Archive for the ‘Hip Hop’ Category


This list is in alphabetical order and based on personal preferences.

Atrocity Exhibition

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The Danny Brown experience has always managed to be simultaneously entertaining and baffling and his newest 47-min masterpiece bears no difference. Although having their head in the clouds would lead most people to chaos and obscurity, that ambiguous darkness stands firm as his strongest suit as we notice the cloud that Danny has his head in is cloud nine for him. With 4 major success stories (The Hybrid, XXX, Old, Atrocity Exhibition) under his belt, Daniel Dewan Sewell pleads his case as one of the most talented Hip Hop artists alive.

Best track: “Rolling Stone”

 

 

Black America Again

Common - Black America Again

You would think Common would have lost his touch or simply become disinterested in the rap game after 24 years in the industry, 10 albums and countless guest appearances. Well, the politically-conscious musician seems improbable to be shutting up anytime soon as long as his country keeps on taking one step forward and two steps back. His eleventh album is as blunt and daring as it gets.

Best track: “Black America Again”

 

 

 

Coloring Book

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The early career of Chance The Rapper continued on taking fairy tale-like turns when the multi-skilled Chicago native dropped his second consecutive universally acclaimed mixtape this past May. He’s soon to be running out of ladders to climb as it gets more and more likely to see him lead the elite group of rappers he’s previously joined. To think that he’s only 23 is quite scary for his competition whereas it’s the best news we’ll get the whole day.

Best track: “All Night”

 

 

Do What Thou Wilt.

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Ab-Soul’s undeniable urge to be misunderstood/not understood at all knocks not much of his audience for a loop, however, encircling an entire album with feminist themes while preserving his extremist point of view is unfamiliar territory as well as being exquisite. He’s on top of his game and undoubtedly enjoying the critics that claim otherwise more than the ones praising him.

Best track: “God’s a Girl?”

 

 

 

Genesis

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Although Domo Genesis may have benefited from his long-term association with ever in-trend record label Odd Future, his solo debut shines bright as a bold statement on how individuality is the key to step his game up. Laid-back beats from more than a dozen producers suit his smoke-infused lyrics well and complement his less than often aggressive flow that’s as smooth as a Tyler Johnson jump shot. Having added this gem that’s flown under the radar to his repertoire, the California born and bred rapper has nowhere to go but up now.

Best track: “Dapper”

 

Islah

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Kevin Gates’ debut studio album would be a horrific choice if the intended listen is political rapping and conscious lyricism. On the other hand, the New Orleans native’s forte, often-spiritual bangers with unskippable hooks, should be more than enough to have an instant impact for the first-timers. It’s an unpleasant fact that having a platinum album means less and less every day, nevertheless achieving that honor on a first album is never an easy task.

Best track: “Not the Only One”

 

 

Malibu

Anderson Paak - Malibu

What a difference a year makes, huh? Anderson .Paak has journeyed from a no-name newcomer to being featured as one of the hottest up-and-coming Hip Hop artists on some of the most prestigious media channels, thanks to his mid-January soul/Hip Hop/R&B jewel. The reason I’ve got high hopes for him is not how skilful he’s proven himself to be, but how hungry he looks for producing top notch music as a collabo album with Knxwledge before the year comes to an end utterly demonstrates his devoted nature.

Best track: “The Dreamer”

 

 

The Sun’s Tirade

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Tennessee product Isaiah Rashad has been in the process of transformation both as a person and  a musician for a prolonged period of time, having to bite the bullet and get his act together as it’s pointed out by his lengthy absence from the microphone. The good news is he somehow managed to come out of his recent struggles with drugs, alcohol and most importantly, himself in one piece and make his way back to the Hip Hop scene with one of the flashier records of the year. The TDE artist is at his best when he’s honest and open, and The Sun’s Tirade disappoints on neither.

Best track: “Stuck in the Mud”

 

We got it from Here… Thank You 4 Your service

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It’s only fitting for A Tribe Called Quest to have assembled one of the best records of the decade to add to their legacy after the passing of one of their core members, Phife Dawg. 16 tracks of classic jazzy Tribe sounds are a perfect display of everything the three-time-platinum-certified group has and could have become. Let Phife always be remembered.

