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...music”), Radiohead (“the best band still alive”) and the work of Beck and Sigur Ros. Like these artists, Eyedea wants to achieve success without personal compromise, a feat that may require not just building great songs but reconstructing the entire hip hop playing field...

Author: By Alex L. Pasternack, CRIMSON STAFF WRITER | Title: Eyedea Rebuilds Underground Hip-hop from the Beat Up | 2/20/2004 | See Source »

From a critical perspective, it isn’t too surprising when artists fail to really appreciate the very things that make them great. But it can be depressing when someone like Timbaland—who pulled mainstream hip-hop out of the gutter in the late 90s and changed popular music for the better—seeks inspiration from two acts that exemplify everything traditional, comforting and safe about modern pop (Yorke et al excused). “Real” musicians wouldn’t have come up with the android beatbox hiccupping under Missy?...

Author: NO WRITER ATTRIBUTED | Title: Has Hip-hop Come to This? | 2/20/2004 | See Source »

...Milkshake” quadruples the effect, with Kelis confined to the role of a club diva providing the vocal riffs and the real star being the skanking analog low-end. It’s the closest I’ve heard mainstream hip-hop get to house music, where minimal “jack tracks” work more like DJ tools than as complete pieces of music, and the human presence is fully mechanized in between pulses of the drum machine. Appropriately, Kelis sounds so bored in “Milkshake” she’s practically disembodied...

Author: NO WRITER ATTRIBUTED | Title: Has Hip-hop Come to This? | 2/20/2004 | See Source »

...between things like “Milkshake” and producing rock bands, the Neptunes are barely contained by hip-hop as a genre. In truth, “In Da Club” is the only joint from this past year still in my head, all mainstream and sewage-level underground productions of 2003 considered. That song, and 50 Cent, are redolent of hip-hop’s gradual ascension more than two decades in the making. They say 50 signaled the return of the hardcore thug emcee, the embodiment of the streets and the real and Tupac Shakur...

Author: NO WRITER ATTRIBUTED | Title: Has Hip-hop Come to This? | 2/20/2004 | See Source »

With his bullet-riddled slur plastered over the track, flow has never mattered less in hip-hop. 50’s skills don’t matter—indeed, they seem impossible to gauge—and the beat hardly needs to try. It’s a suitable metaphor for the idea that hip-hop, at least the way we know it now, has few places left to go. Maybe that’s why Tim says he’s tired—not just bored, but completely run down by the music...

Author: NO WRITER ATTRIBUTED | Title: Has Hip-hop Come to This? | 2/20/2004 | See Source »

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