Listen Here – BandCamp
Mixed By: Lil Randy
Featuring: KevinTheCreep, Twenty Elbridge, MF Khaos, Dom, Doddy Gatz, Lil Randy SUC, Mackjunt., TRACISGREY, Lil Creepshow, Amber London
Track List: SIC2020, Shoutouts, Broads, Anywhere Near You, Exotic Vogues, West 2 The South, Lost Time, No Go, 818, Night Pleasures, Night Game, Fall In Ya, Verbal Gymnastics
Listen/Watch Here – Youtube
Listen Here – BandCamp
Track List: The Living Dead At The Manchester Morgue, The Long And Winding Bier Road, Under The Scalpel Blade, Slaughtered In Soho
As history seems to continue to repeat, the teachings and relations that come from Minor Threat illustrate to stop dead in the tracks, pointing to the past as a reference. Especially on the sole record from Out Of Step which is only nine tracks over a 21-minute span.
Opening with “Betray,” the raging and stomping percussion from Jeff Nelson collects like a pouring rainfall that both collides and co-exists with lead guitar from Lyle Preslar and Brian Baker on rhythm guitar. Left to bear the brunt is Ian MacKaye on vocals and Steve Hansgen on the bass that as a punk stand-out record, actually holds weight behind the vibrance. The consistent snap on the snares from Nelson is a rapid-fire submachine gun that cracks rounds off as if it was his job.
Pushing to the lyrical narration, MacKaye who couldn’t have been more than 22 at the time of initial release, makes social commentary and is relatable at nothing else. Describing, “I thought we had the same ideas, but you, you proved me wrong. I’ve been played the fool before, but never for quite so long.” He formats on to shout, “So what now? Do we shake hands and go our separate ways? Or do I open my mind and follow you into the haze?”
The head shaking and thumping continues to occur as Minor Threat moves further into “It Follows” where MacKaye is the focus as his vocals melt over the rim and become a boiling grasp toward emotional grief. He describes, “All the stupid thinking, the stupid people thought. The rules that we lived by, the friends that we bought.”
Even as the sound bullrushes to pound away like a thunderous clap, the emotion tied to the lyrics orchestrate to shift and best suit for a live setting. Where the stage is no longer Minor Threat’s focus, the bass lines still contain enough to make even the most sane person want to do a face-first dive off the nearest speaker system. That energy transfer falls onto the title cut, “Out Of Step” which becomes more refined as time marches on.
The difference from the Self-Titled release to the Out Of Step LP becomes apparent as “Out Of Step” is still a frantic beatdown, but with cleaner fists for destruction. More about a shout from a youth that feels so isolated from others of the same age, “Out Of Step” essentially captures perfectly how punk was a sonic escape from reality.
To live and die in one’s own world is a fate that not only lives within the realm of Minor Threat, but the perfection of Out Of Step comes from its human touch. Every re-listen feels as if it was a past love with a new coat of paint. Fast, aggressive, but more importantly meaningful to more than just the crowds in the basements of an all-ages show.
Listen Here – Soundcloud/Spotify/iTunes
“Are things better? Or worse the second time around,” describes Morgan Freeman over one of the most anticipated records for the past four years since the initial inception of Savage Mode. Both 21 Savage and Metro Boomin might come from an establishment in the same city, but the chemistry here is almost like they grew up next door.
On SAVAGE MODE II, not only is the cover art by Pen & Pixel nostalgic, but the overpowering narration coming from both Freeman and 21 Savage are groundbreaking. Being on the radar since his first release The Slaughter Tape for his frankly disturbing gang violence depictions that perfectly encapsulate the predators in an urban jungle. As the chains swings and the sip pours, 21 and Metro peel the skin back and let the audience die a slow death on “Runnin.” A track that is less about taking prisoners, and more about forming an arrogant backhand to the skull.
With a Diana Ross sample, 21 Savage describes, “Called the first one Savage Mode, my mood that’s what it was. 2016 we was ridin’ around beating niggas up in the club.” He moves to a further notion illustrating, “I know she around for the money but act like she loyal, I don’t feel the love. I’m so rich, get bored, might wake up buy me a car just cause.” For a record so stranded away from a basis of relation, it sure is an explosion of both adrenaline and serotonin that strikes like a pounding viper.
It is hard to perfectly identify exactly what the attraction is to SAVAGE MODE II. It has elements that combine the ugliness of Atlanta conquerors with a partnership over intense sound and the ability to destroy through popular punches. Especially on later tracks both “Snitches & Rats” along with the interlude where Freeman spends a minute with the audience to dissect the meaning between both participants of crime.
“The difference is, at least a snitch is human. But a rat is a fucking rat, period,” describes Freeman as Metro Boomin immediately drops this revolving hi-hat that sprawls just like the metropolis he is from. Whether the birthplace of St. Louis or the conquering Magic City in Atlanta, Metro Boomin is abusive on SAVAGE MODE II and is the perfect partner for 21 Savage.
Never seeming to break down, 21 begins on “Snitches & Rats” by illustrating, “Glock 19 in the booth, it’s on the seat. Black Air Force 1’s in the field, them my cleats. Caught a rap nigga down bad, now his ass in a body bag.” As he continues on, 21 Savage begins to make callouts and observations about competition, “Sound real tough when you making them songs, where the fuck is your bodies at? Say you want smoke with that Big 4L, where the fuck is your ‘partments at?”
