STREAMING // (Track) Wiki X Gloss Gang – “In The Park”
Produced By: Tony Seltzer // Listen Here – Soundcloud
Misc. Day – Hell in a Handbag
Back flipping out onto the scene with a cute, but flaunting standing ovation; Lil Uzi Vert became a hero to most with his blockbuster single “XO TOUR Llif3”. An iconic tagline pushing the dead friends and careless motives made Uzi a quick star in the limelight of current hip-hop. With his 2017 full-length studio release Luv Is Rage 2, Uzi made years of work seem effortless in one of the best releases of energy stemming from a record in a long time.
“Two®” is the opening track to the circus of sounds coming from Uzi, a turn-up Mozart of the modern age. The booming production and the autotuned singing is one of the methods that propelled his sound into an audience of millions in such a short time. It was the Philadelphia attitude and the overlord status that takes over on Luv Is Rage 2, allowing Uzi to capture this pride behind his approaches. “I really really wanna let you know that I really don’t give a fuck what nobody say about me. ‘Cause you know I’m the one, yes I’m the one that really started all this” Uzi describes through this tainted, almost fogged instrumental. He is in full control however as the next jump into the raging beast of “444+222”.
“Breathe in, breathe in, breathe out, shake that ass, speed up, go fast, slow down, 4, 4, 4, 4, 4, 4, 4, 4, Million on me Jay-Z, Count off, fuck nigga, pay me!” is the sudden workings of the 808 bass that powers the animal of devilish intent. “444+222” is the first track on Luv Is Rage 2 that abandons the relaxed method and latches onto the intense and sudden punches. Uzi brags “Rockstar, that’s of course, white girl like Lorde. She don’t really get too impressed Honda Accord, long as she get her beauty rest then I’m aboard.”
Suddenly, Uzi then jumps into the waters of “Sauce It Up”, an important athletic display of his lyrical cleverness and the methodology behind his work. With the iconic instrumental with enough swing to get a church choir dancing, the production from DJ Don Cannon adds an immense weightlessness to the record. “Cash shower, make it rain no game, Atari. Ride me like a Harley, only boy in the party. I was on the phone, yeah with Playboi Carti, Comme des Garçons, Hearts all on my cardi” is one of the memorable lines that stems from the witty, driving anthem of indulgence.
With a solid mix of both fast dance heavy tracks and the more melodic, heartfelt Uzi; there is enough to take away from Luv Is Rage 2 as it makes Uzi standout as a monolith in rap. Whether this style is hated or loved personally, there is astounding amount of effort that goes into Lil Uzi Vert’s sound and the production is just as crisp today as it will be in ten years. Not only is the product an interesting and engaged look at Philadelphia’s risen star, but it is fun as hell too.
Listen To Luv Is Rage 2 Here!!! – Soundcloud/Spotify/Amazon/iTunes
New Music – New Orleans On The Prowl
The midnight creep stemming from the ocean of oversaturation in music culture, the overabundance of music, and the real process of weeding through the mire; $UICIDEBOY$come in a full fledged assault. Leaving no disparity behind them, I WANT TO DIE IN NEW ORLEANS is the first album from $UICIDEBOY$ that has an entirely different tone. It feels professional and a step in the direction of being an album that surpasses the shock and horror of their earliest music. This is a more refined, less crude New Orleans hip-hop.
From their earliest moments of I WANT TO DIE IN NEW ORLEANS, the sunken vocals of Ruby, one half of the $UICIDEBOY$ came in a drawn fashion. “Yeah I was the wave but now I feel the tide pulling back… Now I’ve got everything I ever wanted but now I don’t want it” as the mesmerizing Morse styled instrumental works behind him. It is then the pairing that makes $crim, the other half of $UICIDEBOY$ form into the near heartbroken verse of “but lately I feel guilty, I feel so badly. They say I made it, and that should be satisfactory.” He then moves on to say “Lately I feel like I have nobody, all alone in the empty hotel lobby” as the instrumental loses the percussion and just clambers along with the smooth singing voice.
