Afterparty Babies

Last updated

Afterparty Babies
Afterparty Babies.jpg
Studio album by
Cadence Weapon
ReleasedMarch 4, 2008 (2008-03-04)
RecordedMay 2006 – April 2007
StudioUp in Arms Studios (Edmonton, Alberta)
Genre
Length57:40
Label
Producer
  • Cadence Weapon
  • DJ Weezl
Cadence Weapon chronology
Breaking Kayfabe
(2005)		Afterparty Babies
(2008)		 Hope in Dirt City
(2012)
Singles from Afterparty Babies
  1. "House Music"
    Released: February 12, 2008 [1]

Afterparty Babies is the second album by Canadian rapper Cadence Weapon, released on March 4, 2008, by Anti-Records and Upper Class Recordings in the United States and Canada and March 10, 2008, by Big Dada in the United Kingdom. After signing with U.S. label Anti- and the re-release of his debut album Breaking Kayfabe , he spent eleven months in his hometown of Edmonton to work on new material for his next record.

Contents

Whereas Breaking Kayfabe used heavy beats and grime from the electronic genre for its overall sound, Afterparty Babies has a club-feel throughout with elements of house and tech house that go along with Cadence's autobiographical lyrics about inter-personal relationships in his hometown of Edmonton and the youth culture interacting with both the Internet and media in general. The album received a positive reception from critics, praising it for its experimentation of electronic music and its self-deprecating lyrics with pop culture references. To promote the record, Cadence toured across North America and Europe with appearances at music festivals.

Background

Cadence Weapon released his debut album Breaking Kayfabe on November 28, 2005. It received a positive reception from critics [2] [3] [4] upon release and was shortlisted for the 2006 Polaris Music Prize. [5] In February 2007, Cadence signed with Anti-Records in hopes of gaining exposure in the United States. [6] After that, he went back to his hometown of Edmonton to work on new material for his next album, while his debut effort was re-released by Anti- on March 13, 2007. The record was originally titled Scenery, but Cadence changed it to Afterparty Babies instead. [7] Regarding the album's title, Cadence said that he got it from his father who occasionally called him that because he was "conceived" by his parents after going to a party. [8]

The album cover features Cadence sitting front and center on a stool while behind him are a group of people set up like a high school class photo. Featured on the cover are people who worked on the record like DJ Weezl, [9] DJ Nato, Nik Kozub of the dance-punk group Shout Out Out Out Out and several of Cadence's ex-girlfriends. [8] The picture was taken in the basement of The Black Dog, a former pub in Edmonton. [9]

Music and lyrics

Basement Jaxx.jpg
Daftpunklapremiere2010.jpg
Cadence said that his use of the electronic genre in the album was influenced by artists like Basement Jaxx (left) and Daft Punk (right).

Afterparty Babies takes elements of house and tech house from the electronic genre for its overall sound. Cadence said that he was influenced by artists like Basement Jaxx and Daft Punk, [10] and dance music in general when he found an interest in DJing that opened his mind to the genre as a whole: "I was getting more into DJing myself, listening to dance music, kind of realising that all music is inter-connected, everything is 4/4: you can mix everything together." [9]

For the lyrical content, Cadence took inspiration from Bob Dylan records to tell stories that he drew from an experience he had in Edmonton during the summer of 2006. [9] Another addition that Cadence put into the album was his view of the youth culture being more interested in using the Internet and media in general for their daily lives instead of living that experience in real life. [8] Dan Raper of PopMatters described the point of view that Cadence took to deliver the lyrics as "a hyper self-aware, intelligent twenty-something outsider." [11] The opener "Do I Miss My Friends?" is an a capella hip-hop track that uses a loop of Cadence doing hand claps, leg slapping and noises with his mouth. [10] Cadence said in interviews that the track was inspired by both his fear of losing contact with his friends while on tour [8] and his confusion of being with people he didn't know from the summer he spent saying, "What am I doing with these people? Why these people? Why are these people my friends?" [10]

"Limited Edition OJ Slammer" was described by Cadence as being "the perfect metaphor for celebrity culture," saying that as a child he had a gold-plated razor blade pog slammer that showed O. J. Simpson and the phrase, "The Juice is Loose." [8] Brian Howe of Pitchfork called the song "a diatribe against celebrity obsession." [12] The overall sound of the track is from the glitch hop subgenre, done in the style of Prefuse 73. [13] "Juliann Wilding" was based on a friend he met while working at See Magazine and called it his version of David Bowie's 1971 song "Queen Bitch". [14] [15] "Real Estate" was inspired by both Cadence's dad as a part-time real estate agent and the parallel between that career and battle rap; Cadence called it "a long extended metaphor about the rap industry and different areas of rap." [10]

