Thoughts On: SURF

Recommended Listening: Miracle, Wanna Be Cool, Sunday Candy

Welcome back to Thoughts On, where dreams do come true and I have never been more proud to be a trumpet player. In case you have not caught on this week I will be talking about 'SURF', the highly anticipated debut album from the Chicago based band The Social Experiment (or SoX). Before we begin it is important for me to say that this will be one of my more bias reviews as the artists involved in the making of this album have both influenced and inspired me personally, and it is an honor to finally be able to talk about their work. Around October of 2014 it was announced that this album would be dropping by the end of the year. However as the year came to a close it became clear that 'Surf' would not be out in time for our New Year's celebrations and instead went into a kind of purgatory until its glorious release a few nights ago. While not many have had time to really tear into the music and analyze every minor detail (and I have talked at length about this project on my podcast HERE) this album is a shining beacon of positive music and stands as a testament to artistic integrity.

So who is The Social Experiment? Well the band consists of different artists from different musical backgrounds that for the most part either grew up together and been friends for years. Most well known in the band of course is young MC Chance The Rapper, who became popular after they release of his '10 Day' mixtape in 2012, and achieved stardom with his stellar 'Acid Rap' mixtape in 2013. Chance has become one of the most popular rappers of the current generation, hopping on tons of features and even appearing in a short film 'Mr.Happy'. He has also (much like Kendrick Lamar) turned his fame inward and hosts events in his hometown of Chicago to inspire kids to turn their energy toward creativity and not to violence. Chance is known for his hyperactive and sometimes goofy personality that is broken up with moments of wisdom and insight that goes beyond his years. With all the hype about him, in lieu of going solo he instead formed a band with friends Donnie Trumpet, Peter Cottendale, and Nate Fox. This decision, which was explored in an interesting Fader article about the topic, was based on the philosophy that music should be free, and that artists nowadays have the power to outlast the archaic music selling tactics of the big business music industry.

Before talking about what the album sounds like it is important to dive into how SoX works as a band and the musical director behind the project. So the way it has been described, SoX is a collection of friends that play music. Sounds standard yes? In SoX however the twist is that each band member is being allowed to lead their own project, utilizing the other members talents to their fullest and putting out unique music that reflects personal taste. So as much as this was pegged as a “Chance release” that's not really the case. Donnie Trumpet was actually in charge of Surf, with the other band members serving as producers and contributing to the final project. It is a band focused around the prospect of making good music yes, but doing so in a way that there is no front man or most important member. If Chance seems like the front man to you that may only be because he is the most naturally charismatic or outgoing one in the bunch. They want to explore what they can do and make interesting music, which is why the band has also avoided any major record deals and contracts up until this point.

So who is Donnie Trumpet? Well Nico Segal as he is known legally, is a trumpet player/producer who first started playing in the band Kids These Days (which sadly broke up in 2013). This Chicago based band also happened to contain members such as Vic Mensa, Marcie Stewart, and Styx, who are frequent collaborators with SoX now and good friends with Chance as well. The first time I heard Nico was actually on the Chance track 'Long Time II' where he busts out an amazing solo. At the time though I had no idea how deep his skill or musical discography went. Turns out it runs pretty deep for such a young man playing one of the hardest wind instruments to master. With Kids these days you not only hear his amazing talent on tracks such as 'Talk 2 u', but you also get to hear the blueprints for the genre breaking style that would later transfer over to SoX. Not to say that the latter is a direct sequel to the former, but without Kids These Days there may not ever have been a Social Experiment. After the band split Nico got into solo work and released the Jazz and spoken word fueled 'Illasoul: Shades of Blue', a short but sweet project that featured Vic Mensa, Marcie Stewart, and even MF DOOM and focused on the beauty of music. Later he dropped the 'Donnie Trumpet EP', another short work that is more musically daring that his previous work. This EP features the track 'Zion', which is the song that inspired me to practice my own trumpet more and find ways to make such a classic instrument so powerful again. Nico has been described as Slash in terms of his horn prowess, manipulating it in ways that continue to shock and amaze while still retaining a great Jazz foundation. When I found out that 'Surf' was his project I could not have been more excited. What could one of my modern musical role models bring to the table given the talent he had at his disposal? The answer came in the form of  an album that took me by surprise and reminded me of how fun music can be.

So what does the album sound like? Well after only hearing one single off the 16-track LP it was hard to figure out where it would be going musically, but when the first harmonious vocals came in on 'Miracle' I knew I would be in for a treat. This beautiful intro starts with a slow harmonic chord that rises and falls multiples times before pausing and Chance coming in with a poetic verse about the beauty of life. Snares come in and you hear Nico singing about how it is a miracle to be alive. This first song already points the album in such a positive direction, not only is the lyrical content telling you theme of the album but you can feel it. This becomes a motif throughout 'Surf', and while it may seem redundant the actual sound of a song plays just as much of a role in your perception of it as the lyrics do. With such big chip on the projects shoulder it needed to come into its own identity as soon and as clearly as possible, something it does with style and poise. Next the happy vibes turn to fun in the track 'Slip Slide', an upbeat marching band-esque sound song that is rooting in being a party track that makes you wanna move your feet. There is a simple horn flourish that is repeated by trombones and trumpets alike throughout the song that actually make up the chorus, making me thing that Nico may start his songs with the trumpet as a base and build from there. Busta Rhymes,B.O.B, and Janelle Monáe both have features on this, keeping with the theme of a party and making it just a joy to listen to. The track ends by slowing down and changing completely into this lucid simple verse by Chance about how sometimes it is easier to give up rather than stand for yourself. A twist at the end of an otherwise happy song. This sudden shift tone transitions well into the next song 'Warm Enough', a smooth wavy track featuring an insightful verse by Noname Gypsy that begs the question “who are you to tell me that I am not [blank]”. This song seems to be about love, and how it is given. J.Cole actually comes in for the second verse to apologize for his selfish acts in a situation but also takes the time to reflect on the motives behind his love. Throw in the slow moving instrumental that denotes and air of seriousness and what you get is a song that makes you reflect without losing the positive tone of the overarching album.

