New Music – Welcome To The Errorzone
Somewhere between the broken bones and striped flesh lays the Boston hardcore trailblazers, Vein. As a turning point in some of the gritty and ugliness of Massachusetts hardcore, Vein comes protruding with a foreground attack on the listener. Without much resistance, there is nothing but ashes in their newest display of destruction, Errorzone.
Between the constant touring, rising obliteration, and shifting battlegrounds of war; Vein is a consistent threat in the age of hardcore. Well known for their ability to perform on stages both large and small in stature, Vein moves in “virus://vibrance” where Vein is able out-perform in just mere seconds. Their sound that feels industrial but has a common mix of instrumental and sudden switches that forms a sheet of ice for the music to glide over. As the percussion begins these cut-aways of different rhythm punches and the cracking lines of breakdowns through ripping guitars and vocals that pierce through the overlay. There is a real sense of depth and flow behind the tightly wrapped package that lives under the name of Vein.
In Errorzone, there is a gaping variety of sounds introduced that begin to refine the fresh authenticity of true anger behind a sound. Vein becomes this overarching embodiment of flying fists and kicks as the listener tries to crawl out of the pits of despair that is laid out before them. With these mixes of industrial ringing of sirens or alarm-esque sampling, there is something that sparks that smile behind the madness with the rough cuts and even rougher stance.
“Anesthesia” is a track that carries that sudden attack as the lyrics of “Day in, day out” are repeated as the sound slowly engulfs the listener in this black cloud of overarching hell. Not only is the band’s ability unmatched in a sense of being a stomping force, but Vein is held down by years of experience in the hardcore scene. As they begin to experiment and shift their musical direction, some sense of rebirth is formed. As they have shown in previous releases, Errorzone delivers on creating something that is both familiar and groundbreaking for the band. Somehow there are these methods that becomes true behind every Vein record. There will always be certain elements that make the record feel as a continuation of Vein’s sound, but ultimately with each release the band becomes tighter and more efficient.
Displayed on the track “Untitled”, Vein is able to show real hardcore prowess in just a minute’s time. As the multiple shifts of guitars become punches through the record, “Untitled” holds these rugged slices that can ultimately puncture through and illustrate a two-sided coin to Vein. At on stance, Vein is brutal and shows little mercy with the constantly damaging elements of hardcore. In other moments, Vein holds this togetherness that proves to be beautiful in a twisted and cognitive sense.
Errorzone is the aggressive monster that is needed to showcase the uglier side of music. The real Boston punch that we all need in the progressive plunge into a more hardcore sound.
Listen To Errorzone Here!!! – BandCamp/Spotify/Amazon/iTunes
Classic Day – Under The Cover of Shadows
A step to the atmospheric shadows and “Furniture Music” as once described by composter Erik Satie turned out to be one of the largest spins in the career of music history. Brian Eno who was known professionally at the time of just Eno, began mixing and experimenting with the subtly and blending of creating atmosphere and generally beautiful backing sound that became heard through the bright colors that protruded.
Discreet Music jumped and took an indirect approach to producing, and being a golden standard in artist expression. Relying on the patterns and rhythms that invoke movement, instead inspire emotional attachment to the sound; Eno takes and delivers on his fourth studio record. As the first self-titled track “Discreet Music” takes the over thirty-minute plunge into freeform freedom, there is something that becomes well known from the start. Discreet Music will take entirely different directional strides from Eno’s previous work and begin a start into a new shell of resonance.
Delivering through the cascading strings and synthesizer, Eno contains these level of self-preservation through Discreet Music. He never really stands himself in the foreground and instead lets the music be the backing bones of the record. The imaginary picture that the performance paints is the true centerfold of the record as it invokes these vivid images of grand landscapes and overwhelming proportions. Eno’s work may seem in a modern sense something that is unknown as a common name, but at the time with his work that would inspire the likes of David Bowie and millions of artists to come; his name was more than influential in the span of history.
