STREAMING // (Track) Saidan – “I Am The Witch”
Listen Here – BandCamp
Misc. Day – WHAT A SWEET TIME
The name Death By Sheep should mean something to you, especially after having one of the most glorious displays of electronic performance with GOLDEN BOY’s I NEVER MEANT FOR THIS TO HAPPEN.
While Death By Sheep is the label that brought GOLDEN BOY’s attention to me, the impressive catalogue becomes this poster child for in-depth approaches to drum and bass as well as these blended genres into one mix.
I NEVER MEANT FOR THIS TO HAPPEN becomes the internet’s golden prodigal child, Paris Alexander who went under the moniker GOLDEN BOY quickly made a stance for aggressive sampling, breakbeats, and intertwined the already blurred lines for jungle and cybernetic practices for sound.
Opening with “My type of girl,” I NEVER MEANT FOR THIS TO HAPPEN is going to be a hard-stepping, fast use of friction in production. With a LL Cool J sample of “Back Seat (of My Jeep)” that creates the hook or consistent melody of vocal approaches, GOLDEN BOY also introduces some Death Grips vocal sampling over drum and bass in this culmination of internet growth.
The continuous 808 that punches the audience is belligerent enough to keep a BPM far beyond 200 as the clasping hi-hats and chiming elements cascade over the audience. Isolation is never the name of the game on I NEVER MEANT FOR THIS TO HAPPEN as instead, the instrumentals are layered beyond belief, and “Connect the dots” especially is frantic but can be somehow beautiful in its sequencing,
GOLDEN BOY is adept in particular at adding and constricting around factors of music, their layering is specifically one of the reasons I wanted to cover this record. “Connect the dots” is sonically a raging mess, but one of the better tracks because of how well they thrive in the chaos that is created.
The rapid machine gun of stomping bass that coincides with the midi claps becomes a symphony. The elements of drum and bass push against the audience as tension wheels forward to a boiling point. At the track’s near end, the speakers are practically dissolving and succumb to being nothing but ashes when “Brain aneurysm” pulls into frame.
If previous tracks “My type of girl” and “Connect the dots” were rapid fired, then “Brain aneurysm” is night core on triple speed. The ripping and raging instrumentation makes for one of the best displays of just how fun and challenging a piece of music can be both to follow and groove to. GOLDEN BOY is not only an architect here, but also does fantastic crowd work with these arpeggios that resemble a factory running at max capacity.
Another highlighted notion comes in the form of “Amen Therapy” where the entire mix of I NEVER MEANT FOR THIS TO HAPPEN is less of a deadly attack on the audience and instead is s push toward some unrelenting pulse of creation. “Amen Therapy” has a gorgeous progression from start to finish and the drum and bass elements not only carry the track, but GOLDEN BOY is a master of control here.
I NEVER MEANT FOR THIS TO HAPPEN continues to be a record that I revisit not just for the unique sampling and sounds that can be discovered with each listen, but for that initial emotional wash, it gave in the initial listen. It was this instant smile on the face, represented by blitzing performance and production enough to shake any foundations between basements and center stages.
Listen To I NEVER MEANT FOR THIS TO HAPPEN Here!!! – BandCamp/Spotify/iTunes
SUNDAY SAMPLER // (Playlist) “04/24/2022″
Listen Here – Spotify
“A playlist of tracks that were featured on MattsMusicMine.com from the week of April 18th – 24th. From Reviews to Streams, never miss a track with these playlists that are uploaded every single Sunday till I drop dead.”
Featuring: The Death Set, Pharmacist, Govlink, Rico Nasty, BKTheRula, Toro Y Moi, Greg Foat, NANORAY, Atari Teenage Riot, Lau.Ra, Ravyn Lenae, DC The Don, Kardashev, Brad Mehldau, Pusha T, MIKE, Ryan Berkeley, I Speak Machine
Track List: Think Shank, The Enemy, The Great Contractor, Comlink, Vaderz, Déjà Vu, Man Vs Machine, Magic Mirror Mayhem!, Speed, Delete Yourself, Body Go, Light Me Up, Donny’s Revenge, Compost Grave-Song, Maybe As His Skies Are Wide, Let The Smokers Shine The Coupes, Call My Bluff, Makeda, Wise Groove, War
STREAMING // (Album) Michael Berdan – “The Demon”
Listen Here – BandCamp
Cover Art By: Alex Ford
Mastered By: Grant Richardson
Track List: Silent…Forever, Gravedancer, Getaway Face, The Demon
STREAMING // (Track) Ryan Berkeley – “Wise Grove”
Listen Here – BandCamp
New Music – Pyrex, Paper, Power
Daytona was already almost four years ago, the G.O.O.D. Music champion Pusha T made one of the best records to touch wax and much of the influence came from his prowess with metaphors and similes.
Now, It’s Almost Dry comes into the frame like a lost brother, a sight for the sore eyes of coke rap. The powder white and black denim fits become a staple piece for It’s Almost Dry as Pusha T has exclusive producers Chad Hugo, Ye, and Pharrell Williams to make a conquest for sonic here.
