STREAMING // (Video) Caleb Coradi – “Keep Holding On (Prod. By Qreamybeats)”
BEAT CHOPPA // Listen/Watch Here – Youtube
Classic Day – Young Americans
David Bowie is a performer that has tapped into the styling of glam rock, jazz, soul, and theatre; the jack-of-all-trades that can write himself into hundreds of different personas that faze in and out of the physical world. From the “Thin White Duke”, “Ziggy Stardust”, “The Chameleon of Rock”, or just simply “David Bowie”, he was able to perform to an audience of all that found his lovable charm and incredible talent a present focus on all of his work. He would design without limits, and his ninth-studio record, Young Americans is a break away from his glam rock glory days for instead a turn into the more soulful use of slower, more paced tracks.
He begins the soulful journey with the self-titled “Young Americans”, a track that delves heavily into saxophone and background vocals to illustrate a more funk focused rendition of Bowie’s America. David Sanborn worked with Bowie to bring together the constant saxophone and backing vocal banter that is consistently present through Young Americans. Together, the two created a memorable journey of shallow percussion, spacious horns and vocal performances, and a focus on experimentation through using the environment as an instrument. In the following track, “Win”, Bowie relies on the acoustics of the electric guitars and the reverberation of the backing vocals to create a large amount of space. “Win” is a beautiful display of string ensembles that play a wonderful mix of backing and foreground layering that works synonymously with Bowie’s classy, silk voice that transfers over the instrumental like satin.
Young Americans is a time-stamp of the 1970’s where psychedelic rock was beginning to be on the out, and more popular, almost danceable rock music was starting to come into frame. Young Americans is caught right directly in the middle, a safe-spot where Bowie can illustrate a sense of dance and pop behind his musical style, but also display a slower side that can focus more on the musical progression or on Bowie’s storytelling style of writing.
When discussing Young Americans, the conflicting style can be pointed out with “Right”, and “Somebody Up There Likes Me” as they are simultaneously, two tracks that follow each other and they both display how Bowie can transfer from a subtle, 1970’s-esque New York nightlife that paints the dirty streets of Times Square. While “Somebody Up There Likes Me” is a sunset-ridden glory track that uses uplifting saxophone and keys to illustrate a sense of beauty behind the idealistic thinking. Young Americans is a tale of gracefulness from Bowie, where he can rely on his musicians to work like fine parts of a machine that prove a sense of authenticity behind his compositions. Not only is there a fascination with the way that Bowie conducts himself outside of the studio, but being able to hear the raw, unfiltered emotion that he displays is simply breathtaking. In the final moments of Young Americans, Bowie displays “Fame”, a catchy, funk-filled track that uses bouncing guitar and a feature from John Lennon on guitar and on backing vocals. The track itself is fairly one-dimensional and feels great as a radio hit, but when compared to some of the other tracks on Young Americans, it does not compete quite as well.
Through Young Americans, Bowie is a mastermind of sound; he is able to display a true power behind the saxophones and vocals as well. Having Sanborn, a secondary pioneer musician to help Bowie helped monumentally. Without Sanborn, it would be difficult to imagine Young Americans being the incredible display that it truly is. David Bowie is the conductor, but every now and again he shows that he can use some help in creating an emotional display of glory.
Listen To Young Americans Here!!! – Spotify/Amazon/iTunes
Misc. Day – The Skeletal Zone
Mark Lanegan has been in music since releasing his first 1990 debut, The Winding Sheet, when he is not driving his own musical career; Lanegan is instead filling in for bands as a gruff, emotional vocalist that can go toe-to-toe with some of the heavyweights of vocalism. He is not just an idol to most, he is a monumental success in versatility, performing in both heavy rock bands and in soft jam bands. There is no wall between Lanegan and adaptability, which he uses to survive in the crowded world.