"Messages Matter" was described as a song where Cadence "comments on the state of [the] technology-driven social relationships and forms of communication that he sees replacing [the] human-to-human ones." [16] One of the cuts the track uses comes from the 1989 Arnold Schwarzenegger film Kindergarten Cop in which he interrogates the children. Cadence said that DJ Weezl handled all the cuts heard throughout the album and was not involved in the process. He also said jokingly that because of this he might be "dead broke because of [Arnold] Schwarzenegger." [17] "Tattoos (And What They Really Feel Like)" has Cadence switching from the overall theme of the song's title into a conversation with a tattoo artist about his personal life that's described as "a self-analysis of sensitivity and failed relationships." [11] The track utilizes sounds from the IDM genre that's reminiscent of Autechre. [13] "The New Face of Fashion" is a "nasty electro banger with funk accents" and "old-school tinged refrains" that's described as "a screed against trendy couture" that ironically complements the "Misshapes/Nudie Jeans/Diesel-wearing crowd mercilessly." [11] [12]

Promotion

Cadence promoted the record by co-headlining a tour with fellow Canadian indie rock band Born Ruffians in the U.S. [18] He followed that up with a 29-city spring-summer tour across the UK and Europe [19] with several festival appearances at Glastonbury, [20] Roskilde [20] and Lollapalooza. [21] He then went on a 13-city fall cross Canada tour, beginning with Vancouver's Richards On Richards and finishing at Fredericton's The Phoenix. [20]

Critical reception

Professional ratings
Aggregate scores
SourceRating
Metacritic 73/100 [22]
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [16]
The A.V. Club B [23]
Drowned in Sound 9/10 [13]
The Guardian Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [24]
LAS Magazine4.4/10 [25]
NOW Red N.pngBlank N.PNGBlank N.PNGBlank N.PNGBlank N.PNG [26]
Paste Favourable [27]
Pitchfork 7.0/10 [12]
PopMatters Star full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar empty.svgStar empty.svgStar empty.svgStar empty.svg [11]
Spin Star full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar empty.svgStar empty.svgStar empty.svgStar empty.svg [28]

Afterparty Babies received generally favourable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 20 reviews. [22]

Marisa Brown of AllMusic praised the album for its production and Cadence's tongue-in-cheek lyrics, calling it "hipster rap that isn't trying to hard to be hip", concluding by saying it's "an album that accepts its imperfections as a part of its charm, and, all things considered, a pretty irresistible release." [16] Dorian Lynskey of The Guardian also applauded Cadence for his subject matter saying, "Pemberton doesn't strain to impress. He doesn't need to: his darting intelligence and racing imagination are evident in every line." [24] Sean O'Neal of The A.V. Club called the album an improvement over Breaking Kayfabe, praising its storytelling and pop culture references saying, "Throughout, Pemberton comes off like a clever friend who just happens to be lyrically gifted: [He's] the perfect hip-hop hero for the Myspace age." [23]

Jon Pareles of The New York Times gave the album a favourable review, admiring Cadence's lyrical mocking and use of sound saying, "He backs up his insolence with dense, tricky productions that pile samples and scratching atop techno and electro beats and go increasingly haywire as he gets more worked up." [29] Pitchfork writer Brian Howe commented about the overall growth in Cadence's musicianship throughout the record: "Aggressive mechanical drum patterns, gnarly electro synths, oddball samples, rubbery vocal cadences, pop-cultural punch lines, honor-roll puns: All of these comprise the broad strokes of Rollie Pemberton's musical identity, and now, on Afterparty Babies, they feel like the fixed elements of a mature style." [12]

The record did receive some mixed reception. Dan Raper of PopMatters repeated what everyone said about the production and the lyrics throughout but felt that it limited Cadence's public appeal, concluding with, "You get the feeling he wouldn't want to be one of the "rappers on the radio" anyway." [11] Josh Modell of Spin also voiced concerns about the album, feeling that Cadence takes too much from indie hip-hop and that he should be more of an "equally passionate goofball" that might put him into the mainstream. [28] Writing for LAS Magazine, Dan Weiss felt that Cadence's vision throughout the album was muddled with mismatched production and off-kilter lyrics. [25] Tim Perlich of NOW heavily criticized the album, saying that "[T]he boring beats and throwback rhyme flow (circa 92) – which is weak even by Edmontonian standards – put Afterparty Babies somewhere beneath Don Cash's home demos and the outtakes from Organized Rhyme's Huh? Stiffenin' Against The Wall ." [26]

