STREAMING // (Track) CENO NYC – “CENO MIX VOL. 70 – BA PACE”

Listen Here – Soundcloud

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STREAMING // (Video) Princess Nokia – “Green Eggs & Ham”

Listen/Watch Here – Youtube

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Video Credits: Director: Sebastian Sdaigui

Creative Director: Robot Moon Juice

Production Company: Bellanoir Films

Executive Producer: Chelsea Sdaigui

Producer: Deno Williams

Production Manager: Kira Velazquez

Production Coordinator: Nicole Hansen

Location: NYC Film Locations

Location Management: Andrew Samaha + Victoria Durden

AD: Razieme Iborra

Director of Photography: Geoffrey Taylor

1st AC: Philey Sanneh

2nd AC: Julia Pitch

Camera Assist: Stephanie Jennings

Gaffer: Lorenzo Pace

Key Grip: Austin Castelo

Swing: Alberto Innella

Dolly Grip: Gabriel E. Salorzano

Production Designer: Emmeline Wilks-Dupoise

Art Director: JD Moran

Art Assist: Victor B. Soria

Art Assist: Arman M. Ramos

HMU: Christian Diaz

Styling: Robot Moon Juice, Marcus Ivory + T’airah White

DJ: Andre Reyes

Editor: Chaz Smedley

Colorist: Josh Bohoskey

Color House: The Mill

Color Producer: Evan Bauer

Animation: Patrick Passaro

Font: Edgar Daniel

Sound designer: Raphaël Ajuelos

PA’s: Horace Phillips, Adrian Kesi, Latoya Smith, + Ramon Romero

Track Credits:

Produced By: 1-900

Mixed By: Andy Park

Mastered By: Joe LaPorta

New Music – Modular Division

tame_impala_the_slow_rush_01After a five-year hiatus, Tame Impala’s The Slow Rush is a revitalization of psychedelic dances through floaty instrumentation. While the cover that depicts bright and warm reds with sand powering in through every opening, Kevin Parker turns a new leaf toward weightless production that’s high above the shorelines.

Opening with the introduction of “One More Year” which seems like a love-letter to synthetic vocals and a want for more, the first piece of the hour-long puzzle takes a dive right through these tunnels of sound. The performance on The Slow Rush is still recognizable through Tame Impala’s signature backing use of movement-heavy production, but every step comes with some higher dignity toward dance and rhythm. With this constant bass undertone on “One More Year” that then pushes into “Instant Destiny” which is a flowing bounce through percussive rolls and crashes. The transitional periods are graceful but provide enough spring to roll off cleanly.

“I’m about to do something crazy, no more delaying, no destiny too far. We can get a home in Miami, go and get married, tattoo your name on my arm,” describes Parker through lively production that is an immediate standout for The Slow Rush. While the record takes some time to grow from the incredibly hit-heavy display of Currents or Lonerism, The Slow Rush has moments that pertain to the growth artistically. The record takes a well-deserved space on the mantle with more lyrics that are relaxed and create this calming effect, “This traffic doesn’t seem quite as annoying, quite alright, quite alright sitting here. I know this is different, let’s cause something permanent.” Tame Impala never lets much grass grow underneath their feet as there is this continual rush that relates to the title that is somehow hurried, but also seems laidback and carefree.

tame_impala_the_slow_rush_02While there are psychedelic elements throughout a primary majority of The Slow Rush, tracks like “On Track” are some of the monuments for the record that take a sluggish approach to building and then knocking over mountains in the way. It seems that time has been a great growing factor for Parker who is manipulative of his environment and able to craft some dynamic moments that exist under Tame Impala’s name. As authentic keys are placed into the instrumental gauntlet, The Slow Rush feels as if it was this combination of older foundations and new paint jobs.

One of the strongest times spent is with Parker’s ingenuity through incorporating a club-esque heartbeat to the record, shifting from one line into an adaptable river that flows in several directions. As The Slow Rush comes to a close, Tame Impala stands like a pillar of sequencing sound into digestible beauty.

Listen To The Slow Rush Here!!! – Spotify/Amazon/iTunes

STREAMING // (Video) Denzel Curry X Kenny Beats – “Unlocked”

Listen/Watch Here – Youtube

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Production: Psycho Films

Directed By: Jack Begert + Christian Sutton

Written By: Jack Begert, Christian Sutton, + Denzel Curry

Producer: Sam Canter

DP: David Bolen

Production Design: Nathan Casteil

Editors: Will Tooke, Jack Begert + Neal Farmer

Animation: Mike Manor, Sam Hochman, Joey Prosser, Forrest Whaley, Chaz Bottoms, Malik Bolton, Rachel Headlam, Borboev Shakhnazer, + Asekov Tilek

VFX: Justin Johnson

Classic Day – How The Other Half Lives

jackie_mclean_a_ghetto_lullaby_01Originally released in 1974 after a live recording in Copenhagen, Jackie McLean was able to craft a passion project that in time, eventually transitioned a free-form stylistic love for jazz. It is not quite raw to the point of animosity, but many of the trails that McLean takes on Ghetto Lullaby are deeper pockets of power where reservoirs of instrumental synchronization can sit.

As if free-form was the right word for it, A Ghetto Lullaby uses McLean on the alto saxophone, Kenny Drew on the piano, Alex Riel on percussion, and an outstanding performance from Niels-Henning Ørsted Pedersen on the bass. Through the four-piece kit of control, there is an immediate attraction to the loosely directed playing that mashes together. With tracks that average around the eight-minute mark, A Ghetto Lullaby is more a test of endurance rather than short sprints.

Drawing directly from the opening track “Jack’s Tune” which starts in a rapid display of instruments crashing together and falling in and out of tempo changes consistently. It is not quite advanced on a performance level, but the listener can point this persistent movement to the waves of the ocean that are always in motion. Even though McLean has his name on the album, every artist featured on the record can hold their own and have moments where the spotlight is entirely enthralled with them.

jackie_mclean_a_ghetto_lullaby_02Sections on “Jack’s Tune” have the percussion completely demolishing the cymbals where Riel puts more emphasis on blasting rather than calming. But the sequence fits almost as if these puzzle pieces were cut with diamond-etched lasers that weld together an incredibly tight fixture for consumption. The segues between tracks and the less rambunctious moments create a lull in A Ghetto Lullaby. With “Where Is Love?,” McLean takes a duet with Drew and the two together are more fine-dining than jazz house and cigarettes.

Frankly, when comparing the works of McLean to his previous pieces, then circling back to A Ghetto Lullaby as a completely live record, the tenacity and sheer dialect that he speaks through with his instrument is gorgeous. At times, he can be more of a pulverizing motion that sweeps through tracks in a blitzing manner, but where the group succeeds is in the settings where the calming waves wash the shore and return to dust.

Listen To A Ghetto Lullaby Here!!! – Spotify/Amazon/iTunes

STREAMING // (Video) Danny Brown – “3 Tearz”

Listen/Watch Here – Youtube

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Featuring: Run The Jewels

Directed By: Colin Read

Producer: Miranda Kahn

Production Company: MIRMADE

Director of Photography: Kevin Hayden