Albums to Ride Out Quarantine 2

By StereoVision Staff

Last year, the Stereovision Staff compiled a list of some of our favorite records for our readers to enjoy while indoors safely riding out Covid-19 (also known by its government name, Coronavirus). Since then, it seems like this Covid business has only gotten worse, with the emergence of an anti-mask brigade, negligent partygoers willing to risk their lives to see The Chainsmokers, and more new strains than a PDX dispo. Here we are, a whole year since the world shut down, and we’re still stuck inside. We at Stereovision commend those that have spent the past year living responsibly - either by social distancing and/or simply maintaining a sacred love and respect for their fellow neighbor. Let this article deliver you a handful of records for you to revisit - or potentially discover - as we all wait patiently for life to go back to normal. With multiple vaccines in production, let’s all hope this is the last article of its kind. -Carter Fife

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What’s Going On (1971) - Marvin Gaye

On what is probably my favorite record of all time, Marvin Gaye takes his confusion and frustration with the current state of the world and focuses it into 40 minutes of the best R&B/Soul music you’ll ever hear. At the time of its release, America didn’t look quite so different to how it appears today - multiple wars were being fought overseas, racial discrimination was plaguing the sociopolitical realm like a moral rot, and barely 3-weeks prior a massive march on Washington D.C. took place condemning the Vietnam War. In what can only be described as musical catharsis, the next month Marvin Gaye released a collection of ethereal and sentimental tracks that would forever alter the lives of many - including himself. Though What’s Going On did not end a war on its own, or achieve universal racial equity and justice, what it did do was offer a lifeline of hope to those struggling, letting people know that things would get better and that they were not alone. While stuck inside in the midst of a deadly pandemic, we could all use another album like this one. -Carter Fife

Favorite Tracks: Flyin’ High, What’s Going On, Mercy Mercy Me

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Madvillainy (2004) - Madvillain (RIP)

Being back home has its perks, but for the most part, it is hard not to feel like you’re stagnating. Sleeping in my childhood bed has actually made me feel as if I had been reverting into my past self, filled with existential terror that 7 years have passed since I was 16. This has led me to revisit some of my high-school favorites while safely-nestled in the protective cotton of my old comforter and low thread count sheets. I should probably start talking about the record though - we’ve all heard it, we know it’s a classic. Already-nostalgic samples paired with some of the oddest and most infectious rapping heard on a record to this day, DOOM and Madlib did not have to snap like this. Hearing of DOOM’s passing was one of the lowest points of the past year, but it was a healthy and sobering reminder to appreciate the legends around us while they’re still here. Even though DOOM may be gone, his influence will never be forgotten. -Carter Fife

Favorite Tracks: Curls, Accordion, Eye

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Honest (2014) - Future

Because of the intense listening fatigue that is inevitable when you’re a music junkie in a global pandemic, going back and combing through the catalogs of your favorite artists is an absolute COVID essential. Very few deep dives were as enjoyable as that of Future Hendrix and while listening I was reminded of all the amazing drugged-out atmospheres I hadn’t explored since high school. If there’s one obvious observation I made during these sessions though it was that Future’s 2014 sophomore studio album Honest was the peak of the first act of his career and is without a doubt the most underrated thing in his discography. From the moment you press play on the intro and hear Pluto preach over the infectiously epic “Look Ahead” instrumental you can tell you’re in for a wild ride. Honest is so special because it’s the moment that Future evolved from a gifted young trap-rapper to one of the most influential artists of our generation. He takes countless risks over the course of the 66-minute run time and every single one results in an exciting moment that plays its part in moving the genre forward and cementing Fu as a true visionary. All this goes without even mentioning the legendary list of features that includes the likes of Kanye West, Drake, Andre 3000, Pharrell Williams, Lil Wayne, and many more. Honest is an absolutely essential piece of Future’s legacy and is home to some of his most prolific songs ever. -Spencer Lobdell