On June 12, 2008, Afterparty Babies was longlisted for the 2008 Polaris Music Prize, but didn't make the final shortlist. [30] [31] In 2023, Complex added the album in its list of 10 Essential Canadian Albums of the Blog Era. The website's writer Darcy MacDonald said that the record "made clear that Cadence Weapon's experimentations bringing electronic elements back to hip-hop hadn't been a lark", noting the production "leaned further into the dancefloor-ready influence of superstars like Daft Punk and underground darlings like Prefuse 73." He concluded that: "As such, Cadence Weapon entered the conversation on rap blogs and indie rock sites alike, and he has remained as prolific, innovative and entertaining ever since." [32]

Track listing

No.TitleLength
1."Do I Miss My Friends?"5:11
2."In Search of the Youth Crew"4:13
3."True Story"3:34
4."Limited Edition OJ Slammer"3:52
5."Juliann Wilding"3:43
6."Real Estate"3:42
7."Messages Matter"3:44
8."Your Hair's Not Clothes!"3:29
9."Tattoos (And What They Really Feel Like)"3:30
10."The New Face of Fashion"3:28
11."Getting Dumb"4:38
12."House Music"5:37
13."Unsuccessful Club Nights"3:54
14."We Move Away"5:05

Personnel

Adapted from the liner notes of Afterparty Babies. [33]

Release history

RegionDateFormatLabelRef.
Canada, United StatesMarch 4, 2008CD, digital download Upper Class Recordings,Anti- [34]
United KingdomMarch 10, 2008 Big Dada [35]

Related Research Articles

<span class="mw-page-title-main">Slick Rick</span> American rapper (born 1965)

Richard Martin Lloyd Walters, better known as Slick Rick, is an English-American rapper and record producer. He rose to prominence as part of Doug E. Fresh & the Get Fresh Crew in the mid-1980s. Their songs "The Show" and "La Di Da Di" are considered early hip hop classics. "La Di Da Di" is one of the most sampled songs in history.

<span class="mw-page-title-main">Ghostface Killah</span> American rapper (born 1970)

Dennis David Coles, better known by his stage name Ghostface Killah, is an American rapper and a member of the hip hop group Wu-Tang Clan. After the group achieved breakthrough success in the aftermath of Enter the Wu-Tang , the members went on to pursue solo careers to varying levels of success. Ghostface Killah debuted his solo career with Ironman, which was well-received by music critics, in 1996. He has enjoyed continued success in the years that have followed, releasing critically acclaimed albums such as Supreme Clientele (2000) and Fishscale (2006). His stage name was taken from one of the characters in the 1979 kung fu film The Mystery of Chess Boxing. He is the founder of his own record label, Starks Enterprises.

<span class="mw-page-title-main">Murs (rapper)</span> American rapper from California

Nicholas Neil Carter, better known by his stage name Murs, is an American rapper. His name is an acronym for which he himself has created multiple meanings, such as "Making the Universe Recognize and Submit" or "Making Underground Raw Shit."

<span class="mw-page-title-main">Canadian hip hop</span> Music genre

The Canadian hip hop scene was established in the 1980s. Through a variety of factors, it developed much slower than Canada's popular rock music scene, and apart from a short-lived burst of mainstream popularity from 1989 to 1991, it remained largely an underground phenomenon until the early 2000s.

<i>Talkin Honky Blues</i> 2003 studio album by Buck 65

Talkin' Honky Blues is a studio album by Canadian hip hop musician Buck 65. It was released on WEA in 2003. The album won the 2004 Juno Award for Alternative Album of the Year.

<i>Hope</i> (Non-Prophets album)

Hope is the first studio album by American hip hop duo Non-Prophets. It was released on Lex Records on September 29, 2003. The album was produced entirely by Joe Beats and all vocal duties were handled by Sage Francis. "Damage" was released as a single from the album. The album peaked at number 9 on the CMJ Hip-Hop chart.

<i>The Pretty Toney Album</i> 2004 studio album by Ghostface

The Pretty Toney Album is the fourth studio album by American hip hop artist Ghostface. The album was released on April 20, 2004, by Def Jam. It is the only album from the artist to be released solely under the moniker "Ghostface", and is the first of his albums not to feature any other members of the Wu-Tang Clan.

