Album of the Year 2018 #10: Avantdale Bowling Club - Avantdale Bowling Club - HipHop | HipHop Channel

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Album of the Year 2018 #10: Avantdale Bowling Club - Avantdale Bowling Club - HipHop

Album of the Year 2018 #10: Avantdale Bowling Club - Avantdale Bowling Club - HipHop

Album of the Year 2018 #10: Avantdale Bowling Club - Avantdale Bowling Club

Posted: 12 Dec 2018 09:03 AM PST

Artist: Avantdale Bowling Club

Album: Avantdale Bowling Club

Label: Years Gone By (independent)

Release Date: August 17, 2018

Listen:

Bandcamp

Spotify

Apple Music

Google Play

Tidal

YouTube

Background:

[Quick disclaimer: due to the fact that I'm not from NZ, have only discovered Tom Scott this year, and online resources are incomplete regarding his discography some of the chronology/details may be incorrect here. I've tried to piece this together mainly from interviews and wiki pages.]

A Kiwi rap hero

Tom Scott is a kiwi (read: slang for new Zealander) rapper and leading figure in the unlikely yet vibrant scene of New Zealand hip-hop. While British born, the rapper has spent the vast majority of his life on the Australasian island, developing a keen interest in hip-hop and eventually coming to prominence as the leader and rapper in the Home Brew Crew, an upbeat rap group consisting of Scott and two producers that specialized in down to earth, satirical & traditional jazz-rap. At 23 years old, he (with the crew) dropped his first project; the Vintage EP - a bright jump into the rap world that wears its influences proudly on it's sleeve. There are more than just a few traces of a tribe called quest and de la soul present here, but of course the crew are still finding their sound, and there's no illusions that these are a kiwi group.

The Home Brew Crew added to their catalog with a following four EPs of a similar summery jazz-rap style over the next three years; Home Brew Light EP (2007), Last Week EP (2008), Summer Ale EP (2009) and Taste Test EP (2009). As you can guess by the names, Scott liked to engage in loose concepts for these EPs. They're novel in approach, which helped give each an identity but also showed that Home Brew had a bit more ambition than the average rap crew. This was compounded by their 2012 debut album, Home Brew (more on that in a minute).

In 2011 Scott founded a side project, this time sharing rapping duties with another rapper and partnering up with an additional 3 producers - this group named themselves @Peace. That same year they dropped their self titled album - @Peace; A record with an enhanced focus on smooth jazz rap and an added a layer of social awareness, conscious lyrics, and introspective themes that crept up on latter Home Brew releases.

The following year Tom returned to Home Brew Crew, dropping their first and only full length album - Home Brew. This record marks the commercial peak of Tom Scott's musical journey, with the album going to #1 in New Zealand (the first New Zealand hip hop album to do so in nine years). Separated into two discs, "light" and "dark" (with matching instrumental themes), Home Brew is significantly more ambitious, complex, political and conceptual than anything Scott had been involved with before. Rightfully, Home Brew was met with critical praise and saw Scott dive deeply into themes like drug use, alcoholism and social issues, as well as opening more introspective windows into his life at the time. It still stands as one of the strongest hip-hop releases of 2012; a mature, varied and excellently executed modern rap double album that remains criminally overlooked.

After a mission success with Home Brew, he switched gears again in 2013 and went back to @Peace, dropping a an EP (Girl Songs) and a B sides album (pieces). In 2014 the group dropped @Peace and the Plutonian Noise Symphony - the most left field release of his career. This final @Peace record can aptly be described as "drone rap", utilizing slow moving jazz (live jazz, at times), ambient and noise music in ethereal and dramatic soundscapes for Scott to wax poetic on politics and life. Between this and 2012's Home Brew, Tom Scott is showing unbridled creative concepts and scope that simply didn't exist in NZ hip-hop before or after him.

The last chapter of Scott's career before Avantdale Bowling Club is the Average Rap Band, a duo of Scott and Lui Tuiasau (fellow rapper from @Peace). They dropped an EP with zero choruses in 2015 (Stream of Nonsenseness) and In 2016 dropped their first full length, El Sol, which was again a verse heavy album of smooth and deeply textured soul & funk beats with jazz embellishments.