Favorite Tracks: Look Ahead, Special, Benz Friendz

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Some Rap Songs (2018) - Earl Sweatshirt

An album with endless layers, Odd Future alumni Earl Sweatshirt’s sophomore record Some Rap Songs is best listened to with an attentive ear. With stripped-back, minimalist, and oftentimes rugged production, the beat palette allows Earl to be cathartic, grieve, and mourn across an extremely tight 24 min runtime. Frankly, the raw emotion displayed on Some Rap Songs is something that millions are going through during a time like this. It’s nice to know that you aren’t alone in misery at times, and Earl does just that. -Luke Modugno

Favorite Tracks: Nowhere2go, Eclipse, Riot!

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Donuts (2006) - J Dilla

School, exercise, sleep, repeat. For many people, quarantine has been a constant cycle of repeating the same day over and over. If you want an easy way to break that, give J Dilla's classic beat tape Donuts a spin. Donuts keeps you on your toes, relentlessly throwing extravagant, intricate beats at the listener through the project. Besides being a quintessential classic in hip hop, with no lyrics, it’s the perfect background music for any quarantine activity. -Luke Modugno

Favorite Tracks: Workinonit, Time: The Donut of the Heart, Gobstopper

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Control System (2012) - Ab-Soul

For many people (including me) quarantine is accompanied by a perpetual boredom and lingering anxiety that we frequently evade but is always there. For these moments I found myself grasping for a record that could capture me entirely and allow me to escape my reality through vivid storytelling and profound ideas for my mind to explore. Over the past year, no album has been able to consistently hold my attention like Control System by Ab-Soul. Over the course of the record, Ab-Soul is strikingly honest which results in him finding something he had yet to discover prior to the 2012 release: His sound. This psychedelic sound he’s able to pull on sounds nearly biblical and his unique perspective on these emotions as someone with a foot in the streets makes his music powerful. Well tracks like “Terrorist Threats” and “Pineal Gland” showcase Ab-Soul’s cryptic mind, he doesn’t forget to have fun on his sophomore project, and songs like “Mixed Emotions” and “Illuminate” allow him to flex his ability as a generational rapper and can be added to playlists intended for lighter listening sessions. The prophetic project is Solo’s best work and should definitely be included in the conversation about the best TDE releases of all-time. -Spencer Lobdell

Favorite Tracks: Mixed Emotions, Illuminate, The Book of Soul

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Is It Selfish If We Talk About Me Again? (2020) - Kacy Hill

To be honest, I don’t have a long-winded explanation for why I’ve listened to this record so much since its release last July, or even why I recommend it to those struggling in quarantine. Kacy Hill’s sophomore record is a beautifully written and performed meditation on romance, growing up, and becoming the person that you are - and though I can only speak for myself, quarantine has really fucked my shit up. Let's be real, staying inside in your early 20’s can not be a good start to some of your most formative adult years. Perhaps it is for this reason that I find myself circling back to this record so frequently, for it offers me a rare dose of perspective and serenity that other albums lack. Yeah, things are borderline terrible right now, and I know that things will get better, but in the meantime, I want to be able to feel the reality of it all - all in hopes of avoiding age’s jaded numbness that quarantine seems to be catalyzing. Anyway - listen to this record. Cashmere Cat produced one of the tracks and it is god-tier music. Maybe I did have a long-winded explanation after all. -Carter Fife

Favorite Tracks: Palladium, Everybody’s Mother, Unkind.

