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RUL DOPE was founded in 2010 by a group of friends with the hopes of creating a movement. The vision is this: music, art and life. For the young and the wise, the truth and lies.. RUL DOPE is whatever you want it to be. The sound in your headphones getting you through the day, the paintings and photographs on your wall. RUL DOPE exists to keep you in the loop with today’s latest musicians and artist of all genres and categories. It is our mission to give you powerful insight to the world of the arts and keep the culture RUL DOPE. We thank YOU for supporting the vision.
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Album Review: Jason Reeves, The Lovesick
It has been four years since Jason Reeves released a full length album. His previous, coming in 2007, with the independently released Magnificent Adventures of Heartache, eventually was picked up and released by Warner Bros; launching Reeves to folk acoustic rock stardom. He released an acoustic EP, Patience For The Waiting, displaying his musical and lyrical talents loud and clear. While Reeve’s fans were very much so waiting, his work as a producer has gained him much praise, his writings and collaborations with Colbie Caillat and Kara Dioguardi have contributed to making him a household name.
The Lovesick opens with the first single that Reeve’s released back in August of 2010. “Helium Hearts” is an upbeat poppy track, seductive lyrics and a lustful feel, lined with a catchy chorus. Following, is the track “Simple Song,” Reeves sings about someone who is so wonderful and moving, he just wouldn’t do them any justice fitting them into a ‘simple song.’ The guitar work isn’t hidden, however, “Simple Song” is filled with beat after beat as the first two songs of the album may just foreshadow the transition Reeves has made into the total pop genre.
“Save My Heart” slows things down a little bit, sounding like a more familiar Reeves sound fans are used to, up until the hard hitting chorus. Lined once again with beats, it’s not that the chorus is bad, it is just unfortunate that the over produced sounds take away from the beautiful tone that is the vocal chords of Reeves. “Infinity To One” begins with a soulful, blues feel to it. Nice guitar intro, Jason’s voice sounds extremetly strong and attractive, possibly the catchiest song on the album as he sings of what is expected in failing relationships and how he and she can ‘beat the odds.’ “Sticks and Stones” follows, the second single released on The Lovesick. I honestly wasn’t too fond of this track when I first heard it, but I did give it some time to grow on me. “Sticks and Stones” is Reeves’ twist on a children’s tale, once again, lined with heavy pop synths and beats.
Naturally, good friend Colbie Caillat makes an appearance on the track “No Lies.” Acoustic and piano melodies quickly make this track sound like a typical, normal Jason Reeves song. Caillat doesn’t stand out on the track, but it is nice to see the duo come together once again. “Only With You” begins with strong acoustic guitars and Reeves singing softly with a soothing flow of lyrics. “Our skin in silver shadows/Reflecting all the stars/We shine together cause we fade when we get far apart,” Reeves’ sings. This becomes one of my favorite tracks because it feels like the Jason Reeves that I fell in love with so many years ago. No heavy production or synthetic beats, just the raw musicianship fans have grown to adore. With “Always Wanting More,” Reeves shows the more funk and soulful side. Not too upbeat, and not too slow, this track flows perfectly while Reeves’ talks about ‘sexin in the dark and love being a shipwreck anyway.’ Kara Dioguardi makes her appearance on the album with the track “No One Ever Taught Us.” Acoustics and beats build up to a powerful chorus of Reeves and Dioguardi singing in harmony. This isn’t “Terrified” Part Two by any means, but the duo create a catchy ballad full of heavy melody and vocals. The Lovesick closes with the acoustic piano track, “Alone.” The comforting sound of Reeves humming and singing softly makes “Alone” feel like a track that could have found its’ way on the Patience For The Waiting EP.
The Lovesick is a transition for Jason Reeves. He obviously explores many different dimensions on his second full length, showing more of his funk, soul, and pop side. The singer songwriter hasn’t totally let go of his roots however, fans will be pleased to still hear tracks with raw emotion and musicianship, the kind of sound that Reeves has made a living off of. I don’t think this album compares to The Magnificent Adventures Of Heartache, but it is not supposed to. Jason Reeves has grown in his production and song writing while still creating catchy simple love songs that led to his burst on the scene back in 2004. Give this album a few spins and I am sure it will find its’ way to you just as Reeves always has, honest and pure.