In 2016, Scott left his hometown to pursue music professionally more. In that period of about two or three years he worked alone while away from home. After not breaking through, dealing with depression and his significant other getting pregnant, he decided to move back home and enlist in some of the finest jazz musicians in New Zealand to play on the album he wrote while alone and away from home; the result is Avantdale Bowling Club, finally released on 17 August 2018.

Tracing back through the years with Scott, it becomes self evident very quickly that he and jazz are deeply intertwined, as is a socially conscious outlook and a penchant for introspection. Scott never fails to take a look at the world around him and express how that affects him at his deepest most solitary level, while still keeping a sense of humor, a positive outlook and vitalizing rap energy. Perhaps more impressively, every new artistic venture traverses over new styles while still distinctively being works by Tom Scott: El Sol by Average Rap Band, @Peace and the Plutonian Noise Symphony by @Peace and Home Brew by Home Brew are three very distinct albums with different artistic outlooks and sounds that I would highly recommend to any hip-hop head.

Musical collaboration has always been instrumental to his success, and for that reason Tom has never tried to cultivate a celebrity or superstar status in NZ - the name Tom Scott may not even be known by fans of these different groups (the downside, it also makes it difficult to find a comprehensive list of his works). Every project he takes part in is always presented as a collaboration of musicians and artists, from Home Brew all the way to Avantdale Bowling Club. Tom Scott knows not to drag projects out, and knows when something is deserving of a new project, which is precisely why he seemingly jumps from band to band. A real artists artist, he is unconcerned with building notoriety through his own name, a rare but commendable approach to making music.

Modal Jazz: A Brief Primer

One final thing needs to be addressed before biting into the main course here, and that is modal jazz. But what is modal jazz? Well to be as succinct as possible; modal jazz is jazz music that abandons strict chordal changes in favor of compositions that are based in the modes. This is a genre that inherently demands some level of music theory to understand so if you're interested in that history I'd recommend listening to this (a clear video that you don't need theory knowledge to understand) and this (if you want a more technical demonstration)

If you're not interested in the technical theory aspect of this genre of music, that's ok! You've likely already head some modal jazz in your time. Modal jazz, as stated, uses a modal approach to jazz music - what that means to the jazz listener is necessarily slower moving compositions that have more room to breath, less notation changes and rich textual colour. The Genre was spearheaded by jazz giants like Miles davis with Kind of Blue (Particularly the track "So What") and john coltrane with My Favorite Things. An easy way to visualize the difference between modal jazz and what existed before it (bebop, post-bop, don't worry i wont go into those) is by listening to a classic example of chord based bebop jazz - namely "Giant Steps" by Coltrane (if you're into theory, here's an easy to follow video explaining why giant steps is the apex of chord based jazz). With giant steps you have extreme chord changes at breakneck speeds, where as on "So What" you notice the chords seldom change, the tempo is slower, and the solo instrument in effect "leads" the band.

Modal jazz became a very popular genre to sample for this reason; the underlying music stuck around for longer, which gave producers room to sample different sections but remain in key with harmony. Kind of blue contains some of the most sampled jazz tracks in rap because of this. The genre will always play a significant part in hip-hop music.

Review:

At the offset of this record, Avantdale Bowling Club make one thing very clear; this is not jazz rap, this is jazz with rap. A solitary sax, quickly accompanied by frantic tom rolls and dancing piano keys, gliding around this noodling sax open the record in an immediate demonstration of classic jazz improvisation. In no time the band start playing each off each other as chords form on top of each other, a rhythmic pattern begins on a ride cymbal and our sax belts out a final set of impassioned squeals. Splashes of instrumental colour emerge out of the darkness - a warm, organic musical canvas of jazz that wait to bow for an inevitable lead voice, and onto this canvas Tom Scott starts painting with words and rhymes. He does not wait for a steady beat, he's aware that a 4/4 hip-hop beat will never emerge to support him; Instead keys and drums materialize into to a distinct jazz groove, as classic as the genre itself. Following him the same way a jazz ensemble follows its soloist, Scott effortlessly steps up to the plate and leads the musicians.