'NothingCame To Me' is a purely instrumental song that is prominently Nico playing a solo that that starts off as a dissonant and even angry song and then in the middle of the track the overall sound gets brighter as more chords (made by trumpets) come in and his own trumpet echos to give the illusion of a bigger sound. The transition seems like the musical representation of an epiphany, with an “AHA” moment striking in the sound and built into this bold idea. The tail end of success flows into 'Wanna Be Cool' one of of happiest songs I have heard in a long time. This song starts with Chance simply saying “I don't wanna be cool, I just wanna be me”, setting up the pretty self explanatory idea of the song before singer Jeremiah, the horns, and drums come in to form dance beat and it breaks down for a feature from Big Sean. Now I am not the greatest fan of Big Sean but his verse on this song was really good, followed by a fun verse by rapper Kyle that just makes this a great anthem about being yourself. Slowing down again we get the R&B fusion inspired track 'Windows'. Here in this track Chance has a sung verse in which he states “don't you look up to me, don't trust a word I say”, as scattered vocals and what sounds like conga drums ring in the background. The song actually evolves into sound like it was in inspired by the Lion King, with a very West African sound. While Lyrically misleading it seems to be a continuation of themes of finding yourself instead of blindly following what is cool or what artists say. Childish Gambino has been known to say similar things, claiming that one day all of his followers will realize they don't need a leader. In 'Just Wait' we get a digitally modified trumpet solo that sounds very poppish and electronic as what sounds like the other members of SoX cheer on Donnie in the background. Then the melodic chorus comes and the theme emerges, good things come to those who wait. It seems as though in this album each song is a piece of whole that is becoming more and more apparent as each song plays out.

'Familiar' Starts much in the same vein that 'Windows' ended in, an instrumental that is almost cartoonish, mostly because of a particular Jazzy selection of piano chords that was used in the making of the song. Chance delivers a verse about the ideal women and how after awhile all these standards for beauty all become so trivial and they all look familiar. Which makes sense considering the rest of the album. The value of being unique in this modern age cannot be understated, but choosing to just copy what you see and not be your own person is not the solution. Even Quavo of Migos stops by to further elaborate on how the idea of special is such a confusing concept these days, girls say they want ballers but what does that mean? Also this is not a generalization of all women, I'm sure the rappers are just talking about people they have dealt with personally, but the idea is still interesting. In 'Go' we get a straight throwback MJ era dance party, with a disco groove and smooth hook by Jesse Boykins III and verse by Joey Purp about the joy of living in the moment and going for what you want. It is about as pop as you can get but that is not a bad thing, as the fusion of styles lends itself to a unique and fun play rather than a systematic radio hit. Moving on to 'Something Came To Me' we get another trumpet only that is also built on a trumpet echoing itself but this time the overall tone is much brighter than the previously talked of 'Nothing came to me'. This starts strong and gets stronger, with waves thrown in via a pedal to make fluctuations that give character to the song. The epiphany from early is carried out to a full idea. 

In the serene track 'Rememory' built off of a simple guitar chord progression we get a song about reflection that sounds like it was inspired by the greatest R&B hits of the early 00's with Nicos Jazzy flourish masterfully inserted. The legendary Erykah Badu makes a short appearance lending her sultry voice to the relaxing track and making this one of the best put together songs on the whole project. Following this is the only single we got leading up to the album, 'Sunday Candy'. This song which inspired an amazing music video and generated buzz for the album better than any rumor could, is driven by piano before we hear Chance come in and sing/rap a song about his Grandma. This cute song is an anthem to a women that both Chance and Nico look up to. It is also heavily inspired by gospel music, which makes sense since Chance says he needs to “take his butt to church” in the song, since this is the kind of music his Grandma turned him toward. Jamilia Woods sings the hook first solo and then with the accompaniment of what sounds like a choir as the song builds and builds. I think this is the most powerful song not only of the album but of this year and last year, fusing gospel with Hip-Hop to make a beautiful song that captures the essence of what it means to love and share music with your loved ones and the world. After this powerhouse track the album ends with 'Pass The Vibes', which starts with a bass guitar chord progressions before again more conga sounding drums come in and Nico comes in along with a more vocals singing variation of “Pass the vibes”. It is a simple and short song that allows you to think and digest on the musical experience you just had.

It is important to note that this is not a Hip-Hop album. As much as this hailed as being released under Chance (as I mentioned earlier) this is more about Donnie Trumpet's vision carried out as full LP. The result does not really belong in any genre besides maybe Pop. Now a lot of people see Pop as a throwaway category for radio hits and mainstream success, but remember that Pop also means MJ and Beyonce, who cannot be contained to one genre so they ride the line of Pop. So while this wont be on my top 5 Hip-Hop of 2015 list it will certainly be on my top 5 overall music list of the year along with 'The Epic'. Looking at this without the distraction of genre makes it much easier and funner to analyze. Nico was able to not create this able that is meant to be about finding oneself and connecting to the love around you, but he did so with all the features he had as well. A lot of albums have features yes, but to make Erykah Badu and Migos sound like they are meant to be on the same project is quite the feat. Organizing all these rappers in musicians to make a multi layered album about a somewhat simple message is nothing short of genius. This is even shown in the albums cover art, which is a pile of rocks with the sketch of a message in a bottle behind them.

 I believe that the message is to us, telling us that we need to look inward and connect outward to be successful and get the most out of life. A lot of people expected a less boring album cover but the color lies inside the bottle and within the music. Anyone who listened to this album early or worked on it stated that this is the kind of music meant to be listened to again and again, music that makes you happy to be a music fan. I think this sums up the album perfectly. With such dark times and dark albums coming out reflecting reality it is almost important to remember why we love music so much, and this is the music you can play in your kitchen while you dance and cook or at a party with people and just relax and enjoy each others company. I cannot wait to see what the rest of the band members have in store when it is their time to conduct, and I hope more people can come to see the power of this album and what it means as an inspiration for music makers down the line. You don't need a record label to be happy. If you are patient and making good music with your friends then your time may just come. I urge you all to of course: LISTEN SOON to this album. Just in time for summer this fun project will having you loving life and singing along.

Thoughts On: Black Excellence in Music

Recommended listening: The Epic, To Pimp A Butterfly, Black Messiah

Welcome back to a late yet important addition of Thoughts On, where I hide my tardiness by claiming this write up is more important than all the rest. This week I will not be talking about one album in particular but rather a collection of works that I personally have deemed the trifecta of Black Excellence and empowerment in this generation of music. These albums being 'Black Messiah' by D'angelo and the Vanguard, 'To Pimp A Butterfly' by Kendrick Lamar, and 'The Epic' by Kamasi Washington and his band. Each of these albums has demonstrated its ability to blend multiple aspects of black music seamlessly and send a message to the masses that we as a people are stronger than anyone gives us credit for. With the protests happening and more attention being paid to how black people are acting and reacting to situations it has now become imperative to produce as much positivity as possible so not only does the media see how amazing a people we are, but also so that we ourselves never lose site of what we can do with our vast potential.

Now so more than ever I am hearing the term “Black Excellence” being used to as a motto for black people both both young and old to symbolism pride in their skin, culture, and ability. It is not a bragging tool but rather a shield against the ignorance and prejudice that we may have to experience on a daily basis. That being said a motto or symbol has no meaning without a drive to keep it alive, and with the release of 'Black Messiah' last December we saw an an album by R&B singer D'Angelo, the man who pioneered the Neo-Soul genre that artists like Frank Ocean now make their career off of, coming back after a 14 year hiatus with one of the most important musical projects of the decade. Playing off themes of faith and empowerment this album stands as a testament to the reliance of the black spirit and was the most highly reviewed project of last year for good reason. Then in March of the next year we got TPaB by rapper Kendrick Lamar, a masterful album that focuses on the dark themes like black depression, oppression, and temptation before transitioning into having a positive self-image in the modern era. Finally just this month we got 'The Epic' by saxophonist Kamasi Washington, a 3 hour long Jazz album that is musically one of the impressive projects I have ever heard. While there are not many vocals in this album the few that exist revolve around love and change, with words from Malcom X himself about the value of acceptance.

