STREAMING // (Album) Remy Banks – “Champ Hoody Music EP 2”

Listen Here – Soundcloud/Spotify/iTunes

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STREAMING // (Video) Gloss Gang – “In A Minute”

Listen/Watch Here – Youtube

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Song Produced By: Branchez

Mixed and Mastered By: Joshua H. Pleeter

Production Company: UNDERHILL

Director: Matt Seger & Dexter Brierley

DOP: Matt Seger & Dexter Brierley

Producer: Tom Van Scoyoc

Assnt. Director: Joshua H. Pleeter

Editor: Tom Van Scoyoc

Gaffer: Jorge Arzac

Key/Dolly Grip: Semir Hot

G&E Swing: Harris Van Alterman

1st AC: Corey Hess

Prod. Designer: Lucca Zeray

Set Dec: Sabrina Teteromano

 

Misc. Day – No York!

york_coverHailing from the golden halls of Los Angeles, the sunset mornings of some of the West Coast’s golden opportunities; Blu is the authenticity in a city full of actors. His 2013 release York is a collective of beautiful and futuristic boom-bap hip-hop that is able to coincide within the realm of artistic extensions. From the featuring production of Flying Lotus, Samiyam, Knxwledge, and some features of the hottest underground MC’s, York shapes up to hold twisted and crack works that warp around like the F Train.

It is the first impression that takes Blu into these spacious settings that shape behind him, becoming the formative backdrops of an intense boost of moon-esque bass. He dissolves behind the sound as the snaps and claps on “Doin’ Nothin’”, the records opening, which unfolds and spreads the wings of fate. “Fresh out the cypha surfin’ line like slung coke. So came by the ocean on the coast or open on a dope overdose, it’s over dosage. So sleep, no sweat techniques, no joke” Blu describes as the hook from Wu Tang’s own U-God speaks simply “A nigga gotta live (The world is ours).” With these cuts on York that come from the heavy production credits and the ambitious Blu who is hopeful behind his delivery as it flows through his unfazed voice

With the track list starting to work down, “Everbody Nose” suits up to be a quick crowd favorite for the booming percussion and Black Moth Super Rainbow styled synths that warmly embrace Blu as much as he does the beat. He rhymes almost effortlessly over the progressive stream illustrating, “Look up in the sky, it’s a bird it’s a plane. Y’all niggas know the name and ain’t a damn thing change. But I’m saying, the game needs to, get a make o’. everything they play is just that same ‘ol, same ‘ol.” Then as the hook of Sa-Ra collapses into the frame, her voice is a linguistic silk that slides perfectly to fit. “Some things will never be the same as they came. People changed, and everybody knows’ some things will never be the same” which quickly lets “Everybody Nose” becomes the hottest joint off of York.

blu_01Most of the sound coming from York is a strange, 70’s mix of synths that live among the beats of the 90’s hip-hop golden era’s. Blu is a unique specimen that falls under the light of an underground sensation that takes the formulas of music and flips them. York features some incredibly unscripted styles of what seems to be freeform experimentation that results in some of the better musical pieces on a hip-hop record. With “Tags”, Blu works to rhyme over these over-produced and almost melted bites of hip-hop functionality that are no easy task.

But he does so gloriously and accomplishes to create a standing monument of the abstract and underground within music. While it may have never seen the recognition that it deserves, Blu’s York saw some difficulty before finally reaching the public’s hands. Through that difficulty came one of the sunshine records that can warm an unforgiving winter day like a coat from Canal Street.

Listen To York Here!!! – Youtube/Spotify/Amazon/iTunes

New Music – Wasted & Abused

uncle_acid_coverUncle Acid & The Deadbeats are the Cambridge, England performers that take the twisted dichotomy of the 70’s slaughterhouse art style and bring it to a musical host. From the vivid colors that the band paints on their newest record, Wasteland; or the almost detrimental use of synthetic and authentic sounds to create a look into England’s seedy underbelly.

From the oil lamps that light the way, Wasteland is an explosive first jump into the murky waters with “I See Through You”. The cover art of Wasteland is almost synonymous with the likes of dystopian novels like 1984 or Brave New World where something once organic is manipulated to represent something that feels overpowering. In this case, the cover almost represents a peep hole on someone’s head over looking a city and it reflects in their musical style strangely enough. The colors are dull here, but Uncle Acid & The Deadbeats shine brightly in this stoned, blurred visionary look.

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While the thick overlay on the primary vocal performance does weigh slightly on the listener by the end, throughout the experience; there is not much to complain about. The music is a jam fest of both darkened crypts and sunlight blitzes. Whether the band is moving in with “No Return”, a triumphant and incredibly inspired horror-film that glances eyes at droning rock in a dive-basement-bar. To the very frantic work of “Blood Runner” which holds the piece at a rapid speed through the city before reaching a subway system of different layers and musical pieces.

One of the strongest components is the overall sound of Wasteland as the record is ridden to become an overdriven piece with both high mountainous moments, and low, beneath the Earth works. At either stance, Uncle Acid & The Deadbeats perform well throughout and can manage the balance like expert marksmen. Wasteland becomes a physical embodiment of the modern age, but is spiritually in the 1970’s, trapped inside a Stanley Kubrick film.