His pre-cursor to Bubblegum, Here Comes That Weird Chill is a collection of singles that returns his pathway of stones, opening a wide variety of memorable cuts that begins with “Methamphetamine Blues”. A sullen and metallic pounding that illustrates the setting for Lanegan as he begins to fill the space with raging guitars, crashing cymbals, and a lo-fidelity style that is now iconic with his musical personality. He plays a villain as the guitars shriek behind him like a mad scientist of sound, conducting the hellish noises into manageable portions that separate him far enough in the left-field to become an exciting, and unpredictable project. He moves in entirely different directions with each track, making an octopus of eight total tracks of pure, unfiltered ability.
Even in the earliest moments with the following, “On The Steps Of The Cathedral” where Mark Lanegan is able to provide a slight interlude with the looping and overlaying of multiple layers of his own voice repeating biblical nursery rhymes. The production is mostly a grimy, dirt-soaked use of pounding percussion that echoes and strings that cut like knives. There are moments of pure bliss as “Message To Mine” comes like a garage-rock anthem of fuzzy amplifications that portray the sound as a beautiful, but still dirty cover for a church hymn. Lanegan’s conductive strategy and the way that he can constrict the space on Here Comes That Weird Chill is fantastic; almost to the point where the instruments come alive and act as their own separate entity.
Lanegan has always managed to bring a light behind his darkness as he shifts from in multiple patterns of going from the soft, well-spoken sounds of “Lexington Slow Down” where Lanegan and a piano are the focal points of the track. The depressed lyrical style, “They say a chariot’s waiting when you get cut loose, the place start swinging when it’s me on the noose” aids Lanegan as his musical progression can be incredibly dead and lifeless. Then, as Lanegan shifts gears into “Skeletal History”, he uses the hand of Josh Homme and Nick Oliveri to create multiple sections that collide together to create a stand-offish illustration of a dystopia of personal recollection. Through the guided efforts, Lanegan finds ways to find a proper ending of making the listener beg for more as he shuffles back into the darkness with “Sleep With Me”.
An electrical send-off that uses an emotional display of Lanegan’s beautifully crafted writing and the use of wailing production that boosts his style to an impossibly sufficient level. He not only illustrates a personal darkness behind his musical ability, but he makes beauty behind the music as well. Lanegan can change topics, styles, and even his borders, but Lanegan will always be a dead king.
Listen To Here Comes That Weird Chill Here!!! – Spotify/iTunes
WEEK OF $UICIDE PT. II – DAY FIVE
Heaven’s Gates
The final destination, the last stop for the $UICIDEBOY$ for the $uicidal $agas even as they most likely have ten more albums arriving before the end of 2017. KILL YOURSELF PART XX: THE INFINITY SAGA is the rawest, most audacious, freefall of a descent into the afterlife. As the title suggests, along with the cover art of a Heaven’s Gate’s aftermath of a mass suicide; it is clear that $UICIDEBOY$ are putting their cards out on the table, unleashing the firestorms of head-hitting production and lyrical fury.
With KILL YOURSELF PART XX: THE INFINITY SAGA, $UICIDEBOY$ hold no bars on their aggression as they begin with “FOR THE LAST TIME”, a surprisingly bouncing style of instrumental mixed with devious verses that strike cold fear as they describe simply hellish settings of hopeless futures. $crim cuts “FOR THE LAST TIME” wide open as he describes, “Stay in the cut on the Northside, Hollow points, trigger fingers on my fucking .45, demons rising out the crypt”. $crim then later begins to say, “Xanax for the panic, mental problems you can add in. Multi-million owned business, you just signed a deal, bruh? Three years passed, still broke? And you ain’t paid up”. As Ruby then shines with his outsider charm, “Ruby such a misfit, Hollywood Babylon can’t resist it.” The two $UICIDEBOY$ are a perfect pair that could not survive without the other. With the production and verses being handled together, $UICIDEBOY$ are a serious threat both on and off the microphone.
