Album Review — Jay Electronica’s ‘A Written Testimony’

The long-awaited debut album of Jay Electronica finally arrived. Years of delays and mystery around one of rap’s most promising young artists at the end of the 2000s and early 2010s is over and now A Written Testimony is here. If you’re not familiar with Electronica, read this summary of the wild and unpredictable path of his life. Electronica signed to the legendary Jay-Z’s label Roc Nation nearly a decade ago. Now on his debut album Hov himself makes an appearance on nearly every single track. Imagine having one of the all-time bests in hip-hop as your side man on your debut album. That’s crazy! But it fits with Electronica.

The album opens with “The Overwhelming Effect,” which serves more as a vignette than song as it’s a monologue from Minister Louis Farrakhan set to a beautiful sounding instrumental. That’s one important thing to note up front with this album: for better and for worse, Electronica’s faith, The Nation of Islam, has a noticeable influence throughout. I don’t really want to give my opinion on the faith itself or any other religions for that matter, as I respect all people’s beliefs. So any commentary I have regarding the religious influences on this album are strictly from a musical standpoint (just like my criticisms of gospel music and Kanye’s latest album in the past on this blog). So as far as an opener, it’s fine and I guess gives a dramatic buildup. But I would always rather hear bars to open a rap album.

“Ghost of Soulja Slim” opens not with Electronica rapping, but Jay-Z. And I have to say Jay-Z sounds as hungry and fiery as ever on not just this song, but the whole album. His bars are catchy, have something to say and get right to the point. When Electronica makes his appearance about halfway through the song, he matches Jay-Z’s bars himself. But the song drags on too long with it’s instrumental at the end and the use of the clip of the kids cheering is really annoying. I feel like this song would have been better as the introduction track, as it doesn’t really have a point and has more of an introduction/demonstration feel to it.

“The Blinding” sees the Jays joined by Travis Scott. And it’s obviously a mainstream/streaming play with Scott’s inclusion. But it’s one of my favorites on the album, as Electronica opens up about the making of this album, the pressure of the buildup of the release and how he never wants to let his daughter down. Despite it’s shortness and Scott being kind of shoehorned in, the song does well at telling a great story and giving the listener an appropriate insight into rap’s biggest enigma. “The Neverending Story” has a fun and spacey sound that envelopes the listener from the beginning and I’m not surprised that it was The Alchemist behind this smooth beat. It’s perfect for Electronica to lay down some of his most clever wordplay on the album. I particularly enjoy these lines: “Spread love like Kermit the Frog that permeate the fog/I’m at war like the Dukes of Hazzard against the Bosses of the Hogs.”

Next is “Shiny Suit Theory,” a song that came out years earlier. I’m glad it’s included though because I love the bouncy horns and glimmering chimes that drive the beat of this song. Electronica himself produced this song and it sounds great. Once again this is a song that gives an insight into Electronica’s thinking and a conversation he had with P. Diddy before dropping his album. The bars from both him and Jay-Z are tight and don’t waste any time in getting to the points they’re making. I enjoy the dramatic production on “Universal Solider,” but the bars feel too same-y to me throughout and the over-reliance of religious references doesn’t work for me. And once again I think the song carries on a bit long like “Ghost of Soulja Slim.”

Jay-Z spits absolute fire over great production from Electronica on “Flux Capacitor.” He goes on the defensive over his deal with the NFL and again I love how in the latter half of his career he’s maybe dropping some of the best bars of his career. It’s unfortunate for Electronica though he’s getting out-rapped on his own song and album, but that’s what happens I guess when you have an icon as a sideman on your album. “Fruits of the Spirit” feels more like an interlude than song but it’s still one of my favorite moments on the album. The soulful production of No I.D., one of my favorite producers in hip-hop, and Electronica rapping his ass off (with a sweet Thanos reference to start the song) makes me wish this was a full-fledged song.

I enjoy the different, clinky sound of “Ezekiel’s Wheel” and the inclusion of The-Dream as a feature is a great choice on a chiller, smooth song like this one. The bars from the Jays aren’t bad for the most part either. It’s just too long at six and a half minutes. The bars that are bad though is where Electronica raps: “It could be in Lagos, or Seattle, or Chicag-y/Hotel lobby Grammy after-party, it’s whatev-y.” It’s cringe-y and dumb-y. I do not understand why he felt the need to just randomly add y’s to these words other than trying to make his bars flow together better. Despite this baffling choice, Electronica redeems himself in a big way on the closing song of the album, “A.P.I.D.T.A.” Over gorgeous production from Khruangbin (who you know I’ve absolutely praised), Electronica absolutely pours his heart out over heartfelt bars about the loss of his mother. It’s heartbreakingly touching and beautiful personal song from Electronica that shows why his debut album has been so hyped. It’s without doubt the best song of his career.