Instead of proceeding with caution, I WANT TO DIE IN NEW ORLEANS then takes a sudden nose dive into the fiery pits where the levees once broke. They explain their disdain for music corporation on “Phantom Menace” as Ruby screams “Fuck the rap industry; I’m down for the motherfucking count. All you fucking clowns, I could really do without.” This is where the aggression starts to ride in a full wave of pain with the following track “WAR TIME ALL THE TIME”, a personal favorite off I WANT TO DIE IN NEW ORLEANS.
A carnival of terror opens the mosh pit as chopper gun rounds and lightning bomb flashes go off as $crim controls the microphone. “Dead bodies all around, hundred rounds out. Smell it in the air every time I’m fucking round town… Your chain snatched, I like the way it shines, when I’m back the black blood diamonds glisten and hear the victims yell” in a vulgar display of lyrical athleticism. He is an animal within the court as the pounding instrumental crowds the listener and traps them in this 808 cell that continuously punishes. But there is a salvation that comes within the final moments of I WANT TO DIE IN NEW ORLEANS.
With “I No Longer Fear The Razor Guarding My Hell (IV)”, a saga that was once displayed at the height of $UICIDEBOY$ obscurity, there is now the imprint left behind the massive footprints of hip-hop. They are the depression firing squad that works to deliver on one of the hardest hitting musical performances in the past. Now, they are a more professional and approachable group that works to form under the jaded lines of the industry. They have no masters and no real motives, but their music is a clear statement from one music lover to another.
Listen To I WANT TO DIE IN NEW ORLEANS Here!!! – Soundcloud/Spotify/Amazon/iTunes
Classic Day – Train Ride For Disaster
It is the back-bending, spine-tingling, disaster artist that rose from the ashes of near death and endless obscurity that makes Iggy Pop a necessary evil in the music world. The way that his wild, animalistic performance mixed in such a deliberate and charismatic sense made him a one-man wrecking machine of authentic, and intentional ability.
His 1977 release, Lust For Life was a deep collaboration with musical genius David Bowie; a man who also had a deeper fascination for Pop as he was able to display a more alpha-male, less pop focused side of the two. Lust For Life would become Pop’s most commercial record with the singles of “The Passenger”, “Lust For Life”, and even “Tonight” as staples on the album for just how catchy and approachable Iggy Pop could be in a direct setting. With an international tour now under his belt, an underground following that worked since his past in The Stooges, and quite possibly one of the best rock n’ roll records to date; all eyes were suddenly on Iggy Pop for his superhero team up and future in music.
As the pounding, iconic drum pattern lights up on the self-titled track “Lust For Life”, there is some magic that is pushed back into the lungs and chest of the listener. Coming off from New York nightclubs to the Berlin walls of sound; Pop was to be a sudden destructive force. Raging and having the grit that he established within his earliest work, Pop nearly growls “Here comes Johnny Yen again, with the liquor and drugs; and the flesh machine. He’s gonna do another striptease, hey man where’d you get that lotion?… I’m worth a million in prizes, with my torture film, drive a G.T.O. Wear a uniform, all on a government loan.” It is a developing piece that stems from Pop in a modern sound on a new horizon of incoming experimentalism.
The classification of Iggy Pop is an immense and difficult to handle task that features many overflowing emotions in Lust For Life. Somehow, the incoming track, “The Passenger” is an uplifting piece that is catchy and is a new view on the world that Pop would soon be discovering throughout his career. “Oh, the Passenger. He rides and he rides, he sees things from under glass. He looks through his window’s eye, he sees the things he knows are his. He sees the bright and hollow sky, he sees the city asleep at night. He sees the stars are out tonight, and all of it is yours and mine” Pop describes in a gaze of child-like wonder.
The power house that would become Bowie and Pop’s journey is something that neither audience or themselves could handle. In what become an almost overnight sensation, Pop was headlining tours around the world, performing some of the strongest and most personal pieces of his career in a span that would take Lust For Life to the height of Pop’s popularity. A personal hero to many, and an icon to even more; Iggy Pop was able to showcase a step into the spotlight that delivered more of an immediate and intimate Pop sound.
