Classic Day – Prime Cut
It is rare to see an 80’s musical release that achieved radio popularity hit the sites of Matt’s Music Mine, but every now and again there is this collection of cheese that strikes to the core of enjoyability and synthetic bliss. Billy Idol is the perfect little experiment of recognizable drum machine pop-rock and substantial rock n’ roll writing that calls to an audience like a piece of premium gold.
His 1983 record Rebel Yell opens with the frantic self-titled track “Rebel Yell” that works off this iconic curtain pull of weaving synth notes that intertwine between a Terminator 2: Judgment Day level of percussion. Billy Idol himself handles the handles guitar and vocals but has this vocal performance on each track that can either create a rampant star or a broken heart. The other main member is Steve Stevens who works on the lead guitar, bass guitar, synthesizer, and other auxiliary keyboards to create this soundscape that Idol lives in. While “Rebel Yell” was one of the bigger hits off the record, the deeper tracks that appear later are the ones that showcase how important Rebel Yell was as a dynamic piece.
Some of the instrumentation like on “Eyes Without A Face” where Idol is instead this disgruntled narrator behind a truly capturing selection of sound. The entire record is caught in this synth-wave style, but “Eyes Without A Face” is more of a sonic display of creating space within the instrumental and relying more on resonation to push the lyrics ahead. As 
he begins, “I’m all out of hope, one more bad dream could bring a fall. When I’m far from home, don’t call me on the phone. To tell me you’re alone, it’s easy to deceive. It’s easy to tease but hard to get release.” From the title alone, “Eyes Without A Face” creates this overbearing feel of mystery and science-fiction theme that follows throughout the song before fading into this deafening silence.
The following, “Blue Highway” works in more of a progressive approach to creating screams and rock flavor behind the one-two step percussion. It’s hard not to imagine how incredible these choruses are and the fact that every single time the hooks come on, Idol is a gem covered in a glam gloss. The instrumentation that mixes with his model vocal structure creates a flawless team-up that may or may not be a guilty pleasure of thrills.
As Billy Idol’s second record Rebel Yell stepped into 1983 with a blackened leather coat and spiked blonde hair, it was matching for the time but created ultimately some replayability of the 1980’s pop-rock. Whether rocking giant crosses or spiked straps, he holds the title idol for a reason.
Listen To Rebel Yell Here!!! –Â Spotify/Amazon/iTunes
STREAMING // (Video) Your Old Droog – “Jew Tang”
Listen/Watch Here –Â Youtube
Featuring: Matisyahu
Beat: Quelle Chris
Directed By: Jonah Schwartz
Edited By: Matthew C. Levy
Produced By: SHOTCLOCK
STREAMING // (Video) Vince Staples – “Hell Bound Lyric Video”
Listen/Watch Here –Â Youtube
Misc. Day – River Rat
2015 was a magical year for underground hip-hop and the genre seemed to be stronger than ever with artists emerging from nearly every surface under the sun. The American underground scene was buzzing with long-standing artists at the gates while younger audiences looked on in awe to see how these shackles of industry were being broken every day. As Bones hit his 11th posted project to SoundCloud alone, HermitOfEastGrandRiver was a sullen backdrop on something truly transformative and magnificent.
Much of this record is frightening and holds an aura of mystery behind it. HermitOfEastGrandRiver is this creature that stalks in the night through the woods and acts almost as if it was an urban legend. The opening self-titled track produced by Greaf is a nostalgic glow that induces more heightened fear than comfort. The soft crackling of vinyl that is surrounded by these humming voices holds control like a séance in the night over the listener. As a first introduction to the piece, “HermitOfEastGrandRiver” sets this tone that is nearly impossible to replicate.
When the record finally kicks off with “TheArtOfCremation,” Bones is a reserved but collected apparition on the track. This shadowed manifestation is able to silently show a personal touch, but it is a cold, skeletal hand that reaches out to the listener. Bones explains, “Tired of the motherfucking hold up, I touch the world and it froze up. Promise I never care, promise I never will. Give a fuck about if they know us, that never meant a thing. Give a fuck if you’re listening.” But importantly, the versatility of Bones and TeamSESH as a collective is the most impressive as one moment they can be snapping limbs off of people like they are trees, and the next creating mesmerizing works of art.
The transition to “Cholesterol” makes for a closer stance to love with Vegard Veslelia on the production that opens up more of an emotional spill from Bones. The way that HermitOfEastGrandRiver is such a volatile record and is utterly terrifying one moment then surprises the listener with this gentle side to the monster is necessary. These different sparks that Bones throws in throughout the record and he does this once again towards the end of HermitOfEastGrandRiver on “LakeviewCemetery” might be one of his most elegant displays on a release at this time.