So what makes these the trifecta? Well besides the fact that their close release proximity makes this all seem planned lets go step by step and see the role these all play in modern black culture. First off want to start at the covers of each album, which are all black and white with simple pictures that represent deeper symbols of black struggle and potential. Starting on 'Black Messiah' all you see is I bunch of black hands in the air in what seems to be some type of rally. Now given how this album is based around faith it is not a stretch to assume these hands are all raised for God or some equivalent. In a country where our skin can be used as a weapon against us it is often easy to feel powerless, and when that happens a lot of us turn to a higher power. To those who knock religion it may seem stupid or futile but considering it has only been 61 years since it was legal for schools to be segregated in the U.S there are much crazier things to be found in the world than a persons faith. Next we have the cover of TPaB in which a bunch of black youth (presumably from Compton) are all posed in front of the White House brandishing money, alcohol, and gold chains. While not as straight forward as the previous album cover this strikes me as a juxtaposition between black ambition and reality. We may desire to be presidents or have influence but are destined to just be labeled as thugs, even though we never chose where we were born or how we look. Another interpretation is just to show two sides of American and to try and generate questions in the minds of those that cannot fathom these two entities existing in the same space. Lastly with 'The Epic' has Kamasi Washington wearing cultural attire and holding his saxophone in front of a backdrop with is a beautiful mural of the the Moon with the Earth in the distance behind him, the opposite arrangement from what you might expect. A man and his music so far removed from the criticism and restrains of Earth that he is on the Moon, doing what he loves most. Faith, conflict, and finally passion represented through just the covers of these albums.

So what do they add to the movement musically? Well with that we have to go into the next step and see what the all offer individually. With D'Angelo's signature genre defining smooth style you can say that he encourages us to look back at our past and take inspiration from all the good that we have done so far as a people. With songs like 'The Charade' which has a psychedelic sound and mystic vocals that come straight out of the past but still ring true in 2015 he proves that we may already have everything we need to make something amazing. Musically his album is probably the most tame out of all three of the projects we are talking about, but it still carries the weight of a generations worth of experience and expertise in song crafting. Deep bass, expertly implemented horn sections and wavy vocals make this an experience to be had. This is the kind of album that we as black youth will be able to play for our children and pique their interest in where our music came from. It is simple yet complex  far beyond my limited musical knowledge. It is the soundtrack to a block party, a ceremony, road trips with your family, and revolution. Even as songs off this album were performed live on late night TV there were was always some kind of symbolic performance aspect like solid black “Black Lives Matter” hoodies with dark lighting to show how serious the song is. Indeed the longer this album remains out in the world the more you will be able to take from it as it the musical embodiment of our ability to believe and achieve.

I have talked at length about Kendricks album at length both online and offline and you can read more about that HERE, but for the sake of this write up it needs to be said that TPAB is more than just a Hip-Hop album. It takes aspects of Soul, Gospel, Jazz, and Funk and brings them together to create this dark tale about a mans personal demons and how he fought through them. Hip-Hop is the result of blending other genres as it is, which is why I love it so much. So for this project to go as far as incorporate everything into a cohesive body of work not only serves as a testament to a rapper's ability and Hip-Hops power, but shows that we can make anything possible if we fight for it. Hot off the release of an album people had already deemed classic and dealing with the depression that came with fame was not easy for Kendrick, and as a result this album could not have have been easy to make. How does a boy from the hood deal with suddenly being hailed as the king of the music that inspired him to get out of the hood? This album is a personal story but it applies to the entirety of the black race. We are all human, whether the U.S wants to see that or not, and the struggles that we go through because of clashing ideas about class and what it means to be black can bother our youth day in and day out. It is a depression that is the result of things we can't help and things that forces outside our control refuse to fix. All this being said in this album Kendrick shows us it is possible to be happy and love yourself despite the depression you may feel. At the end of the day the music is about how to survive even when you feel like you have nothing going for you by using everything you know to make up for what you do not have.

Lastly and probably the hardest to talk about is this 3 hour long masterpiece that Kamasi Washington created after years of being in the bands of other famous musicians and artists (his musical resume also happens to include working on TPaB funny enough) to show what he could do. I was planning on doing a write up of this but writing about instrumental music is one of the hardest things ever and I believe everyone should just listen to this on their own. To put it simple this album is what happens with black people are given the freedom and resources to create. From the opening track 'Change of the Guard', the 12 minute opening of this album, we get a Jazz sound that would bring tears to the eyes of greats like Charlie Parker and Miles Davis. Make no mistake by what I mean when I say Jazz, this is almost entirely instrumental but never feels like it. Through long solos and beautiful transitions each instrument takes on a life of its own and you can feel the passion in what each band member is doing. This is music. Jazz is one of my favorite genres of music because it knows what it is and regrets nothing. The music on this album is fearless and proud, not hiding in the shadows of racism or timid in how it does what it does. This is the kind of sound you get lost in, inspired by, and through it you are reminded of how much power and potential we have as a people. Despite the atrocities being committed against us this album exists, and is one of the strongest Jazz records to have been released (and I am going on a limb by saying this) ever. This a classic not just because it is well executed musically, but because we can learn from it. Each listen brings out a different instrument, trying to decipher the meaning behind the song names through the music provides a fun mystery, and creativity like this can empower anyone of us to do anything. This album should not be possible. A single album should not be longer than Avatar or a Lord of the Rings movie, but it is, and despite the odds it has earned its album namesake.

When all is said and done these albums represent the black past, present, and future of music, and by extension our culture and ability. Music is such an integral part of our lives that it may actually be easy to miss these works. We hear music all the time so what makes something stand out? Well the answer is the message and quality of the music. Like good novel these albums are worth listening to again and again and again. They will not feel whole upon a first listen as they are not meant to. You have to think about the songs and what they mean while also seeing how they apply to our lives. These three albums are about the black experience and the ups and downs that go along with it. We are often reminded of the downs (and these albums do not shy away from that) but it is always harder to remember to good over the bad. I think more conscious music is being made and in ten years when we look at the hottest albums of 2025, I wonder how many albums will have been inspired by these three projects. Music like this saves lives and starts careers, proves that we carry influence and inspiration through our words or chords, and serve as proud anthems of Black Excellence. They are fierce and genuine, like the people they come from, and collect hundreds of years worth of knowledge to then condense and serve as brain food to current and future generations. I urge you, no matter what race you are but black people especially, to: LISTEN SOON to all of these albums and never forget the power that music plays in our lives and revolutions.

