SUNDAY SAMPLER // (Playlist) “09/19/2021″

Listen Here – Spotify

“A playlist of tracks that were featured on MattsMusicMine.com from the week of September 20th – 26th. From Reviews to Streams, never miss a track with these playlists that are uploaded every single Sunday till I drop dead.”

Featuring: Mach-Hommy, Navy Blue, Young Queez, Tvoy, BRNDA, Wiki, MIKE, Berrymane, Ghostface Killah, Toro Y Moi, Lil Creepshow, Kari Faux, Crywank, Full Of Hell, Verkvr, Injury Reserve, Zelooperz, Man Tau, Prolaps, Trip The Witch

Track List: SBTM, Clout Dracula, Perfect World, Promised, 100 Rouds, Put The Ghostface On It, New Beat, Still Sound, A New Drug, Chattin’ Shit, I Am A Rockstar Who Is Really Cool And Sexy, Eroding Shell, For The End Of The Darkest Age, SS San Francisco, Knees, Can’t Do This Alone, A New Beginning, Walking Delirium, Dressed To Kill Myself

SUNDAY SAMPLER // (Playlist) “09/26/2021″

Listen Here – Spotify

“A playlist of tracks that were featured on MattsMusicMine.com from the week of September 20th – 26th. From Reviews to Streams, never miss a track with these playlists that are uploaded every single Sunday till I drop dead.”

Featuring: Mach-Hommy, Navy Blue, Young Queenz, Tvoy, BRNDA, Wiki, Mike, Berrymane, Ghostface Killah, Toro Y Moi, Lil Creepshow, Kari Faux, Crywank, Full Of Hell, Verkvr, Injury Reserve, Zelooperz, Man Tau, Prolaps, Trip The Witch

Track List: SBTM, Clout Dracula Remix, Perfect World, Promised, 100 Rounds, Put The Ghostface On It, New Beat, Still Sound, A New Drug, Chattin’ Shit, I Am A Rockstar Who Is Really Cool And Sexy, Eroding Shell, For The End Of The Darkest Age, SS San Francisco, Knees, Can’t Do This Alone, A New Beginning, Walking Delirium, Dressed To Kill Myself

New Music – The Anti-Album

Always well known for bordering on the obtuse and indirect for hip-hop, Injury Reserve was one of the genre’s most exciting underdogs of a three-man weave that trades in the sonic cityscapes for twisted deserts of sound.

Records like 2016’s Floss was one of the first looks that injury Reserve received as attention from a mainstream audience. For the Arizona-based natives, Injury Reserve was headed by Parker Corey, Nathaniel Ritchie, and the now recently passed Jordan Groggs a.k.a. Stepa J. Groggs. While the loss of the triple-headed monster crew was an immense surprise to pretty much anyone that liked hip-hop, their 2021 record By The Time I Get To Phoenix feels as if it was a beautiful timestamp for Injury Reserve in a new direction without forgetting their roots.

Opening with “Outside,” much of this record is reflective of a black mirror, filled to the brim with static and distorted images of apparitional damage to come. While there are beautiful melodies placed into the layering of the piece, “Outside” is ultimately much of a contorted body that Injury Reserve sinks into.

They mangle and crumple the synths here and while the abstraction is there, the loose rigging of wires on “Outside” is drenched with anxiety and this looming presence of uneasiness. Their other records had some minute independence from straight-forward hip-hop on production or lyricism, By The Time I Get To Phoenix is about the farthest from left-field that could come from Injury Reserve.

The album becomes this grower, not something that is initially loved from the jump. There are some tracks present, like “SS San Francisco” where the feature from Zelooperz is engaging and has some truly quotable lines. He describes, “Know my body mad at me because it’s going through it, scared to have some kids because the world be goin’ through it.”

While the production is folding under the weight of itself and hitting stutter-steps, Injury Reserve is a desperado here and covered in ashes and dust. Rising more like a phoenix of sound, By The Time I Get To Phoenix plays with the audience and pushes that border on what creates an attractive style.

By The Time I Get To Phoenix is a record that needs to be played as one solid piece with little distractions on the mind. It is not a club record, nor will it be attractive to the same audience that Floss or even their self-titled of Injury Reserve could gravitate towards.

Instead; Injury Reserve loses a head on the hydra but gains steps into a musically challenging direction. As the blistering sun warps and cuts into the audience, By The Time I Get To Phoenix is empty feelings over a fulfilling record.

