“”Only Option” // Listen/Watch Here – Youtube
Amir Miles | Vox
Allen Bell | Drums
Aidan Epstein | Bass
Caleb Lombardi | Keyboard
John O’Brien | Guitar
Roger Romero | Sax
Drew Bayura | Engineer
Hansel Romero | Mixing & Mastering
Sam Suter | Video
Nicole White | Lighting Advisor
Ravyn Lenae breathes life back into the fluttering, love influenced disco sound of the 1970’s, bringing it to a modern age with the help of one of the greatest music innovators in popular music of today. Lenae and Steve Lacy, who exclusively handled the production on Crush EP are a powerhouse couple that works together to create a bright, but dated feel.
Lenae has a voice that resembles smooth, soft silk that is showcased on the opening track “Sticky.” A love-letter to the church-esque organs and fluttering guitar that Lacy handles in a masterful sense, the clasping hi-hats and soon bumping percussion gives Lenae a substantial platform and something that can reflect well into how her style stays as an adaptable and shifting centerfold of grace. Her voice at just nineteen is able to provide a new emotional attachment to the “Let’s play, let’s pretend I could have my way. What you gonna say if I ever walk away? Let’s play, let’s pretend you could treat me fair.” Lenae rattles in a cheerful, lively, and almost dance heavy flow; Crush EP is smooth and continually memorable for the way that Steve Lacy’s incredibly nimble producing hands are able to flow with Ravyn Lenae’s vocal performance.
The two are a real treasure trove of talent and can shift or manipulate what soul music sounds like. It is vibrant and colorful while keeping the idea of that glimmer of smooth transitions and production that transforms Crush EP into different, adaptable stages. Lenae continues to surprise with how her voice can reach comfortably into unknown bounds of notes that feel unreachable.
It is shown well on “Computer Luv” which has a feature from Steve Lacy as he delivers some backing vocals and with Christopher Allan Smith who is the percussionist from Lacy’s extended project, The Internet. Lenae explains, “When will I meet you, I’m down to see you. I wanna see you right now, it’s been a year now, I shed a tear down. My face dripping, drown my feelings into the smoke tanks, I wonder what is next?” Lacy works simultaneously with Lenae as they speak together on an instrumental that is minimal when compared to some of the other instrumentals on Crush EP. The way that the two can work hand-in-hand to create these soundscapes is still substantial and continually interesting time after time.
Even on the final moments with “4 Leaf Clover,” Lacy and Lenae work together to boost each other up and use their lyrics to act like a conversation. Lenae starts the line with “Hey we are meant to be, one day you will see. Where oh where is my four leaf clover,” to where Lacy joins in, “What I gotta do to give into you, I just don’t want what we got to be over.” It is lovely, but tells a relatable and moving story over the boom-bap percussive beats with synthesizers that shine and take Crush EP into the final, fading moments.
Ravyn Lenae creates beauty with the help of Lacy and the two together is a combination that seems to work in immaculate fashion. The way the two work and can boost each other up is a teamwork that the world did not know everyone needed.
Learn how to love from Dex // Listen/Watch Here – Youtube
Madness, Honor, and a thrill for the kill; Death was a band from Orlando, commonly known as the backbone of tourism that gave home to a different breed of tourist in the mid 1980’s. Ranging hard off the soles of punk music, Death came stomping in as a new, twisted animal that showed rigid features, blitzing speed, and an overbearing focus on the destroying.
To become pioneers in an expanding force seemed unlikely, but Death’s sound in the smoldering heat of 1983 gave-way to a burst onto the scene in a frantic mess that enthralled as much as it frightened. With their 1988 release, Leprosy; Death was a wrecking force that shined for their aggressive stance toward music that often featured some sort of violence or despair within their lyrical style. It was exciting and had a cover art that was just as disgusting as their music. The ripping guitars, annihilation-educing-percussion and vocals from Chuck Schuldiner, Death’s only continual front man and operator of the band. Rick Rozz was a main component to the guitars that would rattle and shake stereos everywhere. Then as Bill Andrews made his Death debut, he made quick work of the machine heavy snare and cymbal crashes, an iconic style that would continue the trend of Death Metal to bands even now.