As they begin to move onto the mid-mark with “I HUNG MYSELF FOR A PERSONA”, Ruby decides to open with a verse that is similar to a whisper over an instrumental that includes Kill Bill-esque siren wails, ringing phones, and even a police siren that segues $crim into the track with a second verse. When $crim is able to rhyme “Chopper city, dead bodies, alligators, disembodied” as the snarl and hiss of alligators cut through the beat like razor teeth, it creates a feeling of bliss. It is completely contradictory, but $UICIDEBOY$ finally let the flood gates down and a hurricane of verses that work cleverly shine through. Even in the ugliest portions of music, $UICIDEBOY$ can illustrate a sense of true mastery behind their craft.
With something that is the musical styling of The Texas Chainsaw Massacre, $UICIDEBOY$ put all the last haymakers into “NOW I’M UP TO MY NECK IN OFFERS”. A track that has no limits behind it, the production is like a hammer that strikes down with church organs, clacking hi-hats, and shouts of ad-libs that create a true hell on a track. $crim delivers a masterful opening verse where he is snide, similar in fashion to Mr. Hyde, describing, “No more, I got cash, cash, cash, and cars and broads, hit that seven figure mark without an A&R.” Ruby then jumps right in with barely any segue, “Probably cop a script of Roxy’s, Oddy kinda sloppy. Got me dodging all these bodies, body bag ‘em in the lobby”. The sincere style of dead-to-rights verses that $UICIDEBOY$ deliver is the final nail in the coffin.
From all five $agas, KILL YOURSELF PART XX: THE INFINITY SAGA is by most means the most violent and destructive of all. The production smacks as the 808’s crumble up and explode around the pianos, samples, and insane vocal performances by both $crim and Ruby. $UICIDEBOY$ have given enough music to be retired, but still they persist. What ever they have in store for the future, they know $UICIDEBOY$ will forever live on as one of the heads of rap music.
Listen To KILL YOURSELF PART XX: THE INFINITY SAGA Here!!! – Soundcloud
STREAMING // (Track) Bill Waves – “Daffodil (Feat. Tommy)”
Prod. By: Moe The Natural // Listen Here – Soundcloud
WEEK OF $UICIDE PT. II – DAY FOUR
Wade In The Water
Winding down into the final stretches of the $agas, Ruby and $crim waste no time in creating a home to the misfits as their style is odd, somewhat a musical equivalent to a cult would use as sacrificing tools. While this is semi-cliché, it fits well as a description of who the $UICIDEBOY$ conduct themselves to be. With the fourth installment of the five part $aga, KILL YOURSELF PART XIX: THE DEEP END SAGA is now the last train that boards for the eternal end.
The first impressions are standoffish and $UICIDEBOY$ act softly with “LEAVE ME ALONE”, an oil-lit production and creeping style of vocal lyricism that leads into one of the stronger moments of the $uicidal $agas. Through $crim’s simple, but effective, “Fuck Everybody” in solidarity, the track can breathe and get a first step into the shadowy world $UICIDEBOY$ paint in their first moments. The instrumental is not in full-force and does not attack, so much as it plays a resilient, more reserved chess game with the listener as it draws them in, and then attacks with the following track, “FAILURE BY DESIGN”.
Both Ruby and $crim have a sinister amount of detail behind their verses here, where Ruby first begins, “Ruby full throttle, toolie no condom. Bust it back and watch my brains splat on the column, dollars got me honest. Honestly without a prophet”. This is then the sudden catalyst for $crim, or $lick $loth to explain, “Sixth sense Deathwish, laughing at these fucking threats. Slick the one to ask you what you gon’ do?”. $crim is aggressive, and has blood in his throat as he spits his verse. Even as the synthesizers burst behind him in a robotic fashion; Ruby and $crim become authentic lyrical machines that can hold their own and continue to come up with unique verses through the hundreds of tracks they have.
As they move to the final moments of KILL YOURSELF PART XIX: THE DEEP END SAGA, “INTROVERSION 2.0” comes flying in with horrific screams that lead both $crim and Ruby down the corridor of eventual deafening silence. The production has a vaporwave style that contains these cascading synthesizers, rattling hi-hats, and a focus on the sampling that makes “INTROVERSION 2.0” become a sullen, but welcoming send off into the unknown.
