"Nothing wrong when a song ends in a minor key," she generously explains throughout, and "Werewolf" is proof. "I could liken you to a lot of things/ But I always come around/ Because in the end I'm a sensible girl/ I know the fiction of the fix." It's a cathartic lyrical heave that prods your demons and demands you confront them.īut as exacting as those lines can be, "Werewolf" is still about reassurance and understanding that everything will probably be OK, even if you have to rewrite your definition of the word "OK." Apple gets this across with an arrangement that complements her lyrical choices: Like a storied relationship, the music blooms and withers, swaying from a tiny tinker out of a wheezing piano to a full-bodied beast swollen with the sounds of screaming children.
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"I could liken you to a werewolf, the way you left me for dead/ But I admit that I provided a full moon," she sings, shifting some of the burden to her own shoulders- and to ours. The Idler Wheel's soaring piano ballad "Werewolf" takes the Fiona experience beyond brooding self-pity and moves gently toward self-improvement. Hari Ashurstįiona Apple's words possess a quality that feels broad and universal while being specific and personal enough that you'd swear she has clairvoyant insight into your failed relationship, your anxious morning, your latest convoluted epiphany. Like "BTSTU", the track is custom made for infinite listens- its undulations lining up with some ineffable sense of human rhythm- which, considering his careful rate of productivity, is not only good but necessary. "Jasmine" itself suggests something to be discovered, its pleas half-sunk beneath a slowly encroaching funk that finds space between Daft Punk and Dilla. His disorientating universe hints at deeper trough of material too it's difficult to imagine that he's arrived at such a spectral place on a first (or second) attempt. It's impressive just how distinctly Jai Paul this song is, given that we haven't got much to go on so far. In the middle is Paul's feather-soft falsetto, sounding distant as ever, yet grounding things in reality. Even with his limited amount of material, Jai has managed to craft his own language: the combination of quick cuts of silence, gurgling synths, and wah-wah guitar doesn't sound like anything else in music at the moment. The paucity of material has created a fervor: There's a 50 page (!) thread over on this Kanye West forum, where users have traded everything from information on where members of Jai's family work, to a community-curated EP of demos. "Jasmine" is only his second official single after 2010's "BTSTU", which means he knocks out one classic every other year. It is now a word to generally describe full-length albums released for free, which is the modern form of mixtape that was made a popular following by 50 Cent and his group G-Unit in the early 2000s, sometimes containing all original music, other times composed of freestyles and remixes of popular tracks.While the rest of the music world seems to run at the speed of light, Jai Paul moves at his own pace. In the hip hop scene, mix tape is often displayed as a single term mixtape.
Also since the 1990s, it describes releases used to promote one or more new artists, or as a pre-release by more established artists to promote upcoming "official" albums. Blend tapes became increasingly popular by the mid-1990s, and fans increasingly looked for exclusive tracks and freestyles on the tapes. Ron G moved the mixtape forward in the early 1990s by blending R&B a cappellas with hip hop beats (known as "blends"). In the mid-1980s, DJs, such as Brucie B, began recording their live music and selling their own mixtapes, which was soon followed by other DJs such as Kid Capri and Doo Wop. (who later became known as Whiz Kid) and DJ Super V would create personalized House Tapes which would eventually circulate throughout New York City.
In the late 70's into the early 80's DJs began recording mixtapes out of their homes, referring to them as House Tapes. As more tapes became available, they began to be collected and traded by fans. Hip hop mixtapes first appeared in the mid-1970s in New York City, featuring artists such as Kool Herc and Afrika Bambaataa.
In hip hop's earliest days, the music only existed in live form, and the music was spread via tapes of parties and shows.
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