As the ship sails on the rising final track, Wasteland becomes a very English rendition that performs in a sequence of storytelling. It is one of the more illustrative albums that comes just in time for the bone-chilling nights of October.

Listen To Wasteland Here!!! – Spotify/Amazon/iTunes

STREAMING // (Video) Yung Lean – “Happy Feet”

Listen/Watch Here – Youtube

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Directed by: Marcus Söderlund & Jonatan Leandoer Håstad

Director of Photography: Daniel Takács

Costume: Tony Karlsson

STREAMING // (Video) Father – “Only You”

Listen/Watch Here – Youtube

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Label : Awful Records / RCA

Director: Reggie

Starring: Father, @rsewtrr, Meltycanon, Evelyn Claire, Lil Housephone, @baaabygiraffe, Waymond Lee & Archibald Slim

EP : Daniel Kelly

Producer : Iain Gayley

Production Coordinator : Matt Vara

DP : Neema Sadeghi

AD : Jackie Paul Key

PA : Chris Taylor

Production Design : Piper Tompkins & Mex Shepard

AC : Nick Eagleston

Gaffer : Dimitri Cristoforidis

Key Grip : Ryan Haskins

Hair/Makeup : Abigail Smith

 

STREAMING // (Video) Choo Jackson – “Loner”

Listen/Watch Here – Youtube

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Produced By: Christo

Directed By: Choo Jackson, Forget Brennan, Burky Films,

Colored By: Bradly Atom.

“A tribute video for my long lost brother Mac . I love you bro thank you for everything you did for me while you were here. greatest soul to walk the planet. gave me a blessing when we was starving .ill make sure the world never forgets u. goodbye malcolm.”

STREAMING // (Video) Toro y Moi – “Freelance”

Listen/Watch Here – Youtube

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Directed By: Harry Israelson

Produced By: Ways & Means

Producer: Lauren Skillen

DP: Jeff Leeds Cohn

AD: Jesse Hays

Gaffer: Sebastian Baron

Key Grip: Pablo Ruff-Berganza

Production Design: Laura Barr-Jones

Creative Direction: Harry Israelson

Colorist: Mikey Rossiter @ The Mill

VFX: Stephen Pagano

Special Thanks: ARRI, An Tran, Heath Raymond, Evan Bauer, Jett Steiger, Lana Kim, Pat Jones

Classic Day – Living In The Aftermath

jerry_coverThe 1980’s were a hair-raising, genre-blending smash of what would become a multi-layered cake of rock music. From the glam and hair rock genres that were starting to capture the mainstream, bands like Jerry’s Kids were taking the fight to the background with Is This My World?; a record that holds more punches than answers.

Somehow, the music is an abrasive smash of 12-total tracks, a 24-minute runtime, and a mosh pit to the core. Jerry’s Kids was one of the more obscure acts to cover the punk scene that did not have the majority hold as a band like Minor Threat or Bad Brains, but was still substantial enough to fill a room of disenfranchised lovers of glorified, audible speed. With a take-no prisoners approach and a devotion to creating some real fireworks, “I Don’t Belong” and “Tear It Up” are tracks that act as campfires in a gasoline factory.

Almost rotten from the very start, “I Don’t Belong” is the epicenter of punk rock freedom as the band consisting of four distinct members. From Brian Betzger on the percussion or both Bob Cenci and Chris Doherty on the guitars. The band is orchestrated as this mad piece of wrecking crew works that has Rick Jones as the lead vocalist and bassist. This four-man assault team worked well as the movers of chaos on the 1983 release, Is This My World? where the fast-paced tracks and even faster playing has the world spinning around Jerry’s Kids.

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As the group moves into “Tear It Up” or “Break The Mold”, there is little build up around the openings and the animalistic fury is used like a laser to singe the minds of the listener. Dealing with the nihilistic and anti-establishment styles of punk rock, Jerry’s Kids takes a similar idea and decides to “Break The Mold” as they clap through with quick snare smacks and guitar riffs that blitz and attack. The technical skill behind the playing however is present as the band stays tightly together and showcases a better display of more approachable work on “Raise The Curtain”.

Rather than being a straight arrow of rugged hell, “Raise The Curtain” is still a daunting and furious sounding track; instead taking a sluggish approach and being heavier in the way that the guitars and percussion is toned. A still crunch of the air follows “Raise The Curtain” as the almost broken laws of punk records come into frame. The full frontal destroyer becomes a welcome party for something that feels more as a paper weight to the unrestrained style of previous tracks. Which follows for some motions of the record before jumping back into “Vietnam Syndrome” which holds a quick build up before a chant to tear down “Uncle Sam” and discuss how he is “After you and after me.”

They are violent, but hold a positive message behind their sound that influenced an audacious wave to follow in punk rock forever. With elements of early heavy rock and a focus on challenging the status normality’s, Jerry’s Kids is an obscure diamond in a sea of punk records that are almost lost to obscurity.

Listen To Is This My World? Here!!! – Youtube/Spotify/Amazon/iTunes