I've given you a background of Tom Scott the rapper but on the opener "Years Gone By" you're given a background of Tom Scott the human being. Here Scott details his entire life, going through every single year and sharing flashing glimpses of his life. This really is a musical self portrait and it begins at year zero, from the behind the walls of the womb:

Now lets take it all the way back to '84

Lets hear it for the boy playing through the wall

Lets hear it for the boy crawling on the floor

In the Orwellian Estate Hall he walked

With each passing year we learn of important events in Toms childhood, as well as being treated to a series of hip-hop and pop culture references relating to each year as he ascends. With an infectiously bouncy flow Tom presents a series of quick vignettes for each year that easily lets you grow up with him. You see him move to NZ, get lost in video games, deal with a broken home and develop an interest in hip-hop all in the first verse. There is nothing hamfisted with this delivery, because each reference or event is laced with snappy wordplay:

"From a kingdom united into a land in two"

"1990, I was a plumber with a pipe dream, side the screen"

"In '93 I won my first fight, like a D O double G"

"Stacking my pocket money up to 96, Blew it all on 64 / Blew my Ocarina loud, swinging swords with the force".

As tom is vividly describing his childhood the jazz ensemble behind him continually evolves and escalates. At its core, this is a modal jazz composition that could easily hold its own as an instrumental and there isn't a chorus in sight. Every musician here demonstrates an innate ability to improvise and bounce off the other - you'll hear a bass line start to walk, keys start to throw out melodic licks, sax interjections and an incredibly intricate drum performance saturated with tasteful fills, washes and ghost notes. Everybody is firing on all cylinders, with an ebb and flow that responds to Toms story, which continues from adolescence to adulthood in the second verse. A string of themes are presented here, with tom mentioning living on his own, his father in prison, his growing drug addiction, his relationships and the birth of his son. The track concludes with a lengthy instrumental section of solo led modal jazz.

Avantdale Bowling Club is not a concept album, but it has prevailing and overarching themes both musically and lyrically - themes that it's dazzling opener perfectly capture and entice the listener with from the jump. The record takes an introspective deep dive into growing up, reflecting on your youth and coming to terms with where you are in life. Everything comes back to a cathartic re-evaluation of life, passions, home, relationships and love. At 34 with a newly born son, Avantdale Bowling Club marks a profoundly mature moment of introspection and contemplation for the kiwi rapper. The extended compositional length (bear in mind the shortest track with raps here is 5 and a half minutes) of living, breathing modal jazz feels like a total culmination of Tom Scott's musical marriage with jazz that started in 2006.

Despite the fact that this record is incredibly personal to the rapper, it's written in such an excellent fashion that you can always relate and that's the secret strength to the whole thing. It's engaging because anybody can relate - even the political narratives can be applied globally. While the opener is explicitly about Tom, every rap fan his age or younger can find something to relate to (I mean who hasn't played and loved ocarina of time? And what rap fan wont appreciate pac and snoop references?). The following tracks, "Pocket Lint" and "F(r)iends", may be some of the most universally understandable tracks on here. The former, dealing directly with trying to make ends meet and provide for yourself jumps right into it:

My lady late like the rent, I'm skint

Every cent that I made I spent

Cut the cheque and I paid my pimp

Now all I got is this pocket lint

This track also showcases the incredible mastery of flow that's all over Avantdale Bowling Club. Tom rhythmically switches between triplets, fast flows, extended notes, crossing the bar line and hitting jazz pockets with next to no resistance. The band actively follow his lead rhythmically, and it results in a symbiosis between rapper and band that is exceedingly rare in the hip-hop world. More importantly, these flows and Toms delivery ooze charisma. "Pocket Lint" is as close to a "banger" as a modal jazz rap track about poverty can possibly get, and one of the few tracks to employ a sung hook (alongside "Home" and "Old Dogs").