Listen To Lust For Life Here!!! – Spotify/Amazon/iTunes
Misc. Day – Year of The Drip
Drip: (Verb) \drip\ – “Just another word for immense swag”states Urban Dictionary under the definition of “drip”. One of the most important words of the modern world as it features in almost any situation. From the YSL (Young Slime/Stoner Life) Records signed artist Gunna’s 2017 project Drip Season 2, there is a significance behind the vocal projection and the way that the production rides around his voice is a duality of excellence.
“Call me insane, I’mma pour up a pint. Try to take away the pain, got me going through some things” Gunna describes through a fairly classy instrumental that involves this clashing ride cymbal as the piano plays in a vibrant, almost jazz influenced style. It is a delightful introduction to the 16-track behemoth that in a valiant effort, has little to no features on the project. The first five tracks are strictly voiced by Gunna which in retrospect was a smart decision. The singularity works in his favor as it establishes a solid effort and connection to his vocal flexibility and the way that he can manipulate the sound to wrap around the listener.
“Went straight to the top like a fitted, still got some act in the fridge… My lil brother keep a Beretta, seems like they got a vendetta. Pull up with them sticks in the shuttle, put my momma in that new Gucci sweater, they hate to see I’m doing better.” As Gunna begins on his track “Top”, there is something slow, and almost cascading sense about the instrumental that surrounds him. He is energetic, but still manages a laid back approach in a conflicting nature. Gunna holds this new age in a modern sense of instrumentation and lyrical content, but somehow keeps a grasp on the classic style of carelessness within the delivery.
The mixing of quick blasts and assaults to the unhurried and steady workings on Drip Season 2 is a near perfect world that Gunna forms with the help of his army of producers that show credits here. From Smoke to Pi’erre Bourne, there is a severe level of features as well that help Gunna out. Ranging from YSL Records head Young Thug, Playboi Carti, Duke, and even Offset in a range of creating a superstar line-up of modern hip-hop power.
Uplifting throughout, Drip Season 2 is hopeful and reflects a solid mirror image of the real recognizable nature of Gunna. He works to cover a large amount of ground with the near hour long tape and is able form a powerful connection with the progressive state of personal expression and true drip fashion.
Listen To Drip Season 2 Here!!! – Spotify/Amazon/iTunes
New Music – Wings of an Angel
For the few that might have Blood Orange under the radar, the now senior-class work horse of musical talent shines his wings on his latest, now fourth release Negro Swan. Through the gentle, almost calming distress that comes from the instrumental glory, but also the deeper location of misery and despair that follows the lyrical ability.
While expecting something that would be a little strong to the ears, Negro Swan has the name of something that would be a misplaced and misfit within society. A swan that usually has the coat of white, now to showcase a different side of beauty with a darker, more majestic overcoat. The surprising transition from album to album, coming from Blood Orange’s strength in his own creative mind, but also in the way that record conjures up features from A$AP Rocky, Puff Daddy, Janet Mock, Ian Isiah, and even Steve Lacy to lay down some credits.
Negro Swan is entirely and deliberately produced by Devonté Hynes, Blood Orange’s non-stage name that appears heavily throughout the album. It is the subtle transitions or rather, the sudden movements that take the lifelong journey of Negro Swan into different territory. The album, which holds the keys of sixteen-total tracks is actually a twisted but beautiful display of “[My newest album is] an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color.” Not only is the album an outsider that holds its own merit on the instrumental boundary, but the album’s lyrical content is relatable and understanding of the pains of an everyday life.
With “Holy Will”, a track that describes “Lord, I just wanna be rooted and grounded in thee, Lord place me, Lord Jesus place me, I wanna be centered in thy will… Something you see and it’s all that you know to be true, something you need it’s all that I know to be true.” With the heavily string produced and soft, almost gentle ballet-esque chords, “Charcoal Baby” is a grimacing feature over the wonderful, almost angelic harmonies. “No one wants to be the odd one out at times, no one wants to be the negro swan” is described by Hynes behind the almost cracking vocal performance that moves emotional ties to the struggle of an entire country.
Blood Orange speaks to and gives a hopeful voice to the negro swans of the world, to the unable, to the looked over. His newest project Negro Swan not only becomes an investing musical venture, but becomes a social monument that proudly stands with once clipped, but now healing wings.
