Atliens: 6/10

>Atliens: 6/10
>Graduation: 5/10
>Blueprint: 6.5/10
>To Pimp a Butterfly: 6/10
>Pinata: 5/10

Why he hates Hip-Hop?

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He's a racist pedophile

Tbh that's more than any of those deserve.

Correct.

Pinata sucks ass

Hip-hop and black people sucks

thats not even that bad

ATLiens is the best hip hop album of all time

hes not a pedophile but hes a homophobe

That's more than they deserve

WTF i like him even more now

why are you scared of gay people and do you want to talk about it ?

...

nah he just knows the good shit from the bad shit

most of the artists you posted have high scores from him on other albums

he just knows that hip hop is an intrinsically inferior art form. Even the masterpieces of the genre can't be rated more than 7-7,5/10.

That's not saying much

yeah thats why impossible nothing and public enemy got a 8 right?

He realizes that they are aesthetically mediocre pieces. Presumably, due to the fact that he is neither American nor a teenager he is able to step outside the ideological framework of late capitalist America and make an honest judgement.

He doesn't he's given consistently good scores to Dalek

Hes based

In the greater aspect of music as a whole those are the scores which those albums deserve

Texas' mysterious Impossible Nothing painstakingly constructed the monumental four-hour tour de force of Phonemenomicon (2016), consisting of 26 ten-minute collages (each one lasts exactly 10:00). Why 26? Because each piece is titled after a letter of the alphabet.
A alone contains more ideas than the average three-minute song, lined up to compose a cinematic score with sections that are sentimental and sections that are pure fun. B plunders hip-hop music to create a hypnotic syncopated industrial clockwork. C begins like a lame sample of a lame funk-soul song but soon becomes a harrowing psychodrama... except for returning to a funk-soul party. D deconstructs jazz with a dizzying multitude of colliding fragments. E toys with a pounding Afro-funk shuffle but quickly delves into constantly mutating machine music and towards the end blends in a powerful punch of riff and drumming. F dissolves reggae steps into a molasses of warped electronica that at the end is hijacked by a jazz jam. G targets what sounds like the soundtrack of a thriller, but then takes a detour into a surreal exotic chant, only to end with a more magniloquent cinematic theme. H is another tribute to euphoric soul music of the 1960s with a great break/solo of distorted keyboards at the seven-minute mark. A similar breathtaking solo opens I.
J first disintegrates funk-jazz of the 1960s, then shoots a hysterical techno missile, then sets in motion cold machine music, then rediscovers humanity in a soaring synth drone and sounds of the beach.
M concocts a romantic trumpet melody over mechanical polyrhythms that turns into a funk orgy and a videogame sonata. A female shouter has to duel with a rapper, an accordion and a big band in N, one of the virtuoso pieces littered with all sorts of incidents.
K is pure dancefloor, while S ends in a frenzied state of panic.

By the standards of this operation, P is ambient music: the source cannot be identified and all we hear is a hypnotic sequence of beats and chords; a very captivating pieces of instrumental dance music, that towards the end morphs into a sort of xylophone melody. Musique concrete artist Pierre Henry should have done this.
Slavic-gypsy music and dubstep are the ingredients of O. R intones a spastic reggae dancehall beat and a petulant keyboard launches into an anthemic melody played at triple speed. Three more minutes and the piece is invaded by alien noise so that, when the petulant keyboard resumes, it feels like UFO music. T is an even more creative take on reggae rhythm as played by an army of sentient industrial machines. W dishes out some Hendrix-ian chaos mixed with vocal harmonies of the ancient past and ends in a festive beach party. X paints another surrealistic exotic panorama, this one with Indian and klezmer overtones. Z sounds like a synth-pop take on Los Del Rio's dance craze Macarena by electronic funk-jazz guru Herbie Hancock, slowly contaminated by a horn fanfare and by an ecstatic hippy chant. Whenever the artist injects humor or satire, the project evokes the Residents, but clearly a lot more science went into these four hours of superhuman cut and paste.

He has really high standards and he often keeps genres in certain ranges

Impossible Nothing is not your average rap project. It's a tour de force of hip hop-inspired experimental music.
Then we have It Takes A Nation Of Millions, arguably one of the best and most influential albums ever.
They are the only two exceptions to the rule.

>It Takes A Nation Of Millions
>the epitome of rapping over the same loop for four or five minutes
But I guess it gets a pass because dude influential lmao. Scaruffi just doesn't like hip hop.

Yeezus (Def Jam, 2013), designed with an incredible number of collaborators, is a sloppy, awkward and amateurish work despite the impeccable fusion of electronics and vocals, the impeccable collages, the impeccable production. But sound quality is a technological, not an artistic, fact. Daft Punk are responsible for the robotic beat of On Sight and the monster riff of Black Skinhead (one of the catchiest "songs"): cool but nothing we haven't heard before. There are a few moments of pathos: the reggae-like cry of I am a God in a desolate post-industrial soundscape, the gloomy crescendo of the first half of Hold My Liquor (before the misguided synth orgy), the martial trombone fanfares of Blood on the Leaves, and... i struggled to find at least one more. But there are also embarrassingly trivial moments of both mashup and sociopolitical analysis (New Slaves, I'm in It, Blood on the Leaves, and Bound 2, which is simply a lame tribute to soul music) and there is certainly an unusual dose of filler (a four-song EP would have been more appropriate for what West had to say in this album). As a narrative experience, these stories may try something new but it's more a case of a populist bard desperately trying to find something new to say to his followers than a serious discussion on gender and race. As an aural experience, this album feels terribly old, like most granpas when they try to speak the language of their high-school nephews.

Maybe this album was only meant as a self-mocking joke?

>Maybe this album was only meant as a self-mocking joke?
he was actually spot on with this. as a piece of performance art yeezus was amazing. as a music album it sucked donkey dick

Wrong

Because it sucks

Reminder Kanye is better than The Beatles

>>It Takes A Nation Of Millions
>>the epitome of rapping over the same loop for four or five minutes
you probably only listened to it once, if that's your impression

...

its maybe top 50 at a push

i unironically want that shirt.

i unironically want that shirt, but purely for purposes of irony

gotta remember scruffy doesnt like to inflate his scores very much
he will give an album he thinks is top shit a 7/10

It's top 5 without a doubt.

>not even best Outkast album

because he doesn't get mark e smith's the fall rap singing style

Scaruffi literally just doesn't like music but thinks he does. He listened to a good bit of music but he has no clue what he's ever talking about.

the guy isnt into hip hop, electronic music and the fall, just check their top 100 hahaha

WRONG

This guy doesn't even get paid to be wrong about everything he just does it for free

the first mc
youtube.com/watch?v=ZGtHE9iLm5A

Which makes it, within the grand scheme of music, competent but nothing more.

People who think rap is as high a form of art as other genres with actual musicians are so deluded it's not even funny.

pic related is you

you don't understand anything about rap/hip-hop

source? i believe it but i wanna see it

He doesn't hate it. He just doesn't think a good hip hop album has been put out yet. He compares hip hop to folk music, as both are heavily lyrical based styles of music, with instrumentals that are simple and easy to produce. He doesn't think hip hop has hit the lyrical complexity of the best folk music (artists like Bob Dylan and Syd Barrett) yet.

>hip hop
>instrumentals that are simple and easy to produce
what a fucker, hip hop is actually electronic oriented music, cunt

Go back to your shitty memerap