-rook
Die Pretty, Battle Over Brooklyn EP Review
Die Pretty is an alternative rock band hailing from New York City. With comparisons to bands such as Pennywise and Social Distortion, throw in a female vocalist slappin’ da bass and you just might have something special.
The short three song EP titled Battle Over Brooklyn, is a gem for any fan of heavier alternative/punk rock. While there are plenty of fronted female groups in today’s industry, Die Pretty does a good job remaining a total jam band and not playing too hard off their petite lead singer. Vocals aren’t taking over the music, they remain consistant while the instrumentals and riffs compliment the entire sound. There is no over production on Battle Over Brooklyn, this is something I notice a lot with this specific genre of harder alternative, the music just seems more.. raw. The Track “7th Avenue” is probably the highlight of the EP, the track slows down a bit as singer Sarah Orloff sings about “living for today.”
Greenday, Pennywise, Social Distortion, angry indie rocker chicks will eat Die Pretty’s latest EP up. You can check them out at dieprettyrock.com.
-rook
Foster The People, Torches Album Review
Foster The People have quickly become a band with a lot of buzz surrounding them on the indie rock scene. Their debut album, Torches, has had much anticipation behind its’ release. Foster The People weren’t stingy by any means when it came to giving fans of taste of Torches, they released three songs on an EP that were absolutely phenomenal and really built the hype surrounding the debut. My biggest worry with Torches was that the highlights of the album were going to be those three tracks that we had already become so familiar with. Was another track on the album going to make me dance around like “Pumped Up Kicks,” or try so ridiculously hard to hit high notes I had no business attempting the way “Helena Beat” did?
Torches opens with my favorite track, “Helena Beat.” It may have not been the leading single of the album, but I absolutely adore this song. Frontman Mike Foster has me screaming out lines, “Yeah, yeah and it’s okay/I tie my hands up to a chair so I don’t fall that way/Yeah, yeah and I’m alright/ I took a sip of something poison but I’ll hold on tight.”
Following the opening track is the first single from the album, another familiar track Foster The People followers already know word for word, “Pumped Up Kicks.”
“Call It What You Want” comes on and is the first track I have yet to hear. The track starts out with hard hitting beats, a total dance floor track. “Color On The Walls” follows, not one of my favorites, weird beats and a different delivery. “Waste” is next, a slower yet upbeat track that displays Foster’s vocals and lyrical talents, “How long/I say how long/Will you relive the things that are gone?” “Waste” quickly becomes a new favorite, a catchy chorus, much like the first three tracks that introduced the sound of Foster The People. If there can be a ballad type track in indie/electronic/pop rock, then “I Would Do Anything For You” becomes that. “Oohh lala/I’m falling in love,” Foster sings out over perfect melody, creating a perfect chorus.
“Houdini” is the third track that was originally released on the ep, an overall good song. “Hustling” follows, a very dance floor type track with a flowing chorus, hard hitting beats. “Miss You” is filled with emotional lyrics, fitting to its’ title. Foster shows his vocal strengths, “Smile at the chance just to see you again..” he sings out. The album closes with the track “Warrant.” After a drawn out intro, quiet beats come in, eventually get louder and faster as the song progresses. Bass lines make a huge impact, leading into piano and drums. “Warrant” quickly becomes a song about battle with interself. “Got to get away from the war inside my head.” Foster sings out during the chorus. Overall, “Warrant” is a great closer to an even better debut album.
Foster The People’s Torches isn’t the album of the year. It has some kinks and I think it is one of those albums you have to spin 4-5 times before you fall in love with it. However, Torches is a solid debut and sets the stage for good things to come from Foster The People.
-rooka
Tyler The Creator, Goblin Album Review
On Tyler The Creator’s second full length album, Goblin, the ninteen year old shows why he is possibly the most rebellious and real character in hip hop. Lyrically, Tyler doesn’t hold back. He raps about raw and uncomfortable topics, murder, rape, and pregnant women. Rewind a decade and think about Eminem rapping about putting his pregnant wife in the truck of a car. Tyler is a little bit more witty with his approach however. While listeners gain an understanding that Tyler isn’t actually doing the things he raps about, many of the topics aren’t far fetched. He is dark and twisted, the kind of dark and twisted a society can be drawn to and underground indie scene kids will flock to. Whether it’s rapping about killing himself, missing his best friend, or how much he hates his father, Goblin displays the self indulgence and self destruction of Tyler The Creator. An indulgence that we as a fanbase are obsessing over.