Best track: “Solid Wall of Sound”

 

 

 

4 Your Eyez Only

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Is it a coincidence that the title of the supposedly no.1 album of the best Hip Hop storyteller of all-time, All Eyez On Me sounds very much like the title of J. Cole’s latest release, the reflections of an emotionally-packed real story? Probably yes, but that does take nothing away from how beautifully and delicately crafted these 10 tracks are. The display of Jermaine’s sentimental side shouldn’t come as a surprise though, as a trip down memory lane will remind us that touching stories like “Lost Ones” and “Never Told” were the cornerstones of his major debut and eventually, his rise to success.

Best track: “Ville Mentality”

 

Next 10:

ScHoolboy Q – Blank Face LP, Sylvan LaCue – Far From Familiar, Atmosphere – Fishing Blues, Apathy – Handshakes with Snakes, BJ The Chicago Kid – In My Mind, Ka – Honor Killed the Samurai, T.I. – Us or Else: Letter to the System, Bernz – See You On the Other Side, Noname – Telefone, Bas – Too High to Riot


Knox Brown-Searching

There’s no better way to describe Knox Brown than how he does it: “one of the greatest producers in the UK urban/electronic scene right now that you haven’t even heard of yet!” Still a no-name for the most, this skilled producer has managed to capture the attention of true Hip Hop fans with his debut EP, Searching. The project, which came out in early August, both denotes a proper introduction to the scene for the artist and implies what might be in store for the forthcoming career of an exciting young talent.

For a musician who is still looking for his official Wikipedia page, Knox Brown seems to already have inconceivable achievements under his belt such as working with the likes of Jay-Z, Timbaland and Mary J. Blige and producing loads of quality material in an extremely short span of a few years. Searching is a 6-track-extended play where Brown demonstrates his singing/rapping techniques in addition to displaying his usual -well, for the ones who were familiar with his music- production finesse and earns a vocalist title to go along with all the somehow unheard accomplishments he had made. Although this short album is undoubtedly no showcase of Hip Hop vocals, his indisputable harmony with new school Hip Hop voices makes a serious argument on how far his music can travel.

Most sources are going to tell you that Knox has been raised in Birmingham, UK, which is technically correct, nevertheless the major element contributing and giving heart and soul to his sound is his origins. It should be no surprise to anyone with a set of ears and some basic knowledge on world music history after listening to a random pick out of the six songs that Jamaica is the country where his roots lie, providing him the desired inspiration for his tunes. His style is as local as it gets for the most of the EP, with a pinch of musical futurism to make it a near perfect balance. Album’s intro song “Dear Mr Brown” is one of the examples for this successful combination whereas the musician, who now spends most of his time in the US working on new projects, has chosen to paint the sound all over with refreshing and laid-back Jamaican melodies on “Searching, Pt. II” where his vocals may be perceived as a Jamaican Anderson .Paak -not taking anything from Knox’s uniqueness- who’s also a featured artist in Searching.

Whilst Brown’s sound and productions focus on his homeland and his musical ideals, the lyrical themes surrounding the EP includes a lot of what happened during his term in the UK. Not everything has gone according to the plan after his move to Birmingham, especially his non-British identity causing him troubles he didn’t need and it’s rather easy to identify his lyrics as reflections of what he’s been through. If his extended play is to be described with one word, it should be nothing other than “freedom” as his concern over social issues frequently arise during his verses, where he highlights his yearning for being free and independent as a human being. Tough life experiences seem to have left visible scars on Knox and the only constructive outcome of it was how positively his music had been impacted by past ordeals. The vibrant “No Slaves” sees the musician singing, “Oh we don’t wanna be slaves, we don’t wanna be slaves / No, not gonna stand it, not gonna stand it,” just like an open letter to the cruel system that he believes to be entrapped in, while he ends the track “The People” by crying out, “Don’t you wanna be free? I just wanna be free” to underline his lack of the feeling once more.

Knox Brown is still at an early stage of his professional music career and it won’t be a smart move to come up with presumptions or predictions on his future, still there are lessons to be learned about this proficient musician based on Searching. It’s evident that he doesn’t plan on stop exploring innovative ways to improve his music and make sure it’s state-of-the-art, but he also unveiled how committed he is to his roots and representing his country and culture. Expect to hear a lot more from the versatile Jamaican in the upcoming years. The window to say “I listened to Knox Brown before it was cool” is closing rapidly.