With a track that reaches a total of 31-minutes and 35-seconds, there is a vast amount of ground to cover between the abstract masterpiece. With the way that Eno manipulates the sound and works with conductor Gavin Bryars who arranged the entire second half with his Cockpit Ensemble, there is a method of engagement that Eno had behind this sound. The first half is covered by one single track that is handled entirely by Eno and his own production. The mantle is then shifted as Bryars begins to conduct the direction and overarching flow of Side B.
Discreet Music is a record that works best for being the background sound with very little pushed to the front. It never portrays a dominance over the listener as the immaculate sound instead decides to rely heavily on the atmosphere surrounding the music. By dinner party, elevator, or headphones, there is something almost calming that steps from Eno’s untarnished wonderland of sound and vision.
Listen To Discreet Music Here!!! – Spotify/Amazon/iTunes
Misc. Day – Desolate Cloud
From the incredibly weighted and daunting opening as the crush of sound blitzes the listener, Indian comes attacking on all fronts of harsh, almost industrial sound. With their full-length assault From All Purity, it is clear that they have little to no remorse for anyone who stands in their way.
With an opening track simply titled “Rape”, an eight-minute barrage of bombarding percussive punches from Bill Bumgardner. The bass from Ron DeFries that shakes and vibrates the room with such a tenacity that the foundation feels as though it will collapse. And the hurtful on the ears vocal outputs from both Dylan O’Toole and Will Lindsay who also control the guitars on From All Purity.
It is with this overbearing sensibility that there comes a real attachment to the ugliness and pain behind music. “Rape” is highly emotional and has these aspects of almost broken backgrounds where the sudden walls of sound begin to fade and only the percussion is left to pick up the pieces. Indian creates this mental anguish behind their sound that begins to break and pound the sound onto the listener. It instills this weight of a billion tons that by the end of From All Purity, the level of relief that washes over feels earned and justified.
There is a lot of hurt that follows and creates this reality check of incoming danger to the listener. It was one of the first albums to recently be able to not just capture and almost trap the tight sound, but to also air the sound out and show two entirely different sides of a coin. At one point, Indian is almost melodic as they continue on with “The Impetus Bleeds” where the guitars and bass start to form a coherent rhythm section. That cohesion then suddenly combusts into flames as Indian destroys any sense of approachability.
From All Purity burns and it burns with a heat of a thousand suns that can be felt through the entire near 40-minute journey. With an unrelenting force that never seems to fold, Indian has a sound that can only be described as something to wound, a sound that can only be felt and not quite heard. From the first contact Indian touches the listener and starts to really form a crushing blow that eventually comes in the form of an inevitable silence.
They move through the crowd as a plague, shocking and tormenting as they please. Indian is not for the faint of heart, and certainly not for the faint of the ears either.
Listen To From All Purity Here!!! – BandCamp/Spotify/Amazon/iTunes
TODAY’S GONNA BE MINE WHARF PARTY
WE GO TIL WE GET SHUT DOWN…
JUST GOOGLE THE LOCATION…
YOU WILL BE ABLE TO HEAR US
New Music – The Gentle Crush
Through a broken reflection of glare, Midas Fall comes slithering in with a new approach to atmospheric and pop style. With progressive chords that reign through the backing of the ten-total tracks, there is something almost reminiscent within Evaporate.The sound invokes a sense of emotional attachment to the clean, almost polished sense of broken instrumentals and chilling vocals.
Delivering in a dual system of both synthetic and authentic pieces of a working puzzle, Midas Fall creates some elements of carving sound. In a distinct use of the vocal aspect coming from Elizabeth Heaton, there is a level of personal touch to her sound. The way that she can effortlessly ride her voice over the electronic mix of synthetic percussion and rattling hi-hats from Olafur Arnalds that never truly becomes anything assaulting, but are instead daunting. It is a pure mix showcased on Evaporate that truly moves in with the opening track, “Bruise Pusher”.
Where harsh noise and walls of sound are the method behind other bands, Midas Fall instead takes the duo into a more palatable and gentle area of building and falling that simultaneously is able to invite the listener into this atmospheric wonderland.
