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The atmospheric doom-drone of the song is Sunn O)))’s usual MO to start, but deep into the track a jazzy trombone creeps in. Slowly but surely, it becomes the dominant sound, in a testament to the late Coltranes.

The jazzy trombones are incredibly cheerful and vibrant, bringing a surprisingly joyful end to a deep, sludge ridden, doom-drone album.

https://youtu.be/v8Djdi6z0m8?t=10m31s

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The final track to Sunn O)))’s Monoliths & Dimensions is dedicated to the late jazz composer Alice Coltrane (herself the widow of jazz legend Saint John Coltrane).

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Sunn O)))’s terrifying and brilliant sixth album. The project was recorded over a two year period and melds the duo’s usual experimental doom-drone with classical elements, forming a more advanced sonic atmosphere than anything before it in the band’s discography.

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Atilla Csihar is a Norwegian black metal vocalist. His best known work is with two bands; The first being Mayhem, whose first studio album, De Mysteriis Dom Sathanus he sang on after their previous vocalist, Perr “Dead” Ohlin committed suicide. Atilla would later join the band as permanent vocalist in the late ‘00s.

The second being American doom-drone band Sunn O))), who he has worked with prolifically since their 2004 album, White2.

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The NOI has an unfortunate history of antisemitic beliefs and rhetoric. While the article in question details it’s early history, it is more noted in the organization after Louis Farrakhan took over.
The most infamous is the NOI publication The Secret Relationship Between Blacks and Jews, which falsely alleges that Jewish people played a dominant role in chattel slavery.

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In absolutely no order…

Only Built 4 Cuban Linx… Pt. II by Raekwon

How do you follow-up a classic? How do you recover a career fumble after two mediocre albums? How do you adapt yourself to a soundscape that has, under your own influence, changed drastically? You go back into your original brilliance and amplify it. Make it darker, starker, grittier, tougher, colder, and thicker than it’s original form.


Battles in the North by Immortal

The mission statement, I think, of black metal. Not to say it’s the first black metal album, or even the greatest, but it is probably the best example of what black metal is supposed to be – visceral, pummeling, and intent on hanging you by your entrails before skullfucking you.


Pure Heroine by Lorde

I do not care for pop music. I really don’t, it’s too manufactured for me, for the most part. But you occasionally find a gem, and when you find that gem, hold on to it tightly.


Enter the Wu-Tang (36 Chambers) by Wu-Tang

What grunge was to rock music, Wu-Tang was to rap. Removed from the glossier production styles that preceded it, Enter the Wu-Tang uses a rawer, nastier sound to get the image of the poor, post-Reagan boroughs of New York. Yet not to depress, but intimidate. Not to mention the cartoonish violence and sheer lyrical acrobatics.


good kid, m.A.A.d city by Kendrick Lamar

It’s common, I think, for white listeners of rap to be unfamiliar with the ghettos that their favorite artists come from. Most of us live in the ‘burbs where gang banging and police brutality simply aren’t concerns. GKMC is probably the best way to illustrate these unfamiliar conditions. Not to say that you all of the sudden can go “Oh, I know exactly what you’re going through”, but to give you a peek inside what’s going on. Almost like a news report.


Sam’s Town by The Killers

My love of this album is all stupid nostalgia and I don’t care. I love the instrumentation on this, and I love Brandon Flowers' voice even if on some songs it seems like he’s not really saying anything.


The Electric Lady by Janelle Monae

If the term “afrofuturism” confuses you, this is the best example you’ll find. Janelle put together a beautiful, soulful, funky, genre-hopping album with no weak cuts to be found. It’s the kind of sound I think most artists should aspire to. Also, Metropolis influenced, yaaayyyy!!


Metropolis by Frank Strobel & Rundfunk-Sinfonieorchester Berlin

Metropolis is, to me, the greatest film humanity has ever achieved. It’s magnificent at every turn, and a huge part of that is the score which has since been reconstructed by Frank Strobel. It’s almost like an extension of the film – I can put it on and relive the movie every time.


Steal This Album! by System of a Down (Honorable Mention)

A.D.D. saved my life in middle school and became the spark that helped me uncover both my tastes in art and the person I am today.

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Kool Moe Dee is one of rap’s earliest stars. Starting his career in the early ‘70s, he formed the legendary Treacherous Three with DJ Easy Lee, Special K, and L.A. Sunshine.

After the group’s first break-up in ‘84, Kool Moe Dee went solo, establishing himself as one of hip-hop’s first big stars with his breakout solo album, “How Ya Like Me Now?”.

He became one of the first hip-hop acts to get a Grammy, and became the first to perform at the Grammy’s.

Kool Moe Dee is now mostly remembered for his feud with LL Cool J, where they exchanged musical punches that entertained hip-hop heads for years, with the winner of the feud still being debated to this day.

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Curiously, this short drum beat appears only on the original Apocalypse ‘91 version, and is not heard in any other releases, including on either release where Anthrax received top billing.

https://www.youtube.com/watch?v=56R9wVhdhp4&feature=youtu.be&t=3m24s&ab_channel=R3dJerro

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True there is no 54 MPH zone in the world, but Playboy seems to have missed the point. The line in question refers to a fallacious charge given to Hov by a racist police officer looking to harass him.

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