The near-final nail in the coffin as $UICIDEBOY$ move on to one of the more deranged $agas tomorrow, THE KILL YOURSELF PART XIX: THE DEEP END SAGA is a transitioning piece that not only displays the shifting style, but does it surprisingly well. $crim and Ruby are on the fast track to hell, and tomorrow is when the sun sets.
Listen To KILL YOURSELF PART XIX: THE DEEP END SAGA Here!!! – Soundcloud
STREAMING // (Video) The Bronx – “Two Birds”
Welcome home // Listen/Watch Here – Youtube
WEEK OF $UICIDE PT. II – DAY THREE
Broken Brass
Part three of a five-day binge includes, KILL YOURSELF PART XVIII: THE FALL OF IDOLS SAGA; the third installment of the devilish $uicidal $agas. Ruby and $crim become a much more aggressive with PART XVIII, almost reaching full machine gun-esque screams as the fire and fury comes crashing in full effect.
From the blood-stained cover art to dark, foreboding clouds of “I AM THE APOCALYPSE” where both $UICIDEBOY$ become moving parts of a three-piece puzzle of hardcore lyricism and production that relies on the occult styling of satanic imagery and and true villainy. Where the other $agas were introductions to the madness, KILL YOURSELF PART XVIII: THE FALL OF IDOLS SAGA is the first that truly adopts the sinful nature and devious fun that the $UICIDEBOY$ have become naturals at. The moments of ripping percussive hits and screaming ad-libs in the background that $crim uses to only further carry his voice, increase the mood to new heights. He acts as his own hype man, explaining through his first verse, “Fate laid out no changing it, found my peace, accept it. That I am my own apocalypse”. Ruby Da Cherry then moves to launch after a short interlude where the beat repeats, shouting straight from his chest, “Digital villain, the sin of the internet. Your Wi-Fi password is incorrect throw up the set. G59 in full effect”. Ruby and $crim seem to be more focused on taking the slower instrumental pathway, but delivering faster styled verses. It conflicts, as does most of $UICIDEBOY$ works, but only aids in the delivery of the final product.
As they then move on to “GOODBYE”, $crim busts the track wide open with a suicidal verse that describes, “I got the gun to my head, soaked in that bloody red. I’m coming out of my body, I can’t let go of the shotty”. The distant screams of agony and the near dog barks that are both sampled and expressed by $crim, as well as the distorted vocal choir that creates the backing layer is a fantastic ship that carries the $UICIDEBOY$ to the eternal darkness in which they thrive. It is truly the final track however, “FROM THE BEGINNING OF TIME UNTIL THE END OF TIME” is where $UICIDEBOY$ shine their brightest as both the verses and samples chosen completely create one of the best tracks from the $uicidal $agas.
The gospel that Ruby raps over on the first beat is intimidating and fits well with his abrasive style of screams and cheers. He mixes biblical imagery and exclaims, “Rip out a piece of my rib and give it to a bitch… I am the one they call Plague who will never escape, will forever remain, the Omega, the Alpha, The Chosen one sent here to reign”. $crim then uses a sample that describes, “Thanks, Tom. Police are requesting that if you see this little eight-year old boy, you immediately kill him and burn his body. That’s all for now”. $crim immediately dives head first into the stumbling production where he creepily whispers, “Leave them bodies where they lay, let they mother cry and pray”. Without the sample included from the interlude between verses, “FROM THE BEGINNING OF TIME UNTIL THE END OF TIME” would simply not be able to have the same amount of impact.
The sheer comedic force and horrible nature that $UICIDEBOY$ constantly tight-rope between is a line of excellence. KILL YOURSELF PART XVIII: THE FALL OF IDOLS SAGA is by no means their best project, but it does tease the listener with a much heavier style than the past two $agas. In a fight for survival, $UICIDEBOY$ next two $agas stand out for their completely destructive style, and for the way that they can destroy versatile production with ease.
