At least on The Streets’ previous albums, there was an cheekiness and everyman wit to his very pronounced accent here, where the whole thing demands a tighter artist the make the most of it, he’s stuck with galumphing vocal runs that to call them flows would be far too generous, and the occasional fragment of a pithy, off-key hook that almost always sounds ridiculous coming from him. This is another example of a shift to darker, sharper electronic tones to match the description of a bleak modern world, something that Skinner really doesn’t encapsulate all that well in a drawling vocal performance that sounds more limited and stunted than ever. And thus, it’s no real surprise that None Of Us Are Getting Out Of This Life Alive is very reminiscent of Gorillaz’ Humanz, another release that was overstuffed with collaborators and used that as a crutch for not doing what it set out to do very well.
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The few scattered singles since their revival in 2017 notwithstanding, this is their first full release in nearly a decade, and the fact that it’s being marketed as a mixtape despite undergoing the usual album rollout and stacking itself with guest features (including turns from Tame Impala, Idles and Ms Banks) is kind of indicative of a lack of faith on Skinner’s part for it to do much, and presumably preserve the reputation of a ‘final album’ that Computers And Blues deigned to give itself even back upon its release. That’s what The Streets are best known for, which subsequently led to their 2011 album Computers And Blues not nearly being remembered in the same way, and that brings up the follow-up question of whether Skinner actually wants to do this.
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Why is Mike Skinner bringing The Streets back now? It’s certainly a project that has historical reverence behind it given how important both Original Pirate Material and A Grand Don’t Come For Free were within 2000s British music, but it’s also one that’s definitively of its time, where the bawdy lad-rock tones of The Libertines and early Arctic Monkeys could be transposed to UK hip-hop in a way that could actually work. I wanted to make this thread to celebrate this album but also in hopes that there might be others here on this forum who also has a history with it, if you do share your favorite tracks and or memories of the album.None Of Us Are Getting Out Of This Life Alive
The story about the camps feels very in line with what is happening to immigrant family’s at the American border, and I still find myself taken aback by the song every time I listen to it. The most distinctive example is Kenji, a song about Shinoda’s family’s experience with the Japanese internment camps during WW2, a particular aspect of history that I as a European had never heard about but appreciated knowing it. I don’t listen to Linkin Park anymore but I still find myself listening to Fort Minor, as some of their songs still contain political massages that resonates with the world we live in today. I didn’t expect how much I would come to enjoy Mike Shinoda’s rapping, away from the nu-metal aspect, but I really did and I loved how the lyrics felt like nothing else I was hearing from contemporary hip hop in the radio at the time. The Rising Tied had a special place in my music library in my youth when I also listened to a bit of Linkin Park which I imagine a lot of people have. Fort Minor is a pure hip hop side project that he’s been doing alongside several guess artists like Styles of Beyond, Black Thought, and, John Legend and more. He is also a graphic artist who’s designed most of the band’s artwork alongside DJ Hahan letalone the artwork for The Rising Tied. For those that don’t know Mike Shinoda, he is the current frontman (I assume) of the band Linkin Park which he co-founded alongside the late frontman singer of the band Chester Bennington.
Today is the day where I get to post this thread as it has now been 15 years since Mike Shinoda did his first solo act as an artist.
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