Fall In Love With Quiet: Or “Why You Keep Clicking Lofi Hip Hop Beats To Study/Relax Too”

“There is a rhythm to life. You got this… ride the wave.” – Some Random Guy In the Lo-Fi Hip Hop Radio Live Chat

Something that I think gets overlooked too often on music blogs much like the one you’re reading right now is “vibe” music. Music that sets out to set a mood, and should it choose to tell a story, it does so in a subtle, usually instrumental way. I think there’s a huge place in our everyday lives for this music.

Luckily for us capitalist underlings, a large corporation also had this thought back in the 40s. Muzak, a term that would become an insult rather than a copyrighted moniker, was a company that found their niche in creating music that would boost the productivity of the average american worker, and encourage store consumers to spend more.

Muzak could apparently make workers happier and more productive. Muzak patented a system called Stimulus Progression that offered 15-minute blocks of instrumental background music that provided listeners with a subconscious sense of forward movement.” (MentalFloss.com)

For better or for worse, this science proved to be questionable at best, but the concept that music can soothe the mind, or focus you on a task is still strongly supported. According to the UMD Medical center, it’s actually good for the heart. “Listen to music. Music is an effective stress reducer in both healthy individuals and people with health problems. Research finds that listening to soothing music can decrease blood pressure, heart rate, and anxiety levels in heart patients” (Florida National University). So the science is there, but you already knew the effects that calming music had on you when you’re trying to focus. It acts as a buffer, a conduit for thought; provides framework but not enough stimulus to distract you or “take you out of it”. It’s the 21st century version of listening to the rain at night; which is, unsurprisingly, a common sound sample in this genre.

There’s something magic about certain tempos, certain grooves, and certain instrumental tones that calm us. The sounds are soft but defined, dark but not foreboding. They feel like a cold summer night, the kind of night that conjures memories of fire-lit evenings and hoodies. There’s a specific feeling that follows putting on nice headphones, or putting this type of music on in the car at night that feels warm, safe, and inviting.

This feeling, I will dare to say, is peace. So much of our days are spent with a checklist in one hand and a heavily caffeinated beverage the other. A paper, some homework, a test, a last minute Not A Sound post because the Head Editor is sick, or just the stresses of feeling the need to move forward every day as quickly as you can. “Chill” music offers you a brief, but welcomed respite from these feelings through nothing more than a few un-quantized kick drums and a warm piano sound.

So go ahead, boot up some of those lo-fi/jazz/chill playlists, because now more than ever, it feels like we as a generation need something that not only encourages stillness, but romanticizes it.



I’ve included the link to the now infamous “lofi hip hop” radio, and my personal favorite I found while listening to it during my writing tonight, so enjoy!

“There is a rhythm to life. You got this… ride the wave.” – Some Random Guy In the Lo-Fi Hip Hop Radio Live Chat

http://mentalfloss.com/article/28274/muzak-history-background-story-background-music

https://www.fnu.edu/benefits-studying-music/

“Lou Reed 2000” by Lee Scott Reviewed by Ian Miller

Hailing from Runcorn, England, rapper/producer Lee Scott’s new record Lou Reed 2000 is a lo-fi stinger. On early album highlight “TITLE TRACK,” Lee samples Lou Reed interview clips in which Lee answers the questions himself. “You seem very withdrawn . . .” says the interviewer, to which Lee disdainfully spits, “Cause I don’t like talking, I’m depressed / one-word answers, Lou Reed talking to the press.” This line might be laughable in the voice of a less mature rapper, but Lee’s deep, ghoulish sneer combined with the easy, hard-hitting beat make it sound like a threat. The track is underlined with jazz chords that call to mind King Krule, an aesthetic that is kept throughout the record’s concise 30 minute runtime. The message is here from the beginning: Lee is sad, but he’s also tough as nails.

Lou Reed 2000 is full of these types of punchlines. “ROCKET FUEL” finds Lee musing on the ins and outs of his day-to-day over a familiar beat while he sardonically raps, “Corner shop survivalist / fingering your pie n’ chips.” This sounds like a guy who wants to be taken seriously, who has his chops, but at the same time does not want to be taken too seriously. He plays the depressed thug character in a way that sounds authentic, but at the same time seems to imply that it is a character. Lee’s having fun on these tracks even when the lyrics would not necessarily suggest it.

The result is an extremely entertaining listen. “Something’s always got to give, and it’s usually me health / I’m in a league of my own, losing to myself,” closes off the final verse of “ROCKET FUEL,” while a dreary keyboard lead brings it to a close. It sounds like something you’d listen to on a rainy Saturday afternoon, considering going outside and doing something, but the sounds of the record make you want to stay in-doors, and that somehow makes you feel cool. It’s a very specific mood.

Speaking of which, mood is easily the biggest strength of the record. Sonically, it is consistent the whole way through without being repetitive, which is pretty remarkable given that most of the songs have a similar tempo and arrangement. Instead, it builds up the world around the listener, enveloping them in Lee’s (usually unpleasant) consciousness. Lines like, “They say everybody has a dream, well I don’t / I just wake up sometime mid-afternoon and think to meself I should get a scran in soon,” capture a sense of apathy (and maybe buried longing) that seems more rooted in blues and jazz traditions than the emo-rap of today. This is also supported by the chord choices and sparse vocal melodies that appear occasionally throughout the record. The blunt lyrics being contextualized in this sonic atmosphere adds to the authenticity of the message.

Lou Reed 2000 is a wonderfully immersive record that does not ask too much from its listeners. It’s possible to just enjoy this for the music alone and the sound of Lee’s voice, without needing to digest the lyrics. It is a versatile album that is perfect for listening on your own, or in the car with your friends on the way to Taco Bell at night. To anyone who is a fan of lo-fi or jazz rap, this is a record for you.

Rating: 6.8/10 (Solid)

EDIT: The original published version of this review included misquoted lyrics; this mistake has been corrected.

For info on how we score albums, see Our Rating Scale