In a similar fashion however, Midas fall also shows their cards pretty quickly and does not leave any new tricks to be discovered through each listen. They are consistent, which makes Evaporate still feel exciting through the first few rounds. Eventually this causes the tracks to start to bleed together and ultimately feel as one single continuous progressive piece that shows some overlap on individual tracks. Midas fall takes the consistency and does it incredibly well however as the instrumentation and production is tight, but surrounded by a vacuum of air that makes everything have some space behind it.
The atmospheric quality and the overall sound is what brings Evaporate into a consecutive journey that ultimately brings a similar level of energy throughout the entire mix. While the band does not make any leaps of faith on the sound, the real treasure comes from just how well they can manipulate the sound to fit their style. They become recognizable as they have these tribal-esque drums and screeching aspects as the beauty of the vocals rain over.
Delivered well on “Dust And Bone”, there is this glory behind the sound that coincides within the ugliness of the suddenly writhing strings. As the low-tuned percussion starts to boom and bang along, there is something special here. It is a track that sticks out for the ability to shift momentum from the gentle upbringing into the fire of sound and emotion.
As the listener begins to adapt to the sound and really get a grasp on exactly what Midas Fall are doing with Evaporate, they suddenly drop off into the inevitable silence that overtakes the listener in an undertow of wonder.
Listen To Evaporate Here!!! – Soundcloud
STREAMING // (Album) Code Orange – “The Hurt Will Go On”
THE NEW REALITY STARTS WITH YOU… AND IT REALLY HURTS
// Listen Here – RoadRunner Records Direct Link
Classic Day – Ashes of Insanity
From the dawn of time, Man has had an animalistic instinct about him. The power to hurt, the power to kill, and the power to ultimately destroy. Man has also possessed the power to rise, influence, and create. In one of the strangest experimental albums ever created by punk rock vocalist and spoken-word writer, Henry Rollins.
Rollins who was known for his ability to capture an audience, and with a will that never seemed to break; Rollins was an inspiration to just about any punk rock fan in the 1980’s. As Rollins began to break away from Black Flag and start to form his own name through an experience of work, Rollins stumbled on to a new alias and access to some of the darkest and more comedic resources of the mind.
Already known for his hatred of the mainstream, Rollins took a stance with his precursor to Rollins Band with a short, 19-minute mix of spoken word and instrumentation that works to makes for one of the more memorable journeys of his career. As the title song suggests “Drive by Shooting”, there is something off about Rollins’ style here. It is something that has been off about his entire career and the process of shifting the listener to automatically pick up their ears and listen to what he has to say.
In a Beach Boys styled grand opening, Henrietta Collins and the Wifebeating Childhaters begin Drive By Shootingwith a staged interview where Rollins speaks about his newest tour in Leeds, mocking the Ed Sullivan days of music television. “We’re gonna get in our car and go-go-go, We’re gonna drive to a neighborhood and kill someone we don’t know… We’re going to go out killing that’s what we’re gonna do. It might be your sister or it might be you” Rollins calmly explains behind the 60’s pop-rock anthem instrumentation. It is a twisted look into the extension of Rollins’ creative output.
With Chris Haskett on the guitar, Bernie Wandel on the bass, and Mick Green on the percussion, (all of which who have been present in Rollins Band releases in the future) there was a real chemistry behind the band and they worked well in the post-punk-rock world. With angry glares and cynical grins, Henrietta Collins And The Wifebeating Childhaters was a low-key display of musical athleticism and framework that would spawn one of the hardest working bands in Rock N Roll history.
On some of the later portions of Drive By Shooting, there is more than enough genre blending and noise to keep the listener interested in what would happen next. It is some of the wildest transitional blends of poetry and work and is shown well on “Men Are Pigs”. Rollins takes the heavy, sensual breathing as he explains the act of oral sex and then cutting off the partner’s dick.
It is Henry Rollins and his artistic vision takes the listener to some unorthodox places but in all honesty, that is the best part about him. He is a wild rise and fall of movement through barriers that consistently shift and break. They mold then fold, and Drive By Shootingis one of the better showcases of this outrageous style working out well.