The long-awaited debut album of Jay Electronica does not live up to it’s lofty expectations and hype, but A Written Testimony is nevertheless a pretty good album. The production is definitely the strongest point of this album, as a cavalcade of all-star producers and Electronica himself create some exciting and interesting sounds throughout the whole album. The bars on this album are mostly good despite some bumps along the way and the overuse of religious imagery. More than anything I’m glad that Jay Electronica is finally releasing music and I think on his next album we’ll see something even better from him. But for now this is a solid debut.

Grade: 7/10

Spinning All The Records — February 2020

Spinning All The Records is a brand new feature on Country Perspective that is a monthly overview of all the albums reviewed in the previous month on Country Perspective to give any readers, new and old, a quick look at what I covered and to catch anything you missed. In addition I take a look ahead at what I want to cover, upcoming album releases that catch my eye and a throwback album recommendation. So without further ado…

Looking back on February 2020, it was a surprisingly great month of high-quality releases. While the Tame Impala and John Moreland albums did not surprise me in the least with being great, the releases from Khruangbin & Leon Bridges, Tennis, and Denzel Curry & Kenny Beats really caught me off-guard with how great they were and proved themselves to be some of the best music you’ll hear in 2020. I did not expect to give this many high grades so soon and I mention this because something I didn’t like about myself in the past with this blog was so many 9s and 10s being given. But when I give them now I assure you that I put a lot more thought behind it. And I definitely welcome this influx of high grades, as the music is pretty damn good. If 2020 can continue to have months like this, we’re in for one hell of a year of music.

(Click on the album titles to read the full review)


Tenille Arts — Love, Heartbreak, Everything in Between

Love, Heartbreak, & Everything in Between is a good showing from Tenille Arts. The songwriting is really smart and shines at times and the production of Kline, Grand Vogelfanger and Adam Wheeler shows they know how to pull off a great pop country sound. A couple of unnecessary cuts, some average songwriting moments and a few small cases of getting carried away with the production bring this album down enough to prevent it from being a great album. But if you’re a fan of pop country I still recommend checking out Tenille Arts, as she shows a lot of promise and talent on Love, Heartbreak, & Everything in Between.

Pet Shop Boys — Hotspot

The highs the Pet Shop Boys deliver on Hotspot are really fun and are definitely memorable, while the lows are completely forgettable. It’s a bit of a roller coaster listen, but if you’re a fan of synth pop it’s worth listening to it a few times and picking out your favorite songs to go back to. But the album taken as a whole is just decent and leaves more consistency and cohesiveness to be desired.

Khruangbin & Leon Bridges — Texas Sun

Texas Sun is a truly brilliant little collection of music. As I said in the beginning, man I wish this was a full album instead of an EP. Khruangbin and Leon Bridges go together so well and come together to create a vibrant and colorful set of songs. It’s a true homage to the many sounds of Texas music that is fresh and invigorating. Do yourself a favor and listen to this exciting EP.

The Cadillac Three — COUNTRY FUZZ

Fun is a word I repeat over and over in this review. And it’s for good reason: that’s the ultimate appeal of The Cadillac Three and their album COUNTRY FUZZ. It’s entertaining country rock that aims to help you have a good time and forget your worries. The lyrics aren’t deep, and they aren’t meant to be; they’re meant to singalong with and have fun. So while this album may not be one for the record books or album of the year lists, it is an album that entertains and it’s exactly what you’re looking for when you just want to listen to something with loud guitars and big hooks.

Denzel Curry & Kenny Beats — UNLOCKED

Curry brings so much aggressive passion and rawness in his voice, along with his choice of diction in his delivery makes what would be an average banger into something that’s truly memorable. And this big reason is why UNLOCKED is the first great hip-hop album I’ve heard in 2020. While it doesn’t quite reach the heights of ZUU (an album I’m ashamed I omitted from my best of 2019 list), this is yet another high-quality project from Denzel Curry (and another great one from Kenny Beats too).

Tennis — Swimmer

With Swimmer, Tennis delivers an excellent album about love. It’s quickly became one of my favorite love albums. And this isn’t rash hyperbole on my end. I’m being serious when I say that this album truly delivers a heartfelt, genuine and truly touching take on true love. Love albums and love song are an absolute dime-a-dozen. They’re churned out every day. Most only focus on the surface level of love and the flip-side with heartbreak. What they don’t ever seem to focus on are the little things, the nitty gritty of relationships that aren’t easy to convey in an informative and interesting way. But that takes brilliant songwriting with equally high-quality production that aids it. Tennis delivers this.

Tame Impala — The Slow Rush

The Slow Rush is another great album from Tame Impala without a doubt. But it’s also hard not to see this album is a few missteps away from equaling the brilliance of Currents. It lacks focus in a few spots and there’s one song that just isn’t needed. But this is also a bit nitpicking admittedly. The production from Parker is once again deeply rich and textured, engulfing you with it’s fantastic details. And the songwriting mostly hits. So ultimately I can say this is one of the best albums you’ll hear in 2020.

