Album Review: Death Grips' NO LOVE DEEP WEB

First off, this is the fucking album cover I'm using because it's the "properest" of the lot. Secondly, I was explaining to one of my friends about how Death Grips released their own album early (this one) much to the dismay of their label, and having their website "shut down" in the process. I don't know if you have ever tried to describe what Death Grips sounds like, but it is extremely difficult to do without using the word "violent;" that's exactly the word I decided to go with. Even if the subject matter of the song is paranoia, the dangers of misrepresentation, or bouncing, everything feels like its being rocketed at your face. After I said, "Well, they're like, violent and angry," I went on to describe their genre as "militaristic-electro-hardcore-rap," which I think does a fair enough job of labeling an almost ineffable rap collective.

So as you all may know now, Death Grips decided to release NO LOVE DEEP WEB themselves. I saw flashed of when Radiohead released In Rainbows for a price you named; it's certainly something that will change how artists interact with labels from now on out, which brings me to an almost completely unrelated anecdote: I was randomly looking up Arcade Fire's Neon Bible - maybe I just felt like I didn't know enough about the album - and discovered how the band accidentally released the wrong song as a single, tried to remove it, and found out just how fast peer-to-peer sharing is. NO LOVE DEEP WEB was leaked, the website taken down, but after about six hours - about a weeks' time in Internet time - the album had gone viral. It would be nearly impossible to hunt down every copy and have it deleted. Death Grips had won: the record released on their own accord.

It would be unfair to be have this release's birth go unmentioned in this review, as it escalates the rating immensely. It's difficult to not overly romanticize and admire the album, due to its completely groundbreaking release. Yes, it's nowhere close to being as good as The Money Store, but I believe it to be a much more important record. If NO LOVE DEEP WEB had been released under the label's stipulations, it would be a solid B/B+ album, but because of its release, I am going to give it an A+ (something I vowed never to do; calling something an instant classic is extremely brash).

Every label that saw what happened with Death Grips and this record is scared shitless. This adds a whole other level to how a label will handle records from now on out. Obviously, albums leak -- I myself am part of two leak websites -- but never has a band so recklessly avoided a label's decisions than Death Grips, and then broadcasted it through twitter! And how perfect it is to have the first band to so dramatically leak their own record than Death Grips.

"I've got some shit to say, just for the fuck of it" MC Ride testifies on "Lock Your Doors". The band is known for its sporadic, cryptic operations, so when they signed to Epic I was baffled. How could a band so anti-establishment sign to a proper label? Well, I guess it didn't matter where they signed; they were going to continue to operate the same. The Money Store proved the collective could produce the same product under a label's supervision. It features the best work the band has ever done, a wide range of songwriting and anger. NO LOVE DEEP WEB prolongs the band's reputation as one of the most original acts to come out in years.

So, to finally touch upon the material featured on the album: it's excellent. MC Ride sounds as exhaustingly frustrated as all hell, the beats are minimal yet effective, and the songs feature a variety of styles within the band's own niche. Zach Hill played all the beats himself, there are no programmed drums, which would be impossible to recognize due to Hill's perfect drumming; I mean, the guy is a well-oiled robot. The beats are a little more dialed back here - you won't hear any random found sound in the beats, just a few samples sprinkled in. It parallels what FlyLo did with Until the Quiet Comes, letting the instruments breathe in the beats rather than cramming as much in as possible.

When I put my headphones on for the inaugural listen, my eardrums tingled from the bass, a little uncomfortably but just enough to keep my interest piqued; this is some deep bass music, not your shitty overly trebled "brostep." MC Ride comes through with a lot less effect-driven vocals, a lot cleaner - if he could ever be clean - on NLDW than The Money Store. It's easy to see the evolution from album to album here, so it makes sense why Death Grips cancelled the tour for The Money Store to record this album. Sometimes the creative process can consume.

At the end of the day, Death Grips have released what could easily have served as the second LP in a double release with The Money Store, but it's the fashion in which it was released that holds the most bearing over how I listened to NO LOVE DEEP WEB. If you see this as just another release from a band that's having one hell of a year, you lack scope and imagination: The record industry will never be the same.