Thoughts On: Blind Elephant

Recommend Listening: Lyrical Miracle, Press Harder, Selfish

Welcome back to Thoughts On: Summer Edition, a special name given to my write ups over summer because they may or may not be delayed by whatever. 2015 continues to be a fantastic year for Hip-Hop music and as summer approaches we can expect even more huge hits from the likes of Kanye West, Pusha T, Frank Ocean, Chance The Rapper, and possibly Vic Mensa and MF Doom. In the midst of these super star releases however I think it is important to continue searching for thinks outside the biggest name or the top sellers because once you push aside the money and fame what you usually get is raw talent and sincerity. These traits, and more, define the album 'Blind Elephant' by rapper Gemstones. Now to me this project came out of the blue but upon listening this hyper religious/political/personal project really made me reflect on what I means to be a fan of Hip-Hop, both from a fans perspective and a rappers perspective. While not perfect the albums aggressive yet honest nature and unwavering ability to stay true to itself through its 50 minutes really caught my attention and got me writing.

So who is Gemstones? While from his name you may suspect he is a prominent “money, girls, etc.” rapper created in the bling era of rap, Demarco Castle is far from it. This Chicago born and raised rapper was actually once on Lupe Fiasco's 1^st and 15^th label around the time of Lupes first two major album releases, in fact I remember seeing Gemstones name (Formerly Gemini) list as a song feature and not knowing who he was. I figured he was just a one time feature that I would never hear past this song and in a lot of ways I was right. While his additions to songs like 'The Die' and 'Dumb it Down' helped make those songs amazing I heard nothing of his solo work until coming this album through the HHH subreddit online. As a huge Lupe fan I figured I owed it to Gemstones to give him a chance but then I wondered why I had never heard from him. Turns out soon after 'The Cool' dropped Gemstones retired from the rap game. The meaning of why we discuss in more detail as we get into the album but from my understanding his heart was simply not in it anymore. In a world where money is power and the music industry is all about money I can see how the pressure could get to a mans soul and soil his art. However instead of giving up Gemstones returned to the Hip-Hop world after being saved by god and devoting his life through his faith. Now at this point many people rolled their eyes, a familiar story often times used to save face or get attention, but in 2012 after Gemstones dropped his mixtape 'Elephant in the Room' many people took this mans word as bond. Gemstone excels in painting dark pictures through his lyrical narrative and somehow always squeezing in bits of hope in his stories. While he is not afraid to dive into the darker side of humanity this rappers goals seem to be to tell his story and save lives.

So what does the album sound like? Well it starts of with 'Quick Go In', a fast paced guitar driven instrumental over which we hear Gemstones star the album with a prayer. Not the kind of prayer in which he asks for his album to be blessed or his words to reach people but rather just a thank you for everything he feels as though God has provided to him in life. After this he starts with an aggressive verse about how he has gotten to where he was, from recording in basements to being fed with the strings that tug at the music industry and to his own redemption. This intro serves not only as introduction to the album but as an overture to Gemstones character. We get a fast and frantic flow that catches you off guard and lets you know that the man behind the mic means business. In the second track 'Believe' the fast pace slows down and we get choir like melodies rising and falling in pitch for effect as Gemstones recites another prayer, this time asking for defense and protection. Then a snare drum and guitar come in and the song becomes a bit of a heavy ballad about Gemstones desire to believe in himself and be more than he is now. It is also important that in this song there is no rapping, Gem is singing and the instrumental provides the perfect dramatic backdrop to this self-reflective record. One of the reasons I think this track (and a lot of the album) is so powerful is because so far in this album it never feels as though Gem is trying to force religion down our throats. Many peoples problem with religion is never the religion itself but rather how it can be used as an excuse rather than a motive or reason. Tons of rappers use religious references in their music or general life styles (Kendrick, Kanye, Tyler the creator, etc.) but how they use them influences how preachy we perceive their music to be. At the second track it becomes clear that not only is Gemstones super religious, but he is incorporating that fully into this album because that is just who he is. 

Seemingly in a manner assure us that it is okay to do that we get a dark track 'Lyrical Miracle' to pull us into the mind of man torn between the world his faith. In this piano driven song supported by bass and deep blaring horns Gemstones lyrically proclaims himself a beast and rare breed in a world where many rappers fall short. Though he does not just say it in his words you can feel it in his delivery and cadence, the man is on a mission and samples his own intro 'Fire in my heart' from his 2012 mixtape (which was in a way supposed to be a setup for this) via the lyrics “June 20th a Gemini is born, Ain't no secret I'm murdering anything I get on”. Through this lyrically abrasive tune we get a look into a part of Gemstones nature that may have little to do with his faith, we get to see his skill as a rapper take center stage while still keeping consistent with the theme of the album so far, the theme being to make something memorable. Next up to cool us down after the speed of the previous track we get another piano fueled track by the name of 'Press Harder' where in a very 2009 Fashawn like fashion Gemstones tells a personal story about his love life and later his writers block. All the while smooth jam is encouraging you to try again and press harder. Revealing how he feels like an outcast the second half of the song is sung and again you can feel the rappers sincerity through his music. He references a Safety pin in this song, which is a re-occurring theme through the album starting from the first song, and I think in this song I has the clearest symbolic meaning. Most of the songs on this album are pretty short, but they all carry their message swiftly and clearly. Unlike Lupe's often mythical style of rapping and wordplay Gemstones knows what he wants to say and how to say it. In what I think is the political track on the album 'New World', Gemstones speaks on what he feels the world is becoming. Taking a bit of a conspirator's point of view he raps about wire taps, the presence of otherworldly life, and denial of said life in America. All this to paint the picture of how he feels the country is being ripped apart because of an “Un-united nation”. As the kick snare patterns suddenly give way to acoustic guitar chords Gemstones talks about a conversation he had with a friend in which he learned that music is not about money but about power. It is a nice easy to understand metaphor for everything you love turning on its head and giving way to something much uglier.

Skipping a track we move onto 'Temple', which reminds me of 'Jesus Walks' in a lot of ways. Meaning that it is a religious track that does feel like such because it is more of Gemstones interpretation of his faith rather than him trying to convert us. In this song it is revealed he learned of Jesus threw his Grandma and later found him out his own desire to be saved. Personally as a black male this song reminds of why religion is necessary in a lot of our culture. While some may see it as a dumb dependence on nothing to a lot of black people it represents a saving rope and way to keep yourself on track in life. In this song we get to see what Jesus means to the rapper not just because it was passed down but because there is something about the spirit that Gemstones was simply drawn to. Not only that but the great production on this song (rising chords, a steady kick drum, and simple piano melodies that later give way into a gospel like clap session) and makes you want to move along with the message. In the darkest record on the album, 'Selfish', we get a song a about depression and the desire to kill yourself. He tells the story of a child molested and how they become cynical and self-loathing because of it. The story takes a steady believable descent of the characters sadness and all the factors that slowly close in on they cause them to attempt suicide. It is at this point that Gemstone takes turn in tone and starts to bestow positvity onto the previously stated character. The somber piano and haunting vocals turn into brighter chords with a tambourine hit steadily thrown in to give it a church vibe. From here until the songs end he bestows upon his listener the power to rise above all evil in life, addictions, financial loss, etc. and reminds us that we are the ultimate factors in our destiny. With such a shift in tone this song becomes one of the most prominent on the album and shows that Gemstones is really trying to make a difference with his music and not just hit numbers. 