Listen To Drive By Shooting Here!!! – There are no official links to this album… Just google it…
Misc. Day – Perfect Imperfections
In a mass grave of all the high school drama, the cliques, the frantic ability to fit into a single mold, the Slow Hollows break formation to bring an incredibly deep sophomore release that has weight behind it. Atelophobiais the fear of being not good enough, which is where the “art school kids” in Slow Hollows storyline starts to take place. The expression that is drawn from the first moments shake the walls in a summer time drive of cascades and rises until the final climax.
With the hopeful instrumentation that layers behind the graceful sing-along vocals; there is something progressive to Slow Hollows. They are not the attacking force of punk rock, but not quite the sullen style of heartbroken rock, they lie somewhere where the basement house shows and the small stages of local clubs’ reign. A sound that is synonymous with the college and the reverb heavy touches of distortion.
Atelophobia has this overarching bedroom rock style that has a somewhat lo-fi quality and the ability to shift the mood into entirely different sections within the same track. “Dark Comedy” is in a way a rollercoaster as it has the rising action and falling wave, but the way that Slow Hollows can shape each into one path makes their sound act more as a journey. With vocalist and guitarist Austin Feinstein and other guitarist Dylan Thinnes, there is this motion that coincides between Bassist Jamie Atkinson and percussionist Nick Santana that forms the backing rhythm section that veers from the frontal work of the guitars. The forming string section takes the backbone of the bass and starts to twist it, almost contorting it to fit other sense and creating a flood of sound.
As Slow Hollows sound starts to become recognizable and the listener adapts to it, there is then the sudden switch up on the track “Condition” where everything becomes slowed and exaggerated. The snare and hi-hat have these quarter-note triplets that overtake the listener and force them to shake their head as they band synchs up together. It takes the band through a similar sound, but 180-degree flip into this unknown territory. The passion and emotional attachment that Slow Hollows shows behind their sound can be felt through each motion as the band plays together. Somehow there is this sound that feels familiar, but one that also takes motions and dives in multiple directions to create something fruitful.
On one of the stand out tracks “Nerves”, there is a destructive nature of being relinquishing towards the rule books and the barriers that are placed. “How does it feel to be alone every night?… How does it feel to be ashamed every time? I’m not trying to fight, I’m not trying to say one or the other. But it’s better this way, make it okay. So go along and break the rules, cause it’s easiest to say it’s true” Feinstein explains through a sunken sense of instrumentation and heartfelt performance.
Atelophobia has a passion behind it. The metric-ton of love, emotion, and ability behind the sophomore release still has a sense of beauty and authenticity. The way that Slow Hollows synch up and forms a true backbone behind one of the more gorgeous styles of sound is something that makes their second record feel special every time.
Listen To Atelophobia Here!!! – BandCamp/Spotify/Amazon/iTunes
New Music – Sinking
Through a gleaming gloss, Sudan Archives arrives with the second project being released under Stones Throw Records. It is a mix of plucking violin strings, a grinding motion of percussive instrumentals, and a silky voice to match; Sink is an 18-minute journey of clean production and heavenly style.
From the first moments of the clamoring chimes that suddenly transition to the shifting bass and warped sense of frame, Sudan Archives takes opens a solid tone that follows throughout the rest of Sink. The self-titled track holds a simplicity factor that makes it approachable as a first impression, but with the deeper layering of synth chords and the bass that eventually starts to flood the atmosphere; “Sink” becomes this opening of the glimmering gates.
“Don’t let me down, just let me drown” Archive explains through this reverbed, almost dream-state where the instrumentation starts to rise her voice up to the foreground. The spotlight and attention is on her voice as the incredibly crisp production starts to fade to the silence that transitions into the following track, “Nont For Sale”.
This is where Archives starts to showcase her ability to create these instrumentals with violins and use different experimentation behind the progression of her sound. In a continuous cycle, Sinkalways wraps around and follows in a pop heavy balance of approachable tracks that have some sort of variation to the mix. Whether changing the way her voice is manipulated to fit a broken mold, the way that the instrumentation flows in tandem to her style, or how Sink just simply rolls through in these quick motions. There is something special behind Sudan Archives’ Sink.
