"Straight fucking hate"
The musical evolution of Sepultura is an almost perfect representation of how Thrash Metal rose in the early to mid 80s, peaked in the late 80s, and faltered and splintered in the early 90s. Sepultura began as a project by teenagers from the burgeoning Metal scene in Belo Horizonte, Brazil, which tried to push Thrash Metal to the peak of its intensity, with the bands debut EP Bestial Devastation and the bands first full length LP Morbid Visions. These two releases blended the raw and primitive (emphasis on the primitive) Black Metal riffs and lyrical constructions found on In the Sign of Evil and delivered it with the speed and intensity found on Reign in Blood. These releases, while decent in quality, did little to stand out from other early releases of up and coming acts from fellow acts in the Belo Horizonte scene, such as Sarcofago, Vulcano, and Mutilator.
However, with future releases, the band (with the help of new guitarist, Andreas Kisser) would deviate from the First Wave Black Metal influence found the earlier releases and instead strive toward the more a more Death Metal inspired Thrash sound, not unlike found in the Teutonic Thrash Metal, but with a undoubtedly unique and recognizable approach to Thrash Metal on the bands next three releases. After being signed the band dropped three legendary albums in succession, Schizophrenia, Beneath the Remains, and Arise. These three albums, produced by the legendary Scott Burns, are some of the most consistently intense, pummeling, and riff heavy releases that have been released by any thrash metal band to date. On the 1991 release, Arise the band began to gain some confidence in experimenting with Industrial music, Groove metal, and the tribal music of Brazil, while at the same time keeping the same level of intensity that made Sepultura, Sepultura.
In 1993, Chaos AD dropped and it was clear that Cavalera and co decided to forgo the the seductive tastes of gradualism and embrace a punctuated equilibrium by completely embracing the plodding Groove Metal sound spearheaded by acts like Pantera and Machine Head.
If you forget about all of the previous releases by this band, this album is actually enjoyable. In fact , this is easily one of the better releases of the groove metal genre due to the riff-writing being for stronger than many Groove Metal releases, Max Cavelera is a better vocalist than most Groove monkeys , and the rhyme schemes being absolutely hilarious "Chaos AD/Tanks on the streets!", Pick this album up along with Slaughter in the Vatican by Exhorder, and maybe Coroner's Grin to listen to some quality Groove metal.
Then suddenly in 1996, the band, for a lack of a better phrase, stopped being good. Here we have the massive fart that Cavelara and Co. unleashed upon the world.
The fart is actually pleasant with the opener, Roots Bloody Roots. That is that it sounds like Korn's self titled album (decent) without Jonathan Davis' sexual pervert esque vocal track ruining the entire track (massive plus). Furthermore, Max Cavelera can actually sell these ridiculous lyrics "I/Believe in Our Fate/We Don't Need to be Fake/It's All We Wanna Be/Watch us Freak!" since he is a competent vocalist and the band has actual balls so it isn't afraid to speed up. Thus the song does not sound and feel like I'm listening to a lethargic mollusk suffering a stroke is manning the guitar like other Groove metal acts.
Let's just take a moment to say that the guitar on this album sounds like a dumpster fire behind a 7/11. It's this muddied mess brought to you by Ross Robinson. The creative mastermind that brough you Vanilla Ice's foray into nu-Metal with Hard to Swallow. Compare this to the production found on Beneath the Remains or Arise. Now that's a heavy raw guitar sound not this worthless attempt at a heavy guitar because Machine Head and Pantera are oh so heavy with their watered down Black Album reject riffs.
The second song is Attitude. No it's not Glen Danzig's ode to spousal abuse, it's Max Cavalera's ode to… something. It's not all bad, there is an interesting first minute of an industrial and indigenous hybrid that serves as aa solid build up to an extremely boring groove metal track. There's a semi enjoyable riff that pop in around the two minute mark and comes in to try to revive this dying song, but the verses are a complete dead weight. Then Max Cavaleras embarrasses himself at the two at a half minute mark by hacking the backing track drop at the the 2 30 minute mark. It almost sounds like a prank by the producer.
Then we have this boring intro, and we have this decent intro riff and- Oh!, oooohhhh, oh deary me, Max Cavalera rapping? Is, is it too late to switch back to listening to Arise? Not only is it bad, but it's a rip off of an absolutely horrendous Slayer song, Love to Hate from the turd in Slayer's nearly impeccable punchbowl of a discography, Diabolous in Musica. While this track does not suddenly transform you into a complete toolbag wearing an orange and yellow flame shirt and black mesh short combo like Love To Hate does, you will still wake up feeling like a useless whore when you wake up the next day.
While the sound of turtle procreation would be an improvement over the previous song, Ratamahatta is actually pretty good. I love the juxtaposition of the new version of Sepultura with some tribal instruments and the insane vocal performance from Carlinhos Brown. It's a absolutely fun performance and keeps this project alive for the first half of the album.
Next track is Breed Apart, oh boy, here's the drums to build up to something interesting no doubt? Oh wait this is Roots, it builds up to a boring riff. Seriously, this will describe half of the songs from this album. This album is the equivalent of auditory blue balls.
Just a not the quality of these songs drop like a cliff with these next few songs starting with Straighthate.
Here we have half ass build up to some more semi-rapping with Max Cavalara. The guitar is completely non-existent where it serves as the equivalent of record scratching. Plus we have Max Cavalara sounding like he's yelling into his phone with a bad connection. Fuck this song.
Spit is shit. It turns Max Cavalera's vocals up to eleven and drowns out all of the non-existent riffs. The riff in this song sounds like if early Mastodon recorded all of their guitars with a children's toy microphone and then proceeded to playback that recording inside of a microwave while it was turned on.
Then we have Lookaway. For the love of all that is holy, what is this shit? I could not believe this was a real song. I have listened to early 20th century French Avant Garde composures who have made more coherent compositions than this. Here we have a collaboration with Korn's DJ Lethel, Jonathan Davis, and Faith No More's own sexual pervert, Mike Patton. It's unfortunate that the Earth did not open up beneath the recording studio that day and take everybody with them into a flaming pit of human misery and suffering.
I cannot stress how much this song annoys me to my very core. This is like the worst of Akira Yamaoka combined with the sounds of Karl Sanders masturbating on a piece he deemed to pretentious. This is like Celtic Frost Danse Macabre if you handed it to a group of self indulgent child molesters who wanted to make dancing skeleton music. This is what happens when Mistress leaves her three gimps to do their own free will with an open mic, a drum kit, and a turntable. The absolute low note of a lowly piece of filth of an album.