Final Grade: A+

Album Review: The Mountain Goats' Transcendental Youth

I guess The Mountain Goats weren't content with releasing just an album just last year; they had enough material for two, this year's Transcendental Youth. The latest effort sees John Darnielle and the gang a little more comfortable with their characters, not to mention the happier sound of the tunes -- well, I guess happy for The Mountain Goats. There are obviously moments of losing your cool - "Lakeside View Apartment Suite" feels almost like a Jack's Mannequin song, up until the protagonist pukes in the sink. But what Transcendental Youth does for the Mountain Goats' discography is add another dimension to its already padded reputation -- I don't see anyone trying to rip off their sound, but I can definitely see Darnielle's songwriting being cited influential in many years to come.

"Amy aka Spent Gladiator 1" kicks off the record, an ode to Amy Winehouse and any other youthful sprites living for the moment. "Just stay alive" is the chorus, endearingly honest and true. It's a shame Winehouse could never collaborate with The Mountain Goats, as I think that would produce a successful, if not completely strange, result; I understand that would be almost as random as the tribute itself, but apparently Darnielle had a message for the late songstress strong enough to produce a song. Transcendental Youth continues to build on the success of the opening track, ending with the beautiful eponymous closing track.

The Mountain Goats expand more on the full band they have established in recent releases by adding a horn section to most of the songs. "Cry for Judas" sounds a bit like a Beirut song with the horn section taking charge throughout most of the track. And although the tracks here are have a lot more pep than what was featured on All Eternals Deck, the lyrics still point toward the helplessness you can expect from the band.

What can be extrapolated from Transcendental Youth is The Mountain Goats extend their winning streak long enough to be inspired by contemporary artists, while still maintaining their structure and sound. There's no "See America Right" or "This Year" on the record, but once all the melodies and lyrics sink in, you won't feel like you wasted your time listening. I would be happy with releases like All Eternals Deck and Transcendental Youth every year, if they are as stable as The Mountain Goats' releases continue to be. I don't see this record as a reinvention or anything that will blow people away, though it's a solid exercise for a band that is ever-shifting laterally, comfortable and confidant with what they create.

Final Grade: B

NO LOVE DEEP WEB and What That Means for Trent Reznor

By now, everyone has probably heard that Death Grips leaked their second record of the year themselves after their major label Epic fucked around with the release date. Death Grips had recently cancelled a string of major tour dates to go back in the studio and work on NO LOVE DEEP WEB, their immediate follow up to the insanely stellar The Money Store, released in April. It was clear that they wanted to get their new album out by October or November and they were set on it. In announcing they signed with Epic, they also promised two albums in 2012. This has been known for the majority of the year. Death Grips, in their announcement of the deal, seemed quite confident in their partnership with not only the label but L.A. Reid, the head of Epic.

About two weeks ago, Trent Reznor announced that his project How To Destroy Angels had signed a major label deal with Columbia. I was particularly surprised by this move, as Reznor was probably the most outspoken dissenter of labels at the time he left Interscope in 2007. Along with Radiohead, but arguably more successfully, Reznor released an incredible online model so that, as an artist, he could be self-sufficient. So, after that success, why was he back on a major? For the buzz? Even if you weren’t Trent Reznor, you could do well on a large independent, and I think a large indie like XL would have made the most sense. Is it for the money? Ostensibly, Trent Reznor has no need for extra cash. He’s an Oscar winner, a major recording artist who had a major hand in greatly revolutionizing the music industry. It’s not like he needs the label to pay for studio time; he already owns a studio. So what’s the reasoning then? He’s yet to divulge many details, but he’s mentioned that he’s excited to work with his close friend Mark Williams. That detail, I believe is crucial to why I think this was a short-sighted move.

It’s a tale as old as the industry. Band signs to label to work with friend/relative/someone who believes in them. They release an album. It charts or it doesn’t. That doesn’t really matter. After a year or so, the ownership/creative director/whatever changes and then the bands are jettisoned from the label or put in purgatory to rot while the next glitter vomit project reproduces asexually. Ownership changes very often at record labels. In September, for instance, Universal took over EMI in an effort to control what consumers are buying.  Control changes constantly and should be regarded as such.