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Hell Hath No Fury (2006) - Clipse

Although the majority of modern listeners seem more ready to talk about Clipse’s classic debut Lord Willin’ due to its energy and bite, it’s really the darker tone of their 2006 sophomore album Hell Hath No Fury that’s been pushing me forward through quarantine. With palpable chemistry that could only exist between brothers, Pusha T and No Malice craft a cocaine classic jam-packed with punch-lines like daggers and dazzling wordplay. That goes without even mentioning the emotional depth that the duo explores across the entire project - something that Push credits to Pharrell’s consistent encouragement to push boundaries and go deeper well recording the album. Speaking of Pharrell, Hell Hath No Fury (which was executively produced by The Neptunes) contains production which was so unique and electric that it would inspire an entire generation of hip-hop producers. The true beauty of Clipse’s second classic is that it isn’t even about coke, but rather everything that surrounds life in the dope game, from shinning highs to sobering lows. -Spencer Lobdell

Favorite Tracks: We Got It For Cheap, Hello New World, Nightmares

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Finally, when writing this article I reached out to some people on Instagram to hear what they had to say about their favorite records to listen to in quarantine. Unsurprisingly, a lot of the albums were either extremely low-tempo or the exact opposite. Selections like Tame Impala, Solange’s When I Come Home, and Raveena’s Moonstone EP were juxtaposed against Ken Car$on’s TeenX, redveil’s Niagara, and Kanye West’s Yeezus. There were also a lot of guilty pleasure records like Nothing But Love by Just Friends and Bath’s Ocean Death EP, but above all, I saw a lot of artists responding with their newly-created records. Even Nashville Rapper $avvy took the liberty of recommending his own record - which actually warmed my heart for a moment. It was a nice reminder that despite all the shit that has plagued the past year, there has still been an inspiring amount of resilience, strength, and creativity from the artistic realm. Without artists - especially now - quarantine would have been somehow worse than it already has been, so for that Stereovision wants to shout out every artist that has not let Covid-19 fuck with your creative spirit. Keep doing your thing, as long as it involves staying indoors, and hopefully, we’ll see you all at a music festival safely later this year (fingers crossed). 

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Classic Review: With Stunning, Sample-Heavy Production and Mythical Rhymes, 'Madvillainy' Forms Hip Hops Most Villainous Duo

By Luke Modugno

We’ve always been captivated by the archetype of the villain. Of course, we all love a gratifying hero’s journey, but a well executed, memorable villain becomes legend. In cinema, we have characters like Thanos, Darth Vader and the Joker. In rap music, it's MF DOOM and Madlib.

Both outcasts of hip-hop and thriving underground artists, the infamous duo teamed up in 2004 under their moniker “Madvillian” to release their cult classic Madvillainy. 

Although the 22 tracks of the project breeze by in under 50 minutes, Madvillainy’s razor edge rhymes and transcendent production makes for an album as iconic as DOOM’s metal mask.

In the years leading up to Madvillainy, DOOM and Madlib were on two completely different paths. Madlib saw success early in his career as his inherent knack for mixing obscure samples from every corner of the music world with hip-hop aesthetics was recognized. In 1999,  he was signed to Stones Throw Records. After his debut solo album The Unseen (released under the alias Quasimoto) was met with critical praise, Madlib was poised for a successful career as a producer. 

But DOOM’s path to success was anything but similar to Madlib’s. Under the name Zev Love X, DOOM formed the group KMD with his younger brother DJ Subroc and another rapper named Rodan. The group achieved minor commercial success in New York with singles “Peachfuzz,” and “Who Me?” But all of KMD’s potential was crushed when Subroc was struck by a car and while crossing the street, killing the 19-year-old. That same week, KMD was dropped from their label, partly due to their extremely controversial then upcoming project titled Black Bastards. DOOM was devastated and became nearly homeless for three years. He dropped off the radar and swore revenge on the industry that he believed ruined his life.

In 1997, a masked man started showing up at open mic events in Manhattan, stealing the show with clever rhyme schemes and mythical narratives that drew attention from the music industry. That masked man was of course MF DOOM, no longer under the name Zev Love X. DOOM continued to impress and was signed to Fondle ‘Em records in 1997 and two years later, released his debut studio album, Operation: Doomsday, to critical acclaim. DOOM didn’t stop there, releasing Take Me to Your Leader and Vaudeville Villain under aliases King Geedorah and Viktor Vaughn respectively. Both projects were successful ventures into world building, establishing DOOM’s untamed creative mind.