Dusted would be so unnoticeable except we have a guest appearance by the snare drums from St. Anger in the break of the song.
Born Stubbon is more of the same as Dusted except it's live so it brings just a tiny amount more life into it to the point where it sounds like a b side to a shitty song from Chaos AD.
For the next two tracks, Jasco and Itsari, the band decides to take a bathroom break and allowed the Xavante Tribe of Brazil into the studio to fill in. These songs are definitely among the highest points of this album. You can feel the genuine passion, the rawness, and roots (!) of these people. Not in shit like Lookaway or Straighthate, or the garbage they recorded with Derrick Green after this album.This is what angers me because there is so much potential hidden here to make a more cohesive statement with this album because instead of letting Jonathan Davis and Phil Anselmo jerk off all over you you have fantastic unique songs like these two tracks and Ratamahatta to carve out your own musical destiny, Instead with the next few tracks we have more of the same.
Ambush has this interesting riff in the into. Maybe this album will finally turnaround- NOPE! More grooveshit with a decent ambient bridge.
Endangered Species is Dusted v.3 in the sense that it barely exists. The only thing notable is there is a Kerry King inspired solo in the middle. The first guitar solo since Roots bloody Roots which was forty five minutes ago. To cap off this turd is Dictatorshit. Genius title guys. It's a decent Hardcore Punk ditty. Not exactly the best way to cap off a Nu Groove Indigenous Wank Fest, but then again how are you supposed to end an album like this- oh, umm hi hidden track? There's this hidden track called Canyon Jam which is more indigenous music. It's pretty good actually with the ambient meshing well with all of the hypnotic percussion.
This album is bad. The good moments are too far apart and too few to save this. It's unfortunate because you can salvage pieces of this album to make a more cohesive statement rather than being drowned in the over roided juices of Phil Anselmo and Jonathan Davis.
Sepultura has never recovered since releasing this album. Max Cavalera would leave shortly after this albums release due to disputes with guitarist Andes Kisser. Derrick Green would take up vocal reigns, and together they would release what I would call, Roots: the Next Generations. For all the hate, Green gets he is not at all a bad vocalist, but much like an actor or actress, he is only as good as the material he is presented with. If you enjoy Roots, you may enjoy some of Sepultura later albums, but they lack a lot of the indigenous elements that keep this album. However, this is not for me
"Pain Inside"
There are certain points in my life in my life where I consistently ask myself "why bother?" and "why should I go on?". These are low points that come and go every few months or even weeks that drag me down like quicksand into this dark void of self-loathing and depression until it consumes me fully. It might take me a few days to pull myself out of this black chasm of despair, but I almost always find an exit from those points. However, today I find myself in the middle of this Marianas Trench deep point in my life and I don't see an exit. All I see in this trench is darkness and abominations that terrify the living shit out of me. This album is one of those abominations.
After listening to all 45 nauseating minutes of this auditory manure that was compressed and separated into 13 individual tracks like an assembly line specifically made for churning out music for Scene kids in 2009, I had to take a moment to question every single decision I have made up until this point.
"Is it worth it?" I mutter to myself as I write this. I feel as if I woke up in a Middle School bathroom after some little shit with neon hair and a GIR t-shirt sharpie'd a penis on my forehead while I was sleeping and punched me a few times in my gut for good measure after I came to. This is what my classmates in High School listened to? My God I have even less respect for people I will probably never meet again. No matter what these people amounted to in life: pediatricians, Senators, gloryhole janitors. I can at least go in knowing that I never listened to this kind of rubbish for actual enjoyment. I am serious that if you listen to this album and enjoy it you must have some sort of brain damage sustained from a life threatening head injury or a sadomasochist that is kinkier than I ever dream of being.
Regardless of my own petty disputes towards people I hardly knew, this album is awful. This is the not the kind of awful people encounter in the wild this is a genetically modified awful that winds up tainting somebodies meal and forces a mass recall because somebody contracted a venereal disease not typically found in Snack Packs. I must speak seriously for a moment, if my Doctor diagnosed me with chlamydia tomorrow, I definitely know where I contracted from and that is the song, "I <3 Hello Kitty".
Yes, That is the name of an actual song on an album that was created, I am assuming, but I have doubts, by an adult, and was sold to the American public. My God even Adam Sandler has more respect for his audience than Blood on the Dance Floor. Never mind the title as nothing can prepare you for the terrible music that awaits you. This song is the perfect specimen to perfectly represent this act of genocide toward human decency that is this album.
I have a difficult time discerning, which aspect I hate the most about this song. One moment it might be the absolutely horrid backing track which sounds like it was made on a trial version of FL Studio by a musically impaired chimp with a brain hemorrhage. Or it might be the absolutely annoying vocals that sound like an effeminate teenager boy attempting a valley girl accent. The lyrics fall completely flat on their ass at their attempts at shock value or humor I mean I'm not expecting some G.G. Allin level shock or Flight of the Conchords level comedy from these idiots but at least try. My God, could this idiot find some else to do the backing vocals because it sounds incredibly lazy.
This album is what the past few months have been leading to. I, like any normal functioning human being, would have assumed that Lil Wayne comparing his penis to a mountain all while using imagery similar September 11 Attacks in a Rap-Rock song would be the biggest insult to my intelligence, but I was wrong. Oh so very wrong. I have taken this album as a personal because how else are you supposed to take this as other than a flat out attack on your own sense of taste and human decency? Let this be a warning to you kids, just when you think it can't get any worse, it can, and it will always get worse.
To further emphasis this point, let's put this album into the context of previous atrocities. If Cut the Crap is a napalm strike that wipes out a small community and Rebirth is an eldritch abomination that warps the very fabric of time and space, then this albums falls comfortably into the realm of a raid by the Mongolian Horde that burns down the entire Chinese city and the raiding party proceeding to salt the Earth that surrounds the city to make certain that nothing shall grow there for generations.
Regardless of my own petty disputes towards people I hardly knew, this album is awful. This is the not the kind of awful people encounter in the wild this is a genetically modified awful that winds up tainting somebodies meal and forces a mass recall because somebody contracted a venereal disease not typically found in Snack Packs. I must speak seriously for a moment because if my Doctor diagnosed me with chlamydia tomorrow, I definitely know where I contracted from and that is the song, "I <3 Hello Kitty".