In 'Almost Home' the positivity continues and Gemstones advocates fro his black brethren in less advantaged communities pushed toward less then desirable outcomes because of the environments they are put in. He speaks on how he himself has been a victim of others peoples will, getting screwed by the industry and being put in box because of his desire to rap and sing, but reminds us that the finish line is coming. Now personally I think he is talking about the rapture but this could also just be interpreted as better times. He also criticizes those who only use God's will or name to make a presence for themselves, stating they only want the money not the responsibility or influence. On the last song of the album, 'Rapture', which starts with a very Elton John-esque piano intro before picking up and adding kicks and snares We get a very detailed depiction of the rapture, or end of times in terms of Christian lore. Gemstones uses this song to encourage people to repent and meet Jesus before it is took late and there is nothing left for us. It is admittedly an odd way to end an album but it leaves us with a strong message about karma. Those who act out now will one day have to answer for their actions, and those in the right are gaining the favor of a high power. Religious or not I do not think anyone can argue with the message of bad things happen to bad people, and as the album closes with a child explaining what they think the rapture would be like you get the sense of how scary the world must to a child growing up in this dark times and how important it is to make sure the we get out this positive message while we can.

As a Religion minor the study of faith and how it affects the daily lives of others fascinates me. Personally I do not mind religious references or lore in music, as long as they tastefully integrated. Gemstones is a Christian rapper, straight up, but that in no way diminishes his skill as a rapper or his message as a person. Much like Lecrae is respected despite his faith I believe Gemstones and his album should be praised for what it does well and critiqued for what it does not do so well, just like any album not soiled by those scared of religious overtones. This artist put not only his skill, but his faith out in the world to create this message fusing biblical prayer and lore with personal stories of struggle and a universal understanding of the desire to be a better person. While it is not perfect and two of the songs I skipped I did so because I felt they lacked proper context, as a whole this album surprised me in a good way. I look forward to listening to Gemstones previous work and looking out for his future blends of rap, intense vocal hooks, raw or graphic storytelling, and sincere meaning behind it all. If you hate anything remotely religious I recommend you skip this but if you are willing to dive in and listen to a unique look through a Christian rappers eyes then I suggest you: LISTEN SOON. Thank you all for reading this weeks Thoughts On, next week I will hopefully be reviewing 'Surf' if it drops and if not I will go back in time and talk about an awesome mixtape or album from a few years back. Heres to the start of an amazingly musical summer.

Stomping The Symbol

In lieu of a music review this week (I am waiting for The Social Experiment to drop the highly anticipated Surf so I can lock myself in a room and listen to it forever) you are getting a rant. With the country catching fire again from an issue that people tried to fool themselves into thinking was solved, a lot of tensions are rising. It seems like only months ago my friends and family were distracted and distressed by the protests happening in Ferguson and trying our best to keep ourselves sane in such a dark time. In fact it was only months ago, and yet I see the same kind of people writing the same idiotic arguments missing the point of the revolution that is trying to pop its head out of all this madness. I will not go into details about what is happening in Baltimore because I feel like if you do not know by this point then you need to put more effort into finding out information on your own. If this sounds harsh I am sorry, but we are in charge of our own opinions and there is a more specific issue that I want to get into today: the #EricSheppardChallenge.

For those of you who do not know, a challenge has been circulating around social media known as the #EricSheppardChallenge. This challenge, issued by the man it is named after, involves desecrating an American flag in some way and then posting it on social media. This story broke national headlines when a veteran tried to intervene in Sheppards flag burning and an altercation broke out. It is important to point out the Sheppard apparently proclaims himself to be a “terror towards white people” and identifies with the New Black Panther party that is slowly growing in membership (I wonder why). So while he started this trend he is a little more radical than most. He is now a fugitive on the run but that is not the point of this story. The point is that his challenge took off and now pictures and videos of young African-American's are showing up over media of them stomping our standing on flags. One video, deemed “graphic” by a news site shows a woman doing the Running Man atop a flag before exclaiming “F**k your flag” on camera. Now to me this is not a big deal, all states have different regulations of how they treat those who disrespect the flag, and it is obvious why this person did it. So naturally I figured that reason would be clear to anyone else watching the video. Nope. People have gone on long tangents and rants about what the flag means and how stupid these people are for stomping on freedom and worst of all they comment that “if they don't like it here than they should just leave”. Now I usually go out of my way to blow up at people on social media or voice my opinion too loud online, I prefer to embody the changes that I want to see. I prefer to try my best to be an educated black man so you cannot lump me into your poorly made stereotyped boxes, and a lot of my peers do the same. However, being educated means putting yourself in uncomfortable situations, so this is me ranting because I believe in moving forward.

First off let us clarify what a symbol means, because most people just spout the same time old speech that, “The flag is a symbol of America and the freedom and pride it stands for” without understanding that there is more to the flag than this one interpretation. A symbol is usually a physical object that is used to represent something else. Paper represents money, engagement rings represent a promise, and a cloth represents pride and freedom. Now I do not mince my words, the American flag in any size is nothing but a cloth. True it is a cloth that was created to mean something, but it has no meaning outside of what we give it. The world is made up of our perceptions of the world and if you perceive the cloth as dangerous than the cloth becomes dangerous, if you perceive it as a hero than it becomes a hero. The cloth that is the American flag has never protected you or personally made your life better in any way but what it represents rather is an entirely different story. The most common complaint I hear about this challenge is that by stomping on the flag you are somehow spitting in the face of everyone who has ever died fighting for this country and are in a sense a terrorist. As passionate as people may be about this country this is not a healthy interpretation to take away. I have family members and friends who have served in the armed forces, people who make it their lives to try and protect the country that their loved ones are in and you cannot help but respect that. However to base your reaction to this challenge off of a one dimensional view of what a flag represents is close minded and counterproductive, and no one is close minded right? No we all want to be that open minded intellectual without ever considering other points view or opinions. What about the innocent people killed in drone strikes to “protect our flag”, or the immigrant family that came here for a better life only be subject to racism and abuse upon crossing into America? The point here is that if you want to praise the flag as a symbol of America, keep in mind it is a symbol for ALL of America. This country that boasts such a proud lineage of freedom fighters is also the same country where police can perform no-knock raids and plant evidence to justify killing a harmless family. That is what we cannot forget in these situations; that we live in a great clock that is bogged down by its corrupt rusty gears. People who stomp these flags are not trying to offend anyone except those who are opposing the meek and upholding immoral values, which sadly is more people than the critics of this challenge realize.