Get the album here.


Sylvan LaCue - Far From Familiar

Sylvan LaCue is definitely not going to be the next Kanye West or the next Rick Ross. He’s not headed to be the future of Hip Hop music, either. And that is fine for a guy who has always preferred producing remarkable work over being on top of the music charts or in the centre of attention. His latest album Far From Familiar may be just a mini “project” as he likes to label it, however, it sure feels like a major debut of an upcoming rapper with lots of potential.

Having been critically acclaimed maybe for the first time in his professional music career for his last mixtape Searching Sylvan, the Miami native had left his humble fanbase wondering about the next move he would be making, which has turned out to be his best one so far. Testing the audience’s reaction by keeping it strictly about his personal experiences and making the toughest two years of his life fit into a 17-track album seems to have worked for the musician as Sylvan again uses one of his strongest suits, his storytelling skills, to cover the next two years of his encounters. This time, though, the picture he paints is clearer with a few dark spots splattered over the canvas to ensure us that there are still issues that need to be addressed even though the future looks brighter than ever before.

Sylvan LaCue may have chosen to abandon his QuESt persona, but it’s crystal clear he has managed to pass on his high quality flows along with his expertise in storytelling to this new and old identity of his. “Fall From Grace” stands out as the perfect example of how mature and versatile his rapping technique has become. The first verse of the song has to be considered as one of the best of the year and his career as the rapper uses 3 to 4 different rap flows to call out his alleged competition, show off his nonchalant attitude and pledge to fulfil his dreams. One significant line is, “I be that living example of doing whatever it takes” which sums up Sylvan’s life philosophy: Turn a deaf ear to the critics, follow the road you believe to be the best for you and never stop walking.

Sylvan also seems to have improved his taste for experimentalism, both in terms of production and lyrical structure, helped by a handful of producers led by Linzi Jai, whom certainly assisted him on taking the next step after his searching for and eventually finding Sylvan. Instead of sticking with humdrum beats and typical rap song layouts, he has chosen to explore his creative instincts which led the album into having multidimensional songs such as “Emeryville” and “Studio City” and songs into having spontaneous bridges and colorful hooks with “Back to the City” making a strong case for this category. In an industry where idolizing has gone so far to the extremes that it could now be called copying, it’s impressive how unique Sylvan LaCue can manage to stay.

“‘Cause you are not the only one, that wants to be the only one” raps Sylvan LaCue, who sounds more ready than ever to become the one he believes he is destined to be. Embracing and holding on tightly to his spiritual side for the most of the album, Sylvan raises the bar even more for his upcoming project, At What Cost?. The Miami native undoubtedly doesn’t lack any confidence, which works in his favor as a powerful combination along with his high technical capacity and lyrical flair. Being the farsighted person he is, it won’t be hard for us to guess his next move is already on the way.

Get the album here.

Read the original post here.


Bas - Too High To Riot

Bas – Too High to Riot: Queens, New York has always been very generous to the Hip Hop game in terms of producing great rap artists and Bas is no exception. Kicking off his career only 5 years ago, Bas has already released two albums with top 20 peak chart positions in the US, the latter one being his best work up to the present. Too High to Riot is too well-constructed of a project to be overlooked and the 12 songs in it lack neither collectivity nor harmony. Part of the tracklist looks like it’s taken right out of a Breaking Bad episode as Bas establishes chemicals/drugs as one of the main themes of the album, with “Methylone” and “Dopamine” being its main contributors. A member of both Dreamville Records and Interscope Records, Bas somehow managed to keep his tracks in conformity even though working with almost 10 different producers with a variety of musical characteristics. Abbas Hamad is only 28 years old but his mature rapping style is certainly promising going forward.

Best 5: Methylone, Matches, Night Job, Ricochet, Black Owned Business

BJ The Chicago Kid - In My Mind

BJ the Chicago Kid – In My Mind: Mostly known for his flair for unique R&B/soul hooks in rap songs, it was already time for Bryan James Sledge to take the next step and ditch his unfortunate reputation as a “guest appearance”. In My Mind is only the second studio album of the 31-year-old Chicago native, who’s been around for more than 15 years, making records and working with the best artists in the business. The album features some of them including Kendrick Lamar, Big K.R.I.T. and Chance the Rapper, however none of them succeeds in overshadowing the main act, BJ the Chicago Kid, who takes the listeners to a soul-themed journey full of love, sex, affection and passion. BJ is at his best when he doesn’t go out looking for new musical adventures and sticks to such concepts he’s most familiar with and In My Mind is undoubtedly the peak of his career so far. This is definitely an early candidate for the best R&B album of the year.