<span class="mw-page-title-main">Cadence Weapon</span> Canadian rapper

Roland "Rollie" Pemberton, better known by his stage name Cadence Weapon, is a Canadian-American rapper based in Toronto, Ontario. Born and raised in Edmonton, Alberta, Pemberton released his first album, Breaking Kayfabe, in 2005 with positive reviews. He subsequently signed with the American record label ANTI-, releasing the albums Afterparty Babies in 2008 and Hope in Dirt City in 2012. In 2009, Cadence Weapon was named Edmonton's Poet Laureate. His first book Magnetic Days was published by Metatron in 2014. Cadence Weapon released a self-titled album in 2018.

<i>Breaking Kayfabe</i> 2005 studio album by Cadence Weapon

Breaking Kayfabe is the debut album by Canadian rapper Cadence Weapon, released in 2005 on Upper Class Recordings. It was also released in the United States by Anti-Records on March 13, 2007. Breaking kayfabe is a professional wrestling term for "breaking character".

<i>Later That Day</i> 2003 studio album by Lyrics Born

Later That Day is the debut solo studio album by Lyrics Born. It was released on Quannum Projects in 2003. It peaked at number 40 on the Billboard Independent Albums chart.

<i>Music by Cavelight</i> 2004 studio album by Blockhead

Music by Cavelight is the first solo studio album by American hip hop producer Blockhead. It was released on Ninja Tune on March 23, 2004. It peaked at number 43 on the UK Independent Albums Chart. It received generally favorable reviews from critics.

<span class="mw-page-title-main">Shad (rapper)</span> Canadian alternative hip hop artist

Shadrach Kabango, better known as Shad or Shad K, is a Canadian rapper and broadcaster. He has released 7 full-length albums and 3 EP's since his debut in 2005. He won a Juno Award for Rap Recording of the Year in 2011 and 5 of his albums have been shortlisted for the Polaris Music Prize, the most short-list nominations of any artist since the prize's creation in 2006. In 2013, CBC Music named Shad the second-greatest Canadian rapper of all time. Shad hosted Q on CBC Radio One from 2015 to 2016 and hosts the International Emmy and Peabody Award-winning documentary series Hip-Hop Evolution on HBO Canada and Netflix.

<span class="mw-page-title-main">Rubber Band Man</span> 2003 single by T.I.

"Rubber Band Man" is a song by American rapper T.I., released December 30, 2003 as the third single from his second studio album Trap Muzik (2003). Production from David Banner was noted by music reviewers, particularly the ascending organ riff that has been described as 'hypnotic' and 'pure halftime show'. Upon release, it charted reasonably well, peaking at number 30 on the US Billboard Hot 100. The song is included in the hits collections Totally Hits 2004, Crunk Hits Volume 1, and Hip Hop Hits Volume 9. It was listed at number 34, on Complex Magazine's "Best Atlanta Rap Songs of all Time" and number 61, on their "Best Songs of the Decade."

<span class="mw-page-title-main">Upper Class Recordings</span> Record label

Upper Class Recordings is a Canadian independent record label founded in 2000 in Toronto, Ontario. The electronic music-based Upper Class roster includes The Russian Futurists, Cadence Weapon, DVAS, Christien Summers and The Cansecos.

<i>The Best of Del tha Funkee Homosapien: The Elektra Years</i> 2004 compilation album by Del tha Funkee Homosapien

The Best of Del tha Funkee Homosapien: The Elektra Years is a compilation album by American hip hop musician Del tha Funkee Homosapien. It was released by Rhino Records and Elektra Records in 2004. It includes tracks from I Wish My Brother George Was Here and No Need for Alarm, as well as B-side tracks and remixes. It peaked at number 35 on the CMJ Hip-Hop chart.

<i>Hope in Dirt City</i> 2012 studio album by Cadence Weapon

Hope in Dirt City is the third album by Canadian rapper Cadence Weapon. It was released on May 29, 2012, on Upper Class Recordings.

<i>Ghetto Blaster</i> (Push Button Objects album) 2003 studio album by Push Button Objects

Ghetto Blaster is a studio album by American hip hop producer Push Button Objects. It was released on Chocolate Industries in 2003. It is the follow-up to Dirty Dozen.

