We Don't Even Live Here

Album Review of We Don't Even Live Here by P.O.S.

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We Don't Even Live Here


We Don't Even Live Here by P.O.S

Release Date: Oct 22, 2012
Record label: Rhymesayers Entertainment
Genre(s): Rap, Pop/Rock

66 Music Critic Score
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We Don't Even Live Here - Fairly Good, Based on 8 Critics

Filter - 87
Based on rating 87%%

Halfway through this barn-burning record of fluid beats and sideways rhymes, you start to wonder why P.O.S. had a thing against-hip hop. Originally a Minneapolis punk rocker, P.O.S. dropped the grudge in 2004 and, thankfully—fortunately—gave rap a shot. We Don’t Even Live Here is a masterful ….

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AllMusic - 80
Based on rating 8/10

The idea of "punk rap" rarely feels as real and needed as it does when the twitchy "Bumper" opens rapper and Doomtree member P. O. S' fourth official release, We Don't Even Live Here, a literate, sharp blast of revolution with an anarchist slant.

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Tiny Mix Tapes - 60
Based on rating 3/5

It’s of no doubt that P.O.S is angry, that he hates your high-class shit, that he hates materialism, “the game,” NIKE, and convertibles. Angry is something that P.O.S does well; his hyper-anarchist delivery and lyricism is stronger than it has been on his previous three albums, which is saying something considering he’s always been a strong rapper. The production is definitely stronger too, helped greatly by Kanye West’s producer Andrew Dawson, a move both more conventional and strange.

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Pitchfork - 57
Based on rating 5.7/10

The title of Stefon Alexander's fourth LP as P.O.S. conveys a self-deprecation and sense of displacement that reminds me of the last time I saw him perform live. Unfortunately, due to recent health complications, it could be the last time I see him live for a while. He was added to the 2010 Coachella lineup only days before the festival took place and he was quite literally the first person to perform that weekend, arriving to a sparsely-filled tent of curious foreigners and confused onlookers who almost certainly assumed they were supposed to see P.O.D.

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Consequence of Sound - 44
Based on rating C-

Minneapolis emcee Stefan Alexander released 2009’s Never Better when the wounds of the Bush administration were still fresh. The beats were as stark as Minnesota snow, his words fueled by leftist cynicism and a Midwestern, see-through-the-bullshit sensibility. Although Alexander (who records under the moniker P.O.S) was never overtly political, he was clearly dissatisfied with the socio-political landscape and disguised his frustrations as abstract rhymes.

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DIY Magazine
Their review was positive

Hip hop and punk rock. Actually pretty similar? God save the Queen and fuck the police. Two snarls of rage, separated by an ocean and a decade, but once standardised for geographical and temporal differences pretty close in sentiment?Stefon Alexander, the man behind P.O.S., is a punk rocker. The record does not show if he wears flowers in his hair.

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BBC Music
Their review was generally favourable

Rapper’s fourth LP exhibits a general disregard for genre boundaries. Louis Pattison 2012 The year 2012 has seen something of a revival in a certain stripe of gnarly, heavy, politicised hip hop. El-P resurfaced with fine new comeback album Cancer4Cure; Killer Mike took on the military-industrial complex on his track Reagan; and the masters of the form, Public Enemy, landed back in the charts with Paralympics anthem Harder Than You Think.

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Their review was only somewhat favourable

P.O.S., one of the co-founders of Minneapolis-based collective Doomtree, is a seasoned lyricist and producer with a penchant for an aggressive hip-hop and punk aesthetic. On his fourth studio album, We Don’t Even Live Here, the rapper offers something for both worlds, while departing from his indie roots, he fully establishes himself in a wider sound. The album opens with “Bumper,” a drum-heavy banger with electro glitches that addresses his presence in mainstream hip-hop.

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