Best 5: Church, The Resume, Shine, Home, Turnin’ Me Up

macklemore-this-unruly-mess-ive-made

Macklemore & Ryan Lewis – This Unruly Mess I’ve Made: The regular listeners/fans have this bad habit of immediately starting to compare the new to the artist’s previous works whenever a new project is launched. The latest album of the dynamic Seattle duo Macklemore & Ryan Lewis suffers from this illogical fan reaction, although being one of the finest albums to be released this year. This Unruly Mess I’ve Made succeeds in being both mainstream and underground, and does a marvellous job of gathering old school and new school artists together to serve as a “Hip Hop for everyone” album. New bloods YG, Chance the Rapper and Anderson .Paak have the privilege to be a part of the same project as the legendary acts DJ Premier, Melle Mel, Kool Moe Dee, KRS-One and Grandmaster Caz. It is safe to say that while recording the tracks, the authentic duo had the intention of proving to the world that they were the whole shopping mall, not just a “Thrift Shop”.

Best 5: Light Tunnels, Downtown, Buckshot, Growing Up, Need to Know

Anderson Paak - Malibu

Anderson .Paak – Malibu: What a way to show the world that you are not someone’s protege, but in fact you are an act on your own. Let’s be honest, most of us had no idea on who the heck this Anderson guy was before Dr. Dre’s Compton and even then, people were surprised that he was featured in no less than six songs even though he was terrific in every single one of them. Brandon Paak Anderson hadn’t had much commercial success before Malibu, although he had released three studio albums, a bunch of EPs and made countless guest appearances. Apparently this had nothing to do with a lack of talent as the California native showcases his rapping skill set, also adding a tad of R&B and soul to almost each of the 16 songs. .Paak both raps and sings throughout 60 minutes, which could have easily turned out to be a disastrous call if the artist hadn’t had the necessary tools to accomplish it which is definitely not the case in Malibu. You know you are kind of a big deal when you get 9th Wonder, Madlib and Hi-Tek to work for the same album.

Best 5: The Season / Carry Me, Put Me Thru, Am I Wrong, Without You, The Dreamer

Sylvan LaCue - Far From Familiar

Sylvan LaCue – Far From Familiar: As Sylvan -formerly known as QuESt- likes to point out, this is not his debut studio album as he prefers to call it a “project”. It damn sure feels like a major debut, though. The Hip Hop artist from 305 states that he “feels like his most self” after switching from QuESt to his given name and Far From Familiar is a living proof of that. As he always does, Sylvan continues to take us on his real life journey and shows us what’s happening behind the scenes. We witness his struggles, his desires and the transformation process he experiences that is not just about a stage name, but is about finding himself and his path. The album reveals that although Sylvan’s only 25, the things he’s gone through made himself and his music more mature than his peers and their works. Fair to assume that the Miami native is going to get some criticism for “singing too much” instead of rapping but the people who are actually familiar with Sylvan and his style would know this has nothing to do with going mainstream or selling out. Sylvan LaCue is just a guy trying to make a living by doing the thing he loves. And he is going nowhere but up.

Best 5: Heavenly, Fall From Grace, Emeryville, Caravan 04, Back to the City

Top 10: 2Pac Songs

Posted: 02/04/2016 in Hip Hop, Lists

The worst thing about making a list of 2Pac songs: It’s extremely hard to choose when there are so many terrific songs and almost certain that you’re going to leave some of them out. The best thing about making a list of 2Pac songs: You can never go wrong with the guy. No one’s going to scream at you like, “Hey, that’s a really bad song!” about one of the picks on the list.

