Monthly Archives: May 2011

Interview: Sink Tapes

We recently got a chance to speak to Gabe Chilarello, lead vocals of Sink Tapes, an indie band based out of the Asbury area of New Jersey. We were able to learn a lot about the background of the band, their first album, Same Strange Dream, their upcoming sophomore album, what they’re all about, and what they’re about to bring to the plate.

LitS: So, Sink Tapes, many people are curious as to what the origin of your band name is. Could you tell us?

Sink Tapes: It’s probably better left unsaid. It’s kind of one of those things that no one will understand. It’s a name we decided to go with because we had already been called a few other things and we were forced to figure out what to call ourselves, and something just happened where we decided the name Sink Tapes. There’s no meaning to it, but we had people telling us we should be “sync” tapes, but we like NOT making sense so it makes it fun, just like how our songs are. Just fun.

LitS: When did Sink Tapes first form as a band?

Sink Tapes: We probably started playing about two summers ago as Sink Tapes with our original songs. We first met through friends; none of us go to the same schools and we just started seeing each other at shows in the Asbury area so we decided to jam together on covers and what not. Eventually, we played a backyard show with a few bands and since then we just kept playing. I don’t think we meant it to happen, but it slowly got serious yet fun, and now we’re working on our second album.

LitS: Are your current members the original members?

Sink Tapes: Yes, it’s just Alex, Ricky, Tom and I, just like it has always been. Alex goes to school in Maryland, which sucks, but whenever he comes home we make it a point to play shows as a four-piece.

LitS: So, when he’s not around, you still perform with just the three of you guys?

Sink Tapes: We don’t prefer to play with just the three of us because with Alex, we have a more complete sound, of course. But over a few months, we relearned how to play our songs as a three piece so we could continue to play while he was in Maryland so we don’t slow down and we’re able to keep process. When he goes to school in the fall, we definitely want to travel there and play a bunch of shows with him in his area. Continue reading →

Review: Tyler, The Creator – Goblin

Tyler, The Creator – Goblin

Released: May 10, 2011
Label: XL Recordings
Purchase: iTunes | Insound | Amazon

Fame is a rather unfortunate phenomenon, an idea that rapper Tyler, The Creator certainly understands. The past few months have been a whirlwind ride for Tyler and his Odd Future friends, from Tyler and Hodgy Beats’s fear-inducing performance on Jimmy Fallon to the formation of the group’s own Odd Future Records record label. Goblin, Tyler’s first official release on a record label, has been surrounded by an incredible amount of hype, blowing up the blogosphere and getting Tyler, as he puts it on the first song, “cosigns from rappers that I don’t even like.” This hype and the young rapper’s sudden exposure to fame undoubtedly affected the creative process Goblin, but is it for the better?

Unfortunately, no. Although Goblin features a much-improved Tyler – in terms of both lyricism and storytelling – the fame that Tyler is dealing with hinders the album and restricts his creativity, causing the album to fall well short of his first release, Bastard. Goblin, to put it simply, is weighed down by the burden of matching the massive hype and pressure surrounding it. In the days of Bastard, Tyler made music for himself, something he has stated in the past and again brings up on opening track “Goblin”, but now, his music is no longer just for him; whether he likes it or not, he has become a sort of cult hero and his music is as much for them as it is for himself.

His fans aren’t the only ones listening to his music, however. Because of his naturally dark subject material, Tyler is forced to qualify his lyrics, spending a large chunk of the album pointing out that his stories of killing and misbehavior are in fact stories. On “Radicals”, Tyler opens with the lines “Don’t do anything that I say in this song. It’s [expletive] fiction. If anything happens, don’t [expletive] blame me, white America.” For all intents and purposes, Tyler can be compared to a young Eminem, albeit one who is way more apologetic.

Apologies, precautions, and qualifications aside, the lyricism on Goblin shows a natural progression from the days of The Odd Future Tape, Bastard, and even last year’s Radical. He’s still an angsty, obsessed teenager with numerous problems and his favorite target is still his missing father. The one problem, however, is how erratically hit-and-miss his lyrical style can be, leading to the inconsistency of the entire album, one of the main flaws of the album. Goblin contains a few very good songs, but also a handful of very bad ones.

When Tyler is on his A-game, he is, in fact, a “walking paradox.” As Wolf Haley, he spins tales of misogyny, juxtaposing with Tyler’s vulnerability in his personal search for love; Wolf Haley commands his “Wolf Gang” followers to revolt against everything, while Tyler worries that people may blame him for others’ wrongdoings. The only problem is, cringe-worthy moments like the muddled “Radicals”, the utterly boring “Fish”, the swag-rap tribute “Bitch Suck Dick”, and the incredibly tedious posse-cut “Window” weigh down the album, especially due to the album’s length — 74 minutes of Tyler’s minimal beats, variety of voices, and Dr. TC-framed-dialogue.

Goblin is essentially and fundamentally very similar to his first album Bastard, featuring Tyler discussing his life problems with his counselor Dr. TC. The production is also incredibly similar; Tyler’s never been lavish with his beats, electing to take a minimal, jarring style similar to that of his idols The Neptunes. Unfortunately, his beats begin to bore as the album drags along, showing that Tyler still has plenty of room to grow. To put it simply, his other beats pale in comparison to the masterful, eerie beat of “Yonkers”.

Goblin, in essence, is a strong effort by the nineteen-year-old rapper. He provides an ominous yet introspective look into his life, showing that he is not entirely as indestructible as he seems. While it may not have lived up to the hype, Tyler and Odd Future are still breaking new ground with Goblin, building a huge following of extremely dedicated and loyal fans who will no doubt eat this release up.

6.2

Standout Tracks: “Yonkers”, “She (feat. Frank Ocean)”, “Tron Cat”, and “Golden”

Listen: James Blake – “Give A Man A Rod (Alternate)”

British artist/producer James Blake has been considered by many to be one of the leaders of the dubstep and post-dubstep musical movements. His latest track, a reworking of the The Bells Sketch tune “Give A Man A Rod”, is probably the closest he has come to traditional dubstep music. The new song will be featured on Hessle Audo’s new label compilation 116 & Rising, out on May 16. You can purchase the compilationhere.

Check out the song below.

Jimmie’s Chicken Shack Playing Free Show at Jersey Shore

A favorite alternative band of the ‘90s is making their way to the Seaside Music Festival in Seaside Heights, New Jersey, next week. Jimmie’s Chicken Shack, best known for their fun, upbeat MTV hits, “High,” and “Do Right,” will be making their appearance at the festival on Saturday, May 21st, and all events during this 3-day music-lover’s fest are free admission.

Jimmie’s Chicken Shack hails from Annapolis, MD and has been rocking stages across the US since 1994. Originally signed to Elton John’s Rocket Records, they releasedPushing the Salmanilla Envelope, and are currently signed to their own label, Fowl Records. The band could be described as a staple for the emergence of post-grunge music in the ‘90s through their involvement with MTV. Jimmie’s Chicken Shack’s style can be compared to funky acts such as The Bloodhound Gang and Insane Clown Posse, for the band is known for putting on captivating shows.

Jimmie’s Chicken Shack will be playing on the Beach Stage, on the sands outside the Aztec Bar and boardwalk in Seaside Heights.  Admission is free and all-ages at this stage, and a map of the festival, band lineup, and more information can be found here.