“If I should off the edge of the world, I’d crawl my way back to you” describes Bones through this funeral of an instrumental. Bones is almost inaudible as he just barely whispers over the morning fog into this void on HermitOfEastGrandRiver. His work is capturing and even through the nine-tracks stretched over 19-minutes, Bones breaks the VHS tape to create a static overlay that blurs his image but only just enough to make out that there is still a human inside the frame.
Listen To HermitOfEastGrandRiver Here!!! –Â Soundcloud/Spotify/Amazon/iTunes
STREAMING // (Video) One800 X Choo Jackson – “Take Flight”
Listen/Watch Here –Â Youtube
New Music – Don’t Trip
Expanding the range of $ilkMoney’s performance and abstract ideas coming to life is astonishing. The way he grabs the audience by the shoulders and somehow shouts but maintains control behind his display is almost otherworldly. Even as he jumps into the longest-running title of his career, G.T.F.O.M.D: There’s Not Enough Room For All You Motha Fuckas To Be On It Like This takes his twisted and questionable mental state to a new frontier.
Space and distance is $ilkMoney’s forte that can push his production to a more adaptable and distinguishable level. Rather than creating overly complex beats to back his already complex narration, G.T.F.O.M.D: There’s Not Enough Room For All You Motha Fuckas To Be On It Like This instead feels more like a bad psychedelic trip where the mind shifts through melting walls and ethereal pursuit on the listener. With the first track “Reborn,” $ilkMoney enacts this harsh frequency of sampled strides and channel switches of an old television. These samples in question then set the tone as the final one describes right before the beat drops, “Silk, don’t be a pussy” as the voice quickly changes to sternly quake, “Better watch your fucking… mouth.”
As the first introduction to $ilkMoney, the production that he rides in front of is filled with static and this nostalgic set of percussion that begins with more classic rock sound than any hip-hop. But G.T.F.O.M.D: There’s Not Enough Room For All You Motha Fuckas To Be On It Like This is the most unconventional hip-hop conglomerate that could ever establish from an unconventional artist. The following display, “My Dick Too Small” is a wide-toothed grin with verses that illustrate, “Get the fuck off my dick nigga, I only got enough room left for your bitch to get a sliver.” The entire record is blitzing at points, but more of a comical display with one-liners and rhymes that create more smiles than any hurt.
The instrumentals on $IL is the largest highlight as $ilkMoney has truly stepped his game up in musical selection and production for the record. The way that each sample layers perfectly into the music or the tracks like “Mouzone Brothas” that features Fly Anakin and a mesmerizing instrumental. It is a piece that could border some of the rhyme heavy works that create both a necessary desire to repeat the track and cut through each stanza for intricacies.
Throughout G.T.F.O.M.D: There’s Not Enough Room For All You Motha Fuckas To Be On It Like This, $ilkMoney becomes more and more unreliable as a narrator however as his psyche begins to crack. The way that he opens the record and then ends is like watching a tragic hero that moves from the broken spotlight to the shattered screen. In any case, G.T.F.O.M.D: There’s Not Enough Room For All You Motha Fuckas To Be On It Like This is an expansion in this saga of cosmic hell that gets more and more entertaining as time marches on.
Listen To G.T.F.O.M.D: There’s Not Enough Room For All You Motha Fuckas To Be On It Like This Here!!! – Youtube/Spotify/iTunes
STREAMING // (Video) Freddie Dredd – “Cha Cha”
Listen/Watch Here –Â Youtube
A Lazy Eye Production
Directed By: Matt Watson + Carson Tucker
Executive Producer: Harrison Tucker
Assistant Producer: Jackson Tucker
THIS IS A LIST OF THE MOST RECENT STREAMS...
The complete list of all past streams can be accessed here as well
(Click Here)
MATT'S MUSIC MINE - MERCH FOR SALE
VIDEO REEL 2
LIVE PHOTOGRAPHY – JESUS PIECE AT BABY’S ALL RIGHT, DECEMBER 6TH, 2022
SUNDAY SAMPLER // (Playlist) “12/04/2022″
(Track) Jake Mason Trio – “Rib Eye”
(Video) Lightning Bolt – “Dead Cowboy @ TAICOCLUB 2014”
(Video) The Velvet Underground – “After Hours”
(Video) Mac Miller – “10 Years Of You”
(Video) A$AP Rocky – “Same Problems”
The complete list of all past streams can be accessed here as well
(Click Here)