The Quarter Note: Recent Episodes
The Quarter Note
The Quarter Note podcast is comprised of Jonathan “Jay Cass” Casanova (musical artist), Andre Doughty (podcast producer and video director), Jelani Carter (podcast producer), and Fax Mercury (musical artist). The critics in this group hold differing opinions and preferences that color the grand schemas of their listening experiences. The critics in this group also share the common element of having a fond relationship with music. The administered conversation is conscientious about the external elements that make music what it is.
Ambitious, musically impressive, and a bit off-kilter. An emotionally challenged Kendrick provides us with a project shedding light on his shortcomings as a man, a father, and a public figure. While at times the content matter may seem cognitively dissonant, this album stands as almost the antithesis to DAMN. in the same respect saying “You aren’t the trauma you’ve endured.” A big step, if you will.
While this may have been the sonic shift Drake needed, the execution sounds uninspired.
Pusha continues to carve out new angles in his style and simply creates new experiences with the same tales of his unnerving past. This record is musically impressive given the level range him and his collaborators display.
Vince speaks on a troubled youth with an almost deadpan delivery. While this album is dejected in nature, exhausted at times, and borderline expressionless, his lean towards introspection is welcomed with good production and detailed storytelling.
Larry June, LNDNDRGS, and Jay Worthy demonstrate incredible chemistry. This record is smooth, cohesive, and exactly what you need for a long drive on a hot summer night.
A literal tonal shift for Denzel allows him to turn his gaze inward and follow a more introspective direction on this record. This album comes off as cohesive, thoughtful, and intimate. It lends itself to being a solid listen, yet, it misses being vivid and provocative.
Rosalía showcases exceptional range and diversity that feels almost free form. This album is playful, tragic, and heartfelt without losing it's authenticity and cohesion.
Glasper, an artist of collaboration, pulled together a work filled with soul and r&b that extends beyond his Jazz roots. In the execution, this album displays cohesion and collectivism that sets this project apart from its predecessors.
Caprisongs showcases a more fun yet emotionally expressive album that casts a wide net over the sounds it's inspired by. While staying light at heart, Twigs speaks on heart break, being comfortable in her own skin, and self-realizing her own worth. Altogether, an enjoyable listen.
This album is sonically immaculate. With that said, it lacks an identity that makes it truly unique outside of the purpose it serves.
Aminé goes back to the drawing board and decides to let his consciousness run wild and free. The ideas are zany and colorful which make for an entertaining and light-hearted experience. All in all, decent. A good teaser for what's to come.
Score: 7.1
Mick Jenkins submits an abstract yet globulous and scattered project. While aiming to be more concise and succinct in his approach, the album fails to hold a coherent schemas with little ambition.
A mature and vulnerable Maxo Kream puts his creativity in full display on a well-crafted and produced to the brim, album full of tales.
With Zack Fox's artistic vision on full display, Fox showcases a level of prowess in song making and lyrical ability that postulates a bright future. However, this album reads more of a really good demo tape than a well put together album.
Great vocals, solid production, there's a lot to dig with this record. It's radiant, it's thick, it has a lot of melancholy yet it's captivating. While the play on silence is very apparent with this record, it's endearing at every corner.
MONTERO showcases a fervent, focused, eclectic, and unapologetic side to Lil Nas X. This is a pop record that could've sounded as derivative as its predecessors but ends up sounding like a well-crafted autobiography with many treats along the way.
It's clear Baby Keem has the potential to make a great music. However, in this case, Baby comes off almost scatter brained not having honed in on a focus that justifies its zaniness. His focus on breaking boundaries and taking creative risks come off more as intent rather than proper execution. On the other hand, the album's saving graces lie in its autobiographical cuts where his story of tragedy and heartbreak is delivered well. An enjoyable but disjointed experience overall.
The tonality and sonic feel of this record makes for a kind of drowsy and tucked away listen. However, when it comes to melody, flow, cohesion, and conciseness, this album stands on both its feet. Yet, one is left wanting more because while Rashad might be saying something, his delivery comes off so tired that it misses the impact.
Certified Lover Boy is quite formulaic to its merit and detriment. It's good but it sounds labored, with few moments of creative genius and ingenuity. However, if you generally enjoy the deliberate corniness and petulance, this album will find you well.
This album finally makes it's way into the stratosphere with more to be desired and too much to digest. In short, the gold of this album is buried underneath debris and good luck looking for it. It is important to note that when you do stumble on the good parts, it's truly a treat.
This project pushes an envelope Willow has been honing in on for years by providing an inviting yet in your face collection of songs that effectively enclose her emotions. In this effort, there's a much more apparent focus on narrative which shows a more focused Willow. Yet, a lack in sonic cohesion and, at times, originality, impinges on the overall effect.
In his stark imagery, a stoic Vince Staples paints a picture of a grim youth fixated on violence and crime. Dejected in its presentation, vulnerable at heart, blunt, and minimal. This is a self-titled album.