Listen To Negro Swan Here!!! – BandCamp/Spotify/Amazon/iTunes
STREAMING // (Video) Aminé – “REEL IT IN”
Listen/Watch Here – Youtube
Directors : Adam Aminé Daniel + Jack Begert
Producers : Sam Canter + Angel Rosa
Production Manager : Peter Da Silva
Production Coordinator : Julia Rudy
1st AD : Erik Mateo
2nd AD : Anthony Hayward
Director of Photography : Ben Mullen
1st AC : Adam Marquez
2nd AC : Graham Kennedy
Steadicam Operator : Parker Brooks
Editors : Jack Begert + Will Tooke
Sound Mixer : Darren Bell
Gaffer : Ryan Oppedisano
BBE : Adam Schaffer
Key Grip :Walter Dandy
BBG : Stephen Ji
Production Designer : Nathan Castiel
Set Dressers : Keith Boos + Sydney Marquez
Wardrobe Styling : Madisen Sowers + Sydney Levy
Makeup Artist : Julie Dinh
Makeup Assistant : Eddie Duran
Casting Director : Mill Ticket Entertainment
Car Wash Owner : Rickey Thompson
Starring : Jonathan Ressom + Yosief Berhe + Madison Stewart
Production Assistants : Case Huebel + Mark Schroeder + Kili Evans + Jonathan January + Carlos Salazar + Will Tooke + Regina Pullens
Psycho Films/AJR Films
Classic Day – The Youth’s Rise
The age of the British Invasion was as dead as disco by the time that The Clash hit the scene in 1979 with their radio-friendly, but still wonderfully crafted gift of London Calling. Through the third-studio album, The Clash was able to establish themselves as a global wrecking crew that worked to deeply root the punk overcoat with the approachable and distinct lack of genre that made London Calling one of the greatest records of all time.
While the first introduction of the self-titled track “London Calling” might appear as an establishment of the rock-heavy style of marching riffs and a screaming Joe Strummer who would also work the rhythm guitar and piano. Mick Jones who also produced the record lead the band on the guitar, piano, harmonica, and of course the vocal performances. With Paul Simonon on the bass and also star of the cover, smashing his iconic fender bass against the ground in New York. Finally, there was Topper Headon on the percussion with an all-star role of being able to control this flexing muscle of The Clash.
As London Calling begins to spread a wider wingspan and as the different influences start to flood onto the listener; it is incredibly apparent that The Clash drew from a wealth of knowledge and tried to make a real powerhouse of an album. The double record not only reaches over an hour in length, but the 19-total tracks are surprisingly never cumbersome or show any case of becoming drab. Each progression throughout London Calling acts as a treat with “Lost in the Supermarket” or “Clampdown”, two entirely different tracks with a similar backbone that shows the versatility of The Clash.
A Rulers song opens the second half of London Calling where “Wrong ‘Em Boyo” where the chorus explains, “You lie, steal, cheat and deceit in such a small, small game” as the backing vocals try in a barber quartet fashion to deliver “Don’t cha know it is wrong?”. For a track that touches such a volatile subject matter, The Clash manage to make the instrumentation become a blast that demands some movement that can replicate a sense of dancing ability. And that is the style for most of London Calling, the band is able to describe the ugliness of racial tension, classism, drug abuse, and possibly even fascism under the guise of an approachable delivery and uplifting harmonic instruments.
One of the first records that changed the way music was viewed, London Calling has forever and will forever live on for the way that The Clash was able to craft something from nothing. A craft of true love, London Calling shows craftsmanship behind the 19-track behemoth of beauty and expression.
Listen To London Calling Here!!! – Spotify/Amazon/iTunes
Misc. Day – New World Order
In the candy-coated age of desperate expressionism and unmatched styles, Guerilla Toss is a New York outfit of experimental, almost avant-garde manipulations of pop sound against the fabric of a radio-friendly gleam.
Their 2017 release, GT Ultra is as ambidextrous as it is strange. The twists and turns that the record takes through the eight-total tracks that run around a near-thirty-minutes forms an insightful journey to the new-wave-esque foundation of punk rock. Guerilla Toss is truly a virtue of adventure and with “Can I Get the Real Stuff”, a track that speeds through rapid bass lines and a vocal performance that is as cute as it is annoying. “Can I Get the Real Stuff” starts simply with a drum and bass combination that subtly includes some synthesizer work to construct a backbone and layering. Then as the work deconstructs into full chaos of warping horns and a jamming use of instrumentation, Guerilla Toss is actually quite a treat that shows real talent behind their otherworldly sound.