I bet this is what happened to Death Grips. L.A. Reid is still heavily involved with Epic sure, but his focus has probably changed. After all, Death Grips’ The Money Store only spent a week on the charts at the 130 spot. I doubt that’s considered satisfactory, despite the fact that the album, and very possibly NO LOVE DEEP WEB, will top year-end lists. I applaud L.A. Reid and Epic for taking a chance with the infinitely fucked-up M.C. Ride and co., but both the artists and the management lacked the foresight to prepare for what would happen. Of course The Money Store wouldn’t chart. Why would an electronic rap group with roots in hardcore and a front man with crippling paranoia do anything but alienate the masses with their abrasive and confrontational music? I applaud even louder for Death Grips leaking their album to piss off Epic. Death Grips aren’t ones to fuck with and they made the right move in this case. They made the wrong move in signing to a major though. I can’t imagine NO LOVE DEEP WEB will ever see the physical light of day, except perhaps for a bootleg cassette or something. Epic will retaliate with legal fury, and this very well may be the last thing that Death Grips ever releases. At the time of writing this article, Epic has already taken down Death Grips' website.

For Reznor though, this tale has yet to be retold. How To Destroy Angels is hardly music for the masses; the label certainly signed him for the weight his name brings. So when their initial EP fails to chart and then their LP fails to chart, we will once again be reading a long-winded rant directed at Columbia, as Reznor attempts to buy his way out of the deal. Reznor is one of the most powerful artists in the field right now. He may not have released a hard-hitting album since With Teeth, but he won a fucking Oscar in the interim. He knows what he’s doing, I’m sure, but I just can’t imagine that the Columbia deal with result in anything different than what has happened before.

And so, history repeats.

On Music Criticism: A Sprawling Rant

Last night I was extremely bored. Having absolutely nothing to do after I finished writing a script, I decided to putz around on the YouTubes. I sifted through some Needle Drop reviews and ended up watching the entirety of Anthony's lecture at Wesleyan, well, listening. Tt's a good listen -- not to visually appealing, which is ironic because Wes's film program is one of the bests in the country. Anthony ran through the gamut of the Needle Drop - history, why, how, when, Cal's origin story - and he finally touched on the topic of criticism. Fantano mentioned that his negative reviews receive more attention than his positive ones: an extremely interesting observation, I found.

A couple of weeks back, I wrote on negativity in music and how I saw no place for it. But in my rant, I guess I missed the facet of a review that provides entertainment. Although most of the time I feel as though I am just drafting up arguments and practicing my writing on this blog, there also has to be some entertainment value. Whether it be a picture, video, or comedic point, there has to be something that draws the reader back. And this is what makes the plight of Flatted Third true; I am not saying this to brag, only to further justify my reasons to continue writing.

Reading is difficult. I have studied extensively on the subject of reading and writing's effect on the brain. It expands your vocabulary, allows clearer thinking, and increases your intelligence. While someone can "waste" this ability on fad reads that don't offer good examples of writing, it's still a healthier activity than perusing the internet for naked pictures of your ex-girlfriend on Reddit -- I am not speaking out of experience, just for the LULZ. So this is where I found Fantano's most interesting point was brought to the foreground. In so many words, he stated how he used to write about music - much like we do here - but found an overabundance of typed reviews, so he decided to forge new ground with a video blog, "vlog."

Fantano has found increasing success in this area, as videos are prone to go viral on the internet. His videos are entertaining, insightful, and well-informed, although Fantano refuses to admit how vast the scope of his musical knowledge. There were a few moments where the magician showed too much in the lecture, but I did listen to all of it and was thoroughly entertained. He has worked extremely hard to get to the point where can almost support himself with his work, giving many people hope to try the internet for future, self-made careers.

