Sometimes the idea of an everlasting end coming from a lapse of life can be daunting, but other mindsets can use that sense of overwhelming dread as a motivating factor to be completely obliterating. With Dead In The Dirt, every second spent on their 2013 record, The Blind Hole is a rushed spring-assisted knife to the thumb. It is an accidental cutting that somehow combines the pain of sliced skin and the rush of blood pouring.
With only three single tracks reaching over into the two-minute mark, Dead In The Dirt is essentially taking 22 songs and pounding them in a buffet platter for the audience to diverge upon. The plates may come in a deranged and unorganized form, but the end goal is the same. Watching the first tracks, “Suffer,” then “The Blaring Eye,” to “Swelling” all be mostly finished before two minutes is up becomes an endurance sprint to the end of living.
The rapid hammer strikes of the percussion that collides and explodes with the strings that ring and erupt in feedback are built to harm the audience. When the vocals eventually pour in, the shouts that are almost unable to be deciphered continue to illustrate a push back from a wounded animal. Combining efforts of grind, extreme metal, and hardcore punk, The Blind Hole is torture to withstand, but after each pass becomes more and more engaging to the ears.
After a short while, an hour can hold three repeated listens of the record, and Dead In The Dirt can strike back to the early foundations of punk rock with similar styles to bands like Negative Approach where short tracks are the name of the game. For being such a minuscule use of time however, Dead In The Dirt can use this allocation of moments in incredible fashion. Pieces like “Cop” and “No Chain” combine the efforts of raged shouts with blitzing snares and guitar work to format a background. The vocals are entangled in a blackened haze that overtakes the listener and transports them into a dungeon-esque setting.
Then as “No Chain” breaks the sound barrier, the build-up before the torment is similar to a reprieve that gives the audience space to appreciate the light before the storm. As time bleeds into a continuous motion of mistakes, The Blind Hole reconciles this, crafting an effigy that can take the place of the burning.
This ability to burn continues until the final track “Halo Crown” that leaves a bitter end where the drowning and dooming vocals and percussion is a perfect send off to the onslaught endured for the past 20 minutes. Despite the unquenchable thirst for pain that comes, Dead In The Dirt is an immaculate conqueror with mass aspirations to take over the universe.
Listen Here – Spotify
“A playlist of tracks that were featured on MattsMusicMine.com from the week of September 1st – 6th. From Reviews to Streams, never miss a track with these playlists that are uploaded every single Sunday till I drop dead.”
Featuring: Holy Other, Chain Whip, Chief Keef, Mike Will Made-It, Xavier Wulf, Quintin Lamb, Black Noi$e, Danny Brown, Mac Miller, The Secret, Thou, Rico Nasty, Black Marble, Boldy James, Tobe Nwigwe, Fat, Nas, Lil Durk
Track List: Know Where, With U, On A Rope, BANG BANG, Trophy Boyz, 1999, Ayye, Intoxication, Saul, No Excuses, IPHONE, Emma’s House, Back In The Day, Long Live Julio, Bentayga, EAT, Blue Benz, Til The War Is Won
Listen Here – BandCamp
Track List: Pulse Demon, Sanity Impairment, Exhumation, Forgotten Memories Of The Mourned
Listen Here – Spotify/Amazon/iTunes
Featuring: Charlie Wilson, Hit-Boy, Big Sean, Don Toliver, Lil Durk, Anderson .Paak, Brucie B, The Firm, AZ, Foxy Brown, Cormega, Fivio Foreign, A$AP Ferg
Track List: King’s Disease, Blue Benz, Car #85, Ultra Black, 27 Summers, Replace Me, Til The War Is Won, All Bad, The Definition, Full Circle, The Cure, 10 Points, Spicy
The reflective past that Griselda Records can hold through their main staples Westside Gunn, Conway, and Benny The Butcher are slowly becoming households name in hip-hop. There is another lyricist though that lives amongst the Detroit thunder and crashing of machine, Boldy James, and his 10 tracks on The Versace Tape.
While it has a similar skeletal structure to other records from Griselda, Boldy James is not so much electrifying as he is charismatic. His vocals that begin to pour in after the “Pony Down Intro” are monotoned, acting like a grey ghost in essence to the narration. As the track “Maria” peels back with warm horns and somber percussion, there simply isn’t a single hi-hat on the entire record. The Versace Tape manages to paint the golden images of classiness through abstract production that ultimately, avoids the techniques that complicate the mix.
Having no cymbal to keep the time or a constant metronome allows Boldy James to reveal in the fact of freeform vocals and obtuse instrumentation. As explained on “Maria,” Boldy James orchestrates like a herald, “Weigh the coke, beat the pot, scrape the bowl, bleed the block. Eight below, steamin’ hot, eighty-four G’s a top… Gave ‘em TPOT In China, now we shinin’ in Kosovo. Met Hov at Club Novo, man this shit on the floor.” While his rhyme scheme is less about the end rhyme and more about packing these metaphors and similes into his sound, The Versace Tape has Boldy James as an art figure over rapper.
It is true however that when featured over more lively instrumentation, Boldy James is a commander that can shift the spotlight to become trumpeting markets for him. Backing out the gleaming Rolls Royce from the garage, Boldy James takes the expressway on “Long Live Julio.” The vocal samples that can coincide within the Avant-Garde horn samples allow a garden of grand band sound.
While Boldy James is a rugged vocal delivery, this is one of his most approachable and diverse sounds to come out of The Versace Tape. His words that flow over the ensemble is less about violence, and more about conquering an audience. He describes, “Used to have fear of flight, scrubbin’ my toothbrush on a pair of Nikes. The strap with my shank for niggas scared to fight who love to carry knives. They always warned me what came with the murder game, and rest assured me that it carry life.” He continues, “Look like a tomato in my cup, mixed with Cherry Sprite. Somethin’ like Fredo in the cut, that’s a scary sight.”
In quite possibly one of the strongest records to drop a saga after, The Versace Tape is a quick but worthy successor of The Price Of Tea In China. Under the Griselda Records label and the backing or features of Westside Gunn, El Camino, Tiona Deniece, and Keisha Plum, almost every eye has a reason to turn to Boldy James.
Listen Here – BandCamp
Track List: Lies, Psychic Morons, Stupid Asshole, Tear It Down, Blind Cowards, Hate Life Today, Opt Out
Listen/Watch Here – Youtube
Featuring: Fat
Directed By: Tobe Nwigwe
Produced By: Lanell Grant
Co-Directed By: Nate The Director
Shot And Edited By: Justin Stewart
Listen Here – Youtube
Listen Here – BandCamp
Track List: Johnny And Mary, Golden Age, In Manchester, Emma’s House, Poison Tree
Listen/Watch Here – Youtube
Produced By: 100 Gecs
Video Produced By: Ammolite
Directed By: Emil Nava
Creative Direction By: Rico Nasty + Jason Joyride