"F(r)iends" similarly takes upbeat flows and integrates incredibly emotive introspective lyrics into that format. Over the beat of the year Tom details the pains of addition, with an ode to all those close to him who've been dealt a raw hand in life with addition (including the painful revelation of one of his closest friends committing suicide as a result), or those who still deal with drug problems - hence the name referring to drug fiends. Scott explodes into the track over gorgeously echoing electric keys and slowly moving upright bass:

Old boy sittin' in the dark with a lightbulb

And a lighter in his hand like a pyro

The musicians underneath expressly evoke the picture of Scott's words (the delayed keys illustrating a flickering flame) before woodwinds and pianos burst into the track, elevating the sound-stage to allow the raps to increase in earnestness. This crescendo based style is a pattern that occurs all throughout the album, from the brass swells on "Quincy's March", a beautiful dedication to his child, to the group vocals and trumpets on "Old Dogs", a track that talks about creatures of habit and the old vanguard of his home town, of which he's a part. Interestingly "Home", stays much more low key, in an attempt to match the contemplative nature of the topic, returning to your home and seeing that you've changed.

The densely layered music always moves and changes with the words on this record, in a uniquely live fashion. The down-tempo first part to "Water Medley" if full of harmonic colour; lusciously textured reverb laden keys calmly flowing like the sea and just a hint of percussion. It's almost poetic that such a dreamy, intoxicating composition lays the foundation for a political statement that touches on wealth inequality and global warming. The medley's second act drastically increases intensity with a gridlocked bass synth hammering away as Tom raps about anxiety and loneliness, before dealing with alcoholism on part 3.

It's fitting that such a music driven album ends with an instrumental, but Scott's fingerprints are all over it. Like the music on every track, Tom orchestrated and arranged "Tea Break", and uses music to tell a story as much as he does rhymes. An elegant piano dances with a room of woodwinds, upright bass, sax and brass over minimal percussion. Musically it breeds feelings of loss, nostalgia and sentimentality. This album would absolutely stand up as one of the best jazz records of the year if you removed Scott from it entirely, and this song is a testament to that. No track loops an idea. Every single composition evolves and is filled to the brim with fantastic jazz improvisation. Here's what he had to say about it:

"My aunty was a breast surgeon. She was the most highly esteemed breast surgeon in this hemisphere basically. She'd always be on the news talking about it. And then she got early onset dementia. And now she can't put her jacket on. She can't do anything. It's dark, but when I hear that track I see her consciousness fading, and our consciousness fading, and being reborn, and weaving in and out of the universe. So it was cool to not explain that with words, and just have the music.

I think this quote from the artist directly is very poignant, and beyond giving meaning to the music wonderfully describes why this album works. Jazz has predominantly been an instrumental genre - it paints its landscapes with tonal shifts; a vibrating string, a tribal rhythm, wind travelling through brass chambers. It's a very human thing, fueled by companionship, improvisational skill and mutual respect the live musicians have for each other. Jazz depicts colourful scenes with music, the same way hip-hop does with its words. There's a duality between the genres, where the end goal is to convey a story, and through the years density and technicality is further utilized to achieve that.

Jazz rap, historically, uses snippets of the genre and incorporates them into a hip-hop beat. I think what Avantdale Bowling Club are doing here can be seen as an evolution of the genre. Sure, there have been a few notable excursions into the world of real jazz in raps history, notably by kendrick lamar on To Pimp a Butterfly, Ghostface on sour soul, Guru on his jazzmatazz series, even Busdriver with his 2018 record Electricity is on Our Side (credit to u/mikeest for his excellent writeup), but few ever as complete or adept as what is done on this record. Jazz is no longer an element to be used for the rapper, but instead is an extension of his artistry and voice - the rapper is now part of the band, rather than someone who simply rap s over their music - and this collaboration with musicians is what makes Avantdale Bowling Club work so well. It's no shock that Tom Scott is the son of a jazz bassist and a musician himself, as he shows an understanding of the genre that goes far beyond that of someone who just appreciates the genre as a listener.

I have no doubt that this album will be overlooked in the grand scheme of jazz rap, but as far as i'm concerned the sub-genre has reached a new pinnacle, and a new standard has been set. Going back to a jazz sample over a 4/4 loop will no longer cut it in this genre, and we have Avantdale Bowling Club to point at as the shining example of how to tell a hip-hop story with music as much as you do with words. This album deftly defies conventions and delights in shattering expectations. The result is one of the most ambitious musical crossovers in hip-hop history, only heightened by Tom Scott's fantastic abilities as a storyteller and rapper. The most engaging, revealing and emotive album of the year.