As the title cut, “Leprosy” describes the, “Bodies deformed way beyond belief, cast out from their concerned society. Flesh contorting day after day, freak of the dark world is what the people say.” It is gruesome, but over Schuldiner’s harsh growling, it is almost near impossible to make out what he is saying. The main focus is on the intricacies of the instrumental music and the production which was handled Dan Johnson and the work of Scott Burns who would then work with Deicide, Obituary, and Cannibal Corpse.
The work quite deliberately is an assault on the listener and shows very little mercy as the consistent stomping given by Death is rapid, volatile, and able to crush bone through Leprosy. “Forgotten Past” moves in a rabid style with the snare and bass at a constant eighth note smash. The lyrics, while muddy, are embracive to tell a story of an outcast, “A place you feel you’ve been to before, where life would turn right into gore. You dig deep down through the years of decay, the truth is revealed, you have found your way.” It is this new found grip that Death takes and has over the listener that creates a control. It involves the rough beat down of instrumental style and the importance on an off-putting way of hostility.
While the tracklisting might get a laugh, and the lyrics are nearly comedic in their sense of obscenity, the technical ability of the musicians featured on Leprosy is breathtaking and actually incredible. The force of the record is obliterating, but Death’s pure ability is more than impressive as they move through each track like a speeding bullet. “Pull The Plug” reflects on the methodology behind Death and how their music is innovative and still substantial to this day. The high-pitched guitar solos are still just as impressive as they were back in 1988, the percussion is just as tight and heavy. The singing and vocal aspect is still memorable and fitting to the rampaging demon that is Death.
As the eight-track behemoth starts to come to a final close, the ever presence of Death lingers, hovering over the remains of Leprosy like a specter. While Leprosy surely does not fall quietly, Death moves heavily into the night as a swinging monster; just as it began the same journey.
MARCH 2018!!! // Listen Here – Soundcloud
Team SESH has a strong foundation in the underground hip-hop scene that is led by some of the most promising beat-makers, creators, and artists. At one of the helms, lays Drew, The Architect, who formally spells his name drew the architect and is one of the heavy hitters on the production aspect for Team SESH.
With his newest project, lapidary°, drew acts as a master behind his machines that create storyboards in his work. The constantly shifting tides that drew paints through his iconic style of the shadowy figure who has a gentle side can connect with the listener; creating a new form of beauty and mystery. From the incredibly spacious first track, “sun-drenched dawn,” or the crunch of the hi-hats and bass on “tired existence°,” drew is continually impressive and adaptable in almost any situation.
Through the subtle creep of the overwhelming synths and rumbling bass that opens “sun-drenched dawn.” The title fits the track and creates tension that is configured well into the flow of lapidary°. Drew the architect makes music that is synonymous to the early morning graveyards and the sunset ridden streets of a fallen town. Especially present on “sun-drenched dawn” where he paints a feeling of emotional stress over the listener, but formally introduces a more percussion focused and seguing momentum on “wonder if they’ll miss me.”
Drew’s sensibility behind his instrumentals and the way that he can spawn these different emotions through quick cuts is impressive and sets him apart from other producers. “Wonder if they’ll miss me” is invoking toward a more gentle, more approachable creature where the instrumental is brighter and shows the signs of waves that come in and fade away.
Almost impossible to miss, drew continues to use distorted snares and basses to create an architectural backing to his music. He displays a foundation where there is room for space and is effective behind his beats. Drew can switch from a rapid bass and snare tribute to nineties’ boom-bap as on “into thê mind (above),” or become the sluggish giant that manipulates his ability to fit an ever-changing, broken mold.
“Tyyluéx” is the final stopping point for drew, the plucking strings and slamming bass that floods over the gracefulness is impressive and dualistic. In tandem with the clicking noise that takes over the hi-hats, drew creates a beautiful outro to an already interesting and deeply layered piece of work. Drew always has something substantial to bring to the table and can do an immaculate job of creating these landscapes that rely and last on his ability.
Through lapidary°, drew strikes new ground and continues to create sound that is immersive and able to shift the listener into drew’s mind. There is not a single track that feels similar and the always changing style is something that drew uses to his ability time after time.