Misc. Day – 2.2 Pounds of Sand
Never in music culture has cocaine been such an accessible sound to anyone willing to listen. From the hard body raps of Pusha T that describe the lifestyle and metaphors to the exclusivity that comes with it, to the trap heavy influence that Gucci Mane brought into rap with coke white bricks of production. Hus Kingpin is able to bring a classy level to his joint project with Big Ghost Ltd that orchestrates Cocaine Beach in a shining, but still cautious light.
Hailing from Hempstead, NY, Hus Kingpin is able to balance the boom-bap upbringing that New York City formed and then transition that into this narrative journey that begins more like a celebration than any comparison to drug dealing. The first introductive track, “Carlos Lehder” is a reference to one of the higher ranking drug kingpins worth $2.7 billion in his time during cocaine trafficking which is a fairly inspirational start to a record. The horns that blast away alongside the authentic percussive set is glorious, and almost a trumpeting display that segues directly into “Coke Casa” where the production is more of a creep than a full-blown sprint.
“I let the gun bust to feel a rush, it’s like cocaine” describes Kingpin through this gruntled and step-back approach that shakes hands with a long arm. He is distant but lets the listener hear just enough to feel experienced through his rhyme schemes and instrumental choices. Where he is able to thrive is on “Yeyo Jazz” where this 70s synth and percussive combination is sonic perfection that uses the foundation to build towards the sky. “Sniff ‘til ya face fall off, pick it up… When I sleep I hear cocaine playing jazz, it’s not where you from it’s where ya at.” With each verse, Kingpin drops little gems of intricate knowledge that takes a better look through the 37 minutes and 11 tracks featured on Cocaine Beach.
Big Ghost Ltd is able to dominate the style here that follows on “The Gospel” and when featuring Planet Asia, the sermon is in session. It is impossible not to draw this religious connection where cocaine is god and the music is the communion, where the listener can look at the sophisticated robes that Kingpin dawns for one last Pyrex press. If a Sunday meal could be featured about drugs, Cocaine Beach would be the main course.
From Brooklyn to the beaches, Hus Kingpin moves in a traceable way for hip-hop but remains an enigma through the only minuscule sights that he lets in. The listener is forced to deliberately study his every move like a DEA agent would watch an all-star drug runner.
Listen To Cocaine Beach Here!!! – BandCamp/Spotify/Amazon/iTunes
STREAMING // (Video) Fedd The God – “iLove Myself”
Listen/Watch Here – Youtube
Produced By: Icey2Times
Shot By: Omari
Directed By: Chris (Looney) Hunter
Edited By: Heavy Productions
New Music – Tightrope Toward Despair
In the vast plains of existence beneath the darkened street lights and damp London rooms, King Krule is a calming, but smoking entity surrounded by clouded imagery. His third studio record as King Krule allows Archy Marshall to continue to find new places to drown as the midnight vibrations are orchestrated perfectly on Man Alive!.
While there is never going to be a separation between the beauty and the pain in King Krule’s sound, Man Alive! is a more lively and cohesive style than his previous record The Ooz. Where that record was able to experiment with the connection between daydreaming and static within the brain’s journeys, Man Alive! is powerful and fairly on the forefront for a majority of the time. With tracks like “Cellular” that open the record, King Krule is trapped in this 80s synth-pop crunch while the guitars and other strings draw a more desperate display. His voice is still one of the highlights of each of his records, forming a bond to the incredibly British linguistic form that is gorgeous with simple but layered production choices.
At times where Man Alive! is a more introspective and slowed approach, tracks like “The Dream” is fantastic in creating these familiar settings where the listener can sink deeper and deeper into their chair. Almost as if the world was losing its color and turning toward one grayscale appearance, King Krule transitions into “Perfecto Miserable” where his shouts stammer into this twisted cry of help that border between misery and humane. Much of Man Alive! has the listener continuing to sink in this quicksand with instrumentals that sneak up behind and push on the shoulders until the light begins to be completely withdrawn from sight. A death that is more comforting than alarming.
One of the final tracks holds “Underclass” at this last glimpse of the sunlight with a sandy instrumental that captures some foreign love that is unknown to the listener. Throughout the entire experience of Man Alive!, King Krule creates this push and pull dichotomy between the listener and himself. With tracks that show his screams, to the tracks that better display his delicate hand, every second spent on the record is enjoyable.
With a fair mix of downtime and an ability to create desperation from the sound, King Krule captures once again, what it means to sink into mud and eventually rise. Painting a bleak sky at moments, then a sunset in the next, Man Alive! is the most vibrant death one can experience in 41 minutes.