Next 10 (in no particular order): How Do You Want It, I Get Around, Ratha Be Ya Nigga, Keep Ya Head Up, Tradin’ War Stories, California Love, Krazy, Me Against the World, Do For Love, All Eyez On Me

2Pac

10. Brenda’s Got a Baby: “I hear Brenda’s got a baby / But Brenda’s barely got a brain,” what a way to kick off that hit. It’s one of the first examples to display Pac’s brilliant portrayals of socio-cultural issues in the 90s. His fictional character Brenda gives birth to a baby when she’s only 12 and Pac takes you through her journey in a way that no one else could. You feel the pain and the ordeal Brenda’s going through deep in your heart while you listen to the track, even though having no connection on any account with the desperate little girl and her newborn baby. And the fact that 2Pac was only 20 years old when this one was recorded makes the song even more impressive than it already is.

9. Dear Mama: The majority of people, mostly the so-called fans among others, tend to see 2Pac as an iconic figure for Thug Life and gangsterism, but as real 2Pac followers all around the world, we know that he was much more than that. This song is the best evidence of the existence of Makaveli’s touching emotional side. While it’s hard to know whether it was the love for his mother or the hatred towards his father had given him the needed motivation to write this one, it’s undoubtedly among his best works. Dear Afeni Shakur, thank you for giving birth to the greatest artist I’ve ever seen.

8. Holla at Me: An odd pick, right? This one has been on my all-time list since the first time I had listened to it. It obviously does not give you the “Hit ‘Em Up Effect”, but this still is a perfectly constructed diss song with marvelous punchlines and a crazy hook that gets you addicted just like that. It goes out to Stretch, one of Pac’s ex-homies, whom the West coast rapper blamed as one of the traitors who set him up in 1994’s shooting. Nanci Fletcher’s sings “You better beware where you lay / We better not find where you stay” to suggest beefing with Tupac is never a good idea, which usually ends either with someone on the other side getting shot or beautifully outraged diss records like this one.

7. Hail Mary: Always been a fan favorite, “Hail Mary” has to have made every single list of 2Pac songs in history. The song reflects all the things Pac has been going through, which is amazing and terrifying at the same time. The lyrics point to the fact that the rapper is desperate, angry, and tired but he also sounds fearless and absolutely sure that he has nothing to lose, which makes him quite scary. “I ain’t a killer but don’t push me / Revenge is like the sweetest joy next to getting pussy,” isn’t one of his famous lines for nothing. It means “I’m coming for you,” and we know that no one, and I mean no one can stand a chance against Makaveli in his prime.

6. Ambitionz Az a Ridah: The first song of my all-time favorite album has 2Pac like the straight up, real G that he was. He tears the track apart, thanks to his three monster verses with massive punchlines, pure gangsta talk and no fucks to give. “Ambitionz Az a Ridah” is a spectacular proof of how technically and lyrically skilled Tupac Amaru Shakur was at that young age of 25, which unfortunately was the oldest he got. Whenever it’s dark and I have to walk home, I put this song on to feel as strong as he was, even though deep down I know no man ever lived had a more distant relationship with fear than 2Pac.

5. Ghetto Gospel: You can actually feel how young 2Pac was at the time he recorded this song by paying attention to his voice. This is the perfect combination of teenager Pac’s rapping style, which got a little sharpened up as he got older, with his mature lyrics that are way ahead of his age, his time and his elders. Pac raps about politics, race wars, poverty, and summarizes his stance on all of those subjects by singing, “I refuse to be a role model / I set goals, take control, drink out my own bottles,” which also sums up Tupac as a man and as a public figure. Sir Elton John’s extraordinary hook is so harmonious with this confident youngster, it’s like a slap on the face to those who think rap music can not be associated with anything else than streets and gangsters.

4. Life Goes On: Back in the days when predicting your own death and rapping about it wasn’t a trend, 2Pac was actually the first one to do it. “Life Goes On” is not a simple song, it’s about getting used to the deaths around you, making your peace with the concept of living and dying, and getting prepared for your moment. It’s about learning not to fear death, but welcome it with open arms. This song is also a solid piece of evidence that Pac knew his moment was getting closer and closer. And he was never afraid of embracing it.

3. Changes: Predicting a black President for the United States? Yeah, Pac did that, too. This posthumous song is more than enough to tell you why this 5’9” L.A. guy is so important for Hip Hop culture and people affiliated to it. “Changes” is a song where Tupac not only points out what’s wrong with the society, but he also offers logical solutions to all the problems out there, which after 20 years, most communities still struggle to apply. It doesn’t take a genius to figure out that 2Pac was in fact, a genius. So unfortunate that we still see no changes, all we see is racist faces.