Bathing in the robes of experimentalism, GT Ultra is a sudden journey of oddities, but throughout is also able to show an adaptability behind the sound. “The String Game” is a piece that follows later in the midpoint of the record that is able to switch and become a graceful approach. Almost without missing a beat however, Guerilla Toss still keeps their shifted roots with off-beat percussion and some synth heavy pieces that is able to transfer from track to track. Whether a slow, lumbering beast or the rapid attack; Guerilla Toss somehow manages to keep their name relevant throughout GT Ultra. The record feels as a destructive beast of burden that is able to smash and destroy, but there is some sense of awe-inspiring ability behind their moves as well.
With the rolling thunder that follows of “Skull Pop” in the way that the percussion becomes the main staple of the song and the quick, almost reckless nature is a perfect product coming from Guerilla Toss. Every mix of their art-rock sound feels unfamiliar and exciting around every turn. From the first introductions to the final moments, there is something special about that spacious gallery that holds GT Ultra. Their playing ability and the sci-fi sound fits a rare breed of expression in the music lines of genre.
They do not fit in, and that is the point of GT Ultra. It is their brightest work and has a manipulative factor behind the record that brings Guerilla Toss to a new frontier. Rather than pioneers in the cult following or the main stage of New York, the sound is original and needed more than ever in an age of strange.
Listen To GT Ultra Here!!! – BandCamp/Spotify/Amazon/iTunes
New Music – Vulgar Display of Sour
Comethazine is one of the rising skating, rapping, rhyming, prolific displays of the Los Angeles hip-hop scene. With the vocal energy and performance, Comethazine quickly grabs the listener and pulls them through a circus of fast cars, burning globes, and Demi Lovato.
His newest singles started to gain some traction and a high anticipation came with the announcement of his project, Bawskee. A reference to his collective, Comethazine already had an A-list of features and production that stemmed back into his own persona. He was a joy to hear and added this hardcore element to the current state of an already in-your-face attitude of music.
As Bawskee begins to form with “Walk”, the structure of Comethazine’s style is on the forefront with booming 808’s and a shattering synth that moves in a crescendo-ing, almost ethereal state. “I walk around like that nigga, finger on the trigger, if a nigga want some smoke I let the choppa eat his liver,” is thrown as the chorus of the track and the minute and 36-second obliteration attacks as a driving force behind the Bawskee tape. More than half of the tracks on Bawskee are less than two-minutes long, forcing an assault of search-and-destroy tactics to form from Comethazine.
Charming as ever on Bawskee, Comethazine explains behind a twisted, almost fractured lens, “I go koo-koo I go dummy, lean up in my tummy…And my wrist is frozen, need to throw it in the oven. Yes I took your bitch to my crib, no discussion.” To then the ultra, hypersensitive punch of “Blicky” where Comethazine is a raging animal as he screams “Blicky, Blicky, Bitch I keep my blicky” as a rampage and true inferno of 808’s and rattling hi-hats spazz on the track. It is one of the heavier tracks on the tape and works as a performance piece.
A vulgar display of true sour ability, Comethazine leaps in an unapologetic advancement in what could be called one of the better releases of his career. A full length release that correctly captures his essence and the ultimate direction of his music. Destructive, energetic, and ultimately a great way to stir the pot of the nearly genre-less direction in music. Bawskee hops in a coupe, speeds off with middle fingers blaring as Comethazine is behind the wheel.
Listen To Bawskee Here!!! – Soundcloud/Spotify/Amazon/iTunes
STREAMING // (Video) WETEMUH – “STARBURST”
Listen/Watch Here – Youtube
Produced by @beatbyjeff
Shot by @beatbyjeff
Video Edits @waterwippinevan, @evijanjohn, @raibred
THIS IS A LIST OF THE MOST RECENT STREAMS...
The complete list of all past streams can be accessed here as well
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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
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