The previous bail offering was in equity/property, and owners of that property couldn't agree on whether to put it up the people who put it up were trying to become managers Never had a client with similar charges with $2M bail, average income in Bobby's area is $40k, maybe less Says they're painting him as an enforcer when there are no victims in his case, NYPD and stuff are putting on a show Says the phone conversations presented are what most teenagers from that age and "that life" would talk about He filed motions challenging whether the indictment was legal, whether the Grand Jury presented the case in a legal fashion, whether the search warrant was legit, etc. Super wack, and it's not just his flow this time.Ģ Chainz, Cap 1, Skooly, Short Dawg & Kaleb – Keep It 100 video.Ĭomplex sit down with Bobby Shmurda's Attorney. This revelation forces the listener to a deeper and broader understanding of the song’s “you”, and to consider the possibility that “hypocrisy” is, in certain situations, a much more complicated moral position than is generally allowed, and perhaps an inevitable one."īig Sean - Patience vlog. Common’s “her” is not a woman but hip hop itself Lamar’s “I” is not (or not only) Kendrick Lamar but his community as a whole. Here, Kendrick Lamar reveals the nature of the enigmatic hypocrisy that the speaker has previously confessed to three times in the song without elaborating: that he grieved over the murder of Trayvon Martin when he himself has been responsible for the death of a young black man. In “H.E.R.”, Common reveals the identity of the song’s “her”-hip hop itself-forcing the listener to re-evaluate the entire meaning and intent of the song. Her music has always felt this big."In this final couplet, Kendrick Lamar employs a rhetorical move akin to-and in its way even more devastating than-Common’s move in the last line of “I Used to Love H.E.R.”: snapping an entire lyric into place with a surprise revelation of something hitherto left unspoken. Synths mimicking orchestras are pushed to their most epic limits, and Sharon Van Etten overpowers all of it as she mourns endings of all sorts – motherhood, relationships, war and peace. Sharon Van Etten We've Been Going About This All Wrong The first side is emotive and dark, tinged with isolation and fear the latter half brighter and celebratory
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Synth legends Soft Cell serve up darkness you can dance to (again) on Happiness Not IncludedĮrupting out of the soil quicker than daffodils in spring, Sigrid’s growth is nothing short of remarkable on How To Let GoĮconomical hooks and ironic distance have been supplanted by a return to grandiose multi-part suites and painful sincerityĪ Bit of Previous is just that-an exercise in self-awareness by a band too intelligent to sell out, but certainly not impervious to the spell of nostalgia
Taking cues from their early records, Bloc Party’s sixth album successfully marries post-punk with dance grooves-and confusingly devotes a lot of its energy to spite The Scottish band’s first studio album in seven years considers the importance of togetherness with clear, aphoristic language and a few musical experiments
All in all, its a beautiful sign of the times - psychedelic and indie focused in melody, with poignant and important lyrics giving a pulse to an otherwise-relaxed-sounding project
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