<span class="mw-page-title-main">Nobody (Rick Ross song)</span> 2014 song by Rick Ross featuring French Montana

"Nobody" is a song by American hip hop recording artist Rick Ross, taken from his sixth studio album Mastermind (2014). The song, produced by Diddy, features a guest appearance by rapper French Montana. It was written by William Roberts, Sean Combs, Karim Kharbouch, Christopher Wallace, Stevie Jordan, Ephrem Lopez and Jiv Poss. On February 19, 2014, it was released as the album's third promotional single. "Nobody" was met with generally positive reviews from music critics. It debuted at number 38 on the US Billboard Hot R&B/Hip-Hop Songs upon the album's release.

<span class="mw-page-title-main">Lyrics Born</span> Japanese-American rapper (born 1972)

Tsutomu "Tom" Shimura, better known by his stage name Lyrics Born, is a Japanese-American rapper, singer, and producer. He is one half of the duo Latyrx with Lateef the Truthspeaker.

<i>Parallel World</i> (Cadence Weapon album) 2021 studio album by Cadence Weapon

Parallel World is the fifth studio album by Cadence Weapon, nee Roland Pemberton, released April 30, 2021. The album was the winner of the 2021 Polaris Music Prize.

References

  1. ↑ "Cadence Weapon – House Music". Anti-. Archived from the original on October 25, 2020. Retrieved December 22, 2016.
  2. ↑ Brown, Marisa. "Breaking Kayfabe – Cadence Weapon". AllMusic. Archived from the original on May 6, 2023. Retrieved April 18, 2015.
  3. ↑ Macia, Peter (May 3, 2006). "Cadence Weapon: Breaking Kayfabe". Pitchfork . Archived from the original on October 24, 2020. Retrieved April 18, 2015.
  4. ↑ Mathers, Ian (December 19, 2005). "Cadence Weapon – Breaking Kayfabe – Review". Stylus Magazine . Archived from the original on March 4, 2016. Retrieved April 18, 2015.
  5. ↑ "2006 Nominees – Polaris Music Prize". Polaris Music Prize. Archived from the original on March 22, 2021. Retrieved December 5, 2014.
  6. ↑ Lindsay, Cam (February 23, 2007). "Cadence Weapon Joins Anti Establishment". Exclaim! . Archived from the original on May 16, 2021. Retrieved May 16, 2021.
  7. ↑ Pemberton, Rollie (May 31, 2022). "Chapter 6: Afterparty Babies". Bedroom Rapper: Cadence Weapon on Hip-Hop, Resistance and Surviving the Music Industry. McClelland & Stewart. pp. 113–114. ISBN   978-0-7710-5188-3. The album had the working title Scenery but I eventually decided to call it Afterparty Babies.
  8. 1 2 3 4 5 Khanna, Vish (March 3, 2008). "Cadence Weapon • Interview". Exclaim!. Archived from the original on August 4, 2020. Retrieved March 6, 2016.
  9. 1 2 3 4 Byrne, Niall (March 12, 2008). "Interview: Cadence Weapon". State . Archived from the original on September 8, 2012. Retrieved April 24, 2014.
  10. 1 2 3 4 Tedder, Michael (March 10, 2008). "Q&A with Cadence Weapon". self-titled. Archived from the original on May 16, 2021. Retrieved May 16, 2021.
  11. 1 2 3 4 5 Raper, Dan (March 17, 2008). "Cadence Weapon: Afterparty Babies – Music Review". PopMatters . Archived from the original on May 16, 2021. Retrieved May 16, 2021.
  12. 1 2 3 4 Howe, Brian (March 4, 2008). "Cadence Weapon: Afterparty Babies". Pitchfork. Archived from the original on December 5, 2020. Retrieved April 10, 2014.
  13. 1 2 3 Nizzzz, Chrizzz (March 4, 2008). "Album Review: Cadence Weapon – Afterparty Babies". Drowned in Sound . Archived from the original on March 4, 2016. Retrieved April 10, 2014.
  14. ↑ Pemberton, Rollie (May 31, 2022). "Chapter 3: Critical Beatdown". Bedroom Rapper: Cadence Weapon on Hip-Hop, Resistance and Surviving the Music Industry. McClelland & Stewart. p. 76. ISBN   978-0-7710-5188-3. See Magazine was where I first encountered Juliann Wilding.
