Misc. Day – One Man Sacrifice

R-2261343-1272989334.jpegAn 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.

VargNYWith 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.

Listen To Belus Here!!! – SpotifyAmazon/iTunes

STREAMING // (Video) Comethazine – “Walk”

Listen/Watch Here – Youtube

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Song Produced by Bhunna

Directed + Edited by Cole Bennett

Director of Photography Cole Schwartz

Steadicam by Austin Vinas

STREAMING // (Track) Rocket Da Goon – “Estupido”

Listen Here – Soundcloud

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Produced By : Chucky Beatz

This was a track I loved back when Illegal Civ 2 dropped… I think it was 2

New Music – Seen It All

1280x1280From the Trap Illustrated mantra that formed around the Pittsburgh rapper Hardo, or to the brutal and battered history of his past; there is something undoubtedly tough about him. There is something that put Hardo on the map for his rugged power, standing ovation of underground work, and now the way that his mainstream success is now coming in the future.

With his now approachable and currently most focused sound on The Fame Or Feds Story; Hardo is a goliath among a sea of waves that captures that iconic style with a new boundary breaking sense. It comes with the production and lyrical content that changes to usher in a fishnet full of new fans that can both move and understand to his story. This paired with the sudden absence of some of the Pittsburgh hip-hop heavyweights gives The Fame Or Feds Story a hometown experience with a global overtone.

The entire project is a better illustration of Hardo’s pushes and pulls within Pittsburgh as he moves to create the best overall sound. He describes on his first track, “Intro (Can’t Hid From What’s Inside of You)” which features Sirron Reid, “He just did a line of coke then come to court and judge me.” With Hardo, there is always the theme of corruption in his lyrics and that is no different in The Fame Or Feds Story. In a truthful and authentic sounding detail in his verses, Hardo can describe “I ain’t thinking bout tomorrow, tryna make it through today… I got demons on me, can you bless my soul?”

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That is the importance within Hardo’s project, the way that he can suddenly manipulate this gang activity mentality to then switch and create a more uplifting display with a sluggish love track. “I just want to see you smile baby” Hardo explains behind this dancing piano and minimal percussion to create this void behind his voice. The feature from Latia is an impressive display of the beauty and the beast coming from a usual punch of Hardo’s straight-forward approach.

This can also be said for Hardo’s last three tracks which collectively combine the greatest elements of his style. From “My Last” which is an aggressive, spacious reflection of the focused, yet determined work that continues to flood from Hardo. But the real shining diamonds in the rough are “Here For You” and “Die A Legend” that capture in an essence, the greatest reflection of The Fame Or Feds Story.

Both of the final instrumentals are graceful and uplifting, but still a push to the progressive direction that comes from one of the best displays of Hardo’s work. As he started from the underground and has been working since his deal with Sony; Hardo has stayed busy and describes “Only thing guaranteed for me is a cemetery” so there are no excuses.

Listen To The Fame Or Feds Story Here!!! – Spotify/Amazon/iTunes

STREAMING // (Track) Mac Miller – “The Star Room (OG Version)”

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

Listen Here – Soundcloud

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Produced By : Earl Sweatshirt

 

 

STREAMING // (Track) Amyl and The Sniffers – “Some Mutts (Can’t Be Muzzled)”

Listen Here – BandCamp/Youtube/Spotify/iTunes

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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.

STREAMING // (Video) Bones – “DownTheDrain (Впустую)”

Listen/Watch Here – Youtube

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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

Classic Day – Wild Horses

5099924364911Often 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.

Roxy Music 1974-11-27With 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 To Country Life Here!!! – Spotify/Amazon/iTunes

STREAMING // (Video) Wiz Khalifa – “Fr Fr”

// Listen/Watch Here – Youtube

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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

STREAMING // (Album) Pictureplane – “Degenerate”

Listen Here – BandCamp

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For his sixth album as Pictureplane, Travis Egedy owns the identity that’s been his to claim all along: Degenerate. Via music, painting, fashion, and DIY events that combine all three, he’s spent a decade investigating the esoteric, embracing the paranormal, and otherwise riding for the lunatic fringe. Now, Degenerate finds our anti-hero standing tall on the periphery of polite society, addressing his fellow outsiders over a booming soundtrack that merges electronic body music, industrial hip-hop, gauzy ’90s New Age, and gothic darkwave. If 2015’s Technomancer confronted the ways our lives are merging with external technological forces, this album moves inward, examining how pain can cause the soul to either atrophy or—in Egedy’s case—thrive.

We open on a dystopia that’s oddly familiar. The squelching synth of “Pit Viper” surges forth like venom catching a pulse as Egedy sings, “I’m lurking for something to get my mind off nothing / Abuse of power comes as no surprise, world on fire, an epitaph for a dying empire.” The next scene is no less unsettling as “Gang Stalker” serves up pure paranoia in both message and its relentless, vintage-NIN-evoking beat. Later, “Disasters of War,” named after the grisly Francisco Goya print series, depicts disconnect in our violent world: “We sit pretty with our empathy, black-painted shells, youth cast under a spell.” But Degenerate soon reveals alternate paths through the murk. We find solidarity on “Sex Trigger (Burn in Heaven),” where Goth Boi Clique founder Wicca Phase Springs Eternal trades lines with Egedy over a beautifully burnt soundscape. And with “BDSM,” there’s escape—into a soft-focus fantasy of whips, synths, discipline, and drums.

Pain was a recurring theme in the two-plus years that Egedy made Degenerate in his Brooklyn garage studio. Even as he honed his dark art, embracing both new tech (FL Studio, finally) and old toys (he found the Yamaha keyboard he made his first beats on, via eBay), he saw parts of the DIY community that inspired that art unravel in terrible ways. Oakland’s Ghost Ship fire not only took people Egedy knew, it led to the hostile police shutdown of the DIY space he came up in, Denver’s Rhinoceropolis. That loss, in turn, factored into the suicide of dear scene compatriot Colin Ward—the kaleidoscopic, breakbeat-driven “Color Spectrum (Tokyo Drift),” which features emo-trap upstart smrtdeath, is a tribute to his magical spirt. Another friend passed too: GBC’s shining star Lil Peep, all of which underscored the adversity that artists face in America’s rapidly gentrifying cities, from economic hardship to lack of access to safe spaces and health services.

Degenerate does mourn, getting lost in the crystalline jungle of “Obsidian Blade” and blissing out amid echoing keys in “Intoxicate,” but it doesn’t acquiesce. In defending his beloved culture online, Egedy became a target for alt-right trolls who’d call his dead colleagues “degenerates”—the same term the Nazis used to debase abstract artists. On this album’s thumping title track, he reclaims the word as a badge of honor, something to distinguish truth-seekers from repressed squares. One song later, he’s threatening to unleash freaks everywhere over the blown-out rap swagger of “Gatecrasher.” And by the bleakly banging closer “White Flowers,” Egedy’s become some kind of renegade goth warrior: “My blood is like a glacier, living my life on a razor / I’m so erratic, wearing black and white like TV static.” In the end, all that radical individualism is about inclusion: we’re an entire race of degenerates waiting for the right moment to show our stripes.

STREAMING // (Album) Da$H – “IS HE DEAD YET?”

Listen Here – Soundcloud

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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