We’re almost three whole months through 2013 – and for the most part it’s been a solid start to the year in terms of music. But during the slower part of the release season, at least until this month gets started and albums start dropping with much more frequency, I’ve been spending a little bit of time catching up on albums I didn’t quite get to enjoy from 2012. So for this 3 Of The Week, I’ll be touching back on a few albums from last year that have been seeing some strong rotation in my workout, driving and everyday listening rotation.
1. “Poetic Justice” – Kendrick Lamar (Ft. Drake)
Though good kid, m.A.A.d. city made its way into plenty of year-end lists and was widely regarded as one of the better hip-hop records of the year. My first listen was a jarring one, as while I was familiar with K-Dot’s work through Section.80, the concept and generally calmer sampling of this record was a huge change from a song like “Rigormortis”. But after delving back into this for a second time, the initial jitters I had about this passed to reveal a wonderfully produced, lyrically precise album with a strong story-telling vibe to it.
2. “Hate Creation” – Whitechapel
I certainly thought highly of Whatechapel’s fourth LP at the time of hearing it, even enough to spend a hefty amount of time coming back to it in the months that followed its summer release. But when looking to listen to the band, I found myself going back to their previous records more often than not. Revisiting this album was a good call though, as I was instantly reminded of why I can really dig this band and what they do inside of the deathcore genre. Anyone else interested in that The Somatic Defilement re-issue coming this year?
3. “Forget” – The Chariot
One Wing, much like every other album The Chariot puts out, defied and challenged without drifting too far from the spiraling, careening hardcore the band is known for. There’s pianos, sung tracks and a number of other curbs, but the stomping opener “Forget” is desperate and energetic in its pulsing rhythmic underbelly as it leads up to a grimy ending roundhouse of a breakdown. This is a record that goes to show you don’t need to subscribe to common ideas in a genre to garner respect for your brand of art – especially when it might not be the most approachable version of said genre.