Yes, That is the name of an actual song on an album that was created, I am assuming but I have doubts, by an adult, that was sold to the American public. My God even Adam Sandler has more respect for his audience than Blood on the Dance Floor. Regardless of the title nothing can prepare you for the terrible The perfect specimen from this this act of genocide toward human decency is the track
I have a difficult time discerning what aspect I hate the most about this song. One part might be the absolutely horrid backing track which sounds like it was programmed on a trial version of FL Studio by a tone deaf mollusk with a brain hemorrhage. Or it might be the absolutely horrifying vocals sung by an ambiguously gendered chimp, who happens to be a Ke$ha impersonator, that is attempting to seduce a Rawr Girl with stolen edgy, 6th grade poetry from a LiveJournal page. If you want raunchy, over the top electronic music that is actually challenging listen to Peaches second album, The Teaches of Peaches. Hell even at her worst, Peaches is at least fun to listen to and not mind warpingly depressing like this album is.
This album is what the past few months have been leading to. I, like any normal functioning human being, would have assumed that Lil Wayne comparing his penis to a mountain all while using imagery similar September 11 Attacks in a Rap-Rock song would be the biggest insult to my intelligence, but I was wrong. Oh so very wrong. I have taken this album as a personal because how else are you supposed to take this as other than a flat out attack on your own sense of taste and human decency? Let this be a warning to you kids, just when you think it can't get any worse, it can, and it will always get worse.
As if the intro song "Let's Start a Riot" which sounds like the intro to a CD-I game wasn't bad enough there's "I Can't Get Enuff", which sounds like every other song on the album. You get the twink vocals, the farting synthesizers, and lame sex lyrics. Seriously you want electronic song with a kink or two check out "Sex Dwarf" by Soft Cell, it's far superior than this in all of its 80s cheesy glory.
Every song on here except the last two sound the exact time. It's all the fucking same lame ass backing tracks, annoying vocals, and shit lyrics. I was looking at iTunes half the time because I didn't know which one began and ended. I swear to God every single song on here sounds the same as each beat warps into each other as if it were a bad rave. I swear to God this is a discotech run by a 2006 MySpace reject who was beaten up by some Metalhead who kept on commenting "Rawr :3" under his girlfriend's statuses. Anyways, you could be listening to Tr/st instead of this crap.
The last two…
My…
God…
Track 12, "Falling Star" is a complete rip off of "Pop Goes the World" by Men Without Hats. It's BOTDF attempting to be sentimental and it's as bad as Weezy's attempt at sentimentality on Rebirth. It's a complete waste of time, space, energy, and thought.
"Libertine" is a bizarre attempt at a soft rock ballad. I bet this really brings out the lighters at BOTDF concerts. It's also another attempt at sentimentality and needlessly to say the singing is completely horrid. He doesn't attempt the bizarre falsetto, but instead opts for an even more tone deaf Douglass Rob impression. It's the most listenable, but it's sooooooo fucking boring and drags out the ending more than Batman v Superman.
This album is horrible. Absolutely horrible. Completely unlistenable from beginning to end. In spite of this *sigh* it is not as bad as Rebirth.
0.5/10
Hello, my dear readers, I have been having some difficulties sleeping at night. The same recent events in my life and illness have prevented me from updating this blog as much as I would like to, have been preventing me from catching up on my beauty sleep. However, on this day, I have found the cure to my insomnia. That cure is Billy Ray Cyrus's debut album, Some Gave All
This album maybe the most lifeless, uninteresting, soft milquetoast pieces of overproduced music I have had the displeasure to listen to. Hell, I have listened to his daughters collaboration with the Flaming Lips, and trust me when I say that I will be reviewing at that one in the near future. This album is frankly, not that horrible when measured against acts I have covered on this blog such as Lil Wayne and Attack Attack, but the shear blandness this album makes up for those acts atrocities against mankind.
"Could've Been Me", kicks off this Country bumpkin fun fest is… a Heartland Rock song?
This song showcases the absolute worst of Springsteen-isms. The "HURGH- URGH- URGH" grunting and accent is laughable and the backing music tries oh-so hard to be "Thunder Road". This song sounds falls right on its face. Seriously, this makes Human Touch sound like Nebraska.
I should also mention that
THIS ALBUM IS SO BORING.
I'm not expecting Avant Garde composition from the Achey Breaky Heart guy, but there could have at least have been an attempt to create some sort of endearing and creative lyrics to make this listening experience somewhat worthwhile. But nope they're all the typical love song tropes repeated ad-nauseam, except for two: "Some Gave All" and "Achey Breaky Heart". The title track is a slightly right-wing leaning song that demands the listener to respect our veterans you damn dirty hippie. "Achey Breaky" replaces the tried but true tropes which plain stupidity.
The only other songs from this album follow this odd Heartland Rock vibe is "Never Thought I Would Fall in Love With You" and "Some Gave All", which the former veiled brag song about Billy Ray falling in love with one out of the hundreds of groupies he has. "I'm so Miserable" is lame blues shuffle, in which all of the frankness, angst, rawness, and well, blues, that makes Blues so great is dragged into the back and shot by Billy Ray's horrid backing band and production team and replaced by lame insipid drivel.
"Achey Breaky Heart" is also on here. We all know it sucks, it's corny, it's overplayed, it's just as bad as you remember and deserves all scrutiny it receives. I should probably mention I had to listen to my neighbors blast a Spanish version of "Achey Breakey Heart" the night of a major break up I had. Thus I have a massive negative emotional connotations with this song, so let's move on quickly.
The country ballads "She's Not Crying", "Someday", "Ain't No Goodbye" are so-so *yawn* boring, I seriously cannot stand to listen to them, otherwise the rest of this review will be the letter "q" going on for infinity.
"Where'm I Gonna Live" is if you made Johnny Cash "Bean's for Breakfast" suck.
I'm sorry if this review has effort put into it than usual, but this album sucked the life and energy out of me. I had to get this one out, so I can move on to other albums before this one becomes a plain burden.
Attack Attack! was a metalcore band from Westerville, Ohio formed in 2007. Westerville is a suburb of Columbus, Ohio which is the birth place of longstanding musical game changers such as Phil Ochs… and, umm, huh. Well, both Phil Ochs and Attack Attack! hail from Columbus, Ohio.
Would Attack Attack! be able to pick up the torch of the legendary folk singer, and give voice to the anger and frustration of today's generation, just as Ochs did in the 1960s?
pfff, only if Phil Ochs wrote a song titled "Captain Kangaroo" and it was about Jesus would that comparison make any sense. (More on that later)
I guess, Akron and Cleveland still stand undisputed leaders of anything decent coming out of Ohio, music wise.
The band would go on to release three full length albums that would sell moderately well and receive either extremely negative to mixed receives
To the dismay of the remnants of the once massive Scenekid Empire, Attack Attack disbanded in 2013, after six full years of non-stop Crabcore action.
