STREAMING // (Video) DaBaby – “Baby Sitter”

Listen/Watch Here – Youtube

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Featuring: Offset

Directed By: Reel Goats

Director of Photography/Editor: @ricodidit @reelgoats @iamspicyrico

Classic Day – Intergalactic Masters

ra_01There has been something captivating about the spirituality and otherworldliness that comes from jazz music. The raw passion that goes into forming the strange key signatures and different time bars where consistency is sometimes the only thing lacking from the genre. With Le Sony’r Ra, who is better known by his composing name of Sun Ra, the experimental and cosmic stylists that was more theater than musician.

The theatrics glaze through on Fate in a Pleasant Mood almost as if it was gentle sunshine through a diffused window. The way that the light is refracted and displayed through the black and white cover where Sun Ra is prolific and distinguished in his appearance. As he dawns a kufi-esque headwear, the distorted rays of light are almost comparable to that of his name which has some underlying relation to the Egyptian God of the Sun, also called Ra.

As the music materializes on Fate in a Pleasant Mood, Sun Ra seems to command his band like a waving and always-adapting ocean of sound. With Sun Ra on the piano, he recruits a plethora of musicians to bring the first track, “The Others in Their World” to a culmination of smooth jazz. With John Gilmore on the tenor sax, clarinet, and even percussion, there is Ronnie Boykins on the bass. Phil Cohran takes a stance on the trumpet and cornet which both have detrimental pieces of the puzzle to Fate in a Pleasant Mood. Marshall Allen delivers on the alto sax, flute, and bells with George Hudson right with him on the trumpet. Finally, Eddy Skinner and Jon Hardy perform on the drums as Nate Pryor brings a wall of power with his trombone and bell styling.

The shadows’ of authenticity flow over Sun Ra’s performances where he coincides within the band, working to form overarching tracks of fairly shorter length for traditional jazz pieces. With eight-total-tracks and a run time of 30-minutes, Fate in a Pleasant Mood is graceful in the first apparitions of what is to come. As the time passes, the band begins to pick up steam with a segueing drum solo performance on “Space Mates” which transitions into a livelier and unforgiving crash of noise.

ra_02With the push that becomes “Kingdom of Thunder” where Fate in a Pleasant Mood reaches past the midpoint and becomes more approachable as a jazz standard. The progressive movements are capturing and the beat is sampling heaven where the wind instruments are four-star generals that are essentially instructing the other instruments to follow in a charge formation with percussive support coming up as a blockade. They continue until stopping dead in the tracks to use a quick drum march technique and then fall back into formation.

As Sun Ra finally begins to unwind and reach the final cosmos, Fate in a Pleasant Mood is simply astounding. The way that the band can group together and weave all the individuality of the instruments into one both blitzing and attached sound is stylish and adaptable. From the calming sea breezes to the combative marches, Fate in a Pleasant Mood has a purpose behind every piece of the grander puzzle.

Listen To Fate In A Pleasant Mood Here!!! – BandCamp/Youtube/Spotify/Amazon/iTunes

STREAMING // (Video) The Attic X Bill Waves – “X for Each Eye”

Listen/Watch Here – Youtube

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Vocals: Bill Waves

Drums: Allen Bell

Bass: Denzel Chismar-Oliver

Guitar (Right): Jason Greenlaw

Guitar (Left): John O’Brien

Song Directed and Arranged By: Caleb Lombardi

Video Shot and Edited By: Sam Suter

Mixed and Mastered By: Drew Bayura

Produced By: The Attic Music Group.

STREAMING // (Video) Noname – “Song 32”

Listen/Watch Here – Youtube

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Cover Art : @kylebykyle

Art Direction: @duffydoes & Benjamin Kaufman

Design & Animation: @duffydoes

Production Company: MAAVVEN

Misc. Day – The D.C. Souljah

Screen Shot 2019-04-07 at 9.54.06 PM“Don’t worry about what the fuck he be doin’” are the first words that open up WIFIGAWD’s Trenches To Riches, a certified hood classic that relies on all the direct mechanical pieces to create a new aged hip-hop dessert. The weighted production handled entirely by OOGIE MANE who (produced for MATT OX and created one of the hottest collections of tracks in 2017) is a member of the Philadelphia collective Working On Dying which creates a perfect complementary style to WIFIGAWD.

Brash, Bold, and completely necessary, Trenches To Riches is immediately an abrasive mix of basement booming hits that collect the trap house hip-hop and give it new breath. WIFIGAWD is simply able to capture a tone behind the relaxed and controlled delivery. “Intro” gives WIFIGAWD his first vocal flow that comes naturally. As the sound bytes of lions, ad-libs, choppa sounds, and even explosions cover the gaps where Trenches To Riches starts to become this jugged-out journey.

