An 11-year hiatus from Varg Vikernes, better known as the mastermind behind the Norwegian black metal band, Burzum finally breached back onto the scene with Belus. Releasing multiple albums from confinement, Burzum controlled the immediately noticeable low-quality recording sound that was masked by the makings of well put-together and diverse tracks.
From the opening moments of the bottles clicking together on finger tips, or the final moments of ambient droning noise; Belus holds these otherworldly sounds in one complete shifted package. It is as daunting and interesting as it was when it was released back in 2010, stemming just over the 50-minute mark. With moments as crushing as “ii. Belus Doed” to the uplifting and almost silence of “viii. Belus’ Tilbakekomst (Konklusjon)”, Burzum holds a tight grip on the listener’s attention and continues to manage both the subtly and destructive nature that made him so engaging.
As all the instruments are handled and performed by Vikernes, there leaves little to no room for outside distraction or contamination. Belus is a free-flowing, stream of consciousness that works to elaborate on some of the darkness that Vikernes expressed before. It is a direct extension of the inner-senses of his creative effort that branches off and tries a similar approach to black metal. His vocals are progressively different however, reaching for more witch shrills than the standard growls of his previous music. This style change is welcome as it allows Burzum to illustrate a twisted and warped sense of his musical past.
With the following tracks “iv. Kaimadalthas Nedstigning” and “v. Sverddans”, there is a sudden dive that moves into this deep, dark water of aggression and aggravation. These two tracks capture this old spirit of Burzum that was surrounded by these overpowering movements and waves of the dead sea. But it is with that death there is a rebirth and that follows with the form of “vii. Morgenroede” which is more uplifting and features a slowed, more approachable sound. It is still as lo-fi as ever, bringing that basement recording to the forefront. But with the focus shifting on being melodic chords rather than a pit of flames, Belus shows two sides of a similar coin.
Making the way from murder, to prison, to release and now redemption, Belus is as diverse today as it was nearly ten years ago. With a focus on creating an occult and distorted grasp on reality; Burzum makes quick work on one of the best records coming from his discography to date.
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Song Produced by Bhunna
Directed + Edited by Cole Bennett
Director of Photography Cole Schwartz
Steadicam by Austin Vinas
Listen Here – Soundcloud
Produced By : Chucky Beatz
This was a track I loved back when Illegal Civ 2 dropped… I think it was 2
Today is Mac Miller day in Pittsburgh. He meant more to this city and to me than anyone else from Pittsburgh. I know he is proud of all the work that people put in for this city. This is my favorite song by him right now, it means more now than it did when I was 16
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Produced By : Earl Sweatshirt
Listen Here – BandCamp/Youtube/Spotify/iTunes
Some Mutts (Can’t Be Muzzled) and Cup of Destiny by Amyl and the Sniffers.
7” available through Flightless in Aus and Flightless via ATO in America. Lmtd to 1000.
Drums – Bryce Wilson
Bass – Gus Romer
Vocals Lyrics – Amy Taylor
Guitar – Dec Martens.
Recorded by Joey Walker at Flightless HQ and Christmas Street Studios.
Vibe Tech Eric Moore.
Artwork by Ben Tipton.
Listen/Watch Here –Youtube/Soundcloud/Spotify/iTunes

Created By : Rik Cordero + Action Bronson
Produced By : The Special Victims Unit + Daringer
Listen/Watch Here – Youtube
Shot By Tyrus Creek
Produced By Stereoryze
Edited By Rick
Shot In Brighton, MI
Appearances By Jack, Marc, Jacob, B.G_I, Sam, Tyrus, & Ben
Often the epicenter of creativity, the 1970’s were an age of strange and developmental times. This was when punk rock would develop, the age of disco would become a dead and deceased breed, and the age of experimentation would take new forms. Country Life is the fourth studio record by Roxy Music, which would catapult to the tops of the charts for its wild ability to shift and mark the largest revolution in music history since art and glam rock hit the scene.
Drawing an inspiration to the growth of sounds and devices in the 60’s, the 1970s allowed musicians and artists to branch out and start to mold this otherworldly sounds with their instruments. As Bryan Ferry who also grew a similar resemblance to Bowie, there was Eddie Jobson on the strings and synthesizer who worked with John Gustafson on the bass. Andy Mackay made an appearance on the saxophone and oboe with Phil Manzanera on the guitar. Leaving Phil Thompson to handle the percussion and start to create heavy, more straight-forward crashes on the percussion.
Country Life follows the more British styled production sound using more spaced out instrumentation and the sense of structure just has that undertone behind it. Rather than focusing on the big band style of rock music, the album is actually smaller subsections of rock that cut through the air in a noisy, feedback and reverb heavy glam rock opera. It is a production of a show and truly feels more and more as a storyboard that Roxy Music rides to create one of the better displays of a glimmering fourth record.
With tracks “Three And Nine”, “If It Takes All Night”, “Triptych”, or even “Casanova”, there are multiple styles that coincide within each other to create the overarching grasp of Roxy Music. With Country Life, the four different listed tracks are all entirely different concepts and styles that create this fluctuation within the tone of Country Life. It relies heavily on moving the listener through these varying stages while keeping a consistent theme and nature to the background.
Roxy Music has these moments of grand bravado that feel as elaborate as they did when released back in 1974. The way the instruments are controlled and the way that there is this somehow, relaxed method behind the very forward style is unbelievable. It is impossible to pinpoint one section of Roxy Music that works here because it simply all works in unison. Without Country Life, there would be little to no explanation on how some of the more inspiring records of yesteryear were made. Country Life makes it possible to have the fireworks display and showcase the little intricacies of the rock ‘n roll icons.
// Listen/Watch Here – Youtube
Featuring Lil Skies
Directed + Edited by Cole Bennett
Song Produced by E. Dan & Nostxlgic
Director of Photography by Cole Schwartz
Steadicam by Xavier Thomas
Video Commissioner Kareem Johnson
Listen Here – BandCamp
Listen Here – Soundcloud
ITS BEEN A SHORT WHILE SINCE THE RELEASE OF “LOOSE SKREW” BACK DECEMBER OF 2017 BUT DA$H RETURNS WITH A NEW 8- TRACK EP TITLED “IS HE DEAD YET?” WITH PRODUCTION FROM LORD FUBU, SLEDGREN, YOUNG GOD, ANTWON CARRERA, RIO MAC, D2, REVENXNT AND MULATTO BEATS
// Listen/Watch Here – Youtube
Directed by Mason Luckiewicz and Teddy Cooper
Produced by beatpluggtwo