Listen To KILL YOURSELF PART XVIII: THE FALL OF IDOLS SAGA Here!!! – Soundcloud
STREAMING // (Track) DOOM – “07. Notebook 06”
MASKED MAN // Listen Here – Adult Swim
WEEK OF $UICIDE PT. II – DAY TWO
Kill Your Neighbors
Continuing the messages of death that $UICIDEBOY$ have handed out so effortlessly; KILL YOURSELF PART XVII: THE SUBURBAN SACRIFICE SAGA comes stumbling in with three, firecracker tracks of deadly intent. The hellish nature of the 808 percussion that is littered through the seventeenth-$aga lets behind a more aggressive standard than its predecessor.
Ruby and $crim come like full hyenas toward prey as they move quickly, manically, and without mercy. As the first cut, “LAMAR AVENUE” launches into frame, it is instantly apparent that $UICIDEBOY$ will put all their focus into creating three burning, straight-forward sucker-punches with a heavy lyrical focus on the otherworldly style that made them so famous. Ruby explains, “Material world, using diamonds and pearls as a means of self worth when I could die tomorrow, Return to the Earth, suicidal since birth. Fuck a leader, I follow the promise of dirt”. In a miraculous recovery, $UICIDEBOY$ transition into “SECOND LINES COME WITH BROKEN SOULS”, a more dramatic release from both Ruby and $crim.
As a carousel of broken sound slowly rises, $crim becomes a catalyst for the rapidly tapping hi-hat clasp that provides the rhythm of “SECOND LINES COME WITH BROKEN SOULS”. The rest of the production features snare slaps and a bass that contains both 808’s and authentic styled percussive traits. The track soon becomes almost operatic as Ruby delivers an entirely screamed verse as he raises the pitch on his voice and sounds similar to a fallen angel. He illustrates a verse that transitions well from $crim’s, but ultimately, this track is a little unforgettable when compared to the rest of the 14 other tracks present on the $aga’s triplets.
Finally, $UICIDEBOY$ bring “FACE IT” and while the longest track on KILL YOURSELF PART XVII: THE SUBURBAN SACRIFICE SAGA, it is the most well-rounded of the featured tracks on the entire saga. The beat is memorable and stands out for the way it can exist dualistically with the warped pianos and still have moments of beauty where the instrumental clashes well with the verses. It is a classic $UICIDEBOY$ formula of sampled gold, a cutting edge beat, and verses that are powerful enough to stand as poetry. Ruby has especially interesting lines as he describes, “Got your bitch besides my coffin, yeah I call her Juliet. Told her not to weep, just make sure that you fix my fucking neck…”. It is sadistic, but still inviting as it reminds fans of the sounds that $UICIDEBOY$ used to adapt to.
The new style is welcome and the always-changing interface of $UICIDEBOY$ keeps their music fresh and interesting with each release. From the what seems like hundreds of releases over the past few years, $UICIDEBOY$ have a reason to be here and set a picture perfect example of exactly how artists give back to their fans and still make outstanding content consistently.
Listen To KILL YOURSELF PART XVII: THE SUBURBAN SACRIFICE SAGA Here!!! – Soundcloud
STREAMING // (Album) Juicy J – “Highly Intoxicated”
JUICY // Listen Here – DatPiff
STREAMING // (Video) Young Nudy – “Judge Scott Convicted”
Slime // Listen/Watch Here – Youtube
WEEK OF $UICIDE PT. II – DAY ONE
The Shadowed Future
$UICIDEBOY$ are a rap duo from New Orleans that have been receiving mainstream attention for their horror movie-esque lyrics and even more frightening production. The tornado tag-team of cousins, both Ruby and $crim come in full force as a conveyor belt of hip-hop. They have released over 10 projects in just under four months, and show no signs of delaying the process.