Similar to the Clash, Lou Reed, and Metallica I have somewhat of a familiarity with Attack Attack.
No, I did not listen to them! Well I did technically listen to them, in the sense of listen to that song. If you were a member of the Online Metal community in the late 2000s you all know about that song.Alongsidethat brief experience I knew somebody that did listen to a lot of Attack Attack. Back in 9th grade I had my first encounter with the band known as Attack Attack. In my Algebra class there was this terribly annoying kid, let's call him John, who sat next to me in that class for approximately the month he attended my High School.
For some context about who I was in this period, I was a full blown metalhead: long hair, metal shirts, and a bad attitude. I had dived straight into Death Metal, Grindcore, and Thrash Metal without the aid of Metalcore, Deathcore, Corecore or any affiliated genres that many people do listen to prior to intaking "heavier" genres. I, unfortunately, as with many elitist Metalheads looked down on people who listened to Metalcore
To add to my, then, low opinion of John, he seemed to have downed two entire cups of coffee that had three expresso shots, and laced the rim of the cup with cocaine before every class because he would never, even for a second, shut up and try to talk to every one within the vicinity of his voice. Whenever he tried to talk to me, and when he was not asking me to join his band, he tried to get me to listen to Attack Attack his "absolute favoritist band". I asked him why he loved this band so much, "I love their music, their lyrics, everything". I did cave in and listen to that song, which, as did almost everyone else, I found absolutely hilarious.
It was rumored that he was kicked out of school after being caught masturbating in class by a teacher. I would not put it pass this band transforming people into sexual deviants (not in a good way), because this album is almost, ALMOST as bad as Rebirth. I never thought I would encounter an album anywhere near the (lack-of) quality that Rebirth has, but in less than two weeks, I have been proven wrong as I have found an album that does try to stoop that low and almost, ALMOST achieves that level of bankruptcy in the fields of musical talent and creativity of Rebirth.
When I pressed play to "Hot Grills and High Tops" oh sweet Christ, I immediately paused after hearing that Lil Jon impression in the intro back with these horribly produced beats. I actually had to pace around my room, take a breathing lesson, and doubt every single choice I have ever made to create this blog. This track is Attack Attacks! attempt at Crunk which sounds like it was created in a trial version of FL Studio, which, I guess makes it a successful attempt. Keep this in mind that THIS is what Attack Attack! has chosen to introduce themselves. This is what would be people's first impression of Attack Attack: shitty, laughably out date attempt at Crunk, stupid chants that sound like the bro-ier versions of the chants found on DJ Mustard produced songs, and this horrible attempt at screaming in the background, which sounds less emotive and more of him reacting to Hot Topic changing its inventory from catering to limited Scene and mainstream Goth kids to catering to a broader Nerd subculture. Well, that would be their first impression if Metalcore fans had the attention span to sit through an entire album.
Turns out this track was a leads into "Stick Stickly" whi-
Oh-ha-HAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!!
HAHAHA-Oh my God, what the FUCK is this?!
In case you have not watched the music video, please watch it, ALL OF IT, because it's the perfect snapshot of how truly awful and brilliant this album is.
The video also reveals that Attack Attack! is the first band to be made up entirely by clones.
Progressive?
Enough about the music video that we all know and love, where to begin with this mishmash of Metalcore, Post-Hardcore, Eurodance, and Christian Rock.
Christian Rock, you say?! Oh yes Attack Attack is a undercover Christian Rock group. Don't believe me?
"We live for what He's worth/and that's more than you'll ever know/He died for what He loved/and what He loved was You"
and "This is the time to let yourself go/ Lord, pick me off the ground/ You never said this would be simple/ So pull me in and turn around"
While I do not have a problem with a Christian or any religious person expressing their beliefs through music, after all the reason why you listen to music is, primarily, for the music, not the lyrics. However, there seems to be an anomaly that all faith based rock groups make horrible, horrible music. Attack Attack! would be another one of these groups if they did not make a very unique type of horrible, horrible music.
As a final note, for the song title… is the band down to using semi-obscure Nickelodeon characters as song titles now. You're only two songs in, how the fuck are you running out of song titles already?Now let's dive in head first into this horrible, horrible music.
"High Tops" fades into this track, which starts off with the, breakdown? Um, guys, you're a Metalcore band you're supposed to either start off a song with either boring, clean verse or steal a riff from At the Gates. You really need to reread Metalcore 101 aka How To Stop Worrying and Fail in writing both Hardcore Punk and Heavy Metal songs.
Furthermore, this breakdown is weak as hell. It makes the breakdown in Asking Alexandria's "American Average" sound like Suffocation.
Then the band gives up on that breakdown and starts playing a Metalalized version of 1990s Europop, because 1990s Europop is totes Metal yo? The lead vocals are autotuned The background singer attempts screaming, but it ends up sounding like the duet between Owl City and a really drunk Jim Ward that you never wanted to hear.
After that horrid attempt at Pop for approximately thirty seconds, the band returns to playing a slightly modified version of that introductory breakdown for 15 seconds before returning to that Owl City/At The Drive-in collaboration and BACK to the shitty breakdown after 30 seconds of the duet. I swear to Christ, this album is off of its ritalin a 100% of the time.
Then the song comes to the conclusion that you all expected from the very first note
…
A FUCKIN TECHNO RAVE SONG!!
Yeah, Attack Attack! forgets that they are a Metalcore for the duration of this song and they live out their dreams as European Techno Crab people. Because Eurodance and Metal transition so well together just like peanut butter & jelly. It's more like eating a burnt pineapple pizza then proceeding to scarf down an entire bag of sugar than has been sitting in a cabinet for the past several years..
It would make as much sense if NWA spliced "Something 2 Dance 2", the Soul Sonic Force soundalike track right in the middle of "Gangsta, Gangsta", the hard hitting gangsta rap track.
This song sounds like a complete mistake. Okay, maybe this entire band is a mistake, but in all seriousness this track sounds like the result of a horrible mistake in the studio. As in the producer played a horrible joke on the band by inserting a Eurodance song that he had produced right in the middle of Attack Attack's BR00TAL \m/ HEAVY AS FVK LEAD SINGLE!!!1!
But instead of firing the producer the band took one listen and said "brilliant, let's do this."
When played live, "Stick Stickly" sounds like Slipknot hijacking a Vengaboys concert
and once you heard "Stick Stickly", you have pretty much heard this entire album.
Seriously.