Fantano outlined his change in musical taste with a story about a friend of his who introduced himself to punk. I feel as though we all had this friends, for me it was my older brother, until I became obsessed and expanded past his tastes. This is why I continue to cover music. The best thing about having this blog is when my friends submit posts and I get to see what they think about music. I love hearing opinions mostly rooted in a pathos; a pathos that is heavily informed and intelligent. You try to establish a logic in your argument, but due to music's subjectivity, this proves difficult and a personal schema is implemented. So where The Needle Drop offers a different medium in its message, Fantano contributes heavily to the constant conversation about music in a original, entertaining way. The Needle Drop was even cited on Metacritic, adding to the vlog's validity. I would love to one day add to that aggregate, providing an extra voice.

One of the best points Fantano brought up is how a view can change with the reviewer over time. This adds not only mood and fads into the equation of how a reviewer will decide how good a release is but an epochal viewpoint. One can later argue with his or herself about how good a record is. I have often flip-flopped on bands and I believe that's a true sign of just how subjective musical criticism is; you can even argue with yourself.

So I would like to thank Anthony Fantano for questioning why I continue to update this blog and allowing me to rediscover why I love to criticize music. He is an inspiration to DIY bloggers and vloggers everywhere, even in the depths of /mu -- I ain't dick riding, and to prove it here is a picture of me not dick riding. I hope that whoever is reading this continues to read Flatted Third, and also check out The Needle Drop, so that his or her taste in music never becomes stagnant, the plight of this blog -- except we love reading and writing!

Leaky Pipes: Flying Lotus Returns with Until the Quiet Comes

A nice trend Flatted Third has shown lately is the welcoming of fall, and with it, the onslaught of new and season-appropriate music. Also, right off the heels of Kyle's 3 Huge October Albums mini-list, we are treated with an early listen of Flying Lotus' new album Until the Quiet Comes. And what a treat it is.

Electronic music is new to me. I was only introduced to it 3 or 4 years ago by close friends in college. Looking at all the music that comes from it though scares me sometimes, which got me a bit nervous about writing this review. Electronic music has so many sub-genres it just became a confusing mess to me (which is odd because you can say the same thing about metal for the most part). I've thankfully come to a point  where I know what my style is and what I like, and Flying Lotus is top of the list.

For old listeners, Until the Quiet Comes will feel pretty familiar to his first album, 1983. Filled with a blend of nu-jazz and hip-hop influenced beats, Flying Lotus was able to make a name for himself - something other than "that guy who creates the music for bumps on Adult Swim." But with his newest release, we see a whole new DJ. This is part of Flying Lotus' appeal; he strives to evolve and challenge himself with every album he releases. With this new LP, get ready to be treated with more jazz influenced hip-hop beats, but with a more low beat sound and tempo to it.

The first track "All In" sets the mood for the entire album. Unlike Cosmogramma's insane opener, you're treated with a much calmer beat, leading into one of the best tracks on the album "Getting There". For a majority of the first half, old fans will notice a much more polished, lo-fi beat. Things seem to meld together fluidly, sending the listener into a sort of calming zen -- which for me, blends together appropriately with the upcoming fall season. "Sultan's Request" and Putty Boy Strut" feel like classic cuts that would've fit easily on any previous LP he's released. The latter half of this album does provide some of the more weaker material (though I say this lightly). "Only If You Wanna" feels reminiscent of a Nicolas Jaar track; lazy beats over some slight horns breaks the whole mood of the album.

Until the Quiet Comes does a fantastic job keeping a certain pace and feel, throughout its whole listen. From start to finish, Flying Lotus is able to throw in his signature mixes and beats ("See Thru to U", "Electric Candyman") while incorporating a whole new side to his constantly evolving releases. For some fans, this may be a big change of pace from what he's previously recorded. Yes, a few tracks do sound lazy, but this is an unbelievable release. Flying Lotus is a good showcase in just how far an artist is willing to go to keep his music fresh and fun, and for him, it works perfectly.