I have seen many comments calling participants in this challenge terrorists and declaring that we should have “Open season” an anyone who disrespects the flag. Now as easy as it is to hide behind a screen and type mean words that sound threatening, think about what these people are saying. They want people to be murdered for openly expressing their dissatisfaction with a country that has proven it is not the pillar of virtue that many people claim it to be. The reason why it is illegal in a lot of areas of the U.S to destroy flags is because America is afraid of losing its blind patriotic hold on its citizens. If a man decides to burn a flag outside his house in such a way that he does not hurt anyone is it still a crime? The same people who want harm to come to those who burn flags still blindly recite the pledge of alliance without ever thinking about they are actually saying. Wanting someones head for destroying a cloth is misguided, especially since the flag will only ever be a distant vague symbol of freedom for most people. I understand if you served in the Armed forces and would do anything to protect America or you have a very personal reason to cling to the flag that I may not totally understand, but as a person you have to know the difference between expressing an opinion and an actual viable threat. A flag being burned by someone scorned by the country you love does not take away what is great about this nation, but it rather highlights it's flaws. There are a lot of young people out there who have had to watch as time and time again they have been told that because of what they look like or who they are that America will never fully accept them. This also goes beyond race. This is same country where same-sex marriage is not legal in every state and we have the audacity to claim that we stand for freedom. In some ways we are moving forward but if you are too stubborn to see the faults in the symbol you swear your loyalty to then don't try and feign being educated or open-minded because you are part of the problem.

The worst of it though is the comment that “if they don't like it than they should leave”. Are you serious? First of all the vast majority of people who say this have no idea what it feels like to actually FEEL unwanted in this country. I was born and raised here but there are a lot of time I feel like a stranger in my own homeland, and that is where the problem lies. This is our home. We are not here because we asked to be, history just put us here by chance. As it is equally our home as anyone elses we reserve the right to try and make it a better place for those who feel targeted by patriotism. Say we were to leave, where do you suppose we go? We do not know any home beside this and being asked to leave for voicing our opinion (in a way that does not actually hurt anyone mind you) is hateful and ignorant. Imagine in school whenever you could not do a problem right the teacher just told you to get out instead of helping you. Imagine how backwards it would be if we lived a country that gave total freedom to some while restricting the freedom of others. Do not tell me to get out of my home when you do not know what it feels like to be homeless. Those who have never tried to understand why someone would step on a flag or what that actually means should not be allowed to contribute to the ever changing dialogue of revolution. I am glad people are doing this challenge. I want America to feel uncomfortable and pay attention to how unhappy a lot of the country is with the way they are being treated, and have been for a long time. When we are starving or in poverty they don't glance in our direction but when it comes to their precious flag now all of a sudden they want to pay attention.

I do not recommend that any of my friends go out and burn flags because I do not want anything to happen to you, but if you decide to do it I will completely understand why. If someone burning a cloth makes you so upset then I think it is time for you to look inside yourself and ask just why you it bothers you so. I do not want to go as far as saying this devout loyalty to the flag makes people brainwashed, but there is a reason this challenge came to be and if you do not want to see that then we have much bigger issues at hand. Think about it, just by writing this post and expressing my opinion about a cloth my well being may be at risk. Back home I am surrounded by a very patriotic community that while usually understanding would not take kindly to me questioning their symbol. I get that you love it, but I do not believe in loving or valuing something without knowing why. I love America, but not all if it. I love that we have a flag that should represent freedom and pride, but I also know that not everyone is guaranteed these rights. This is not the time to be uneducated and stubborn, now more than ever we need people to peel off their blinders and see the country for what it is. If you want the flag to mean so much then lets make America a country worth being proud of. If you are not willing to do this or honestly do not comprehend anything I have said then this post is not for you, you are too far gone. This trend of flag stomping will not stop as long as people are unhappy with how this country treats them, and if you do not like that then maybe you should take a second look at this country you have sworn allegiance to.

Thoughts On: Cherry Bomb

Recommended Listening: Find your wings, 2seater, Smuckers

Welcome back to Thoughts On, I just survived one of the busiest weeks of my junior year and now have ample time to waste writing a review that no one will read. This week I will be reviewing the controversial album 'Cherry Bomb' by the equally controversial head of the Odd Future rap collective, Tyler, The Creator. Announced just about two weeks and released on the 13^th this album came out of nowhere, much like the sudden release of follow OF member Earl Sweatshirt's album. Upon release this album was immediately met with people arguing the difference between artistic integrity and stupid experimentation. For context the way that this album is mixed is...in a positive light interesting, and in a negative light just downright terrible. The vocals are often mixed so that they lie under the instrumentals, making them hard to decipher in the worst cases but also emphasizing the musical aspect of this album. I will get more into this when I talk about the actual songs but this highlights an excellent dilemma in being a Hip-Hop fan, or really a music fan in general. How far to you follow your favorite artists as they evolve and change their styles. When you have rappers like Childish Gambino and Kendrick Lamar who try and experiment and make sure their albums sound very different compared to maybe a Drake who more or less stays the same, which do you prefer? Do you stick with your artists through and through or does a change in style throw you off if done in a way you don't like? I believe Tyler was trying to establish a new persona through this LP and in the process stirred up the game once again.

So who is Tyler, The Creator? Well this now 24-year old man started out 6 years ago with the release of the mixtape 'Bastard'. In this mixtape the then teenage Tyler gave us dark fictional stories involving rape, being fatherless, depression, and murder all to wavy production and unique chord usage. While most of his hype came from the later release of his debut album 'Goblin' which contained the hit song 'Yonkers', It was his first mixtape that drew me in. While simultaneously founding a Hip-Hop group and marketing youth not just as state of mind but as a lifestyle, Tyler became the flagship of a weird rapper. Never really fitting into one category his music always contained layered messages often told through alternative personas he created for himself (Wolf Haley, Sam, Tron Cat, etc.), and despite the backlash he often got for using homophobic slurs or talking about killing Bruno Mars (actually a thing that happens in 'Goblin') he always made it known that he likes to use fiction in his music and should not be taken to seriously. In terms of his more violent music he often gets compared to Eminem, even though in terms of rap style and ability the two are not comparable. So after the release of first first mixtape which was followed up by his debut album that dove deeper into his alternative personalities (having entire songs dedicated to them and citing how they influence Tyler to do things he doesn't want to do) and the effect of fame on his young self, he released the album 'Wolf' to much success. Here he completes what become know as his own personal trilogy of musical projects, of which Wolf may actually be a prequel in the story that the trilogy forms (for more read HERE). With three major projects under his belt Tyler carved out his own niche of violent storytelling and depressing revelations, securing his place as one of the most unique voices in Hip-Hop.