Goblin opens with the self titled track, a dark voice begins to speak, the voice belongs to Tyler’s alter ego- Wolf Haley. Wolf Haley and Tyler go back and forth throughout the album, much like on his debut Bastard. The opening track sets the tone for anyone who may be unfamiliar with the thoughts and feelings of Tyler, the persona that he holds up so very well, a persona that is really just his everyday life. “I’m not a fucking role model/I’m a nineteen year old emotional coaster with pipe dreams/Kanye tweeted telling people he’s bumpin all of my shit/These mother fuckers think I’m supposed to live up to something?”
The opening lines of Goblin express Tyler’s I don’t give a shit attitude and how he doesn’t do anything to please anyone in the mainstream scene. Next is the track Yonkers. Yonkers is the lattest single, also taking stabs at the high end of hip hop. Tyler doesn’t hold back much at all, calling rapper B.O.B. a faggot and wanting to stab Bruno Mars. While some may find moments in the album appauling, many are calling it genius. The track She, featuring the vocals of Frank Ocean, is probably the closest Tyler The Creator will ever get to a radio play hit. It talks about his struggles with women while having a catchy hook along with it. Nightmare is another track that really stands out. Tyler takes stabs at religion, his father, and his own appearance. For all of the times that Tyler takes stabs at those around him, he is the quickest to insult himself as well, “I’m surprised the doctor fucking touched me,” he raps.
Her pops up on the album as another song about a female, this time we see a softer side of Tyler as he expresses how she’s the only one but doesn’t give him the time of day. Sandwitches is an explosive track, once again Tyler takes stabs at the mainstream scene and its’ artists, “Fuck Rolling Papers/I’m a rebel bitch/I’m mashing blunts.” Tyler probably won’t rock any black and yellow soon. The album flows through and closes with Golden, a hard hitting track that mostly stands out for the beats and instrumentals, ones that Tyler creates himself.
Goblin isn’t much of a transition from Tyler The Creator’s first album, it still deals with the depression of a nineteen year old LA native trying to do everything he can that isn’t expected of him. He is by far one of the most talented hip hop artists in the game, even if he pushes himself into a whole other genre altogether. His arrogance still shines through all of the self hate, he even raps about how he knows how much better he is than his competition. Between creating and producing his own beats, to lyrically setting himself apart from other artists, Tyler The Creator’s Goblin isn’t a masterpiece. It does however do the justice of Tyler and his character as a whole. Some parts are phenomenal, while other moments seem to be shocking and uncomfortable, just like the rapper himself.
-rook
DATES.
Search
More Dopeness!
About this site
RUL DOPE was founded in 2010 by a group of friends with the hopes of creating a movement. The vision is this: music, art and life. For the young and the wise, the truth and lies.. RUL DOPE is whatever you want it to be. The sound in your headphones getting you through the day, the paintings and photographs on your wall. RUL DOPE exists to keep you in the loop with today’s latest musicians and artist of all genres and categories. It is our mission to give you powerful insight to the world of the arts and keep the culture RUL DOPE. We thank YOU for supporting the vision.
Find Us On
Mansions, Dig Up The Dead Album Review
Christopher Browder has no problem expressing his regrets, fears, and emotional turmoil over distored loud guitar riffs. With the group Mansions latest release, Dig Up The Dead, Browder shows exactly why he has come into the role of indie, underground rock icon. Dig Up The Dead is ten flawless tracks, easily one of the greatest albums of 2011.
The album opens with the self titled track, fuzzy guitar fills the intro while Browder’s familiar vocals come in over acoustics. Vocally, Browder delivers. There is no studio production in his voice, just the raw honest sound that attracts so many of his listeners. “Not My Blood” and “Blackest Sky” display Browder’s talents as a guitar player, getting more technical with the melodics and riffs. As Dig Up The Dead carries on, Browder reaches levels of emotion and musicianship he has yet to show. “City Don’t Care” is a catchy track, a catchy chorus that is guaranteed to get stuck in your head for a few days.