Shown well on the track, “Mind Control” where Archives takes a slowed, more relaxed and sensual approach to her vocals and instrumentation. The down-tempo production starts to reflect some of the more beautiful moments on Sink where the music is the main focus as the vocals start to act more as a background element. The shine is still present throughout Sink, but on “Mind Control” it is less focused and seems more of a simple melody that eventually swallows Archives in the final silence.
Sink is simply gorgeous at times, but it also has a short run time with six total tracks that definitely has some room for more content. It is a quick getaway from the barriers of standard sound and an experiment in creating a shifting background sound.
Listen To Sink Here!!! – BandCamp/Spotify/Amazon/iTunes
Classic Day – Grapes of Wrath
1999 on the brink of insanity; through the Y2K fog and soon terror attacks on America, there was a clairvoyance in a single poet’s voice. Mos Def was a rising power in hip-hop after his project with Talib Kweli on Mos Def & Talib Kweli Are Black Star just a year earlier. All eyes were starting to shift on Mos Def for his newest project that would use primarily live instrumentation and release some of the most recognizable tracks in history on a single project.
Black On Both Sides was a social commentary on the consciousness of an American moving through a solo debut-record release in a corporate world. It took the street-level approach with tracks “Hip Hop”, “Ms. Fat Booty” and “UMI Says” that felt instantly comfortable and a reflection of the variation that Mos Def contained. There was something that just clicked on each approaching track and something that really connected a common flow with each incoming movement. As Mos Def dances through the vibrations of boom-bap percussion of “Hip Hop”, or as he creates the chant behind the broken marry-go-round of “Speed Law”. Black On Both Sides holds this ever-pressing sensibility that can still touch into the influential and experimental in a modern age.
Mos Def uses an arrangement of synths, electronic keys, samples, percussion, and vocal overlays to deliver on “Got”. A conflicting track that has these dark valleys of robotic valves and synthetic openings, but also shows a lighter side on the chorus. “Don’t Get me, Don’t Get Me, Don’t Get-Ga-Get-Ga-Get Get Me” Mos Def cheerfully explains as the sunny chord progression reigns these rays of light onto the track. Mos Def then takes a quick nose dive into the darker style as he opens a more conscious level of delivery, describing, “Cause while the goods glisten, certain eyes take position. To observe your trickin’, then catch that ass slipping. Like, come on now ock, what you expect? Got a month’s paycheck danglin’ off your neck.” It feels real and personal coming from Mos Def as he then moves into the Stevie Wonder styled, “UMI Says”.
With an electronic keyboard playing the main melody, Def uses a soft-spoken voice to create the lyrical output that illustrates his flaws. “I ain’t no perfect man. I’m trying to do the best that I can, with what it is I have… I hope you feel me, from where I am to wherever you are. I mean that sincerely, tomorrow may never come,” as Mos Def sounds almost reminiscent and ultimately influential. It is one of the better musical displays on Black On Both Sides to the point that the musical progression can bring emotional outbursts in the form of tears.
On one of the most impactful moving parts of the record, Mos Def transitions into “Rock N Roll” which features a punk rock instrumental progression that catches the listener off-guard and throws them into a whirlwind of blitzing percussion and rummaging guitars. It is a sudden movement that punches through the hip-hop sound and completely throws Black On Both Sides through a period that is sublime, but also frantic.
The unexpected nature as the first track is more of a spoken word illustration of Mos Def as he explains his appreciation for black musicians in history before finally attacking with “You may dig on the Rolling Stones, but everything they did they stole. Elvis Presley ain’t got no soul, Bo Diddley is Rock N Roll.”
With an iconic cover art, a style that is even more revolutionary, and a lasting impression that spans over 17-total tracks, there is something special about Black On Both Sides. Something that reflects with the ear for hip-hop, the genre-morphing ability, and the love for music.
Listen To Black On Both Sides Here!!! – Spotify/Amazon/iTunes
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”
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(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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