The legacy not only starts there but begins with “Brambleton” which exclusively marks a line in the snow for Pusha T. It’s almost soft in the delivery and approach, a much different feeling than how Daytona stepped into the frame. The personality behind “Brambleton” is intimate and personal, but also has a sense of accomplishment in the writing.
In lines that describe, “You would pay sixteen, I would pay eighteen. When I paid twenty-two, still was a great thing. Laid up counting’ a million, we daydream. Till the plug took back his half, that’s they change. Who was with you roaming the halls at night pacing?” As the track progresses, Pusha T becomes more aggressive in his styling.
He furthers on describing, “Sliding doors just like the van on A-Team, revolving doors on them whores, they playthings. It was much more than foreign that we were racing, if the past catch your dash, no erasing. Black Rari, white hood, make it a race thing.”
The second track “Let The Smokers Shine The Coups” is actually one of the better choices of production from It’s Almost Dry. The drums on this track quickly make for an arena anthem where Pusha T is the powerhouse of writing that underneath, appears as a street light for others to marvel at.
Calmingly describing, “If money is the evil root, let the smokers shine the coupes. Rich bitches that love the boost, I’m just here to find the truth.” The 808s ramp to become uglier and uglier as the track marches on. Pusha T continues on, “If kilograms is the groove, I done sold the golden goose. I got ‘em, baby, I’m Jim Perdue, Cocaine’s Dr. Seuss.”
Easily one of the personal standouts for It’s Almost Dry, the production from Williams and Ojivolta becomes a rugged jumpstart that intermixes some graceful piano interludes within the track as Ye’s laughs can play the track out.
Instead of a speed race through Virginia Beach, “Call My Bluff” is instead a lumbering giant through these skeletal percussion and synth combinations. Where It’s Almost Dry is sometimes complicated in production, “Call My Bluff” makes a mark for just how simple and approachable it is.
The complexity instead makes its face through the rhyming where Pusha T is less than aggressive but instead becomes intimidating from this wealth of knowledge he illustrates. In one of the better lines in It’s Almost Dry, Pusha T illustrates, “We only in this sport to be LeBrons, when you used to platinum, that gold be bronze. Your favorite rapper’s dressing like Comic Con. These necklaces is different from charm to charm, buried drug money from lawn to lawn.”
Instead of becoming a godly apparition, Pusha T seems stamped into the pavement and is one call away from the audience here. Approachable, but shaken with a long arm; It’s Almost Dry is a call for the summer and a highlight for 2022.
Listen To It’s Almost Dry Here!!! – Spotify/Amazon/iTunes
STREAMING // (Track) Morrow – “To The Fold”
Listen Here – BandCamp
Classic Day – Prepare For Your Death
A culmination of the more grimy sounds from the internet age before there was that era of BandCamp and continuous floods of new sonic information, Atari Teenage Riot was the first to make what is popularized now as breakcore with electronic elements cemented into hardcore.
A band that would have quickly been a staple act in Market Hotel, Atari Teenage Riot is a beautiful collection of rapid-fire rave and punk beats that twist together in some weird conception of a mosh pit.
The overtly abrasive Germanic maniacs of performance take Delte Yourself, originally released as 1995, and push a limiter to the max with the opening track, “Start The Riot!.” With messages dealing with anti-fascism and expressive aggression, Atari Teenage Riot becomes a quick descent into truly ahead-of-their-time creation in sound.
Where the future of punchy drums and 808s now populate most modern pop of today, the drum-n-bass elements tie in with extreme pattern sequencing. “Start The Riot!” and “Into The Death” are layered with elements of 90s X Games mantras but in the same sense, are approachable with recognizable sampling and output of motion being the supportive tone.
“Speed” in particular becomes the gravitational standard for how to build and maintain a consistent force that continues to ramp in g-force. Until the face becomes melted and stretched beyond human recognition, 1995 as a record uses “Speed” like a launchpad for industrial components to be shoved into a blender.
The duel attack of two vocalists Carl Crack and Hanin Elias make for this wrestling match where the higher-pitched octaves from Elias make for Crack’s rhyming and near raps to be a great transfer of power.
Instrumentally, 1995 is the blueprint for essentially every piece of the now constricting lines of internet-based music artists who thrive in the night. Atari Teenage Riot introduces the blitzing way of production.
As the duo shouts together, “Speed, just wouldn’t believe it. Speed! Just wouldn’t believe it,” then transition into their own perspective verses, the brain becomes a raceway for Atari Teenage Riot to use.
The track “Midi Junkies” also makes a similar stance where the warping vocals and introduction of charming synth-punk elements. As if Suda51 created a musical record for their video games, Atari Teenage Riot is the perfect record for seeing vibrance to sound.
Electronically, 1995 continues to push the boundaries of time as they seem to be more influential than ever. Released originally; take a wild guess, in 1995 with a grasp of scale to their sound; Atari Teenage Riot becomes the fan-favorite of the underground scene.
Listen To 1995 Here!!! – BandCamp/Spotify/iTunes
STREAMING // (Video) Ravyn Lenae – “Light Me Up”
Listen Here – Youtube
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)