LIVE PHOTOGRAPHY – MUDHONEY AT MR. SMALLS THEATER, OCTOBER 17TH, 2019

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New Music – Uncle Danny¿

danny_brown_uknowhatimsayin_01The fifth studio record coming from Detroit exhibitionist Danny Brown, as an adaptable artist that changes the sound more often than most people change clothes. Each work from Brown throughout his career grows and shifts as if the record was a direct link to his psyche as well. uknowhatimsayin¿ might be a standout for its colorful artwork and the three Danny’s peeking from behind the vibrant curtain, but it truly acts as a continuation of one of hip-hop’s most genuine storytellers.

Fresh off of the drug lust that was Atrocity Exhibition which was as fun and entertaining as it was frightening. That record dove straight into the deep end of drug addiction, relapse, withdrawal, but revival. uknowhatimsayin¿ is linked with producer Q-Tip best known for his work in A Tribe Called Quest where this style of sound adds to the maturity and approachability of Brown. Even if his audience does not realize it, Brown takes steps into the waters of widening his scope of development towards a more fit soundscape. He is more reliable and trustworthy as a narrator that still has an edge even if his wild hair and chipped tooth has disappeared.

As fame continues to approach Brown and he grows in stature, he still claims to be level-headed with an ear to the ground. “Every other day, always some shit, I’m the underdog but I’m never over it. Gotta keep a grip when the rent due, niggas tryna get you for every last cent,” describes Brown on the opening handshake disguised as “Change Up.” The track is subtle, compared to how Brown has opened records previously, but the change is a better segue into uknowhatimsayin¿. Almost every single building block of Brown’s career has lead him into this bottleneck of obscure, but intricate raps that are catchy over abstract production.

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Especially shown well on the track “Savage Nomad,” where the golden rims of a shiny chrome ride rolls out to broadcast Brown’s arrival. He describes, “No ice on my neck but she love me for my charm, might sniff on the weekend and sip on some XO. I’m back up in this bitch like I just fucked my ex-ho,” illustrating a still dirty-mouthed, but precise comedic backbone to his rhymes. The instrumental is somewhere between complex strings that combine with a foundational 808 to underlay the entire mix. The final moments are this blitzing percussion solo with a drum-set being destroyed with flashing rolls and snare cracks before the track transitions into “Best Life” where Brown rhymes over a cheerful, incredibly uplifting tune.

uknowhatimsayin¿ is definitely a strange record that stands out for its concrete rhymes and footing that becomes planted in the scheme of experimentation. This is a step back into the reflective but aged Danny Brown. A time where he is no longer a savage drug head, and instead just wears the savage artist title that can make longtime fans and new ones approach with less caution than before.

Listen To uknowhatimsayin¿ Here!!! – Spotify/Amazon/iTunes

 

STREAMING // (Video) Conway The Machine – “No Women No Kids”

Listen/Watch Here – Youtube

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Directed By: Denzel Williams

Produced By: The Alchemist

STREAMING // (Video) HOOK – “Stand It”

Listen/Watch Here – Youtube

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Shot By: Hassan

Produced By: 2thousan9 X swvsh

STREAMING // (Track) Medhane – “Voyager”

Listen Here – Soundcloud

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Featuring: Deem Spencer

Produced By: medhane x ntvrme

STREAMING // (Track) TRiPPJONES – “Kimbo Slice Nice”

Listen Here – Soundcloud

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Produced By: NEDARB X PENTAGRVM

Mixed By: TONY SELTZER

STREAMING // (Album) El Cousteau – “UUV A&A Series Vol. 1”

Listen Here – Soundcloud

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Produced By: Supa Statiq, Yung Coca, Jaylohigh, Good Intent, Twelve AM

Featuring: MoonMan, MxneySwag

Classic Day – The Hanging Tree

the_adicts_sound_of_music_01After a quick run-through, the fairgrounds scattered with popcorn, amusement rides, and a bright, shining clown face; The Adicts reach the end of the fun with their second studio-record, Sound of Music. Originally released in November of 1982, it depicted the iconic jester logo riding a carousel that matches this new-wave punk illustration spinning round and round before coming to a stop after 42-minutes.

Opening with almost comedic carnival sounds on their introduction “How Sad,” the band lets this twisted orchestra of horns roll out the red carpet before The Adicts kick that performance directly into electric guitars and smacking percussion. They are only a four-piece at this point in their careers leading with Keith Warren on vocals, better known for his makeup and nickname, “Monkey.” Then there is Pete “Pete Dee” Davison on the guitar that slides alongside Mel “Spider” Ellis on the bass. Finally bringing it up like an organized assault weapon, Michael “Kid Dee” Davison is plastered on the percussion as a shining beacon of order to the often frantic performances from The Adicts.

As Sound of Music springs on like a disenfranchised marching band, “Chinese Takeaway” flashes into the frame as a carefree, but almost uplifting track with no real sense of danger. Punk at this point was often a mosh pit of isolation and unheard aggression that finally saw a stage through the performances as all eyes were on the youth, for The Adicts, there was a shift in their way of moving the message. Instead, lyrics that involved barbershop levels of harmony and adventuring in more danceable styles were preferred. They describe “Went to the fish shop, went to the chip shop, went to the burger shop, didn’t have the right stuff. Hey Hey, I want Chinese takeaway, hey hey, woo woo woo.” The writing is nowhere near complex or really descriptive of a social message but instead stands on the shoulders of excitement and fun.

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Even on one of the later tracks, “Joker In The Pack” that begins as a percussive beatdown with a quick stab on the toms, the lyrics still do not invoke any sort of violent nature. With the works of a violin-styled string instrument layering the breakdown, The Adicts seem more focused on sculpting and pushing this creative boundary rather than appealing to a mainstream sound. For the 1980s, their style might have been seen before with matching white outfits and makeup on the face, but their sound is indefinitely unique.

As the circus comes to town and then abruptly leaves, The Adicts play less of the broken victim and more of the town entertainment as they capture the eyes and paint smiles on the faces. Their sound is more approachable as a possible punk unit but graces more into the idea of a new wave where a whole different audience could rally behind them and rattle the head to The Adicts.

Listen To Sound of Music Here!!! – Spotify/Amazon/iTunes

STREAMING // (Video) Nas – “War Against Love”

Listen/Watch Here – Youtube

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Art By: Daniel Arsham

Track Produced By: DJ DAHI & DJ Khalil

Directed + Edited By: Jason Goldwatch

PostFX By: Giacomo Carmagnola

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