November, 2018 – We’re staying on the music business. There’s no other way around this, it’s the main area I can deliver the goods with confidence and knowledge. I have a plan already in motion to expand this report into all the arts, but until it gains momentum you all are stuck with music and more music.
On this edition we’re entering the wayback machine and exploring classic albums that might not be so classic to the international audience these Art Reports are cultivating. Amazingly we’re staying in Venezuela, when these albums came out the population of the country wasn’t spread all over the world. Sadly, we’re staying in Caracas. Because I’m biased. And at that point in time not that many albums from outside the capital saw the light of day.
So, let’s do this: Continue reading
I first heard about Foster through “Plant the Rapper”, his now-deleted Chance the Rapper diss. I’d just released my reasonings about the superstar’s suspicious rise to fame and his lyrics had ten times more information than my video. Also, they had slick lines and were funny.
His band’s name is a reference to Ken Kesey’s Merry Pranksters, characters that are bound to appear frequently on this blog, and they’ve just released two back to back EPs that will not get the attention they deserve because they reveal too much. Foster might be a firecracker on Twitter, but he knows what’s up. They combine rock and hip hop in a brand new way; Danny Brown once rightly said that this particular mix of genres died because of Fred Durst, but Foster & the Pranksters don’t sound anything like the ill fated rap metal.
It’s to be noted that “La Honda” features Royce Da 5’9″ on the final track, one of the coldest MCs out there
when he’s not defending Eminem.
The formal info about the release says:
I went back to hip hop and lost all of my audience. I can’t blame them, this topic is old news and I spent more than two months without posting content in my You Tube channel. I’m going through changes in my personal life, I had to leave my country and my computer behind, I have no realiable Internet connection here and I’m literally homeless, but hey… that’s a topic for another post. The point I was trying to make: this is the last video on my classic set and probably the last one for a while in general.
It’s about hip hop and rock, mumble rap and punk and pop punk. It’s about culture and the lack of it. It’s about the new wave and the old school. Please watch it.
The formal information goes like this: Continue reading
June, 2018. – We travel around the world for the inaugural Venezuelan Art Report.
Let’s make this space useful. I have access to a wealth of information almost nobody is privy to, all of the artists the Venezuelan Art Report will feature need exposure and an international audience and this blog needs some kind of focus. Everybody wins, especially you, the art connoisseur hungry for the new new new wave, for the skewed vision that coming from a destroyed country provides.
This is going to be incredible for all parts involved, I can feel it. And it starts now: Continue reading
I would love to justify my lateness alleging that I was waiting for the new Run The Jewels to drop, but actually I just couldn’t find the necessary silence to finish this beauty until today. Or the will. This December in Venezuela was odd and noisy, even with fireworks out of everybody’s price range.
Anyway, back to the topic at hand… without further ado and starting at the top:
At fist I thought this was the most rock Radiohead had put in al album in over a decade. I was wrong. I’m not an “In Rainbows” or “The King of Limbs” fan, but I love the rest of their output. This new one, I don’t feel like listening to it too much. There’s no deniying the high quality of the music inside “A Moon Shaped Pool“, but Thom Yorke is still in crying mode and Jonny Greenwood still won’t play guitar. In spite of that, they archieved something special. It just doesn’t appeal to me specifically.
I’m still in awe about “Burn the Witch“, and the video is probably my favorite of the year. I also enjoy “Decks Dark” and “Identikit” tremendously. I don’t like “Daydreaming” at all, but I wouldn’t move the dial if it came up on the radio. “True Love Waits” grew on me, even though I’m not a ballad man. The rest is alright, and it has sublime moments, but I cant’t help but miss the old days, when they were a rock band. The album is still #2 among the critics and #1 among the public according to Album of the Year, so I guess Radiohead will survive the judgement of my two or three paragraphs.