlight of the evening, by far, was Chiddy’s freestyle. Asking the audience for five completely random, non-related topics, Xaphoon presented Chiddy with a paper plate and a microphone, and asked for a rap. Indulging him, Chiddy proceeded to create a two and-a-half minute, spontaneous and brand new freestyle, mentioning each of the subjects. These included the words, “voltron, platypus, and Michigan,” no easy terms with which to rhyme. Yet he succeeded, and secured the audience’s outrageous praise. Overall, the concert was tremendously enjoyable, and even though Pusha T’s contribution went unappreciated, the combination of him and Chiddy Bang allowed for a great concert.

Disregard the quality, just to get a taste of the show:

Music 101

Zion I – Coastin

Greetings, arts, ink! My name is Alex and I’ll be focusing my posts on music. Usually I will post on Sundays (sorry for stepping on your ground here, Abigail) but I wanted to introduce myself before my regular posts start. I am an avid Hip-Hop and Mashup fan, but I also enjoy some rap, jam bands, acoustic, indie and some dubstep. Also I can always get down to some terribly addicting Top 40 jams. I defy anyone not to bump Lady Gaga on a regular basis.

The purpose of my blog entries is to provide a constant source of music: new, old, mixed, mashed and everything in the middle. I’ll accomplish this by including frequent reviews of new albums and live shows, paired with a stock of older music to give you a foundation for the new releases. Each of my posts will have a song for you to taste, see above, (I chose “Coastin’” because it epitomizes my music taste) pertaining to whatever topic I’m writing about. I’ll probably also throw some “Songs of the Day” on the blog throughout the week to keep that flow going.

Just for reference, my favorite artists presently are as follows: Kanye West, Frank Ocean, Lupe Fiasco, Kid Cudi, Bon Iver, Girl Talk, Milkman, Jack Johnson, Jay-Z and Beyonce, and Mumford and Sons.

For the time being, I suggest looking at two albums which just came out this Fall: Big Sean’s “Finally Famous” and J. Cole’s “Cole World: The Sideline Story.” Both are examples of a slightly lower-tier Hip Hop artist making his debut, Sean with the help of Kanye West and Cole under the guidance of Jay-Z. In my opinion, “Finally Famous” is an all around better album; Big Sean shows a lot of promise by creating an extensive collection of songs. While J. Cole released some incredible tracks, there are too many that are barely listenable. “Mr. Nice Watch,” terminating with Jay-Z’s abomination of a verse, is an embarrassment to his career. J. Cole has showed a lot of improvement in terms of his lyricism since his mixtapes, however the album as a whole was not as cohesive and impressive as it could have been. Check out these tracks from the albums:

Finally Famous: Marvin and Chardonnay, Wait For Me, Dance (A$$), My Last, Memories

Cole World: Can’t Get Enough, Lights Please, Nobody’s Perfect, Work Out