After his early run of success and wildly unique persona, DOOM grabbed the attention of Madlib and they began working together. 

As soon as the news broadcast cuts in on “The Illest Villains,” the listener is thrown into a fictitious realm, ruled by the Madvillain. 

“As luck would have it, one of America’s two most powerful villains of the next decade is turned loose to strike terror into the hearts of men/one of the worst of all was the Madvillian/ villains who possess supernatural abilities/villains who were the personification of carnage.” 

Throughout Madvillainy, Madlib’s visionary production paired with DOOM’s dark, deep voice and lyrical ability allows Madvillainy’s mythical world building to become a reality. Each track is a new scene of the movie, with DOOM’s villainous reign illustrated somewhere between reality and fiction. DOOM finds himself in situations rooted in reality (mental health struggles, drug addiction), while simultaneously acting as an imaginary nefarious villain, ruling his realm with an iron fist. 

The album plays on a “seminal connection that audience can relate their experiences to the villains and their dastardly doings,” as heard on “The Illest Villains.” The result is a one-of-a-kind project in hip-hop, that manifests a world of abstract antiheroism that feels as developed as the plot of a Marvel movie. 

Madvillainy sees both DOOM and Madlib at their most inventive. Often rapping in third person, DOOM develops his own character, stringing together clever bars about his villainous deeds and life as a “ruthless mass conqueror.” Yet we get moments of introspection peppered throughout tracks, concerning mental illness, drug addiction and bad habits that keep DOOM in a cycle of perpetual wrongdoings. By the end of the project, the masked man staring back at you on the cover of Madvillainy seems tangible, a real-life villain living in our world.

On the track “Rainbows,” DOOM warns the streets that he is watching, establishing himself as a threat lurking in the shadows. Behind Madlib production that sounds like it’s straight out of a Batman cartoon, the track is an example of the unparalleled expertise in scene setting. 

From playing the role of a disgruntled Viktor Vaughn, making a phone call to his girlfriend who cheated on him with DOOM on “Fancy Clown,” to rhyming about his kleptomania as a result of his rough childhood on “Curls,” Madvillainy is DOOM’s most cohesive lyrical performance in  his discography. 

Digging into the deepest caves and crevices of soul and jazz, Madlib produces the most imaginative beats of his illustrious career on Madvillainy. While working on the project, Madlib travelled to Brazil to hunt for loops he could utilize in samples. Sifting through mom-and-pop record shops in Sao Paulo, Madlib bought multiple crates of soul, jazz, Brazilian and Indian records. His unique sampling and use of audio clips from 1940’s movies like “Frankenstein” gives Madvillainy its inimitable quality of production. “Accordion” remains one of the most recognizable and unique beats in hip-hop history. The hard baselines that grace “Meat Grinder” represents the essence of Madvillainy; a godly and iconic rhyme scheme from DOOM and a multi-sample masterpiece of a beat that gives the project its grimey, ominous tone. With more stunning production on “Raid,” “All Caps,” and “Rhinestone Cowboy,” Madvillainy shows one of the best producers in hip-hop history in rare form. 

Madvillainy was received with rave reviews upon release and has stood the test of time as an undisputed underground rap classic.  

As the applause slowly fades on “Rhinestone Cowboy,” you slowly come back to reality after being utterly immersed in a fictional land created by DOOM and given life by Madlib. In contemporary hip-hop, Madvillainy sits on an island as an isolated work of perfection. Even Madlib’s later team-up with Freddie Gibbs on Pinata and Bandana doesn’t nearly reach the level of mastery and excellence of Madvillainy. As long as our society has a secret affinity for the villain, Madvillainy will continue to captivate hip-hop as the quintessential antihero of the genre.  

Favorite tracks: 

Meat Grinder 

All Caps 

Rhinestone Cowboy 

Rating: 10

Listen to Madvillainy here:

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