"Bro, Ashley's Here", "Shred, White, & Blue", "The Catfish Soup", and "The People's Elbow" I swore to God I thought something had gone wrong with iTunes because these songs sound exactly alike. However, "Bro, Ashley's Here" manages to be the worst of the bunch. It's nowhere near as stupid, the riff sounds lazier and lacks the pathetic punch that "Stick Stickly had, and the breakdown is a failed attempt to get Scene kids to 2-step in the mosh pit, and the last minute or so devolves into pointless noise and screaming.
Seriously.
That one minute is what I imagine Death Metal sounds like to people who do not like Death Metal.
"Party Foul" attempts to spice things up by having godawful and annoying screaming over the Eurodance instead of the horrible autotune vocals, and has an electronic breakdown with an annoying buzzing synth line. There is a second breakdown, if you can call it that. I would best describe that breakdown as sounding like the band is being forced to play barefoot on legos while the sound engineers are pelting the band members with various fruits.
Needless to say this song is completely awful.
"Interlude" could be easily replaced with this:
and it would be infinitely better.
"What Happens If I Can't Check MySp-
No, I am not typing all of that out. I have enough self-respect for my self and my readers to not type that song title for the sake of a possible brain hemorrhage occurring and possible legal repercussions as a result
Sure "Hot Grills and High Tops" is one of the worst things I have ever forced my brain to read and comprehend, and I have read My Little Pony urine erotica for my other blog, but AT LEAST it's a title unlike this crap! Seriously, MySpace references!? Sure those will never become outdated! My Space will always be here HAHA! Just like T-Mobile Sidekicks and mismatched highlighter yellow and brain tissue pink colored clothing will be popular forever, HAhahaha-ha-haaa.
ANYWAYS
what makes this song unique other than that organ failure of a song title is that it contains an actual metal riff. Yes, the only positive thing I have to say about this metal album is that it contains a metal riff. The first and only metal riff in a 30 minute album. That alone should give you the quality of this "METAL" album.
Sure it is a complete rip off of "Spirit Crusher" by Death, that is if At the Gates recorded that riff and watered it down in the process, then Avenged Sevenfold copied it, dumbed it down, then tossed it because it had a shred of decency, then finally Attack Attack! digs it out of the garbage and records that riff for its grand debut.
Oh and by the way, that Metal riff last for 20 seconds before it devolves into that stupid Eurodance Metalcore abomination found in "Stick Stickly". That 20 seconds of riff is the only thing worthwhile on this entire album. No not, worthwhile actually "worth your time", no, more like "not completely wasting your time."
"Kickin' Wing" tries to kick the Metal party into high gear, with more bro-ey vocal stylings and exchanging the Eurodance break with some bizarre pop metal vocals for the chorus.
No thanks I'd rather listen to some Municipal Waste at least they sound like they're having a blast while making stupid, catchy, and above all FUN Metal songs. You know good party songs are supposed to sound like the people making the songs are at least having fun.
If Municipal Waste is the party that continues into the next day and you can't remember if you really did leave all of those pineapples on your neighbors front yard, then Attack Attack! is the party that ends before 9 o'clock because the hosts are worried they will be late for school the next day.
"Outro" is a pointless piano piece that makes sure that your time with Attack Attack is thoroughly wasted.
Overall, this album had approximately 20 seconds of decent content which is 20 seconds more than I can say Rebirth. I honestly do not think I can find anything worse than that album, yet this is still way below Cut the Craps grand total of three minutes of mediocrity. Then again while it is an awful album it is not as offensively bad as Rebirth. "Stick Stickly" and its music video manage to be laughably bad and can be listened to and enjoyed as a joke, a musical equivalent to Plan 9 From Outerspace or the Room you could say. However, the rest is just BORING. It's like a joke that a friend told you that was pretty funny, but then the friend proceeds to repeat it with diminishing results. Needless to say with Attack Attack! disbanded, I can at least feel more at ease with the state of the world.
War, famine, natural disasters, hey they might all be happening but at least there will never be another Attack Attack! album to pollute peoples eara.
I'm not doing any introduction, history, or background for this album which I had been doing for the past entries. Well, that is, before I listened to this thing if you can even call it an album. This thing doesn't deserve any special treatment because it this is album does not give a shit about the audience, why should I give it any form of courtesy or any sort of minimal, little, insignificant, minute sense of respect. What this thing truly deserves is to be cast down amongst the the flaming pits of hell and to rot there in obscurity, with only the souls of the damned to keep it company.
Never before I have I ever felt my intelligence so insulted by a piece of media. Christ, the creatorsof Oogieloves in the Big Balloon Adventure had more respect for their audience than Lil Wayne has, if this is the material that has made him a massive hit in the past several years.
I would like to formally apologize to the Clash for giving the album, Cut the Crap, an "F+" . Oh, how naive I was to think that Cut the Crap deserved an "F+" when I know this thing exists! An "F" rating implies that the album has zero effort, skill, love, or even ideas put into it. If Cut the Crap has zero effort, skill, love, or even of coherence, that implies that Rebirth has a NEGATIVE amount of effort, skill, love or even ideas put it in. This thing is a black hole of negative energy that has collapsed on itself, and now warps all of reality surrounding it, as well as sucking in and destroying everything and anything good in this world.
Okay, I should calm down now…
*breathes in*
*breathes out*
Now, mixing rock music with rap is ,of course, not at all a new concept and has worked well in the past for artists like Rage Against the Machine, Body Count, Beastie Boys, Public Enemy w Anthrax, and Faith no More. These artists show a deep appreciation and understanding for both rock and rap to create a great synthesis of the two genres. if you don't you wind up with your Kid Rocks and Limp Bizkits.
This thing does not have anything going for it. It does not have the political awareness and musical capabilities of Rage Against the Machine, the the grittiness of Body Count, the fun factor of the Beastie Boys, the combination of lyrical and musical intensity of the Public Enemy and Anthrax collaboration , nor the ambition of Faith No More. It doesn't bridge the rock and rap gap and bring people together. It does break any boundaries or anything creative or ambitious. It does nothing for the listening audience. It accomplishes nothing.
Not to say that an album in order for it to be good it has to break down boundaries, but it has to be at least trying to accomplish something as meaningless entertainment, like the musical equivalent of a popcorn-flick.
Can you headbang to this album?
No.
Can you dance to this album?
No.
Can you play this album in the background while you do something productive with your life?
You technically can, but question is, would you want to listen to this album if you're actually doing something productive with your life?
Does it actually succeed as an album in the sense that it cohesive set of rock, rap, and rock-rap songs?
No
Does it succeed as a rap-rock album?
No.
Does it succeed as a rap album?
Fuck No.
Does it succeed as a rock album?
it fails so hard it can no longer be observed and understood by your average Joe and Jane Schmo, but rather it is contemplated as a theory in the most prestigious of universities to understand what in the fuck is this thing?