2. Hit ‘Em Up: In terms of musical quality and lyrical proficiency, angry 2Pac is the best 2Pac you can get. He was the only artist out there to use 5 gun shots straight through his body as a motivation, smile first and then record the best diss track ever made in the history of music. It would literally take hundreds of hours to analyze each and every line of the song, but all those lines and words had one thing is common: They were fearless. No nicknames, no implications, no nothing. Real G’s don’t need any of that and Pac was as real as they get. They really felt the wrath of a menace, he hit ‘em up!

1. Only God Can Judge Me: So what can be better than the best diss track to ever be recorded? May it be a song that is so significant for the history of Hip Hop that it was covered by thousands of artists? Or a song so powerful that its name became one of the most used tattoo designs all around the world after it was released? “Only God Can Judge Me” is Hip Hop at its finest, and it symbolizes how far rap music can go. It’s also like a summary of 2Pac’s life. His strengths, his weaknesses, his beliefs, his sorrows, his dreams and everything else you need to know about the guy are all in those 5 minutes. Rest in peace, Tupac. You are and always will be a hero.


MPSÇ

Açıkçası yazıma, “Karşınızda Muasır: PR çalışması olmadan da piyasanın en tepesinde olunabileceğinin canlı kanıtı” diye başlamayı çok isterdim. Pek çok farklı sektörde başarı hikayesi yaratmış insanların sıfırdan başlayıp zirveye kadar uzanan yolculuklarının bir benzerini Türkçe rap endüstrisinde (endüstri hak edilenden daha büyük bir kelime olabilir) göremeyeceğimiz gerçeğini kabullenmemizin vakti gelmiş gibi görünüyor. Ülkenin en yetenekli birkaç rap sanatçısından biri olan Muasır’ın son albümü Pal Sokağı Çocukları kendisinin müzikten kopamayışını simgelerken aynı zamanda bu müzikte yolunda gitmeyen her şeyi özetliyor.

Çağdaş Şişman (Muasır), 2013 ve 2014’ün büyük kısmında bir adım geri çekilerek müzik piyasasının dışında kalmayı tercih etmişti. Müziğe ve özellikle Hip Hop’a olan aşkının galip gelmesi kendisinden çok biz dinleyicilere yarayacak gibi duruyor. O, tek geçim kaynağı olarak konumlandırılması olağanüstü güç olan bu piyasaya eserler armağan edebilmek için günlük işinden zaman arttırmakla uğraşırken müziğinin takipçileri olarak ortaya çıkan işlerin keyfini sürmekten başka bir şey yapmıyor olacağız, en azından bugüne kadar kendisine “dinleyici” sıfatını yükleyenlerin yaptıkları bundan ibaretti. Pal Sokağı Çocukları için durumun şimdiye kadar herhangi bir farklılık göstermediği aşikar. 8 şarkıdan oluşan yaklaşık 25 dakikalık projenin etkisini ne sosyal medyada, ne de önde gelen Türk Hip Hop portallarında gözlemleyebildik. Bunun suçlusunun kim olduğu elbette araştırılabilir, ancak şu aşamada albümün hak ettiğinden çok daha az sayıda kulağa ulaştığı gerçeği tokat gibi yüzümüze çarpıyor.

Muasır’ın Solucan Dünyasına Birkaç Benlik Ziyareti ve Alaca ve Sefil gibi albümlerine alışmış rap dinleyicileri için Pal Sokağı Çocukları ilk bakışta tatmin edici olmaktan çok uzak gibi görünebilir. Çift haneli şarkı sayısına ulaşamayan her albümün maruz kaldığı önyargıları bertaraf etmesi pek kolay olmayacak, ancak albümün uzunluğuyla ters orantılı bir etki gücü var. Sesi ve yorumuna günden güne güveni artan Muasır’ın orijinal sound’u ve her defasında farklı müzikal yorumlar kattığı köprüleriyle dikkat çeken “Miyazaki ve Ütopya” ile albüm girişini çok kuvvetli yaptığını görmek mümkün. Takip eden şarkıların hepsi yoğun bir müzikal dokunuş ile donatılmış. Muasır’ın her albümünde yaptığı gibi Karadeniz köklerini hatırladığı tek şarkısı olan “Hes Mi? (Tribute to Fuat Saka)” dışındaki tüm parçalar enerjisi yüksek ve temposu düşük çalışmalar olmuş. Bu açıdan albümün bir bütünlük içinde olduğunu söylemek yanlış olmaz.