The go-to record for driving 100 mph on the highway weaving in and out of lanes, or even just for the casual midnight stroll; “Ww111” is a mosh pit within a ball of raging gasoline. The track feels instantly volatile and creates a flexed out approach as WIFIGAWD explains “Need a Porsche and a mansion, all my diamonds dancing. Stripper bitches dancing, these bitches come in handy. Just like Handy Manny, flexin’ like I’m Randy. Goth bitch like Mandy, eat my dick like candy.” His appearance may come off as impersonal and ill-mannered, but that is what Trenches To Riches is all about.

The record steps over the competition in one of the more musically muscular releases of the DMV area. He is rugged around the edges but holds an instant pushing and persistent style that is impossible to replicate. WIFIGAWD takes his coke-white cover art and delivers a tough structure behind it. Where OOGIE MANE is able to support Trenches To Riches and manipulate a mutual fund where the collaborative effort feels more as business partners that know each other’s strengths and are able to capitalize on them.

wifi_intherough_01“Good Gas” is another track that works to slide WIFIGAWD’s love for Kush to the mainframe. He explains “Good gas I smoke” in the hook over the frantic and shifting production, the way that WIFIGAWD actually is able to delivery his verses on Trenches To Riches is one of the more substantial and vital importance to the record. His voice is almost chopped and screwed in a fashion that feels slowed, almost as if he was recording in this comatose state where the words roll out of his mouth. He is still emotionally apprehensive, but Trenches To Riches has a strict juxtaposition within the sporadic production and the slumped rhyming.

As the final moments where WIFIGAWD falls back to the shadows, in an always progressive and lab rat cycle of producing and creating music; the listener is left full. Trenches To Riches is a five-course meal on steroids. The entrée is a juicy steak that works the sides of fulfilling production and the drug infested, robbing and getting, money-making delivery of WIFIGAWD.

Listen To Trenches To Riches Here!!! – Soundcloud/Spotify/Amazon/iTunes

New Music – You Are Free

show_01As the doomsday clock ticks down to the final moments of the spinning metropolitan and sprawling city that makes up New York’s home to Corpus, the bold-faced collective of musicians and artists that formed a backbone to the city. A real harsh bludgeoning that stretches into the hardcore, genre-blending outfit of Show Me The Body and their newest assault on the ears, Dog Whistle.

The shrieking associated with the common household training item comes in second-nature, instantly as a building rise from the single “Camp Orchestra” which was accompanied by a breathtaking video of quick cuts and segmented streets. As ugly as Show Me The Body can be sometimes, there is often a glimmer of youthful hope that shines through their releases. Whether featuring some of the better known underground artists of New York, booking in D-I-Y venues across the globe, or creating a bash of one-two steps that can inflame even the pacifists.

With pushes toward this bleak and ultimately burnt world of ashes, Show Me The Body takes Dog Whistle and makes it hurt in the first moments. Where “Camp Orchestra” builds and sculpts structure around the soft bass lines that then begin to layer guitars and then finally erupt through this tense, almost jungle-esque firefight of confusion and emotional misery. As the lyrics “No work will set you free” are repeated over and over again almost as if a consistent mantra that a prisoner in a cell would repeat to keep that last bit of humanity, the ashes can be the remnants of a destroying element that wipes out civilization, but they can also illustrate a purging and room for new rebirth to take place. With Dog Whistle, this is the constant motion as “Camp Orchestra” turns into the crunching “Not For Love” where the vocals are directly belligerent and blown out. Mosh pits come quickly, with a need for movement where anything and everything must be jumped off of. As the people rise out of the with snaps and rattles of the snares and hi-hat, the tension continues to build through Dog Whistle with an iconic three coffins staring right back at the listener.

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The forever exploding transitions from Show Me The Body keep a progressive package that shows little time for rest. Dog Whistle is a twisted mess on “Forks And Knives” where the surrounding walls of sound continually shake the heavens until some sense of pride falls through. The record can instantly take that pent-up ability and potential energy, redistributing it into a creative outlet that engages more than just the music but a community effort to create a platform where Show Me The Body light the fires. As “Forks And Knives” twist into the canvas, marking territory through ferocity and terror tactics; Show Me The Body adapts to become New York’s ugliest monster of creation.

Before the train departs leaving Dog Whistle into new horizons, Show Me The Body takes “USA Lullaby”, an angst-ridden final push where bodies are stacked upon bodies. The track paints a desolate future that describes “This work won’t make you free, sacrifice nobody. Buildings burn, now you got new pavement. Up north trip or an encasement, bombs will probably break this hurt, shake us from the Earth.” Keeping to a consistent theme of breaking down the social barriers to redefine a new methodology.

Dog Whistle single-handedly instills that seed of hope to the creative, whether in New York or across the globe. The remnants of burning skyscrapers in the distance for a 28-minute gripping new reality shows through as the nails are placed into those three black coffins, signifying more than just intimidation within Show Me The Body’s music.

Listen To Dog Whistle Here!!! – Youtube/Spotify/Amazon/iTunes