Misc. Day – Unknown Ether


Detroit was once the pinnacle of an automotive industry but in the backing always had this underlying vein of musical talent that rose to the top as a bubbling cream in a cup of scorching coffee.

With the Bruiser Brigade that helped put names like Danny Brown and ZelooperZ coming out of the Motor City on household mention, Detroit also is home to Black Noi$e who on his newest joint project features a plethora of hip-hop’s newest loves. From MIKE to Pink Siifu to even the icons like Earl Sweatshirt, OBLIVION is able to give sanctuary for these artists and truly expand on their direct styles.

Opening with an instrumental work, “14 Trillion” over 23 seconds, the harsh radio static and amplified feedback is a segueing piece that introduces Raphy into the mix with “Sorry.” Closer to the relation of a spacious Clams Casino work, the obsessively sluggish vocal sample is distorted enough to refrain from human-esque elements. More a scream of agony that is twisted to the tipping hi-hats and the warped claps. Almost every moment on “Sorry” is spent underwater where the delivery isn’t clear, but it doesn’t have to be as the following track with MIKE is a reawakening of the spiritual eye.

Similar to sunshine hitting the bay windows in the summer, “Tight Leash” is still foreboding to fit the theme of OBLIVION but more expressive and feels on the same plane as a lucid dream. Waves crash as MIKE delivers “I pray solace for the victims, pain all around the sphere. Remain solid through the schisms, chains all that I can clear.” As the knives become sharpened through OBLIVION, Black Noi$e is illustrative and can sculpt in-depth relationships with each artist.

A true moment of chemistry comes from “Mo(u)rning” where Earl Sweatshirt and Black Noi$e connect like Arnold Schwarzenegger and  Carl Weathers in Predator. The Intense handshake is the drained production from Noi$e which taps and slides perfectly into Sweatshirt’s cold mausoleum delivery. Describing, “She was eager to leave but it ain’t me with my eyes damp, feet stampeding through mine shafts. Canaries singing, the wire’s tapped offerings on the shrine, reclaiming my time like Aunt Max.”

In a verse that spends more time being an enigma with references to seeds of hope and SIG Sauer’s, “Mo(u)rning” is a distant enemy that lurks in the shadows and uses the cover of nightfall to disappear after the short arrival.

But OBLIVION is not all about the stench of death that lingers, BbyMutha claps back OBLIVION like a rack of ribs and delivers one of the more bombastic tracks of the record. “Mutha Magick” spends more time conquering the spotlight with a higher paced instrumental and an 808 that could crack skulls. “Mutha Magick” injects a dose of sonic energy that both revives and takes OBLIVION into a different sense of scale.

But that’s all before the 24-minute journey ends, where performances fall back to even and the vivid acid-tones leave burns on the brain. Black Noi$e spends time to boost the featured artists and in the process, turns the eyes onto his engrossing production.

Listen To OBLIVION Here!!! – Soundcloud/Spotify/Amazon/iTunes

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