So what does the album sound like? Well in an interview the was circulating before the release of the album Tyler stated that he was finally getting a chance to make music that he wanted to make, stating the influence of Death Grips (a hardcore experimental Hip-Hop group) and N.E.R.D. This is apparent from the jump with the powerhouse opening of 'Deathcamp', where he specifically cites that the album 'In Search Of...' by N.E.R.D inspires him more than 'Illmatic' by Nas (an album widely considered to be one of the best Hip-Hop albums ever made). On this track we get a rebellious Tyler spitting over distorted guitar riffs and high pitched piano chords. This already creates a stark contrast between this album and all of Tyler's previous works. Usually he starts of with and intro that is musically simple or smooth and gradually builds either lyrically or in terms of what more is added to the instrumental. For this intro he hits the ground running to make a statement about where he is going and what he plans to do. The track 'Buffalo' is bass driven and boom bap driven song where Tyler vents pretty much all of his frustrations from the past few years, including the pressure he feels due to this album and the time he was arrested in Austin for having a show so wild it apparently caused a riot. Eventually the track become is interrupted with chords from a synthesizer that carry a dark tone while Tyler is told by a man to “not f*ck” this up” because of all the kids he now has influence over. From tracks like 'Colossus' on his previous album we can already see that having such a large fan base weighs on Tyler in someway and he on this track he seems to liken himself to a buffalo, a dying breed. He asks if all the leaders in the room could stand up before remarking that there are never any hands in the air. In the next track 'Pilot' Tyler starts to really show off his skills as a producer, as this song starts off simple with tom-tom drum and cowbell beat before more dark and heavy chords come in to distort the sound and blow out the vocals. Again we can here the synth chords coming in (as they are part of Tyler's signature style) in a frantic 16^th note pattern before resolving to a more pleasant sound. Lyrically this song is about Tyler's desire to fly away and be the pilot of his own destiny. The hook of this song is actually quite beautiful with Tyler stating that he lives in first class but feels like coach, like no matter how much he does he may be stuck in a box that he has created for himself through his previous music.

'Findyour wings', one of the best cuts on the album, is a straight jazz song. With wavy chords and a lounge like vibraphone playing in the background we get to here Tyler experimenting with music in an honest way. With trumpet flourish and bass riffs that evolve into a basic Hip-Hop drum pattern that comes in this song reminds of music I used to hear on KBLX as a kid. Smooth Jazz and R&B inspired music that carries the message of finding what makes you special. This song goes into what is both my least favorite and also best executed song on the album which also happens to be the title track, 'Cherry Bomb'. This song starts with a guitar simple lick before erupting into a much of static noise covering up Tyler's lyrics and chords playing in the background. It actually sounds like he had a complete song, picked one part of the instrumental, and just cranked it up to eleven. The distortion on this track is so immense that you cannot even make out what Tyler is saying most of the sound. On Twitter the rapper told the world that this is exactly what he wanted, and the hook of “Tie the knot, kick the chair, strangled in the air, cherry bomb” was the only part he really wanted to be heard. In this array of noise and talk of death it seems like Tyler is making a song that represents every aspect of his artistry at the same time, which results in this cluster of terrible noise and beautiful music for the last minute or so of the song. Following that experience comes the much smoother 'Blowmyload', which is the most Tyler-like track that has been on the album thus far, with the 80's synth chords and melodic backing vocals playing over Tyler's slow and deliberate rapping style that is lyrically about a girl. We get a change in pace halfway through before a voice announces that what we just heard was a new song from an upcoming film whose name is censored during the song. The voice is a DJ on Golf radio (a name and idea commonly associated with Tyler and Odd Future). This transitions perfectly into the relaxed jam '2Seater', a simple song with an instrumental made up of 2 chords and drums with blaring sythns, bass riffs, and even a saxophone solo that setup up the pace for Tyler's lyrical content involve his car and a girl he wants in it. About halfway the song changes to Tyler (whose voice is pitched higher) sings about how he loves the way a certain girls hair blows in the wind. This song is a great look into what this man is capable of as a song maker, creating a dreamy yet relatable track that after a funny interlude, goes into what is the only banger on this album. In 'The Brownstains' Tyler opens up with the statement that all common bling-era rap tropes don't really fly with him and as the beat drops and the song becomes infused with sirens and distorted drums we get to hear Tyler spit more than he does anywhere else on this album. We even get a feature from ScHoolboy Q in a manner that reminds me of this pairs collaboration on Q's 2014 album 'Oxymoron'.

The next track 'FuckingYoung/Perfect' continues the trend of the 10^th track on a Tyler album being a double song. This beautiful R&B ballad about Tyler falling in love with a girl that is 6-years younger than him, complete with a hook about police arresting him for going after an underage girl and his conflicting feelings between his morals and desires. In the second half the beautiful voice of Kali Uchis comes in and this ballad turns into a duet with the musical accompaniment similar to a Mary J. Blige song. While Kali tries to convince Tyler they are meant to be Tyler just proclaims she is still too young. In the most high profile track 'Smuckers' which surprisingly has features from Kanye and Lil Wanye, we get an anthem about black excellence set a soulful instrumental sampled from the 70's song 'Metropolis Notte'. This song reminds me of the intro to an old superhero show with three of the biggest names in rap laying bars on a cold beat. The album ends on another smooth track about escape titled 'Okaga, CA', we get wavy guitars and bass riffs layered with slow moving sythn chords as Tyler tells the tale of a girl he is with and great lifestyle he has going on. He wants to escape with this girl and continue to stay in the high that they are currently in. When Female vocalist Alice Smith comes and proclaims she wants to be taken away the album seems to be coming to an end. However in the last few seconds you hear Tyler telling someone to shush as a movie is about to start. A gorgeous ending that ties together the conceptual theme of escape.

This album is an experiment in freedom, through this album there were no mentions of the characters that Tyler has become famous for portraying, and new songs themed around therapy or his missing father. It seems that Tyler wanted to escape his past and make something that he enjoyed making, much to the dismay of a lot of people. Die hard fans of Hip-Hop may be thrown off by the intentionally bad mixing, which actually gets better after the title track, while Tyler fans will praise his genius and willingness to take risks. I respect Tyler's decision to branch out and through his actions he has created what is probable one of my favorite projects of the year so far, an album about finding confidence and not letting your past tie you down. Even to those who may be put off by Tyler's reputation, I urge you to listen to this album and judge for yourself if this rapper is a genius or just crazy. If you can: LISTEN SOON to this album a traverse the minds of one of the oddest minds in rap.