Listen To Man Alive! Here!!! – Spotify/Amazon/iTunes
STREAMING // (Album) Bones – “OFFLINE”
Listen Here – Soundcloud
Featuring: Juicy J + Ralph Castelli
Producers: Mark Sinclair, Smitty The BG, Lyson, Ralph Castelli, Greaf, Ka-Meal, SecretiveSuicide, Skaleaton
Classic Day – Blow-dried Smiles
While the burning red-sun begins to make its descent toward the base of the mountains in the distance, a lone wanderer whips the sweat pouring from his head as the rays of light dance around him in a thousand circles. The image is beautiful, but one of pure fiction that illustrates from the large amounts of LSD coursing through his veins. This is pretty much the equivalent to listening to Desert Sessions and their ongoing sagas of Volume 3: (Set Coordinates For The White Dwarf!!!) and Volume 4: (Hard Walls And Little Trips).
Fairly approachable from a stoner rock standpoint, the isolated sense that appears from each session becomes the selling point as an adventurous tale through sound and dreamscapes. It is otherworldly when the connections of Josh Homme, Fred Drake, Dave Catching, Alfredo Hernández, Pete Stahl, Ben Shepard, Nick Oliveri, John McBain, Mario and Larry Lalli, Jesse Hughes, Craig Armstrong, Loo Balls, T. Fresh, and Tony Tornay all link to form one somewhat cohesive application of power. Through these individual musical apparitions that appear for only moments and dissipate into the void, Desert Sessions is a precursor to many of the favorite Queens Of The Stone Age tracks that bounce through the uninhabited landscapes in a dune buggy.
Scraping away instantly with “Nova,” the first introduction to the dance of the Desert Sessions with catchy riff placements and an immaculate display of guitar work. Almost immediately, “Nova“ creates a trunk to lock the listener away to shout along with the vocals that rumble through a crummy recording that does more for the record than any clean recording ever could. The layer of dust that covers the album is a glorified resource that exemplifies the laid-back approach to the delivery of each track.
With “Avon,” the remix of “Nova” that is a clever second-hand recording with different lyrics and a drum break that borders on the lines of mined gratification. Where everything works are through the completely layered and insulated maneuvers that each musician holds here. With around 34 minutes of total content, the split between Volume 3 and Volume 4 become unnoticed as they flow evenly distributed as a slice into the record.
As each track rips like a race car or trudges along like a delayed giant, there is something leading toward this everlasting end where the listener falls deeper and deeper into the hole. Whether mentally struggling or trying to determine what is actually physically real, Desert Sessions is a strange but necessary advancement toward musical preaching.
Listen To Volume 3: (Set Coordinates For The White Dwarf!!!) and Volume 4: Hard Walls And Little Trips) Here!!! – Youtube
STREAMING // (Video) Saudade – “Lions”
Listen/Watch Here – Youtube
Vocals: D. Randall Blythe
Vocals: Lee Scratch Perry
Guitar: Dr. Know
Guitar + Live Loops: David Torn
Mellotron + Acoustic Piano: John Medeski
Hand Drums: Robert Thomas Jr.
Drums: Mackie
Bass, Bass Pans, Guitar, Keyboard, + Programming: Chuck Doom
STREAMING // (Video) Desert Sessions – “Easier Said Than Done”
Listen/Watch Here – Youtube
Words Written By: Joshua Homme
Music By: Joshua Homme + Carla Azar
Producer: Esteban Zuluaga
Exec. Producer: Jesse McClung
Production Company: Little Ugly
1st AD: Cedric Chabloz
Cinematographer: Patrick Jones
Gaffer: Quinn Brudos-Sommers
Editor: Jakob Zieman
Post Supervisor: Naheem Adio
Colorist: Strack Azar
THIS IS A LIST OF THE MOST RECENT STREAMS...
The complete list of all past streams can be accessed here as well
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MATT'S MUSIC MINE - MERCH FOR SALE
VIDEO REEL 2
LIVE PHOTOGRAPHY – JESUS PIECE AT BABY’S ALL RIGHT, DECEMBER 6TH, 2022
SUNDAY SAMPLER // (Playlist) “12/04/2022″
(Track) Jake Mason Trio – “Rib Eye”
(Video) Lightning Bolt – “Dead Cowboy @ TAICOCLUB 2014”
(Video) The Velvet Underground – “After Hours”
(Video) Mac Miller – “10 Years Of You”
(Video) A$AP Rocky – “Same Problems”
The complete list of all past streams can be accessed here as well
(Click Here)