Sosyo-politik konu seçiminden ödün vermeyen müzisyenin kullandığı tonun önceki çalışmalarından bir kademe daha yumuşak olması albümün ön plana çıkan şarkılarının da buna paralel şekillenmesini sağlıyor. Çağdaş’ın toplumsal, müzikal ve küresel sorunlardan soyutlanarak kendisiyle baş başa kalmayı tercih ettiği iki şarkı olan “1 Oda 3 Pencere ve Sonbahar” ile “Sona Doğru” parlayan yıldızlar olarak aradan sıyrılıyorlar. İlkinin sözlerinin samimiyeti, ikincisinin nostaljik yapısı ve tekrar tekrar dinlenesi nakaratı albümün altı çizilmesi gereken yüksek noktaları. Pal Sokağı Çocukları’nın kurgusu içerisinden “Demokrat Toplum” tadında agresif bir hit çıkması imkansız olacak şekilde yapılmış. Bunun yerine sanatçının soft vurgularla hayatından ufak dinletiler sunduğu parçalar öne çıkarılmış. Hangi tarzın Muasır’a daha çok yakıştığına karar vermek sizin zevkinize kalmış, önemli olan iki stilde de fazlasıyla yetenekli ve yeterli olduğunun farkına varılması.

Pal Sokağı Çocukları Samsunlu rap müzisyeninin kariyerini yazının başında bahsettiğim gibi sıfırdan zirveye taşıyabilecek nicelik ve niteliğe sahip olmayabilir, ancak yalnızca sanatçının diskografisine eklenecek tek bir satırdan fazlası olduğu da şüphesiz. Muasır’ın müzikal olgunluk yolunda attığı adımların en yenisi ve çılgınca müzik yapan M4NM ekibine katılmasından tahmin edebileceğimiz gibi sonuncusu da asla değil. Onun yürüdüğü yola baktığımda beni korkutan tek bir olasılık görüyorum: Arsène Wenger’in Muasır’ı Türk rap dinleyicisinden önce keşfetmesi.


Ne zamandır Ados dinliyorsunuz? 1 sene, 2 sene, 5 sene… Belki de ilk gününden beri yanında olanlardansınızdır. Onun o depresif, bir miktar kaygılı ve çoğunlukla mutluluğa hasret tarzını hepiniz iyi veya kötü biliyorsunuzdur. Son albümü Naperva size bilmediğiniz şeyler anlatmıyor, sizi daha önce görmemiş olduğunuz yüzleriyle karşı karşıya getirmiyor. Yenilik olarak tanımlayabileceğimiz tek bir özelliği var albümün ve mükemmeliyet derecesinde bir başarıyla sunuluyor dinleyenlere: Adem Oslu’nun aşina olduğunuz yaşamı, bambaşka bir dil ve anlatımla seslendiriliyor. Naperva “ne”den çok “nasıl”a odaklanmanız gereken sıra dışı bir sıradan hayat hikayesi.

Naperva Albüm Kapağı - Ön(2)

Ados hiçbir zaman neşeli yapısıyla ön plana çıkan, etrafa saçtığı gülümseleriyle tanıdığınız bir insan olmamıştır. Sürdürmekte olduğu hayatı da, tercih ettiği müzik tarzı da bu düşünceyi destekler. Bu açıdan Naperva eski albümleriyle karşılaştırıldığında bir farklılık göstermiyor. İlk şarkıdan itibaren sizi içine çeken kasvetli karamsar hava, albümün bitişine kadar peşinizi bırakmıyor. Adem hayatını anlatmayı, acılarını tanımadığı insanlarla paylaşmayı seven birisi. Müziğini içten kılan etmenlerden en önemlisi de şarkılarında yer vereceği anılara karar verirken seçici davranmaması. Onun hayatına damga vuran renk siyah. Naperva da kapağından müziğine, söz seçiminden vokal tekniğine her şeyiyle simsiyah bir tablo. Evet doğru, Ados’un kişisel hayatında ne denli mutsuz olduğundan veya sorunlarının ne derece devasa boyutlara ulaştığından kendisiyle bizzat tanışmadan emin olamayız. Bunun yaratacağı bir fark da yoktur: O, mutlulukları dahi karanlıkla harmanlayarak sunacaktır dinleyicilerine. Naperva’da olduğu gibi, ilk dakikadan son ana kadar aynı çizgide seyreden bir tema ve sayısız farklı duygu ile düşüncenin ortaya çıkardığı komplike ruh hali eşliğinde.