Now, before I listened into this thing I want to state that I have never listened to a full album by Wayne, so my judgement on him is only based on this album. I have heard his singles on pop radio years ago, and I don't recall too many specifics other than they were annoyingly catchy. So I tried my best to not have any bias toward Wayne or his crowd for this review.
Now enough of me ranting and raving about this thing in general, let us focus in on the actual contents of this thing.
For this album, I will be breaking a personal rule by reviewing this album, track by track.
Oh yes, we're going through this fucker TRACK BY TRACK! You can't just sum up this thing with all of its nonsense and stupidity without close examination of all of the stupidity contained in each of these three minute segments
The opener, "American Star" sets the tone for this entire ordeal.
It starts off with Wayne's backing band warming off. No, Weezy is not actually playing guitar on this album. I can tell how surprised you, the reader, are that Wayne is not actually playing guitar on this album.
So absolutely, positively, shocked.
Instead he has hired studio musicians and Travis Barker of Blink-182 fame to do the rocking our for him.
Oh joy, two artists whose popularity have completely perplexed me are coming together at last!
As you can imagine, with a studio assembled band, the music, is just, bland. There's no drive, energy, soul, or balls to it. The guitar seems to come and go as a non-entity, and when it does come it's the blandest of the bland that only a studio musician can do. Then when it goes it disappears without the listener noticing it, as if it were an auditory illusion that was not actually there in the first place
So, the band doesn't do anything interesting, does Wayne do better?
He doesn't attempt to rap here, and he sort of goes the Original Wrapper route of combining rap, spoken word, and singing. Oh, and he uses autotune…
May I ask why?
Why,in the name of God and all that is holy from the highest heavens to the bottomless pits of hell, would you, Dwayne Michael Carter, Jr, EVER use autotune on a ROCK ALBUM!?
For Christ sakes, why would you ever use autotune on a rock album? Rock music is one of the few genres where you do not have to sound 100% amazing, yet Wayne decides to use autotune! He sounds absolutely awful! It makes him sound like he's putting less of an effort than he already is!
Now autotune can be used effectively, but when it's used an aid not a god damn crutch!
Unsurprisingly the lyrics are horrendous. It cannot be understated how insulting these lyrics are:
"listening to my own voice in my black rolls royce"
Move along folks, this isn't a sign of an Ice Station Zebra-esque scenario, where Lil Wayne will, sometime in the future, isolate and lock himself inside of his penthouse while listening to A Milli on repeat for days on end.
"Born and raised in the USA/where the government is watching what you do and say"
It should be noted that Wayne also chuckled after that line, as if he unloaded an amazingly hilarious joke or revealed some deep and insightful comment on the human condition.
"I'm a dope boy with a guitar"
Well, you do have a guitar, but you have clearly demonstrated that you do not know how to use it.
"My ancestors where slaves in the USA/But today it's alright
I'm just going to leave that there, because, I hope to God, this line was written tongue in cheek, because Jesus Christ, I hope this man is not THAT out of touch with reality
Weezy, in a moment of complete surreality, shouts "BRIDGE!" right before the bridge comes.
Why? Why would you do that? Did he think it was cool when Timbaland did it in Justin Timberlake's "Sexyback"? Sure it was cool in that song, mostly because it was backed with that tight, pop beat and Timberlake's charisma, so when Wayne says it here he sounds like a total putz!
There's also Shannell (who?), who sings the chorus and overpowers Wayne, the guitars, drums, everything! It's as if her voice is a nuclear weapon detonating and leveling all of the buildings in one massive shockwave. Then again, even the Carpenters could over power this band.
She's a good enoughsinger, but I'm not sure if it's because the only competition she has on this album is Wayne's, sigh, autotuned vocals.
After an incredibly lame solo from a bored studio musician, the song just sort of dies, well that implies that this track had any life in it, but you understand what I mean.
The next song, "Prom Queen", the lead single to this album, has some positives to it: It is more coherent than "American Star", there is a coherent riff played on a guitar, the verses are distinguishable from the chorus, and it has a modicum of catchiness.
As for the negatives…
Next we have "Prom Queen" which has a main riff that would not look out of place on a Creed album. Wayne cannot sing to save his god damn life on this song, and sounds more like he's on an alcohol binge rather than this bizarre song, where Weezy details how this girl from high school (the titular Prom Queen), turn him down, fooled around with the other guys who didn't care for her, while he honestly did (judging from rest of the lyrics from this album this is hi-larious). Now fast forward, she's, literally, at his front door needing help and support. Weezy is all his kindness decides to gloat about how he made it, because she didn't have the foresight to imagine that the United States was so gracious to grant Lil Wayne the third most entries (126!) on the Billboard Hot 100 singles charts.
So basically this song is similar to Elvis Costello's "Alison" except way more douchier.
It is also revealed that Wayne also has a Madonna/whore complex, "She's popular with all the guys/so innocent in my eyes". At least the other tracks have something interesting with the lyrics, granted they're fucking stupid, but at least the lyrics are stupidly entertaining. These lyrics are just boring, bland, radio rock nonsense that would fit on any Nickelback song, except they're made even worse with Wayne's autotuned vocals.
"Ground Zero" track is Lil Wayne's foray into 90s Alternative Rock except completely falling flat on his ass. Well, this entire album could be described as Lil Wayne falling flat on his ass, but especially on this track.
I swear to God that Wayne's back up band ripped off the instrumentatio from someone, but I cannot place where. Lil Wayne sounds at his (second) worst on this track. It seems like he is attempting some sort of whispery, 90s industrial rock vocals, while at the same time rapping and drowning himself in autotune, it's absolutely fucking horrible
This song, lyrics wise, is a hastily mashed together description of two scenarios. First is Wayne having sex with a girl in which he uses a mountain as a metaphor for his dick. I am not, and I could not make this shit up:
"a nice little mirror and a little white girl/way at the top of the mountain, bouncing"
Then out of nowhere, Weezy starts singing verses that conjure up 9/11 imagery.
"flame, fashion, planes crashing/ground zero/let's jump, jump out a window, window/let's jump off a building baby"
What the fuuuuuuuck!?
Why would you do that?
For God's sake man!
I swear "Da Da Da" is Wayne's attempt at creating some sort of DaDa-core except one step beyond by adding more Da.
The track starts tart off with this little guitar jamming, then all of a sudden DRUM N BASS MUSIC
Why?
It is so freaking weird! It's not as weird as when My Bloody Valentine turned into a freakish drum n bass shoegaze hybrid for the last three songs of their self-titled album, but it's still really weird.