Favorite Lyrics:

We used to sit up in the car park and rhyme

Now a night like that is hard to find

Looking back on old times, I can't rewind

Talking in my old friends that aren't alive no more

  • Years gone by

I was conceived by two users

I was supposed to be a loser

I had to see my old man cooped up in a orange jumpsuit tryna shoot up

I seen the sky, I seen the sewer

I seen a sign I shoulda seen sooner

I seen my best friend pack that flute up

One year later he tied that noose up

  • F(r)iends

Give a shit about being the best rapper, i only wanna be the best dad

Never gonna be the next Zappa, don't expect no respect back

  • Quincy's march

When the water get short the people get bought

And the rich get richer from the rain that pour

  • Water Medley

All of my youth is gone, I used it up

I guess I must've did so much, I blew my buzz

And now I can't get no high, I grew too much

It's just some strangers that I used to love

There's nothing left to discuss

I don't know where I am no more

I thought that it'd be all just like I was before

  • Home

Discussion Questions:

  1. How do you think this album compares to other albums in the jazz rap sub-genre?
  2. could you see it spurring on artists to make more albums with full live musician collaboration?
  3. Do you prefer live instrumentation to produced beats in hip-hop? Why/why not?
  4. Bearing in mind that this comes from New Zealand but doesn't have a strong accent, do you think non american rappers should try and hide their accent when making hip-hop music? Why do you think Americans are less willing to listen to rap with foreign accents?
  5. favorite/least favorite songs on the album?
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Daily Discussion Thread 12/12/2018

Posted: 12 Dec 2018 05:47 PM PST

Welcome to the /r/hiphopheads daily discussion thread!

This thread is for:

  • objective questions with right/wrong answers (e.g. "Does anyone know what is happening with MIXTAPE?", "What is the sample in SONG?")
  • general hip-hop discussion
  • meta posts...e.g. ideas for the sub

Thread Guidelines

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  • Please be helpful and friendly.

  • If a question has been asked many times before, provide a link to a thread that contains the answer.

Weekly/Monthly Threads

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There are a number of other ways to interact with other members of HHH:

New to /r/hiphopheads or hip-hop in general?

Check out these:

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No Jumper’s Adam22 Dropped From Atlantic Records After Daily Beast Investigation Into Sexual-Assault Allegations

Posted: 12 Dec 2018 03:06 PM PST

Kodak Black walks out of Ebro interview after asked about pending rape trial

Posted: 12 Dec 2018 02:10 PM PST

Dom McLennon of Brockhampton reveals Ameer Vann helped set up one of his friends to be robbed.

Posted: 12 Dec 2018 04:09 PM PST

https://www.reddit.com/r/brockhampton/comments/a5nuxv/more_info_about_what_ameer_did/?st=JPLUEYQ2&sh=7ec0220e

He's been responding to people on twitter asking for Ameer back and claiming they sold out their brother.

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Keeping it real goes wrong: 20 people catch gun charges from Maxo Kream music video in Houston.

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[FRESH] Comethazine - DeMar DeRozan

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Obie Trice goes on homophobic rant in Toronto, ON

Posted: 12 Dec 2018 06:36 PM PST

Lil Uzi Vert announces finally done with that jawn | shares new track @ concert in Philly

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El-P confirms no RTJ4 this year, says to expect it come out Summer 2019

Posted: 12 Dec 2018 09:47 PM PST

[FRESH] Kodak Black - MoshPit (feat. Juice WRLD) [Official Audio]

Posted: 12 Dec 2018 09:02 AM PST

[DISCUSSION] How is Young Thug not even nearly as big as Travis Scott?

Posted: 11 Dec 2018 11:43 PM PST

Young Thug and Travis Scott are an amazing duo when they are together, with tracks such as Skyfall, Mamacita, Up To Something and Yeah Yeah, just to name a few. But when we look at these two eccentric rappers in the mainstream, one is doing a whole lot better than the other. Now to some, this may be unsurprising, but when I looked deeper into the numbers, I started to get confused as to how Travis is so much bigger than Young Thug.

