Group Listening Party Fun Time II: Craner vs. Craner
- Thread starter craner
- Start date
-
- Tags
- 1 and 3 quarter bottles of la chasse confreres craner in the time of corona craner's tavern don't get lairy fuck off everybody it's simple minds idiot collage jim kerr had a big cock love in the time of craner mj cole's stupid keyboard my eyes are on you nicole scherzinger now with essence of herpes patsy kensit pretending to be grown ups soothe my soul the golden summer of 2014 the limits of spotify traces of ecstasy von dutch trucker hat music
woops
is not like other people
this annoys me particularly because i almost feel i am deficient for not understanding why they aren't good, like the good ones
luka
Well-known member
no theyre not good. he makes terrible things out of perverstiy and spite
craner
Beast of Burden
Yeah, this is a serious selection.
craner
Beast of Burden
SOS Band, let's go!
Solid gold Jam & Lewis: hard and glossy with huge sing-along hooks and pristine poise. I love the clean and dynamic sound, perfected here and on some of SOS’s other monster hits. Alexander O’Neal shows up to add to the galaxy of talent involved. The SOS Band is woven into the DNA of hip hop, house, R&B, jungle and garage (this song was sampled by Foul Play), an elemental presence in all the best music.
Solid gold Jam & Lewis: hard and glossy with huge sing-along hooks and pristine poise. I love the clean and dynamic sound, perfected here and on some of SOS’s other monster hits. Alexander O’Neal shows up to add to the galaxy of talent involved. The SOS Band is woven into the DNA of hip hop, house, R&B, jungle and garage (this song was sampled by Foul Play), an elemental presence in all the best music.
luka
Well-known member
it is very ghostbustersy
craner
Beast of Burden
I'm all about joy Woops, I can't abide moping.
craner
Beast of Burden
Yeah, clean dynamics. Gaps in the rhythm.
craner
Beast of Burden
Sunz. I made serious notes for this.
Dramaturgy! Holycore!
This kicks off with 60 Second Assassin who, as ever, sounds like a crippled, paranoid Flavor Flav, mumbling and ranting in the dark, damp corner of a municipal park, eyes bloodshot and weeping alcohol. The entrance of Killah Priest in full angel of the apocalypse mode kicks this track into another gear: the clouds darken, buildings crumble, the ground shakes (this performance is a good reminder of what a great actor Priest is). Hell Razah and Prodigal Sunn keep the pitch elevated to hysteria and ultraviolence, and it all ends with a sample of Reverend M G Gates: “I like being a soldier in the Army of the Lord...”
The first Sunz of Man album was a disappointment, there were multiple reasons for that: interference in their original conception and line-up; the ditching of the first prospective LP; the risible attempt to engineer a hit with Wyclef Jean; Priest redirecting his cosmic talents to his epochal debut. But the best stuff on the album is produced by True Master and 4th Disciple, who were both at the peak of their powers, and is as good as anything in the extended Wu Tang canon: ‘Illusions’, ‘Israeli News’, ‘The Plan’ (which includes the immortal KP line, “the black man and black woman can’t get along/because Ricki Lake is on with two horns…”), and this track.
‘Flaming Swords’ takes the cosmological tension of their rhetorical universe to its outer limit: the only other thing that goes as far towards self-parody as this is Gravediggaz’ 'Independence Day’ (on which KP also makes an unforgettable cameo). It’s ridiculous and funny and even a little bit camp, but it’s also the best example of what it is: that weird branch of apocalyptic rap that emerged from under shell of the Wu Tang Clan in the mid 90s, fattened with 5% and other weird theologies and ideologies, pregnant with coming cataclysm, unsure how seriously to take itself, or whether to be foreboding or gleeful about the doomed future. This schtick went very quiet for a few years after 9/11 and in light of some of the invective on the first and second Killarmy albums I still find it spooky that the release date of their third album was September 11 2001.
Dramaturgy! Holycore!
This kicks off with 60 Second Assassin who, as ever, sounds like a crippled, paranoid Flavor Flav, mumbling and ranting in the dark, damp corner of a municipal park, eyes bloodshot and weeping alcohol. The entrance of Killah Priest in full angel of the apocalypse mode kicks this track into another gear: the clouds darken, buildings crumble, the ground shakes (this performance is a good reminder of what a great actor Priest is). Hell Razah and Prodigal Sunn keep the pitch elevated to hysteria and ultraviolence, and it all ends with a sample of Reverend M G Gates: “I like being a soldier in the Army of the Lord...”
The first Sunz of Man album was a disappointment, there were multiple reasons for that: interference in their original conception and line-up; the ditching of the first prospective LP; the risible attempt to engineer a hit with Wyclef Jean; Priest redirecting his cosmic talents to his epochal debut. But the best stuff on the album is produced by True Master and 4th Disciple, who were both at the peak of their powers, and is as good as anything in the extended Wu Tang canon: ‘Illusions’, ‘Israeli News’, ‘The Plan’ (which includes the immortal KP line, “the black man and black woman can’t get along/because Ricki Lake is on with two horns…”), and this track.
‘Flaming Swords’ takes the cosmological tension of their rhetorical universe to its outer limit: the only other thing that goes as far towards self-parody as this is Gravediggaz’ 'Independence Day’ (on which KP also makes an unforgettable cameo). It’s ridiculous and funny and even a little bit camp, but it’s also the best example of what it is: that weird branch of apocalyptic rap that emerged from under shell of the Wu Tang Clan in the mid 90s, fattened with 5% and other weird theologies and ideologies, pregnant with coming cataclysm, unsure how seriously to take itself, or whether to be foreboding or gleeful about the doomed future. This schtick went very quiet for a few years after 9/11 and in light of some of the invective on the first and second Killarmy albums I still find it spooky that the release date of their third album was September 11 2001.