Yeezy Taught Me

In the blur of negative press about Kanye West, it's easy to forget how talented he is as a rapper and producer, but his new album, My Beautiful Dark Twisted Fantasy, is a strong reminder that Kanye is not only relevant, but needed. Easily one of the best records to drop this year, and maybe the best of his career, MBDTF delivers ridiculous beats, a roster of cameos that reads more like a guest list to the Grammys (spanning from Nicki Minaj to Elton John), and a self-awareness that is lacking in many of today's mainstream hip-hop artists.

A clear standout is single "Power," on which Kanye uses his swollen ego to his best advantage spitting rhymes like "At the end of day, goddammit, I’m killin’ this shit/I know damn well y’all feelin’ this shit/I don’t need yo’ pussy, bitch, I’m on my own dick" interspersed with moments of vulnerable introspection when he confesses, "Now I embody every characteristic of the egotistic/He know, he so, fuckin’ gifted/I just needed time alone, with my own thoughts/Got treasures in my mind but couldn’t open up my own vault."

Thought MBDTF is not rife with club bangerz, "All of the Lights" (featuring John Legend, The-Dream, Ryan Leslie, Tony Williams, Charlie Wilson, Alicia Keys, Fergie, Kid Cudi, Rihanna, and Elton John) is a surefire hit and will definitely set any party off. With a super catchy hook sung by Rihanna, an epic horn section, and a hard-hitting bass line, it's instant ear candy.

My personal favorite is "Monster," where Kanye throws down an old school beat and Jay-Z, Ye, and Rick Ross put on nice guest appearances, but Nicki Minaj really steals the show with what has got to be the most dynamic flow on the scene right now: she switches her inflection from Caribbean-tinged to Lil' Kim hard hitting to little girlish to valley-girl in the span of a single verse and proves that on the mic she's definitely a "mothafuckin' monster!"

Other standouts include "Lost in the World," which features Bon Iver in three-part harmony run through autotune then jumps straight into a great dance track, and "Blame Game," which has a tight flow and one of the most jaw-dropping burns that I won't ruin for anybody who hasn't heard it.

Long story short, this is an album that will be remembered as long as Kanye, and I really can't say enough good things. Does it merit the 10/10 that it received from Pitchfork? I'd argue nothing does, but hell, it's a worthy contender. Buy it, download it, steal it from a friend - whatever you do, give it a listen. You won't regret it.

Lady Dragon AKA...

(Disclaimer: I know it's been a while, but let's get down to the brass tacks: I haven't posted in longer than I'd care to acknowledge. In a moment of inspired insomnia, I'm getting back on the horse. There, I'm on the horse.)


Dragonette. Holy Canada, Batman! Who knew Toronto could churn out such bangin' femme poprock? The four-piece group, fronted by lead lady Martina Sorbara, has just released their major label debut on Mercury Records called Fixin to Thrill and it's definitely solid. Their sound is reminiscent of Metric, circa Fantasies, and the poppier side of of Yeah Yeah Yeahs It's Blitz (think "Head's Will Roll" and "Hysteric"), which means their music, at its best, is quite simply my jiggity jam. Though not nearly as seasoned or prolific as Metric or the Yeah Yeah Yeahs, and definitely not as vocally distinct as Emily Haines or Karen O, Dragonette's songs are, more than anything else, super catchy. "Pick Up The Phone" is my personal favorite, and was actually brought to my attention by my friend, and ridiculously talented DJ/Producer Dan Alcala, who just recently won Dragonette's remix contest for this very song. The original's got a sick, industrial kick drum beat that pulses steadily as Sorbara's airy vocal hits hard on the chorus. "Fixin To Thrill," the album's second single, boasts a more aggressive, synth-dominated sound reminiscent of The Noisettes, but can be most aptly described as a song that should have been playing over The Valley scene in Clueless. "Gone Too Far" has more of a radio-friendly sound and is unsurprisingly being pushed as their first single. I will admit, the rest of the album is definitely spotty, but overall a good listen. Currently on tour with Little Boots (whom I just saw play live last week and kicked ass/had a sweet laser show, which pretty much sealed the deal for me - if you have the opportunity to catch that show I'd highly recommend it), get the album, see 'em live. With hard hitter Mercury Records behind them, you should be hearing about these kids soon if you haven't already. Three thumbs up!