There is this weird background breathing that I cannot decipher. I don't know if it is Weezy jerking off into the microphone or somebody completing the Tour de France, but it is slightly distracting.
It also contains the lyrics: "I know you want me/ give me that funky monkey", a phrase that should only end with someone being ostracized from humanity for eternity.
Next, we have the, oh God why, the ballad of the album. Yes, folks we have Lil Wayne attempting a rock ballad.
I am not joshing or attempting to play with your emotions, dear readers.
Lil Wayne attempting to emote!
This is so bad it becomes absolutely MAGICAL
Just listen to this:
You want pure, raw emotion check this shit out?
Joy Division's "Disorder"? Johnny Cash covering NIN's "Hurt"? Elliot Smith's Discography?
Rubbish!
No, let's hear Weezy whine about how hard it is being rich! All while the autotune tries to save his voice, but ends up sounding like he's being waterboarded in the chorus
God please fuck this album to hell.
"Get a Life" is Weezy directly mocking his listeners. In case the previous six tracks weren't insulting enough, he has to directly say "FUCK YOU/GET A LIFE", all while this horrendous Maroon 5 backing track plays behind him. Wayne sounds horrendous and annoying, and for a few seconds he doesn't use autotune, but, like an addict, he relapses to cover his awful vocals. I commend Wayne a little bit for trying to not to use autotune, but dear God man, you could not finish one song without it?
The next so-
Wait did my mp3 files get mixed up? Why is Giorgio Moroder pl-
oh never mind, Weezy has decided to sample "She's on Fire" from the Scarface soundtrack, a song composed by the legendary Giorgio Moroder.
Great, just great. You have to shit on three genres instead of two, huh, Wayne?
"On Fire" is not a rock song at all. It sounds exactly like one of Lil Wayne's regular Rap and Hip-hop singles, but it has a teeny-tiny guitar that occasionally pops in and out of the song, as if it were an aquatic mammal catching air and receding into the sea. I guess that's what mainstream rock music is nowadays. After all my local Alternative Rock music has Lorde on frequent rotation, so what do I know!?
The one saving grace of this song is the faint, classic "She's on Fire" melody buried in the. Other than Wayne using a matchstick as a metaphor for his penis and a SECOND analogy to the 9/11 terrorist attacks, this song is completely trashable.
"Drop the World" is also another straight forward pop song, and unlike "On Fire" there is not an electric guitar in sight on this track.
It actually does not sound bad at first It does not masquerade as some "heavy-as-fuq" rawk song, it knows that it is a pop song with the instrumentation and structure and it works well. For once the production does not sound like complete and total ass, and Wayne on this track does not completely annoying and going overboard with the autotune. For once the lyrics are actually okay and not completely bonkers
"I got ice in my veins, blood in my eyes/Hate in my heart, love in my mind/I seen nights full of pain, days are the same/You keep the sunshine, save me the rain"
Tha-that's actually not bad at all. So let's see where Wayne takes us with th-
"But soon for a nigga it be on, mu'fucka'/Cause all the bullshit,it made me strong,
mu'fucka, so-
I PICK THE WORLD UP AND I'MMA DROP IT ON YOUR
FUCKIN' HEAD!'
That's the chorus for this song…
I, I have no words for this. You actually tricked me into thinking that there might be a decent song on this album. Not a particular good or amazing song, but a passable song that is in someway shape or form listenable, and this album absolutely fails in that regard.
The song becomes even more laughable as Wayne tries, not only to act tough with those lyrics as the chorus, but there is also this adorable, saccharine, synthesizer beeping in the background. It's akin to someone editing the glockenspiel from Springsteen's "Born to Run" into Black Flag's '"Damaged I".
Good, fucking God, I could be listening to anything right now. Good albums from the previous year. I could be listening to to Death Grips the Powers that B, it is not the groups best work, but it is quality, intense, heavy hitting, and challenging hip-hop that obviously had a ton, a TON of effort put into it. It above all else, came from a place of creativity that might inspire young artists to push the boundaries and explore the sonic landscape of music and not of laziness and profit unlike this fucking album.
Eminem provides a guest verse, but he starts off the song by singing which conjures up horrifying images of "Mockingbird", but for our sake he returns to his usual rapping self. No not, the Marshall Mathers LP, Em, this is, ugh, Recovery, Em. So you have brilliant lines like "the world is my easter egg, prepare to die" and "I'll split your cabbage and lettuce and olives". Thus, with a competent flow and solid delivery, Eminem's verse becomes the highlight of the album by far. Yay, this song still manages to be horrendous, but you get a gold star for at least, for a few brief moments, become slightly listenable.
Fuck this.
At this point I was strapping myself in for a full out Pop assault on my senses from Lil Wayne, as if I were a junkie and this album was slowly strengthening in pop doses to lead me into liking Wayne's pop work. Instead we dive headfirst into some serious ROCK N ROLL in the song "Runnin'"
Well, it's just like "American Star" except it's way more sluggish and a complete and total snooze fest. There's also Shannell who sings the bridge. She sings her heart of this track, but she can't bring these awful lyrics to life
*sigh*
A waist of an obviously very talented woman's time. Has she done anything else
*looks up her wikipedia article*
She has released an album with a few guest appearance on other Young Money artists singes.
*sigh*
Whatever,
There's off about the intro to "One Way Trip", but I can not put my finger as to why.
Oh, and back to the pop!
There's this guitar in the background, I guess that makes it rock. If that's so, I guess it makes Jay Z's "Death of Autotune" just like Yngwie Malmsteen.
It also has Kevin Rudolf to do the guest chorus. You know the guy who sang "Let it Rock"? That one song that was popular from a couple years ago? Yeah, me neither.
This song is worthless other than the line "I eat breakfast like a mothafucka."
as well as the bizarre lyric of "TRAVIS BARKER IS MY DRUMMER MOTHAFUCKA"
who the fuck thought that line was good, and Wayne doesn't just say it one as it's part of the damn pre-chorus!
Christ, this album is a nightmare I can not wake up from.
Next up is "Knockout". This track is Lil Wayne's foray into Pop Punk
Let me repeat that, for the folks at home who cannot believe what they have read
This is Lil Wayne's foray into Pop Punk
This song is your typical, run-of-the-mill, Blink-182 nonsense that most people have suddenly hailed as "good punk", because nostalgia, yo!
Wayne sounds especially horrible on this track. It sounds like someone is either poking him with a pin while he is dehydrated or is drowning him in autotune to hide the apparent dehydration. It's bad in the verses, but in the chorus it sounds like he turned into the Tasmanian Devil, seriously what is this thing?