Listen To By  The Time I Get To Phoenix Here!!! – BandCamp/Spotify/iTunes

STREAMING // (Track) Trip The Witch – “Dressed To Kill Myself”

Listen Here – BandCamp

Electric Guitar + Fender Rhodes: Tom Bukovac

Electric Guitar + Acoustic Guitar: Dean DeLeo

Bass: Steve Mackey

Drums: Shannon Forrest

STREAMING // (Album) Prolaps – “Ultra Cycle Pt. 3: Autumnal Age”

Listen Here – BandCamp

Mixed By: Nicos Kennedy

Mastered By: David Little

Cover Art By: Hisham Bharoocha

Track List: Memory Wipe, Step To Descension, Fractured Nexus, Squirm!, Precog Choreographer, Walking Delirium, Pattern Recognition, Now I Can See Them Too, Caved, Junk DNA, Web Theory, Detoxifying Smoke, Parasites To  Paradise, Rainbow Grid, Cash Glitch, Sweat Lodge Ceremony, We Sin With Others, 404 Sky Not Found, Astral Infection

STREAMING // (Video) Man Tau – “A New Beginning”

Listen/Watch Here – Youtube

Directed + Edited By: Man Tau

STREAMING // (Album) Tyrant Moon – “Eternal Nightfall”

Listen Here – BandCamp

Track List: Inhale, Lunar Obsession, Eternal Nightfall, From The Depths Cloaked In Darkness,  Antediluvian Chaos, Exhale

STREAMING // (Album) The Anointing Maelstrom – “The Searing Firestorms”

Listen Here – BandCamp

Track List: Burned To Death (Intro), The Searing Firestorms, Paradise Lost, The Searing Firestorms (Instrumental)

STREAMING // (Video) Wiki – “Can’t Do This Alone”

Listen/Watch Here – Youtube

Featuring: Navy Blue

Directed By: Ryosuke Tanzawa

Filmed By: Alex Huggins

Colorist: Ben Federman

Produced By: Sean Gordon-Loebl

STREAMING // (Track) Verkvr – “For The End Of The Darkest Age”

Listen Here – BandCamp

Music + Lyrics By: Vetus Lupus

STREAMING // (Video) Full Of Hell – “Eroding Shell”

Listen/Watch Here – Youtube

Video By: Frank Huang

Classic Day – Left-field Of Sunshine

Toro Y Moi quickly made acclaim of sound to the ears with blissful instrumentation on the 2013 record, Anything In Return. But flipping that page backward to 2011 reveals Underneath The Pine that orchestrates the focus from Toro Y Moi’s progression as an artist and more the beginning of soundscapes.

Opening with “Intro / Chi Chi,” Chaz Bear is not entirely present as the brightly shining vocal and instrumental self-ensemble. Instead, the introduction is the opening of the eyes in the summer morning. It is the ability to create with a symphony of being at your infinite disposal. The warming synths and light hums are calming, but give inspiration to the body as a way to lightly shuffle through sound.

When “New Beat” arrives, Bear pushes Underneath The Pine into the nostalgic 70s calling card for his synth work and structure of the track but has a modern flair even 10 years later. He is gentle with the audience, seemingly incapable of harming even a fly at this level; continuing with prowess on the formation to sound.

Less activity is featured on the track “Divina” which captures neon light in a closed diorama. Observing slight details like the piano keys which resemble the trees of a forest, outstretched for the entire track but never becoming something to focus the eyes directly on. Toro Y Moi as an artist is a master seamster throughout their career but especially on Underneath The Pine.

They can accurately weave layers upon layers to be more stylized as an instrumental mix of soft, chill atmospheric hip-hop and the border of new-age funk. Somewhere in the in-between, Toro Y Moi adapts to the audience and plays off of more emotion than any setlist. The psychedelic elements of tracks like “Before I’m Done” are some of the groundwork that appears in later albums from Toro Y Moi.

Each track on Underneath The Pine can be later established as a precursor to some of Bear’s following work. Especially on “Got Blinded” which is not just appealing for the use of these falsetto vocals of higher pitch, giving a Beach Boys method of vibration to the track. There is this instrumental that articulates itself as simple, but in reality, hits all the serotonin deposits of the brain.

“Got Blinded” in particular is worthy to highlight for its manipulative power within Underneath The Pine. From the start to the finish of the album, the midpoint are some of the brightest and most cheerful of Toro Y Moi’s career.

Whether bouncing from the streets of San Francisco or speeding through the ambiance of a darkened city, Toro Y Moi spawns luminescence anywhere he goes. Underneath The Pine is well graphed, exciting at every turn, and is a perfect 11 track meal plan for a summer night.

Listen To Underneath The Pine Here!!! – BandCamp/Spotify/iTunes

STREAMING // (Video) Kari Faux – “Chattin’ Shit”

Listen/Watch Here – Youtube

Directed by: Brennan Pierre + Kari Faux

Produced by: Kari Faux

Shot by: Alejandro Hendricks

Edited by: Raul Valdez + Brennan Pierre

VHS by: Rex Speedway

Drone Operators: Jordan Black, Barrio, + Chris Wildz

Photography: Edgar Hernandez

VFX: Stan Smith

Production Assistant: Wisdom Akpan

DP: Alejandro Hendricks

Producer: Brennan Pierre

STREAMING // (Album) The Morning Hearse – “Hearse EP”

Listen Here – BandCamp

Track List: Windows, Sunday Morning, Clarity, Jinn, Back Together, Drill

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