Grade: A

For fans of: Bibio, Burial, Fourtet, Madvillian

Check out his new video for the song "Putty Boy Stut" off the new LP

Dealing with Loss: An Uncharacteristically Personal Post from Kyle Murphy

Let me start out with this. Now I know we have a lot of fun at Flatted Third, but I recently visited my grandfather at the nursing home - the last remaining grandparent I have - and he has taken a turn for the worse. This wasn't anything sudden like a stroke or heart attack that weakens an individual overnight, it just seems like he's given up. The last time I visited, only a few weeks ago, he was cognizant, witty, and seemed in somewhat good condition. After a lump was recently discovered in his throat, medication was increased - he was in a lot of pain, but completely unaware of the lump. When I visited yesterday, he was drifting in and out, never fully holding a conversation or even an exchange, and didn't know who I was. The other deaths of my grandparents seemed almost detached, as if years of suffering had slowed down the grieving process, spreading it over time. But now that I only have one left, this time around seems much more difficult. My grandfather has already left us mentally, leaving only a tired husk, struggling to survive. I consider myself someone who can take things logically and in stride, though yesterday saw a man warring with losing the last of his grandparents, the wise supporters of his youth.

I don't mean to elicit any sympathy, but I did want to share a selection of songs that seem to help with the grieving process, for me at least. I searched through my song library to find five songs that coincided with the Kübler-Ross Model for dealing with loss, as most people know it: "The Five Stages." After about an hour of finding the perfect songs for each step, these are the songs I picked. Many of them are heavier in sound, as I find myself somewhere in between the anger and bargaining stages. I hope this may one day help you, thanks.

1. Denial: "Baraga Embankment" by Bear vs. Shark (Terrorhawk; 2005)

As soon as the first piano key is struck, an instant sense of doubt is instilled. The song detail loneliness left to brood in a community where the sufferer is seen in sharp negative light. Bear vs. Shark is my favorite band to recommend to people, hoping they will feel the same connection as I do; they have provided me with one of the most intimate ties to a band I have ever felt. If I could summarize this song with one statement, it would be "Oh no, not me." Denial seems juvenile at first, eventually evolving into a separate reality in itself. The rich imagery portrayed in lyrics such as "The kids were pushing their fingers in tarmac, the pavement / The lightening was breathing in faces" creates a surreal picture, an alternate reality's grappling with the extraordinary, all in the split second of a lightening strike. 

2. Anger: "Against the Tide" by The Homefront (Sacrifice; 2007)

Sorry for the live video - The Homefront are sort of a local band, what I consider to have been the last great Boston hardcore band. I have included the lyrics to this song for some clarification. Anger doesn't seem to describe this stage well enough for me. I think it would be more appropriate to call it frustration, frustration with uncontrollable outcomes. The song title alone describes a losing battle; fighting the tide will only weaken you, distracting you from the real struggle. But I think the most poignant lyrics come from the phrase "I'm giving up on giving in," a failure to compromise. Frustration leads to anger, as Yoda once stated in one of the reprehensible Star Wars prequels, but misguided anger isn't what dealing with a loss is concerned with. The anger is focused, but the option that the war may be won is unfounded and unrealistic, furthering frustration. This vicious battle is as constant and cyclical as the barking tides.

3. Bargaining: "Marked" by EMA (Past Life Martyred Saints; 2011)

A sense of desperation seems to always accompany bargaining - one side is always given the upper hand, forcing the subservient side to sacrifice in order to continue soem level of stasis. This is the feeling of EMA's "Marked", a outstanding cut off last year's amazing Past Life Martyred Saints. It feels like Anderson is pleading with someone while in a fugue state, aiming for the smallest bit of humanity from her counterpart. The use of drugs in the song resonates well with death - Yes, my grandfather is delirious with painkillers and not the same person, but I cannot imagine how he would be without them. Bargaining helplessly with something uncontrollable is demented, but when it's your only option, you'll do whatever it takes to get things back to some sense of normal.

4. Depression: "Replica" by Oneohtrix Point Never (Replica; 2011)

Depression is a tricky bitch, almost exponential in its growth. "Replica" illustrates the loneliest piano line in the world, surrounded by a frightening environment of blown out dreams and distant lights. These are the final stages of loss, the longest days you'll ever live through. Every detail of the room has been inspected, as a means of escaping love ones' glances. The retirement home bed has felt this before: the lifting of body weight, the glacial movement. Fact cannot be accepted until it has been proven to an individual, and until I leave freshly disturbed earth, my grandfather is still with me. These are the longest days.