I could be listening to Against Me's Transgender Dysmorphia Blues, an actually good pop punk album that came out this year. Sure it's not as good as the band's old stuff, but it's something of substance with clear heart , soul, and effort put into the music. Lyrics that explores and tries understand this messed up world that we live in from a trans woman's perspective. If you read the comments on the youtube page of the title track it is filled with young LGBT people who are inspired by this song, the band, and the bravery of the lead singer to come out as transgender, all while having fun listening to this catchy, fun punk tune that will be stuck in your head for days. Instead of listening to that, I am here listening to this ignorable, boring, and uninspiring dribble of an album that adds nothing, absolutely fucking nothing and benefits nobody except the receivers of royalty checks from this release.
Nicki Minaj also provides a guest verse on this song. For her first verse she is soothing, boring, and is the highlight of the song. Those are usually not words that I associate with Nicki Minaj, but then again I am in the universe where this album has a 4.6 on Pitchfork, while Jay-Z's the Blueprint and Frances the Mute by the Mars Volta are rated a 4.5 and 2.0 respectively, so what do I know?!
"The Price is Wrong" starts off with an attempt at a Heavy metal riff, I guess. Dear God, this laughable "Rock production" makes "Hold the Line" sound like "Hell Awaits".
This song continues this bizarre obsession Wayne has with his High school flame that hooked up with someone not him. He then describes how she used to rub it in his face, while he was "the baddest motherfucker in the lunchroom" (actual line from the song people). So, flash forward to the present, Wayne has to rub his success in her face as if all of his success was just to spite her.
It really is quite pathetic.
There is also this ANNOYING as hell singing by Wayne on the chorus. Why are you doing that? God, why didn't ANYBODY have the guts to say "no" to this guy, that maybe WOO-ooo-OO is not the best hook to a rock song!
I would've ended this review as this is the final track on the original release, but noooooooooooo
We have BONUS TRACKS
DID PEOPLE REALLY NEED AN EXTRA 16 MINUTES OF LIL WAYNE'S ROCK DEBUT?!
IS THAT WHAT THE AMERICAN PEOPLE WANTED IN 2009?!
Fuckin' hell, anyways
Listening to "Die for You" by Lil Wayne might have been the most painful experience in my life so far. Being hit in the head with a metal pole was a less painful experience than this, track, and I probably lost way more brain cells listening to this song than to the aforementioned metal pole.
The songs cheesy ass synth intro is capped off with a woman crying, symbolizing that you're supposed to be SAAAADD :( during this song, because Wayne can't write a song to cause any other emotions other than anger and disgust, so he has to include someone crying to inform the audience that they have to be sad during this song. Fuck you, at least when Lou Reed did write a song titled "Sad Song", it had thirty minutes of one of the most soul wrenching Rock songs ever written preceding it to warrant the song being labelled, well, "Sad".
So
The instrumentation is BORING, I repeat, BORING. It's just this chugging verse guitar, uninteresting guitar riff. It's like he tried to make the song sound like "You Wanted a Hit" by LCD Soundsystem, but failed miserably.
It tries desperately to inject anything interesting into the track with the chorus, but it doesn't help that Wayne is screaming "DIE WITHOUT YOOOOOU" and obliterating anything of worth within the vicinity of his voice.
These painful, I repeat, PAINFUL inflections in Wayne's voice. I swear to God that he is either vomiting or having a stroke in some of these verses.
There's this very weird synth solo buried under all the shit chorus that sounds like someone covering the guitar solo from "Aerodynamic" by Daft Punk in Garageband. Because why?
and it just goes on, And On, AND ON, AND ON FOR FIVE MINUTES
until your blood pressure has been permanently raised several points and you have to explain to your family that you might not live passed 65 because you listened to Lil Wayne's foray into Rock music
Fuck this song, fuck this album, and fuck everything.
"I'm So Over You" is a song that exists. It does nothing interesting, it simply exists. Akin to pocket lint, it's just there. Next.
The track "Revolver" is a song that has guest vocals by MADONNA? Why the hell are you on this album?
Christ, Madonna is now reduced to providing guest vocals on the Deluxe edition of Lil Wayne's Rebirth. How the mighty have fallen, I guess.
This is not a bad song by any means.It's upbeat, catchy, fun and actually a little fun to listen to, which is something that cannot be said for all 12 tracks of Rebirth.
Granted, it is saccharine AS FUCK, but I will take sugary pop over shitty rock any day of the week.
So, I guess If you like Madonna, I don't see why you would hate this track. There's also Weezy, but he's a non-entity in this song. It would be a highlight, if it were actually on the album!
Finally, (FINALLY!!) there's "Hot Revolver (Extended)" I was hoping that it would be an extended edition of the previous track, but NOPE it would have been too nice to close on a a decent song.
There's a bass intro, which rips off "Whatsername" by Green Day. I-I'm kind of disappointed in myself recognizing that, but fuck it, I'd rather listen to 21st Century Breakdown on repeat than listen to this album again.
Then there's Wayne sounding like he's orgasming into the microphone, then…
the song is supposed to launch into the verse riff, but it's just stuck in this rut. Oh wait, here's the chorus… suddenly?
The chorus feels like it's been tacked on in a last minute effort to make the song less boring than it already is.
Then there's a rap section all of a sudden, because why the hell not, there's only two minutes left!!
"She likes me too much/that's why I can't be with her" Sure it is Wayne, keep telling yourself that.
Then the song has a few verses, a bridge, and chorus, okay fuck it it's FUCKING OVER!
YES, FUCKING DONE, I CAN FINALLY MOVE ON FROM THIS PIECE OF SHIT!
In conclusion, it is shit, total shit. This is easily the worst album I have ever listened to in my life. It is painful to sit through just a single song, let alone an entire 40 minute LP plus BONUES TRACKS. Lil Wayne's annoying, I repeat, ANNOYING vocal delivery of lyrics that are either lazy insults or laughably inane brags. The backing band, if you can even call them that, like "I'm So Over You", simply exist. There's nothing creative or interesting in the instrumentation and fail to make a SINGLE memorable riff. Wait, there is one riff I recall from the top of my head, oh wait, they stole it from Green Day, so never mind!
As a rock album it fails. As a rap album it fails. As a rock-rap album it fails.
It's worthless, absolutely worthless.
AVOID this album, go listen to anything else, ANYTHING, hell go listen to Cut the Crap, at least it has a good song that is actually on the original release! Or better yet go listen Lulu because it is actually an enjoyable, creative, good album!
*Sigh*
Three entrees into this series and I have already found the Worst Album of all Time.
