The first releases of winter feature nostalgia for the nineties and Guf with exemplary hip-hop
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The first releases of winter could please audiences with a wide variety of preferences, including hip-hop and retro fans. Guf returned with his sixth studio album, a motley group of champions of various charts are covering hits from thirty years ago and, apparently, finds it very funny.
GUF SENDS NEWS FROM REHAB
One of the most famous Russian rappers followed the advice to write about what he knew well, and this knowledge was enough for an album of twelve tracks. “Forbidden Place” can be called a diary in which Guf records day after day what happened to him during the next rehabilitation course, and all his feelings that accompanied this difficult process. The narration is attached to the dates of the calendar, the album begins on March 21 with a visit to the clinic, where the artist was brought, as he reports, against his will (the first track “Welcome” is dedicated to this), and ends a month later with an attempt to be optimistic with “Amen”.
“Forbidden Place” is one of those albums that immediately draws attention from the music to the words. Besides, nothing extraordinary happens with the music here. This is all very Goofy. Retrograde hip with a predictable beat and melodic declamations. The artist deviates from his usual rules a couple of times, adding Latin guitar to “If It Weren’t For Her” and having a little fun with trap in “House Rules.” But the words here have much more meaning.
It’s not very easy to remember which of Guf’s colleagues was so frank in his lines. Rappers love hooligan show-offs, love to read about cash, staff and ladies with low social responsibility, and finally, they talk in a very stereotyped way about youth in the area and zero prospects for the guys from the outskirts. But Guf takes on a completely different height. It offers half an hour of fierce soul-searching from a man who has been struggling with addiction for a quarter of a century, with varying degrees of success, and still does not understand how to overcome it.
He talks in very simple words about what is happening in the rehab, and this retelling of the gloomy life and not the most humane rules of fighting one’s own demons is much more impressive than all the attempts of local big and small rappers to declare themselves as poets. Anxiety and despair, ex-wife, ex-friend Katie Topuria from the group “A-Studio” and former colleague in the group Centr Ptah, parents, sister, finally, voice messages from doctors, which make it completely sad – all this is included in short, but Sometimes the tracks are absolutely heartbreaking.
If those who like to put everything into detail have a desire to create a scale of coolness from Guf’s albums, then “Forbidden Place” currently has a chance of getting to its top.
STARS 2.0 WITH HITS FROM THE PAST CENTURY
The collection “1993% Hits” was another attempt to bring a modern focus to the hits of the nineties. In this case, hits from thirty years ago were used, and it must be admitted that 1993 turned out to be a real Klondike.
All these treasures, of course, require a careful approach, which not all participants in the project were able to do. “Congratulations” from Igor Nikolaev has a certain restaurant mannerism (probably that’s why the song became a hit), but Mirele in its adaptation completely killed it with cold synth-pop. “A Stewardess Named Zhanna” is not a very complex composition, but for these verses and choruses to sparkle with naivety and vice, you need to be Vladimir Presnyakov. Dead Blonde tried to present everything in their own way, but it turned out very amateurish.
Zivert and her team tried very hard to fill “I Will Buy You a House” by the group “Lesopoval” with new meanings and sounds, but this is the case when there is no trick against scrap.
However, Gio Pica quite famously dealt with Mikhail Krug’s “Kolshchik”. The Georgian singer added a little exoticism to the merciless chanson, and combined with the charisma of a man who has experienced life, everything worked well. In general, brother-in-law sees brother-in-law from afar.
“Soldier of Love,” the program hit of the A-Studio group, even now frightens with its perfection, and, probably, the most sensible choice is to try to copy it all. Ivan Chebanov, who is remembered by many from the show “The Voice,” was not far from the original and won rather than lost. The same cannot be said about the version of Sviridov’s “Nobody Ever” from the group Settlers. The members of the jazz-folk group cannot be denied imagination, but here they went too far.
As it turned out, the yard drive of Zhenya Osin’s big hit “The Girl is Crying in the Automatic” fits quite well with weighted rock, and in Maxim Svoboda’s version the song has been quite impressively transformed. “Batman,” the armor-piercing hit of the Russian Size group, was much less fortunate. The members of GSPD, in an effort to make the perfect dance number, deprived the song of all the brutal calories, and as a result, unlike the original, it sounds rather boring.
In general, the collection cannot be called boring, but, like many attempts to play with the nineties, the new reinterpretation again confirmed a not very new observation: those who play with emotions, and not with computer programs, can make music of thirty years ago their own. And there are catastrophically few such artists.
Newspaper headline:
Exemplary hip-hop against nostalgia
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