Here is a rundown of their first week sales on all their major projects since 2015

Travis Scott

Rodeo (2015) | 70K

Birds In The Trap Sing McKnight (2016) | 89K

ASTROWORLD | 553Klmao

Young Thug

Barter 6 (2015) | 17K

Slime Season 3 (2016) | 36K

JEFFERY (2016) | 41K

Beautiful Thugger Girls (2017) | 32K

On The Rvn (2018) | 26K

As can be seen, Travis had a steady increase from Rodeo to Birds and then capitalised big-time with his performance on ASTROWORLD, which had the right features and accessible Travis Scott music that appealed to the masses. Thug on the other hand, has shown pretty much no sales progression from Slime Season 3 onwards. This puzzled me so I dug deeper...

Travis Scott: YouTube Hits (50M+)

Sep 2015 - Antidote - 265.6M views

Apr 2017 - goosebumps - 240.9M views, features Kendrick Lamar

Jul 2017 - BUTTERFLY EFFECT - 137.3M views

Aug 2018 - SICKO MODE (audio) - 126.6M views, features Drake

Oct 2018 - SICKO MODE - 122M views, features Drake

Dec 2016 - beibs in the trap - 105.1M views, features NAV

As can be seen here, Travis has had 4 big hits from 2017 onwards, and has 6 of them in total. Now look at Young Thug...

Young Thug: YouTube Hits (50M+)

Sep 2015 - Best Friend - 215.7M views

Jul 2015 - With That - 145.9M views, features Duke

Sep 2015 - Power - 126.7M views

Apr 2015 - Check - 82.1M views, has 83M on WorldStar

Apr 2017 - Gang Up - 69.5M views, features 2 Chainz, Wiz Khalifa and PnB Rock

Jul 2015 - Halftime - 68.6M views

Mar 2016 - Digits (audio) - 57.3M views

Jan 2017 - Guwop - 51.6M views, features Quavo, Offset and Young Scooter

Now we see that Young Thug has 8 songs with over 50 million views, compared to Travis' 6 and his feature artists are much smaller compared to Travis'.

From 2017 onwards, Thug only has one song in the list, Guwop, which released as part of JEFFERY in 2016. Travis meanwhile has 3 songs from the same timeframe, two of which came on ASTROWORLD (yes, BUTTERFLY EFFECT was an early release) and one that came on his 2016 tape, Birds. This somehow propelled him to over half a million first week sales on ASTROWORLD, while Thug still waits for his first 50K+ project.

Another look at Travis' wild rise can be seen in his Instagram followers. To start 2017, he had just over 3M followers. Now he has 13.9M. To start 2017, Young Thug had nearly 4M followers, now he has 5.5M.

Now you could say that Young Thug was never on Travis' level, but his 2015 YouTube run says otherwise, as well as the Instagram followers to start 2017, which may seem like a basic metric but is honestly a good measure of a celebrity's popularity to the masses.

Young Thug has been terribly mishandled since 2015, while Travis is an example of how to rise from having a cult fanbase to grabbing the hearts and ears of the mainstream. I truly believe that with the right marketing and promotion, Young Thug could be at the level of Travis today.

Many people absolutely loathe Travis' AutoTune settings, just like many hate Thug's voice in general. Also, the fact that Thug "doesn't do enough interviews" is ridiculous when compared to Travis, who has only started doing them well recently (also Thug has the ultimate GQ spread that should have also propelled him, the spread is from 2016).

Young Thug and his team have no excuse to be in this position right now, and with Thug fine-tuning his style (I believe On The Rvn is his best project to date, and an example of his growth as an artist), and having some of the best production teams and engineering teams (shout out to Alex Tumay, /u/DARP_AFT), his next project, supposedly Barter 7, should really do over 100K easily. But it probably won't, because that's what we've come to expect from Young Thug.

For the sake of him, and his team, and his legacy, I truly hope he fulfills his potential sales-wise in his next project, and truly becomes the mainstream artist that he really should be.

What do you all think about this? Should Thug be closer to Travis than he is now? Why has Thug not risen like Travis has?

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