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Azealia Banks

June 9, 2012

Back in 2011, I heard some Azealia Banks and liked it – literally and the facebook kind. She released some other stuff in the meantime which turned me off and I stopped paying attention – despite my undying Hudson Mohawke love, I hate this track, for example.

An article on POW lead me to preview her latest EP, which I’m loving with the exception of that internet-eating monster 212. I’m not sure how much that says given there’s only three other tracks on the album, but I like it enough to blog about it. When I saw the title of her EP – 1991 – I thought I wonder what that’s a reference to? Then: Oh God let that not be the year she was born. Aging alert – anyways of course its the year she was born, and my distaste/ambivalence towards her music is probably a reflection of that; her music often sounds like the latest trends of dance-pop (I accept) come dance-hip hop (I reject). 212 has all the ingredient of the shittiest things to emerge in the last three or four years in pop –  sing-talking and pseudo-electronic sounds – and I that’s probably why I hate the track.

I cringe at the end of Nelly Furtado’s otherwise 8/10 “Big Hoops” when she says “Oh I thought this song was over….No, it ain’t over yet” and a dub-step beat drops. That said, I did see Skream and Benga earlier this year and loved it.

I digress: while Nicki Minaj is off somewhere in space sounding terrible, I’ll happily take Azealia Banks for now.

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