Chance the Rapper owned hip-hop in 2016. He provided the musical backbone of Kanye’s Life of Pablo, partied with Beyonce at the VMAs, hung out with Obama at the White House, headlined his own festival, and released the groundbreaking mixtape/album Coloring Book. In terms of larger cultural impact, there’s very few rappers this decade who’ve matched Chance’s 2016 run. To an extent, it seems destined that Chance the Rapper would reach this stature -- he’s been buzzed about in underground circles since his 2012 mixtape 10 Day, and he comes from the upper echelons of Chicago’s political elites: his father is currently serving as the chief of staff for Mayor Rahm Emanuel -- but his moment in the limelight is a weird by-product of a dark political and cultural moment. The joy and euphoria of his rhymes, and the mindfulness and positivity of his persona, provide an anecdote to 2016’s riots, terrorism, police shootings, and political demagogues. He embodies the way we want to see ourselves, our future and our culture. For hip-hop fans, particularly those who fashion ourselves purists of a certain variety, he also reflects how we’d like to think of the genre. And part of the joy of listening to Coloring Book is picking apart his influences and how he reflects hip-hop. The smartly euphoric uplift of “No Problems” recalls Kanye during his pop maximalism peak, while the “Blessings” channels the strands of gospel that pops up in everyone from Tupac to Anderson.Paak. Though he reps his hometown of Chicago -- and his music contains echoes of everyone from Juke legend DJ Rhashad to classic boom bap icon Common -- he’s also has omnivorous tastes, channeling LA underground absurdists Freestyle Fellowship and the sludgy H-Town hip-hop of Mike Jones. For this playlist, we trace some of those influences and try to unpack Chance’s deceptively dense masterpiece, Coloring Book. You can subscribe to the playlist here. We’ve also curated a playlist of some of our favorite interviews of the rapper. Check it out below. -- Sam Chennault
Its an old story, but its still amazing both how persistent and subjective the "album" experience is at this point. Young Thug Leaks and Loosies 2015 is effectively a fan-curated playlist culled from Young Thug mixtape cuts, b-sides and singles that is published on a free, user-generated playlist site that is owned by a major urban media company (Complex). Still, it has nearly 140K plays, which is more than most albums these days, and definitely more than almost any playlist on a major streaming site. I was discussing this with a friend the other day, but the album is an artificial construct, and the common, underlying logic behind either a playlist such this one, or a proper album like The Barter 6*, is that its an extended collection of songs. By this logic, albums are merely officially curated collections of artist tracks. Still, theres a (false?) expectation of coherence when it comes to an album, an expectation for the artist to make a statement, whether that be aesthetically, politically or *The caveat is that The Barter 6 isnt itself a proper album, according to Thugger himself, but a teaser for his proper album,
The ’90s have never sounded better than they do right now—especially for modern-day indie rockers. There’s no shortage of bands banging around these days whose sound suggests formative phases spent soaking up vintage ’90s indie rock. Not that the neo-’90s sound is itself a new thing. As soon as the era was far enough away in the rearview mirror to allow for nostalgia to set in (i.e., the second half of the 2000s), there were already some young artists out there onboarding ’90s alt-rock influences. But more recently, there’s been a bumper crop of bands that betray a soft spot for a time when MTV still played music videos and streaming was just something that happened in a restroom. In this context, the literate, lo-fi approach of Pavement has emerged as a particularly strong strand of the ’90s indie tapestry, and it isn’t hard to hear echoes of their sound in the work of more recent arrivals like Kiwi jr. or Teenage Cool Kids. Cherry Glazerr frontwoman Clementine Creevy seems to have a feeling for the kind of big, dirty guitar riffs that made Pacific Northwestern bands the kings of the alt-rock heap once upon a time. The world-weary, wise-guy angularity of Car Seat Headrest can bring to mind the lurching, loose-limbed attack of Railroad Jerk. And laconic, storytelling types like Nap Eyes stand to prove that there’s still a bright future ahead for those who mourn the passing of Silver Jews main man David Berman. But perhaps the best thing about a face-off between the modern indie bands evoking ’90s forebears and the old-school artists themselves is the fact that in this kind of competition, everybody wins.
It may be that 2019 was the best year for ’90s metal since, well, 1999. Bands from the decade of Judgment Night re-emerged with new creative twists and tweaks: Tool stretched out into polyrhythmic madness, Korn bludgeoned with more extreme and raw despair, Slipknot added a new drummer (Max Weinberg’s kid!) who gave them a new groove, and Rammstein wrote an anti-fascism anthem that caused controversy in Germany (and hit No. 1 there too). Elsewhere, icons of the era returned in unique ways: Nine Inch Nails’ Trent Reznor scored a superhero TV series, Primus’ Les Claypool teamed up with Sean Lennon for some quirky psych rock, and Faith No More’s Mike Patton made an avant-decadent LP with ’70s soundtrack king Jean-Claude Vannier. Finally, the soaring voice of Linkin Park’s Chester Bennington returned for a moment thanks to Lamb of God guitarist Mark Morton, who released a song they recorded together in 2017.
Taking a look at the playlists for my show on Boston’s WZBC might give the more seasoned college-radio listener a bit of déjà vu: They’re filled with bands like Versus, Team Dresch, and Sleater-Kinney, who were at the top of the CMJ charts back in the ’90s. But the records they released in 2019 turned out to be some of the year’s best rock. Versus, whose Ex Nihilo EP and Ex Voto full-length were part of a creative run for leader Richard Baluyut that also included a tour by his pre-Versus outfit Flower and his 2000s band +/-, put out a lot of beautifully thrashy rock; Team Dresch returned with all cylinders blazing and singers Jody Bleyle and Kaia Wilson wailing their hearts out on “Your Hands My Pockets”; and Sleater-Kinney confronted middle age head-on with their examination of finding one’s footing, The Center Won’t Hold.
Italian guitar heroes Uzeda—who have been putting out proggy, riff-heavy music for three-plus decades—released their first record in 13 years, the blistering Quocumque jerceris stabit; Imperial Teen, led by Faith No More multi-instrumentalist Roddy Bottum, kept the weird hooks coming with Now We Are Timeless; and high-concept Californians That Dog capped off a year of reissues with Old LP, their first album since 1997. Juliana Hatfield continued the creative tear she’s been on this decade with two albums: Weird, a collection of hooky, twisty songs that tackle alienation with searing wit, and Juliana Hatfield Sings the Police, her tribute record to the dubby New Wave chart heroes (in the spirit of the salute to Olivia Newton-John she released in 2018). And our playlist finishes with Mary Timony, formerly of the gnarled rockers Helium and currently part of the power trio Ex Hex, paying tribute to her former Autoclave bandmate Christina Billotte via an Ex Hex take on “What Kind of Monster Are You?,” one of the signature songs by Billotte’s ’90s triple threat Slant 6.