John Moreland — LP5

LP5 is another fantastic album from John Moreland. He’s always been a great songwriter since his first album, but it’s the recognition to grow and experiment with his sound starting with his last album that’s taken him to a whole new level in my mind. Too many singer-songwriter artists think they have to stick to a stripped-down, folk-y sound for their lyrics to be taken seriously. At the same time, drum machines are dismissed as “not real instruments” used by pop stars. Well with LP5, Moreland proves both these claims to be moot.


Looking Ahead to March 2020…

As of this moment, there’s a few albums I’m heavily considering reviewing that were released in February. Those would be the new albums from Nathaniel Rateliff, The Steeldrivers and Hailey Whitters. As far as other releases I may have not covered, they simply didn’t catch my eye enough to review them or I feel I didn’t have enough thoughts for a review. But I most likely did listen to it (I listen to a lot more albums than I review), so feel free to hit me up in the comments and ask me about those, as I’m happy to answer with my thoughts on them. I want this monthly post to serve as not only a monthly review, but a place to cover anything “in the cracks” so to speak.

As far as upcoming new releases in March 2020, there’s definitely a few I want to highlight that catch my eye more than others. I’m curious to hear the new live album from Cream, Goodbye Tour – Live 1968, coming out on March 6. Usually I don’t like to review live albums, but I wanted to throw this out there for those into classic rock. Caitlyn Smith will be dropping her new album Supernova on March 13. I loved the previous album Starfire and this new one appears to be pushing the sonic envelope even more, so I’m excited about that one. The enigmatic Jay Electronica is rumored to be finally dropping a new album on March 18. We’ll see, as you can never be sure with him.

The Weeknd just recently announced a release date for his new album After Hours. So far I’ve enjoyed the singles I’ve heard from it and for the most part I liked the previous album Starboy, but I found that album to be a bit too long for my liking. I’m glad to see this one is four songs shorter. This will be dropping on March 20. Finally, Ingrid Andress will be releasing her debut album Lady Like on March 27. I find her voice and style of pop country to be promising. Her songwriting comes off as both catchy and sharp (the song “Both” in particular impresses me). So I’m curious to hear what she brings to the table with her album.


A Throwback Album I’ve Been Listening To That I Recommend

Travis Tritt’s Country Club

If you want some fun and “drive” in your country, Travis Tritt and this album in particular are a great place to start. It’s amazing to me how underrated Tritt is when looking back at 90s country, as he undoubtedly released some of the best. This album in particular showed you could make a stone-cold country album that still incorporates elements from other genres. Most importantly, Tritt just has the “it” voice for country music.

EP Review — Khruangbin & Leon Bridges’ ‘Texas Sun’

Khruangbin and Leon Bridges are not exactly two acts on paper you would picture teaming up together to make music. The former is a modern instrumental trio who really don’t fit into a particular genre or sound, while the latter is a soulful artist who sits comfortably within throwback R&B. But they both hail from Texas and through touring came to know each other, leading to the EP Texas Sun. And I’m just going to throw out my biggest complaint right up front: why is there only four songs? I want to hear more!

The opening title track instantly puts you in mind of driving idly down a hot Texas highway in the middle of summer with it’s warm guitars, rhythmic drums and the subtle chimes floating in the background. Of course I also love the introduction of the pedal steel guitar mid-way through, as you can’t forget country influences when it comes to Texas. Bridges proves too that his voice can easily shine beyond soulful sounds, as he can pretty much fit his dynamic voice into any sound.

“Midnight” is about Bridges recalling a passionate romance of days past and I love all the little details of the relationship that Bridges packs into the song. The chorus in particular is just fantastic, not just for all the details (the midnight black of the car, the leather seats, the passion), but the way Bridges delivers the lines so smoothly that matches both the mood and lyrics. Throw in the swanky guitar tones of Khruangbin and I feel like I’m right there watching the scenes of this song play out. This is the first song of 2020 that has “wowed” me.

“C-Side” is another love song oozing with passion and charisma in both the lyrics and instrumentation. In particular I enjoy how the instrumentation in this song has this sweaty, swaggering, jungle-like vibe. Being an instrumental band, it’s not surprising how great Khruangbin is at creating a particular atmosphere for the listener. Bridges always nails the vibe on these type of love songs in his delivery with an almost flawless sense (listen to his latest album Good Thing to hear it for yourself).

The EP closes with “Conversion,” an indie rock meets gospel song about a man having a come to Jesus moment with a woman in their relationship. It’s about seeking forgiveness and learning the errors of your ways to appreciate the love you have. After the Saturday night feel of the previous two songs, this is the Sunday morning response and these two nail the other side of the coin too. The reflective nature, appropriately driven by the organ, tugs at the heartstrings and creates this genuine sense of remorse and redemption within as you listen. It’s what truly great gospel songs do.

Texas Sun is a truly brilliant little collection of music. As I said in the beginning, man I wish this was a full album instead of an EP. Khruangbin and Leon Bridges go together so well and come together to create a vibrant and colorful set of songs. It’s a true homage to the many sounds of Texas music that is fresh and invigorating. Do yourself a favor and listen to this exciting EP.

Grade: 10/10