My favorite track on the album, “Close That Door,” is possibly Browder’s best work lyrically. He is witty, real, and straight to the point. “You have a car that you never drive/I have an ex who I never liked/Rewrite the past/Don’t even have to try/You hung me up in that awful town/On friday nights I can’t keep nothing down/Stay on my knees/My friends go sleep around/I burned up your letters/My memory suits me better/Changed my name/Made my move/I’m not the one that laid beside you.”
Dig Up The Dead is full of lyrical bliss.
Browder slows things down a little on the track “Seven Years,” possibly Browder at his most vulnerable and stripped state. “I’ve been too scared to tell you that I’ve given up… It’s me and me alone,” he sings out.
“You Got Cool” remains the lone acoustic track, the title is pretty self explanitory. The track is great, talking about someone Browder misses, the person he originally met before they turned into a pill popping stranger. Dig Up The Dead closes with “Yer Voice,” distorted guitar opening the track before Browder’s vocals come in. He sings about dreams and being content, something we have never thought Browder felt up until this very point. “I don’t want your life/Where everything is easy,” he sings. Browder may express his struggles and raw emotion often as a musician, but we discover with his latest album that these are the feelings that make him so complete and allow him to be who he is.
Dig Up The Dead is a big step up from Mansion’s previous works. It still remains true to the originial roots that is Christopher Browder, while advancing lyrically and melodically. All in all, this is by far one of the most complete and phenomenal albums you will ever here. I suggest picking it up asap, if you are desperate, you can contact us at ruldope@gmail.com for a free download.
-rooka
Wiz Khalifa, Rolling Papers 
“And they say all I rap about is bitches and champagne, you would too if every night you seen the same thing.” Wiz Khalifa opens the Rolling Papers album with the track “When I’m Gone,” a soft piano intro turning into an up beat track that sets the tone for the rapper’s latest album. That tone may be more like a common theme, the essentials that the 23 year-old Pittsburg native rapper lives by; marijuana, money, and women. Critics have acclaimed Rolling Papers has no real substance, no real meaning behind the major label release.
For a major record label album, one that was extremely anticipated, there are no mainstream names that pop up on the track listing, unless you consider Too Short a hot product. “Black And Yellow” is a huge single that blew up the release, and remains standoffish on Rolling Papers as the majority of the album is slow and drawn out. “Roll Up” is catchy and can instantly be a hit single while the rest of the album rolls through the same type of material. “Fly Solo” is a good track, built with the same substance the entire album surrounds itself with. If Weezy’s “Pussy, Money, Weed” were to be compacted into one long album, Rolling Papers would be its’ title.
While Khalifa’s latest album may not be genius or anything surprising, it is a man amongst boys when it comes to the point of it all. Wiz Khalifa has been hustling for years and in and out of label deals and the spotlight. His new material may not be as lyrically profound, songs from his EP’s are full of content while still hot boxing through every track. Whether that involves his recent buzz or the fact this is a major label release, Wiz is enjoying his moment. Therefore, if his moments are including “Bitches and champagne,” then why should we ask him to be anything other than what Wiz Khalifa is?
-rooka
Atmosphere: The Family Sign Album Review
Atmosphere has built a reputation on being one of the most talented, unique, and hard hitting acts in the hip hop world. They have managed to stay true to their roots and small in the sense of their indie hip hop community, while still being recognized and respected on a much larger scale in the world of music. Slug is the frontman, lyrically blessed and passionate, while Ant lays down beats and instrumentals that fall along the line of genious, often getting overlooked as the true backbone of Atmosphere. In their latest album, The Family Sign, the group adds keyboardist Erick Anderson and guitarist Nate Collis to the mix. Atmosphere is in no way new to guitar riffs and instrumentals hovering over the beats of Ant, but immediately Anderson and Collis make themselves a fitting piece in The Family Sign.
