“We choose April”, must have said, 150 years after Bjørnststar Bjørnson said it. For the past seven years, the Rapgruppen from Oslo has released a release in the fourth month of the year. Last year it was the playful EP “Norway loves rap”. The year before came the last full length, “Egoland”. Then news’s reviewer thought the album was little innovative. The latest record, “memoirs”, on the other hand, has wax pain. “This is more ug than it has ever been. Our last eight years compressed to 34 minutes. Our memoirs, ”says the group even about the release. There has been marketing on a website where you can ask for access to the group’s memoirs, talk that this is the best they have made and an upcoming performance. “Memoars” are a concept album. But where underground wants to paint a landscape, there will be garden spots. Sit down, Ballinciaga! “No new producers here,” pussy the song “Beige” from last year. Now the story is another. At “Memoars”, the team is expanded with the producer duo Kastel, which has produced for all the solo projects for the members of the underground, and manufacturer Ailo. Also included in the mix are a number of contemporary musicians in electronics and folk music. Through the album’s ten songs, ug throws a bouncing ball into their own creation room and sees it going both high and low. With a larger team, something more well produced, atmospheric and magnificent than the underground has done before – has been arranged at least. COVER: Such is the cover of the album “Memoars”. Photo: Ug Records The songs “Libretto in A” and “4theboys” are on each side of the album’s genre universe. “Libretto in A” dresses in modern folk music, and sniffs on the show tradition Loverboy (Jon Ranes) has shown commitment to, while “4theboys” is the Ballinciaga song Ballinciaga will never be able to make-filled with self-awareness, which lifts the feeling of superiority. The swollen trap song “OK” lies closest to UG as many know them. It feels like a well -processed sample and not least, interconnected – like that the list of contributors is much more intimate than in reality. From the best to the worst song that hits the best, if you are going to take the album title seriously, is “Night Tale”. It is rooted in a night out, and the group replaces each other’s perspectives while the time in the story unfolds chronologically. Even the equivalent of adulthood to rap about homework, to be back, engage. The song first and foremost conveys without pushing the beat in front of it. “Night storytelling” does not need a conceptual sale to stand on your own legs. Successful: Marstein is one of three members who have had a solo project. It has been a success, and last weekend he was named Spellemann of the Year 2024. Photo: Gunnar Bratthammer / news / news On the song “Memoars”, on the other hand, the story is flaky. It seems that the song’s power -covered guitar will both create and bear the feeling of openness and void, before it gets a heart rate that tries to inspire hope and melancholy. The song provides loose associations to Imogen Heap, Daughter and Swedish House Mafia, before that as a whole ends up in a kind of carp parody. Lines are served such as “I remember when the old home was demolished, where we stood and reef / today it has become dementia / but we do not forget so easily”. It is not good in the jaw, and it is not noticeable depth. This is the most radio -friendly underground has ever delivered. It gets faceless. Here, some gifts and a lot of wrapping paper, despite the fact that “memoirs” should be more ugly than ever, it is challenging to perceive them in the seriousness they have set up for conceptually and sonically. Take “New Feeling” for example. The song has a beat that bench presses the verses. There is often a point where artists see themselves in the mirror and think, now it is serious. Then they publish records like Travis Scott’s “Utopia”, or Silvana Imam’s “Faith” – gift packages with more wrapping paper than a gift. In the fire and flame: Underground has taken Norway by storm in recent years. Photo: Herman Falck How / news P3 The stories, memories and references do not necessarily feel more true in cinematic and well -produced universes, when it comes at the expense of genuine appearance. After all, keeping it real is the bottom line of the rapper, when you draw from a little big man’s madness. It gives the taste to the songs “Memoars” and “Machine”, which in the end product becomes über commercial. The irony is inevitable when the latter presents distrust of the future of society, and apparently also the group’s. That’s when the really good songs stand out badly. Apart from “Night Tale”, “Okay”, and “4theboys”, “Scandinarnia” is also a confrontational appearance a hub. In a production that seems to be inspired by French producers, Plaza delivers the best flow and verse record. Also on the record’s only single, “Pilestredet”, Ug’s storytelling skills are elevated in the emotional and emotional composition, with strings, choruses and fretty nerve. Welcome from the basement just as Bjørnson did with his poem, uses underground April for change and renewal. But “memoirs” fumbles to see underground as they see themselves, and redefine it steadily through the album – where the emotional production becomes a common denominator on the record that occasionally makes the members plate. At their best, it unites what they have been and become, through solo projects and through seven previous releases, while coming up from the basement in Lille Tøyen Hageby. At their worst, they dose their own twists and be seduced by their own greatness. About the album title: “Memoarer” Artist: Underground Published by: Ug Record’s Genre: Hip Hop/Pop Utgiving Date: 30.04.2025 Length: 32 minutes and 58 seconds Tracklist: “Foreword” “Foreign” “New Feeling” “Ok” “Ok” “Scandinarnia” “Libretto in the” “” 4thoboy “Machine” published 30.04.2025, at. 00.00
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