Listen/Watch Here – Youtube
Directed + Edited By: Dominik Galleya + Clemens Niel
DP + Colors: Clemens Niel
AC + Lights: Ivo Cerwenka + Thomas Guggenberger
Set photography: Sara Piñeros
Catering: Sarah Oos
When hearing a name like Limp Wrist and seeing the leather-clad imagery that strikes the audience in the face, the 2008 release of the self-titled work is a hardcore revival of exploration and examination through an accepting lens. Immediately, Limp Wrist is a dash “out of the closet and into the pit” with an iron grip around the throat.
Opening this madness of 11-tracks over 16 minutes comes “To The Grave” that is a rapid-fire machine gun flurry of drum sticks clicking and cymbals crashing. Instinctively the idea of a tornado and flashes of light come to fruition as the listener is drowned out by the crowds and hordes of people that pull them under in chaos. But being originally based in Philadelphia, Limp Wrist as a record has a harsh backing for support as bands like Paint It Black and Hot Cross were around this same time of release, and even original OG’s like Pure Hell that could break barriers for punk in the mid-70s.
With a strong historical foundation that claims to have “start[ed] practicing in a Philadelphia basement in 1998, and played our first show in 1999 at Stalag 13 in West Philly,” Limp Wrist is no stranger to the stage or to the decimation of one. The more capturing moments that shine through Limp Wrist appear on tracks like “Spun” where those years of collaboration from each member and the switches to the current line-up still show a sense of unity that is hard to describe. With “Spun,” the overall mission is incredibly tight with the instrumentals pouring sweat and blood into this rage-fueled gasoline trip. As vocals from Martin Sorrondeguy rain over the listener, the shouts are intimidating but sound similar to a pouncing animal that was once prey.
The rest of Limp Wrist made up by Andrew Martini on bass, Paul Henry on the percussion, and Scott Moore on the guitar, with everything clicking into place for something truly persuasive and energetic. While only lasting a total of 16 minutes, the works of each track pound on the listener like a heavy-set hammer and crunch to fit more explosives into single bite-size pieces. The 2009 release from La Vida Es Un Mus is actually split between two different releases and combines the original Limp Wrist release, but also four tracks from the Want Us Dead E.P. which might hold the strongest track on the whole record. “Just Like You” is almost comedic as the vocals describe, “We can be normal too, we swear we can. Love is love man” before the bricks are dropped on the listener in an unforgiving manner.
Before Limp Wrist breaks every bone in your body, they show relentless aggression in the form of laying themselves under the magnifying glass. When the crowds finally stop moving, all that remains is a pillar for punk rock against an everlasting battle of unity.
Listen/Watch Here – Youtube
Shot + Edited By: The Village Media
Directed By: The Village Media + Livefromthecity
Listen/Watch Here – Youtube
Directed By: Anthony Gaddis + Eric Tilford
Produced By: Language.LA
Video By: Justin Boyd
Listen/Watch Here – Youtube
Listen/Watch Here – Youtube
Produced + Mixed By: Statik Selektah
Mastered By: Dan Millice
Directed By: David Janoff
Through the parallels that rap music strikes to a city, it is impossible not to draw two lines between New York City and this lo-fi styling of poetry that has sprung out of artists like Medhane, MIKE, Mavi, and Navy Blue. All artists that have had run-ins with each other and can live in the same housing, but phonetically craft a level of excellence that is nearly unthinkable to match from anywhere in the world.
Like many of the youth that accompanies the marksmanship of New York City, Sage Elsesser lives under many hats. From being a skateboarder, producer, model, and musical artist, Elsesser or Navy Blue burns brightly as a beacon with his debut record, Àdá Irin. A translation from the Hausa language in the northwestern sections of Nigeria and southern Niger which roughly means, “iron ore,” gives a balance to the record. While it never truly hits like a piece of iron, the materials here are raw like ore and is a stage for Navy Blue to smith upon.
