Alt Nerd Rap Dispatch

"I went to school to become a philosopher 

but dropped out to be a sober Kid Cudi imposter."

Milo is a rapper, notorious by his nerdity, and nearly absurd by the fact he has rapped about the time he (might have, allegedly) cried on an internet message board due to real world awkwardness. He exists somewhere in the altstream of rap, in the neighbourhood of Open Mike Eagle, Billy Woods, and Busdriver (there's a strange proximity to Kool A.D. with less psychedelia).

Milo's verses are accomplishments in multisyllabic delivery, and if his vocabulary isn't as large as Aesop Rock's, he's closing the gap at an alarming rate. He may well represent the pinnacle of that most critical subgenre, Nerd Rap. He might also represent alt rap's great hope – a sublime counterpoint to everything that ever buried intelligence in favor of style.

Not to say that Milo is the answer, that an answer is needed, or that mainstream rap are necessarily unwoke. Milo is a rap moniker or nom de rap for Rory Ferriera, born in Chicago, raised in Maine, and lately an L.A. [un]based vegetarian, touring at the time of this writing. Seems to like Vonnegut, definitely read his philosophical tracts at some point, and pointedly represents the defiant vanguard of rap. Nerd territory stuff.

The Coup & Assorted Criticism, Hypery, Links

I feel like the world is generally ignorant of legendary marxist rap crew The Coup, or even worse, is actively skeptical or unreceptive to mentions of that group. I understand perfectly how people can be political, but I personally hold music to be much more honorable than politics, so the general lack of knowledge or enthusiasm about The Coup is baffling. It's understandable. I'm sure smug white people aren't The Coup's ideal audience, so lots of the people I most often deal with have nothing to say when I bring up The Coup.

Shamefully, I never really bring up The Coup at all when people ask me what I like to listen to. The near mythical production of Pam the Funkstress and Boots Riley's cutting rhymes. There was an awareness of the wrongness of things that should speak to anyone, at times. It's not particularly comfortable music, I suppose. It's a little incendiary, even. Revolutionary talk, whether posturing or not, is completely out of favor right now. It's seen something for teenagers, for the mentally unfit, or Russians,  terrorists and other people we disagree with and distrust. Anywhere you look in the world, people will call revolutionaries dangerous, misguided, lazy, out-of-touch – generally before revealing their own lack of comprehension about the basic concepts of socialism or Marxism, whenever socialism is brought up. If you can't revolt and can't hold government to account, why pretend to be happy or enfranchised?

So, if you'd ask me, I'd say The Coup is important, brutally honest, unique, and unabashedly political. Music with a message is nothing new, but it is the nature of popular music to be inherently pro-capitalist or at least ignore the issue or posture about it. The status quo is referenced to establish a lack of privilege and it's on to fun verses about partying, women, crime, or drugs. Hip hop and rap are often maligned for being empty-headed and consumerist by the very people who understand or identify with it the least, and The Coup in particular would serve as an amazing rejoinder. For those reasons and more, I want to pay homage, and celebrate the release of a new album!

RIP MCA

First of all, Hello Nasty was the shit. I don't care who you are or what you're doing, fuck that, it was the shit. I don't think there was anything else that year that I heard that was in any way close. That album on repeat was golden for me, and "Intergalactic" was the fucking song to get hyped to. If they'd have released the same album this year I'd probably be just as happy with it. That's more than a decade late and I would've still bought two copies.

I only heard, outside of my own music playing, three Beastie Boys songs on Friday. Lots of people, of course, didn't have a clue who MCA was. Squares, hipsters, you name it - the critically uncool didn't know about anything and weren't the least discouraged. One car, at least, drove past me blaring "Fight For Your Right"* which I can't disagree with at all. I wasn't going to party on Friday, but anyone who was should have at least heard that song. If not: for shame. (*"No Sleep Till Brooklyn" is arguably a better anthem but I'm not going to argue about things I love anyway. That would be childish of me.

There's not much to say. Literally any other place on the internet will give a detailed biography send-up, information about Adam Yauch, tell personal stories and all that. Even Wikipedia put up the news. So there's nothing to do but cast this tiny, shitty, sloppy blog post into the void, with a few words of praise.

Fucking righteous, awesome music that never wore out its welcome by anyone with an open mind and a working set of ears. Sick rhymes and flowing, all around illest contender.

It seems like the true end of an era. To say there are or were no bands like the Beastie Boys is ignorant, but they were still unique. Nobody else ever wrote a song called "Egg Man", for example. If there was, it was either in another context entirely or it was ripped off of the original – or it simply wasn't as good.

That's all, then. There's at least one Beastie Boys album I haven't listened to, and I guess it's time to take that final plunge, except I have to wait at least six months to buy it at a mainstream record store, and at least a year at independent record shops. Otherwise I just know the looks I'll get.


That's a shit Friday, right there.

The 'Das Racist' Connection

At first I was pretty resistant to the idea of new rap. Isn't the golden era over? Okay I'm being facetious. Being aware of the continuum of things is necessary to any complete reading of the thing in its present sense, though. So I'm not against the idea of new rap. Wu Tang and Jurassic 5 are pretty much legendary, but also over, and everybody knows the Tribe broke up because they simply could not handle Fred Durst's insane delivery and flow. 1999 was a mean time.

Speaking of insane shit, there's a group going by the name of Das Racist. Their first two releases are widely available and open to interpretation and debate. I highly recommend at least 18 of the tracks you can get immediately and with little hassle. Obviously their name is rap nominative taken to the next level, so you owe it to yourself to be educated about this matter.

DR are all about a sort of absurdist neo-hip hop. Some of their rhymes are weak and papery like soggy cardboard, but often they make up for this with great imitative production and delivery, as if they're... Wait

The lyrics range from A+ to 'meh', but the A+ moments are worth it and surprisingly consistent. Allusions fly around to everything, a kind of postmodern reference machine set to nice beats with a persistently and agonizingly self-aware (one might even say 'pseudo-hipsterian') angle. If you have lived at all in the past couple of decades there are name-drops waiting for you. Some are even humorous, which is great. The track 'Nutmeg', from their first release, starts out as of the best Ghostface homages I've ever heard.

Othertimes they're kicking it about corporations, the racism inherent in society; celebrities, weed, other drugs, themselves, parties, even franchise restaurants. I may just be ignorant but I have caught no G. Bush references, so, while there is the temptation to call them pure joke rappers, they at least are not taking the path of least resistance. Of course Obama is name-dropped.

On the other hand, they are an elaboration of something about their time. From the hyper-allusive, brand aware, irony-deficient lyrics, to the casual genre-hopping, Das Racist evoke the image of a multicultural goof troop on the coolest street corner in town, jocosely fooling around with a band of elite-level-hipness groupies and some production equipment they stole from MF Doom and LCD Soundsystem.

But there really is ultimately something fresh about DR's lyrics, that cannot be explained without audio reference. I could try posting lyrics, but seriously, now: I already posted a pretty swell hyperlink reference.