The album opens with “The Key,” a long opening of those new instrumentals and a moody tone before the familiar voice of Slug comes in. “The Last To Say” begins and sounds like a track that could have found it’s place on the previous album, When Life Gives You Lemons. “The Last To Say” carries on lyrically talking about an abusive home life and stays on a melodically slow path. “Just For Show” is one of the two singles featured from the album, a typical witty and arrogant bundle of lyrics and beats. Similar to previous works such as “Say Hey There,” “You don’t really want/You don’t really want me to go,” Slug sings out throughout the chorus. Despite what the message of the song may seem like, Slug has stated that this isn’t about a relationship gone sour, it is reflecting on the expectations we place on art. “She’s Enough” with static guitar riffs and a catchy lyrical hook bound to stick in your head. Some say this track is out of place or not as satisfying as other on the album, it reminds me of the way I felt when I first heard “You” on When Life Gives You Lemons coming out of nowhere all up beat and quick in a bundle of tracks that were dark and hard hitting. “She’s Enough” helps balance the album, showing how Atmosphere can take a simple track with not much to it and still create something appealing and catchy.
“Bad Bad Daddy” is the next track, another track that has taken some stabs in previous reviews. Another track that may be simple and silly in form of lyrics and presentation, however, anyone who has followed Atmosphere and a fan of all material will enjoy this track. Slug does a great job taking on characters and making fun of situations as well as himself. “Hair,” and “Nothing But Sunshine,” are previous works displaying that, and “Bad Bad Daddy” may not be the next single for this album, but it is a typical witty Slug move. The majority of reviewers are just too mainstream to recognize that. Moving through The Family Sign, “Your Name Here,” is a standout track that is arrogant and witty, just what we expect from Slug. “La la la I don’t care where you go from here/There’s no tears/Next to your name here.”
”I Don’t Need Brighter Days” has great instrumentals and allows Slug to show talents moving back and forth from raps to singing. “Something So” comes on, an ode to Slug’s child that is full of heartfelt lyrics and that serious passionate side of the rapper. The album closes with “My Notes,” the shortest, but a proper closing track for an album like The Family Sign.
Atmosphere has come a very long way in a span of ten or so years. Many argue that the music isn’t as angry and hard hitting as it used to be, “Fuck You Lucy,” and “Trying To Find A Balance” have yet to been reduplicated or matched on the groups latest efforts. However, as Atmosphere and Slug grow, the music grows as well. Slug shows the maturity and realistics of this life we are all in while still staying true to his arrogant, witty, and passionate self. No longer self absorbed and distant, Atmosphere releases The Family Sign as a symbol of where they’ve been and where they’re going. It’s a trip that has been worth the ride. 
-rooka
Go Radio- Lucky Street Album Review
“As for me, I’ll spend the night a darker shade of blue and dance with the thought of you..”
Sometimes I wonder where pop/punk/rock has gone. The Starting Line is no longer at the peek of it all and I am no longer sixteen. New Found Glory can keep trying and keep touring, but really, fans are really just reliving those ‘Hit Or Miss’ days. If you have the patience and the passion to still bare with the pop rock genre, there is a chance you may find a diamond in the rough. It isn’t often, but Go Radio shows us that there still is a chance for pop rock fans everywhere to live another day of musical bliss.
Go Radio’s debut album, Lucky Street, has been in the works now for three solid years. Fans have created much hype surrounding them and this album. Perhaps that is because of the amount of time the group has spent preparing it.. or maybe that is because Go Radio is the creation of ex Mayday Parade guitarist and vocalist Jason Lancaster. Whatever it is that has created the sensation surrounding this group, the debut album ‘Lucky Street’ is meeting its’ standards. This album opens hard, fast, and upbeat. It closes that way as well. ‘Lucky Street’ coasts through with an upbeat tempo and catchy melodies. The album opens with the self title track ‘Luck Street,’ blaring sirens in the beginning until listeners hear the oh so familiar vocals of Lancaster. Next are ‘Any Other Heart,’ ‘Singing With The King,’ and ‘Strength To Say’. ‘Swear It Like You Mean It’ opens with piano and then slides back into the harder hitting chorus that takes place on the majority of this debut. ‘Swear It Like You Mean It’ is without a doubt one of the highlights of this album, followed by a slower ballad type track, ‘Why I’m Home’. The album continues and closes at track fourteen, ‘Forever My Father,’ a track that many fans have already heard but should appreciate the studio version of.
Following a highly praised EP, Go Radio gives listeners an album that have not only met expectations, but possibly surpased many of them. Jason Lancaster brings the same passionate lyrics and balanced vocals that fans have become accustomed to, while refreshing the state of pop rock music entirely. 
-rook