Naperva’yı sıradan bir albüm olmaktan çıkaran bir numaralı faktör canlı enstrümanların yoğunluğu. Ados’un standartın çok üzerinde bir söz yazarı olduğuna yıllardır şahit oluyoruz, fakat altyapıları bas gitar, piyano, klarnet gibi temel müzik öğelerinden oluşturulan şarkılar ile yepyeni bir boyuta geçmeyi başarmış. “Travma” ve “Bitmedi Kavgam” gibi girişi sakin yapılıp bir anda dört nala koşulmaya başlanan şarkıların ton geçişleri, “Anlat Ya Da Sus” örneğinde görebileceğimiz ruh hali ile müziğin paralel yürüyüşü, alternatif nakarat düzeni orijinalinden bile kaliteli olan “Gri”nin yaratıcı yapısı canlı enstrüman tercihleri sonucunda hayat bulan değerli yapı taşları. Ados’a bugüne kadar “sanatçı” sıfatı hala yakıştırılmamış ise, bugünden sonra kimsenin “sanatçı” demeden geçemeyecek olmasının sebebi yine Ados’un bu evrensel müzik bakış açısıdır. Piyasada istendiği takdirde kendisine altyapı hazırlamayacak bir tane beatmaker tanımıyorum. Bunu bilmesine rağmen canlı enstrümanlara yönelişi, müzik konusunda vizyonunun genişliğini açık seçik ortaya koyuyor. Geçmiş projelerini incelediğimizde konu bazında radikal değişikliklere gitmediğini gözlemlediğimiz Ados’un Naperva ile fark yaratmasını bu şekilde rahatça açıklayabiliyoruz.

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Ados’un her zaman en güçlü kollarından biri olan söz yazımında bu defa Everest’e çıktığını görebiliriz. Albümü “Sırrım”ı okuduktan hemen sonra dinlemenizi tavsiye ederim. Hem kitap boyu kullanılan metaforik dil muhafaza edilerek şiir ve yazıların adeta notalara dönüştüğü hissi verilmiş, hem de ilk parça olan “Travma” kitabın devamı niteliğinde bir ton ve teknikte hazırlanmış. Mutluluk dışında her türlü duygunun tadını alabileceğimiz şarkının karamsarlık-öfke-depresyon-sinir-isyan karışımı teması, kitabı okurken içimizden Ados’un sesiyle tekrar ettiğimiz dizelerin tam da hayalini kurduğumuz biçimde canlanmasını sağlıyor. “Bir kadın gitti, bir adam doğdu / Bu kadim karanlıklara evlatlık oldum” dizelerinde kederini, “Bir elim taş altında, diğeri kılıç tutar / Kendimi savunmaktayım dostlarım yok yanımda” dizelerinde çaresizliğini derinden hissettiğimiz Ados’un lirikal ustalık ile sözel duygusallığı aynı anda verebiliyor oluşu oldukça etkileyici. Çok söz yazmak ile kaliteli söz yazmak arasındaki farkı bu albümün satır aralarında bulabilirsiniz. Ados’un Atiberk’i yıllarca bizden saklamış olmasına duyduğumuz kızgınlığı lirikal zekasının büyüleyici dörtlüklere dönüşmesiyle unutabiliyoruz.

Naperva’da kendinize ait bir şeyler bulma ihtimaliniz hayli düşük. Bu Adem’in hikayesi ve onun hayalleriyle yoğrulabilir, onun sembolleriyle anlam kazanabilir, onun bilinçaltında kendini bulabilir ancak. Herkesin kendi yorumuyla ana fikirler çıkarabileceği didaktik bir eser değil bu asla. Sonuna kadar acımasız, sonuna kadar karanlık, sonuna kadar sanat için sanat. Naperva; yıllardır bayağı altyapılara söz yazanlara atılmış bir tokat, Hip Hop’ın sanat olmadığını savunanlara verilmiş güzel bir ders.