Guest Thoughts On: Kintsugi

                                               

Death Cab for Cutie’s eighth album Kintsugi is largely characterized by one period in front man Ben Gibbard’s life: life after his divorce. Their last project, Codes and Keys, released in spring 2011, was very much reflective of Gibbard’s marriage to Zooey Deschanel and was really the first remotely positive album to come from this otherwise somber indie band. The album also marked a time that, for all of the band members, family became a very significant locus and inspiration. Gibbard explained in an interview with NPR that his process of writing an album’s lyrical content echoes the life happening around him, stating, with regard to Keys specifically, “I would be remiss if I tried to continue writing in a solely melancholic voice, given the fact that now I’m a married man.” With that in mind, it becomes fairly easy to place this new body of work in context. After two years of marriage and two on his own following the couple’s 2012 split, Gibbard is once again back to delivering the melancholic ballads that Death Cab listeners have come to expect from the group’s previous work.

Without even getting into the music, we’re given a couple stylistic nods as to what this album is covering. The title of the album comes from the Japanese art form of repairing broken pottery with a kind of sealing wax to fill in the cracks. The lacquer is ordinarily mixed with powdered gold or silver and, much like Gibbard is attempting to convey with this album, is meant to display the breakage as a point of pride, rather than trying to act as if the damage had never been done to begin with; the cracks are representative of an object’s history and what it has had to endure in the course of its life. This concept is even mirrored in the album’s artwork: a distorted black and white-gray zigzag pattern surrounded by a simple white border and the name of the album in small, gold font. Upon closer inspection, it becomes clear that the distortion is the effect of separating a photograph into six distinct rectangular segments with the distorted streaks being composed of the corresponding shade of gray or black that stitch the photo together, like a lacquer holding together shards of pottery.

Although there is certainly a gloominess to Kintsugi, it isn’t entirely lacking in its positivity. The album opens with the start of Ben’s journey since losing love. “No Room in Frame” serves as the first reflective track and seems to be written from the perspective of a Ben who has had time to find closure. The song opens with the sounds of some slight synth in the background which leads into the light plucks of a rhythm guitar and the first two lines:

“I don’t know where to begin

There’s too many things that I cannot remember.”

As he looks back on his collapsed love, Ben realizes it’s difficult at this time because he has managed to distance himself from the pain. The slow plucking gradually builds to a strum with a soft drum backing. Once the song reaches its second chorus, it really kicks into gear with a heavier emphasis on the rhythm and bass and proceeds as such until Ben reaches his closing couplet:

“And I guess it’s not a failure we could help

And we’ll both go on to get lonely with someone else.”

“No Room in Frame” has the sound of a classic Death Cab album in the best possible way. It serves to remind returning listeners that the group hasn't lost their sense of self, even after seventeen years, while also introducing new listeners to the best of what Death Cab has, can, and continues to offer.

“Black Sun” follows “No Room in Frame” and is more in the style one would expect from a painful break-up ballad. Sonically, “Black Sun” is reminiscent of the style of tracks from the 2008 album Narrow Stairs. The song uses a smooth bassline and harsh electric guitar over a light snare and kick that may remind Death Cab fans of tracks like “Bixby Canyon Bridge”, the massively popular “I Will Possess Your Heart”, and even “Pity and Fear.” It feels safe to say that once “No Room in Frame” ends and “Black Sun” begins, the listener is experiencing Ben’s thoughts during or shortly following his divorce.

The next three songs, “The Ghosts of Beverly Drive”, “Little Wanderer”, and “You’ve Haunted Me All My Life”, are our first real glimpses of something tonally different in Kintsugi. This isn’t to say that these songs are revolutionary by any means, but Death Cab takes elements from their previous work and reconfigures them to make something that sounds fairly new for the group. Death Cab has covered feeling lost and uncertain about the future, but ordinarily these ideas are tackled with stronger feelings of melancholy and morose lyricism. Instead, what we get is a contemplative approach on such negative feelings. Even “You’ve Haunted Me All My Life”, although clearly a lament, carries some vague sense of Ben acknowledging and accepting his situation. Instead of decaying in the face of an emotionally trying time, Gibbard’s positive reflections shine through, despite these songs being riddled with thoughts of personal insecurity, possibly unrequited love, and obvious feelings of being haunted by someone lost to him.

The middle of the album takes a confusing turn for the strange. “Hold No Guns” bears an air of defeatism, even more so than “Black Sun”. After three captivating tracks of relative positive vibes, we get a track of Ben almost pleading for peace. He asks “My love, why do you run? My hands hold no guns.” as if the previous tracks, in which he accepts that his love has gone, hadn’t taken place at all and he is back in the mires of his love-born depression. Whether this is simply a lapse in his optimism and a resurgence of negativity is unclear; it could also just be that there is no narrative track to this album at all. Additionally, “Hold No Guns” is followed by “Everything’s a Ceiling”, which only serves to emphasize his confusion about moving on with life with continued wails of “What am I supposed to do?” These two songs really divide the album and the transition from one segment to another is a little jarring, honestly.

After this weird wedge of wallowing, we get back on track with Ben’s emotional recovery and are presented with some refreshing pop positivity. Musically, these tracks are less interesting than their predecessors, but lyrically they they revert to something unexpected at this stage in the album. “Good Help (Is So Hard to Find)” carries a bit of a haughty feeling, with the lyrics implying that Ben feels as if he won’t be so easily replaced. “El Dorado” extends this feeling of superiority with spacey, hollow-sounding chants about wanting to feel excited for his lover’s achievements but ultimately being unable to do so. With “Ingénue”, we once again have Ben actively talking down to someone, accusing them of only being a “framed like a cartoon” when really they want to be taken more seriously, but not garnering the respect they crave; he has clearly managed to distance himself from this person by realizing that their two-dimensional personality just doesn’t cut it for him. These three tracks are the rebound that we’ve been waiting to see that lead us to the Ben that speaks to us from “No Room in Frame”.

The album concludes with “Binary Sea” and brings back, what is in my opinion, the best kind of Death Cab sound. It’s the kind of song you can lie in the dark listening to and melt away into the silence; the kind of song you put on a playlist of late night driving music if you’re not quite tired and have some lingering thoughts you just want to get away from. “Binary Sea” brings us back to the present Ben Gibbard from the beginning of the album as he looks back on his journey toward recovery and self-reclamation. Like a broken urn given a second chance by becoming greater than the sum of its cracks and deformations, Ben narrativises his struggles through Kintsugi and proves that heartbreak only brings out some of the best in Death Cab for Cutie’s songwriting and performance. While Kintsugi isn’t my favorite album of theirs, I do feel like the crisp production and alterations to traditional arrangements allowed the band to simultaneously return to form and show off some of the great things a group can do with almost two decades of experience and evolution under their belts.

And in keeping with Zeke’s album review style, I’m going to suggest you either Listen Soon or Save It. If you’re already (a) an established Death Cab fan (in which case, why the hell are reading this, just go listen to it) or (b) generally a fan of acoustic, indie rock, then refer to the former. If this would be your first time listening to Death Cab for Cutie and are a little less unsure of your opinion on this particular genre, refer to the latter because I definitely feel like this album deserves a fair shake and a thorough listen, whatever that may mean to you. Big thanks to Zeke for giving me a chance to speak my mind by reviewing one of my favorite bands. Happy listening.