It isn’t all death and murder here, on the final track “Said N Done,” SAVAGE MODE II wraps in this glistening dreamscape where 21 Savage can take looks at how the past now folds back into the sand. The production here is a climatic mix of a velvety soft grace and the 808s of thick mud. Together, they take 21 on this elevated red cloud high above the pavement and out into a personal nirvana.
Whether Chopped Not Slopped or just in regular Savage Mode, 21 Savage and Metro Boomin continue to illustrate just how hellish a combination can become. Where the glimmer of silver pistols are no longer the fashion, SAVAGE MODE II gets closer with a dagger just so it can see the life escape from the audience one more time.
Listen Here – Spotify
“A playlist of tracks that were featured on MattsMusicMine.com from the week of October 26th – November 1st. From Reviews to Streams, never miss a track with these playlists that are uploaded every single Sunday till I drop dead.”
Featuring: Christopher Tignor, The Bug, Dis Fig, Benny The Butcher, Westside Gunn, Conway The Machine, BKTHERULA, UGK, Freddie Gibbs, The Alchemist, Young Nudy, John Carpenter, Junglepussy, En Love, HEALTH, 100 Gecs, Full Of Hell, 21 Savage, Metro Boomin, President Evil, Portrayal Of Guilt, Comethazine
Track List: Shapeshifting, One Eye Blue One Eye Black, You, War Paint, Summer, Return, It’s Supposed To Bubble, Babies & Fools, Never, Weeping Ghost, What You Want, Rats Will Float Atop Their Kin, POWER FANTASY, FULL OF HEALTH, Said N Done [ChopNotSlop Remix], Infection, It’s Already Over, Jumpman 4’s
Listen/Watch Here – Youtube
Director: Ben Meredith
Man: Zachary Green
Woman: Vanessa Loyal
Cloud Tank FX: Ben Meredith
VFX: Matt Meredith
Location: JLFX Studios
Listen Here – Soundcloud/Spotify/Amazon/iTunes
Track List: Riddle, 556, Air Max, Doubledecker, Jumpman 4’s, Lame, Sip Lean, We Gone Win, Two 45s, Murder Passion, Still A OG, Derek Jeter, Complaining, Skin That I’m In, Get Naked
HEALTH has always been closely related to some of the better industrial sounds of the current landscape through digital media. Now, when they combine with essentially four to five personal favorites at one time and a dozen innovative artists at once, the recipe instantly becomes addicting to the ears.
If ears could speak, they would first ask “What in the hell is HEALTH?” The trio with Jake Duzsik on vocals and guitar, John Famiglietti on bass and effects, then BJ Miller all combine to be a uniquely identifiable force of both building blocks and destruction. The fourth installment of their DISCO saga, DISCO4 :: PART I is a connectional transition to both the beauty and mire of distortional sound.
Opening with their only track that doesn’t include a feature, “CYBERPUNK 2.0.2.0.” is actually subtle here and a gentle introduction to the warping hell that becomes HEALTH’s domain. Where there should be electronic dissonance, DISCO4 :: PART I begins as a harmonious start where the vocals are engrained into the synths to become less foreign and more unison somehow.
The following of “BODY/PRISON” with a feature from Perturbator decides that a scrawling atmosphere of computerized and automated segue is more fitting as HEALTH only gets more terrifying as time goes on. The boom-snap percussive beat on the one and two is easy to follow, but the surrounding guitars and rampaging energy switch is chaotic symmetry.
Less of a turn-off, HEALTH is interesting and takes artists like 100 Gecs who while personally haven’t seriously been on my radar as an act to frequent, moves to the track “POWER FANTASY” where revisiting their own discography is an option. “POWER FANTASY” is out of the element of harsh noise and fits more into something that can be played for an upbeat club sound, until the second production transition, where the sleight of hand changes the format to be more raw and less precise. This lack of precision comes as a human touch in the mostly synthetic world that HEALTH and 100 Gecs create.
Later pieces like the collaboration “Full Of Health” which was a single from DISCO4 :: PART I are blitzing and focus on taking both strengths of HEALTH and Full Of Hell to the forefront. The ungodly vocals from Full Of Hell’s Dylan Walker and HEALTH’s vocals from Duzsik are polar opposites but coincide within each other as both the guiding hand and the destroying one. Security and safety are abandoned as the crushing break downs are pulverizing, leaving the audience nearly shattering under the immense weight.
Duzsik describes “No one will mourn, no one hears. I long for the wasted years, I trusted a friend.” As the instrumentation and contorting intensity picks up, Duzsik adapts tone to illustrate, “If you could know, who’d do you wrong. The wasted love that you could stop.” Easily one of the more stand-out collaborations coming from DISCO4 :: PART I, “Full Of Health” continues to etch into the skull just like a majority of the pieces featured here.
But when death calls, HEALTH stands less isolated and more like an army of grouping arrangers, vocalists, and instrumentalists to bring both silk and mud to the ears. From Payne to power, HEALTH brings DISCO4 :: PART I as one of the more perfect collaborative pieces through sonic wastes.