  15. ↑ Pemberton, Rollie (May 31, 2022). "Chapter 6: Afterparty Babies". Bedroom Rapper: Cadence Weapon on Hip-Hop, Resistance and Surviving the Music Industry. McClelland & Stewart. p. 115. ISBN   978-0-7710-5188-3. I even wrote a song called "Juliann Wilding" that was my version of Bowie's "Queen Bitch," a tribute to an ineffable character who opened up an alternative side of the city to me.
  16. 1 2 3 Brown, Marisa. "Afterparty Babies – Cadence Weapon". AllMusic. Archived from the original on May 6, 2023. Retrieved July 10, 2011.
  17. ↑ "Cadence Weapon Fears Arnold Schwarzenegger". Chart Attack . Channel Zero. April 9, 2008. Archived from the original on October 19, 2017. Retrieved April 26, 2014.{{cite web}}: CS1 maint: unfit URL (link)
  18. ↑ "Tours: Born Ruffians / Cadence Weapon". Punknews.org. February 23, 2008. Archived from the original on October 10, 2017. Retrieved December 5, 2014.
  19. ↑ "The Cadence Weapon Spring mega-tour starts here..." Ninja Tune. May 12, 2008. Archived from the original on December 5, 2014. Retrieved December 5, 2014.
  20. 1 2 3 "Cadence Weapon Collaborates with A-Trak, Hits Glastonbury, Roskilde, Lollapalooza, V-Fest and Announces his First Headline Canadian Tour". Upper Class Recordings. September 9, 2008. Archived from the original on May 20, 2010. Retrieved December 5, 2014.
  21. ↑ Hasty, Katie (August 1, 2008). "Lollapalooza 2008 Gets Underway In Chicago". Billboard . Prometheus Global Media. Archived from the original on September 1, 2014. Retrieved December 4, 2014.
  22. 1 2 "Afterparty Babies by Cadence Weapon". Metacritic . CBS Interactive. Archived from the original on October 19, 2017. Retrieved April 10, 2014.
  23. 1 2 O'Neal, Sean (March 8, 2008). "Music: Cadence Weapon: Afterparty Babies · Music Review". The A.V. Club . The Onion. Archived from the original on September 27, 2020. Retrieved May 16, 2021.
  24. 1 2 Lynskey, Dorian (February 22, 2008). "CD: Cadence Weapon, Afterparty Babies". The Guardian . Archived from the original on April 2, 2019. Retrieved April 10, 2014.
  25. 1 2 Weiss, Dan (February 28, 2008). "Cadence Weapon – Afterparty Babies (Anti-)". LAS Magazine. Archived from the original on January 20, 2018. Retrieved September 19, 2016.
  26. 1 2 Perlich, Tim (February 28, 2008). "Cadence Weapon". NOW . NOW Communications. Archived from the original on May 16, 2021. Retrieved September 19, 2016.
  27. ↑ Reeves, Mosi (March 5, 2008). "Cadence Weapon: Afterparty Babies". Paste . Wolfgang's Vault. Archived from the original on May 16, 2021. Retrieved May 16, 2021.
  28. 1 2 Modell, Josh (March 6, 2008). "Cadence Weapon, 'Afterparty Babies' Review". Spin . SpinMedia. Archived from the original on September 20, 2020. Retrieved May 16, 2021.
  29. ↑ Pareles, Jon (March 16, 2008). "Sounds Soft and Tough, and a Star in the Trunk" . The New York Times . Archived from the original on January 26, 2021. Retrieved April 10, 2014.
  30. ↑ Lindsay, Cam (June 12, 2008). "Polaris Music Prize Announces Long List". Exclaim!. Archived from the original on May 6, 2023. Retrieved May 6, 2023.
  31. ↑ "2008 Nominees". Polaris Music Prize. Archived from the original on May 6, 2023. Retrieved May 6, 2023.
  32. ↑ MacDonald, Darcy (May 5, 2023). "10 Essential Canadian Albums of the Blog Era". Complex . Archived from the original on May 6, 2023. Retrieved May 6, 2023.
  33. ↑ Afterparty Babies (liner notes). Cadence Weapon. Anti-. Upper Class. 2008. 86876-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  34. ↑ "Cadence Weapon Has Afterparty Babies". Chart Attack. Channel Zero. November 15, 2007. Archived from the original on April 24, 2014. Retrieved April 24, 2014.{{cite news}}: CS1 maint: unfit URL (link)
  35. ↑ "After Party Babies / Cadence Weapon / Release / Big Dada". Big Dada. Archived from the original on July 30, 2018. Retrieved April 15, 2014.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.