He opens with an instrumental that is gentle and calming through these therapeutic piano chords that belong more in a cathedral than any loose hip-hop record. If the record could even really be considered hip-hop as most of Navy Blue’s delivery is more associated with spoken word over these instrumentals that are more often than not, a spectacle from each transition. Even before he decides to speak, “Twenty” just washes over the listener in a cleansing rebirth as a formal introduction.
Àdá Irin gives more than the record takes, acting “With Sage” to become the first glimpse of vocal tone to Navy Blue. He begins with production from himself, Preservation, and Rago Foot to essentially set the table for a homecooked and comfortable meal. With the choruses in the backing that gives life to a more stoned-sounding narrator, Navy Blue is
not lost or directionless but feels to linger on the sense of adventuring through manipulation on sound. A production switch in the middle of “With Sage” allows for samples to describe a story and while it is too modulated to hear at points, Àdá Irin is a fairly clear record.
On a later piece, “22!” is the closest thing to a straight forward approach toward hip-hop with an 808 that bumps underneath these rattling hi-hat clasps as Navy Blue searches for his own flow. He describes, “Demons on my Achilles, I give more than I am given, god willing… nothing is done, no I burn a couple spliffs, let me down easy. Know the team like 100-thick, spirit bless me with the soul, she told me cherish it, cherish it.” While deciphering the lyrics can be difficult through the record, when the mire is wiped away there is something truly captivating behind the wordplay that leaves surprises to be discovered even after the record has been spun through daily cycles.
And like most beautiful creations, age is a test that will be the biggest factor for Navy Blue. As his progression has shown through multiple releases, collaborations, and an incredibly bright future not just musically, it is enthralling to sit behind the control center and see just exactly where he wants to float to.
Listen/Watch Here – Youtube
Directed + Animated By: Jamie Wolfe
Ink + Paint Assistant: Annapurna Kumar
It is often easy to write off Fugazi as a stepping stone for Ian MacKaye after the disbandment of Minor Threat into a more tame, modern sound for straight-forward rock music. But immediately, that would be a disservice as Fugazi is an intricate beast of burden that has control over a crowd. While not as maniacal as Minor Threat or Rites of Spring, Steady Diet Of Nothing proves to be a strong second studio record to stand on.
From the subway terminal cover art that is taken with a layer of filth on top, or the name alone that strikes some sense of street undertone, Fugazi is a deeply sculpted set of tunes that begins with “Exit Only.” A fairly dry “democratic recording mix” leads to the heaviness coming from the way the instruments are played rather than the engineering of the record. While everything was done in-house with no outside producers or designers, Fugazi takes Steady Diet Of Nothing into a breaching sense. The first moments on “Exit Only” are incredibly foreboding as the wails of guitar and strings begin to close in on the listener.
As the track continues on, the framework for “Exit Only” is much more approachable with a larger focus on creating choruses that audiences can shout along to. Especially when combining the two vocalists Guy Picciotto and MacKaye, that also handle the guitar works. When Joe Lally is brought in on bass and Brendan Canty on the percussion, Steady Diet Of Nothing becomes complete as a display of power. Recognizable from the jump, Fugazi always seems to have these killer bass lines that invoke a continual groove for both the band and the listener to follow. Present as a highlight on “Runaway Return” as an underlying staple for the track, the string ensemble is dramatic and holds the attention as Fugazi begins to fall into organized chaos.
It may not protrude the same reaction as some of the early punk movements, but Fugazi still contains and encapsulates this same vein of energy that can hold a moshing quarter in the living room. Steady Diet Of Nothing is a record packed with excitement and each track pushes to give more than to pull and take. Through the 11 tracks and 36-minute ride that Fugazi presents, some of their more iconic stances come from the deeper cuts that are often overlooked from the record.
Fighting through the 90s with an overarching reach, each second packed into the sleeve is provoking and does more for the setting instead of the time period. Rather than a steady diet of nothing, Fugazi gives a substantial meal for newcomers and longtime fans.