Their first installment of the set of five $uicidal $agas, KILL YOURSELF PART XVI: THE FADED STAINS SAGA flaunts a picture of JFK’s assassination in front of a blood-soaked wall; $UICIDEBOY$ have been known for their razor-slick edge that is well backed by the style of music that they adapt to. With the first cut of “I’M DONE” from KILL YOURSELF PART XVI, it is interesting to see how $UICIDEBOY$ switch their style to more of a slow, rising punch; as most of their releases come in full force from the first moments. “I’m Done” was also released as a single/teaser for PART XVI, an adequate first look into the chaos of the following $agas as well. The rather schizophrenic style of piano and sampled laughing that runs through the background as the hook illustrates, “If you try to run, I’mma cock my gat and blast you…”. $crim finishes “I’M DONE” with his verse that describes, “Hate this showbiz, hate all this fame shit, vanish away like SpaceGhostPurpp did. Either that, or blow a hold through my head”. The $UICIDEBOY$ style is still iconic and surprisingly, through the hundreds of tracks, $UICIDEBOY$ still can string together rhymes that feel original through every listen.
On the following track “SMOKED OUT, SCOPED OUT”, $crim and Ruby take a slight ramp in speed to illustrate a different variable in KILL YOURSELF PART XVI. The constant 808 buzzing and clicking that is then mixed with the brick houses that Ruby delivers on the opening verses where he shows a prowess to his drug abuse, “Money can’t buy you happiness, all my life I fucking heard it. But, money can but a lot of drugs, at least enough to last me”. $crim follows a similar style and opens with, “Smoking on the bud sack, ounces of that indo. Paranoid illusions, tap the gun against my window… When you see us, yeah you know we on them fucking drugs. Percocet, Xanax, Roxicodone, crush ‘em up”. Their style is similar, but approaches different heights as they describe situations that vary on the well-known formula for $UICIDEBOY$.
Finally, they move onto “GLOOM”, a last hopeful send-off into the next $aga that comes blaring like a fully loaded bus. Ruby shines his lyrical wit where he describes, “They told me, ‘heavy is the head that wears the crown’, which is why I’m always looking down”. The topic of power and influence is continued as both Ruby and $crim move through “Gloom”, describing the “devil in disguise,” and the “Caesar of these fucking apes”. Through both Ruby and $crim, $UICIDEBOY$ become an unstoppable killing machine that can both produce and rap without going through a middle-man.
While there are four more $agas to be displayed, KILL YOURSELF PART XVI: THE FADED STAINS SAGA is an open welcome that is by no means open-armed, but still warm enough to illustrate some of the madness that will follow.
Listen To KILL YOURSELF PART XVI: THE FADED STAINS SAGA Here!!! – Soundcloud
STREAMING // (Track) How.Light – “The Night After”
Pittsburgh Born X Raised // Listen Here – BandCamp
STREAMING // (Video) Kali Uchis – “Nuestro Planeta (Feat. Reykon)”
The Visual For Her Single // Listen/Watch Here – Youtube
STREAMING // (Video) Marilyn Manson – WE KNOW WHERE YOU FUCKING LIVE
MANSON ROCKED A GRILL FIRST // Listen/Watch Here – Youtube
STREAMING // (Video) GodsConnect – “Igory – Get On Dawn.”
GET OFF MY CLOUD // Listen/Watch Here – Youtube
STREAMING // (Video) Choo Jackson – “Neighbors”
STICK AROUND // Listen/Watch Here – Youtube
THIS IS A LIST OF THE MOST RECENT STREAMS...
The complete list of all past streams can be accessed here as well
(Click Here)
MATT'S MUSIC MINE - MERCH FOR SALE
VIDEO REEL 2
LIVE PHOTOGRAPHY – JESUS PIECE AT BABY’S ALL RIGHT, DECEMBER 6TH, 2022
SUNDAY SAMPLER // (Playlist) “12/04/2022″
(Track) Jake Mason Trio – “Rib Eye”
(Video) Lightning Bolt – “Dead Cowboy @ TAICOCLUB 2014”
(Video) The Velvet Underground – “After Hours”
(Video) Mac Miller – “10 Years Of You”
(Video) A$AP Rocky – “Same Problems”
The complete list of all past streams can be accessed here as well
(Click Here)