5. Acceptance: "I Am Extraordinary" by Blacklisted (No One Deserved to Be Here More Than Me; 2009)

To finish where I started, hardcore/post-hardcore music, Blacklisted sees the final stages of death - what I consider to be experienced post-mortem. "I Am Extraordinary" is the perfect song, both to close this list and dealing with the acceptance of a loss. The fact that someone is able to impact another's life is beyond ordinary; we are miracles for even being alive - why should consciousness be assigned to human beings? While this song calls for the death directly, aggressively, "Just do what we agreed on and beat my brains in," it's a confident, brave acceptance of death; I have lived and now I am done. It also accepts a lot of responsibility with lines like "I am only scared because by myself I'm scary." Mourning is never enjoyable but necessary.


With my catharsis blinding most of the above writing, I hope someone can make sense of this. When everything is said and done with my grandfather, what comes next? My parents have recently become grandparents, creating a new generation in my family. Getting older has its advantages, but they come at the cost of the people responsible for your existence. It's impossible to close out this passage with something conclusive or concrete, so I'll try my best to leave with some dignity. I am only one person, and I love my grandfather very much; whatever happens from now on out is going to happen no matter what level of my own interference.

Three Huge October Albums

With October comes the first full month of fall. But it seems almost foolish to think of it as such, due to the more than noteworthy releases October will see. Flying Lotus, Kendrick Lamar, and Converge all have albums set to be released. On second thought, October may see the three best albums of the year, if any of these artists' prior releases are taken into account.

Flying Lotus - Until the Quiet Comes
October 2nd

If Cosmogramma has taught us anything, it's that each Flying Lotus release feels like a new artist; the guy never stops evolving his sound. From the hazy beats on 1983 to the nu-jazz sounds on Cosmogramam, Steve Ellison has crafted his own signature niché in electronic music, but always reinvents his sound throughout his discography. FlyLo recently released a video teaser featuring some of the material on Until the Quiet Comes. The video was shot on film by Kahil Joseph and is just as abstract and beautiful as the music featured on it. I can't see myself disappointed with this release, even if it finds Ellison staying on the same path found on Cosmogramma. You can preorder the record at Warp, and don't forget to check out the short film below.

Kendrick Lamar - Good Kid, Mad City

October 22nd

In order for TDE to continue its dominance over underground hip-hop, Kendrick Lamar's proper debut album will need to be the keystone. ScHoolboy Q's Habits & Contradictions was a well thought out and executed first release from the TDE group, just after signing with Aftermath. Control System provided the weirder aspects of the Black Hippy collective, as Ab-Soul is oft found to do so. Lamar has been compared heavily to A Tribe Called Quest's Q-Tip, and with good reason - the two rappers have a similar pitch and delivery, while focusing their raps more on progressive issues than opulence. Single "Swimming Pools (Drank)" offers the most interesting point of view of drinking I have heard in music, let alone rap or hip-hop. I was a huge fan of Section.80, listing it as my favorite mixtape of last year. And with all the rumored features on Good Kid, Mad City, it's hard to imagine a failure.

Converge - All We Love We Leave Behind
October 9th

Coming as the biggest surprise to me, Boston metalcore outfit Converge announced All We Love We Leave Behind in late August. Converge hasn't released anything since 2009's excellent Axe to Fall, and it's comforting to see just how the band is approaching this release - they are doing everything themselves, without any guests or help. Guitarist Kurt Ballou is handeling the recording, artwork, and by way of his own label, Deathwish Inc., releasing the vinyl record. There aren't any special effects or extra instrumentation on the record, just how the band performs live. "Aimless Arrow", the album's first single, is a mathy, brutal kick to the teeth. Flatted Third's own Gerry D'Apollo broke the news on this release to me and you can check that out here, along with the video for "Aimless Arrow".