A truly masterful effort from Tyler. While this is totally a vanity project, one in which he speaks at length on his personality and character, he still owns his shortcomings steadfastly. Not to mention how he beautifully interweaves a DJ Drama feature like a beautifully wrapped centerpiece to make for hip-hop's more stark pieces of hood excellence.
SOUR oozes teenage heartbreak and insecurity, embodied in the shell of bittersweet ballads and punch drunk rock songs. Where there is teenage turbulence, there is emotional chaos for Olivia. While the brutality and aggression toward a romantic betrayal is there, the story is limp in its length and could've been shorter and punchier in its intent.
J Cole returns to form on a loose fitting yet pensive effort. While having his fun, Cole speaks about his accrued stardom and gets personal without being too sage-like. However, it's not a Cole album without some level of cringe.
In his latest effort, Tony Allen displays diversity and establishes himself as a great collaborator, blending sounds of afrobeat, jazz, soul, and funk. While this record arrives posthumously, this serves as a passing of the baton to its successors. Overall, a great project with some subtle missteps.
DGTYM showcases a more focused, introspective, provocative, and endearing Topaz as he provides an autobiographic on his youth and upbringing. This project also reads as a love letter to his heritage and feels like a warm hug in a thorough listen.
In Brockhampton's magnum opus, they showcase themselves as a group worth rooting for. A more polished and bright Brockhampton, diving into less abstract territory, doesn't compromise on melody nor does it waiver on content. However, this project is for some and not for others.
Figmore, on their debut album, presents a proper introduction into their sound as JUICEBOX floats effortlessly on 10.4 Rog's warm and eclectic production. Jumbo Street is both provocative and endearing. Not without its missteps, Jumbo Street sticks the landing.
Adrian Younge provides us with a fine work of music intermingled with stark narration that is meant to explain the plight of being a black individual from the lens of a black individual. While it may come off as a testament to what being black is today, it reads more of a history lesson with little to explain.
The message comes off, more times than not, tone-deaf. Additionally, the album eventually falls short of provocative. While pulling off some moderate performances, this record isn't the most impressive body of work as far as inspired soundtracks go.
This record isn't a complete flop, however, it doesn't stack up against other records in its weight class. While Jones sounds more mature and focused, in short, this project sounds a bit lazy. Jim Jones and Harry Fraud simply isn't the dynamic duo you would've hoped for.
As Thai relaxes his gaze inward, this album presents itself as a pleasantly candid introspection. With every song sounding like a diary entry, you can't help but commend its rawness.
You won't find a dull moment on this record. This album is masterfully cultivated and infectiously rhythmic; a proper representation of Madlib's versatility and inventiveness.
While dvsn makes more daring decisions on their latest effort, the album sells itself short with a non-existent narrative. The overall experience wades itself to dust as the project operates better as background noise than commanding your attention.
Playboi ventures into new territory while still expanding on the same ideas that made him so popular. However, the lack of structure and focus becomes its Achilles Heel and makes for a demo-like experience that falls short of decent.
Kid Cudi shows a steadier hand in the latest installment of the Man on the Moon series, honing in on a more hip-hop and trap-inspired project. While the effort is valiant, the listen is long-winded with fluffy content and a non-existent narrative.
A "people's choice" episode. The boys gather a collection of favorite albums from their dearest friends and share their thoughts on all the choices. This episode was recorded live on one of the hosts', Andre Doughty, twitch channel > twitch.tv/neveradought
Part one of the end of the year wrap up series. The boys chat about the tribulations of 2020 and how it colored our listening experiences throughout. To bring it home, we list our top 5 records of 2020 along with some runner-ups.
An emotionally battered Open Mike Eagle lets it all hang out on his latest project, however, so much more is to be desired.
Song Machine is a jukebox of isolated bops that find Gorillaz at their most well put together and refined in a while. The Gorillaz recruit a wide variety of artists that fail to disappoint at every turn. Jay loved this record but the other boys weren't so adamant.
Benny and Hit-Boy fire on all cylinders, making Burden of Proof his gaudiest and glossiest project to date. However, don't walk into this album expecting a complete tonal shift from you've come to expect from Benny.
Machinedrum masterfully blends a myriad of genres in this sonic journey. As vast and all over the place this appears, you're never overwhelmed or inundated.
Moments in the album fall flat in terms of mixing and general sonics, however, Savage Mode II finds Metro and Savage at their most experimental and expressive ever as a duo.
This album is the protest music we needed to hear. Atop the topical focus of black strife in the world, SAULT is lyrically unflinching and musically compelling on Untitled (Rise).
Two words. Deep sigh. While it draws some level of focus on Spillage's more conceptual record, the topical focus is lack luster. Unfortunately, the record's high points are drowned out by its lows and the end result is drab and underwhelming.
Aluna Francis (1/2 of AlunaGeorge) puts her songwriting and curatorial skills on display as she celebrates her heritage and feminism on Renaissance.While it isn't without its missteps, Aluna delivers a fierce solo introduction to the world of dance music which arrives as refreshing.
Big Sean provides stark insight into his life, exploring themes of mental health and tribulation. His most mature and cohesive project to date, albeit, Sean stumbles a bit before sticking the landing.