STREAMING // (ALBUM) Open Mike Eagle – “Brick Body Kids Still Daydream”
Absurdity // Listen Here – BandCamp
New Music – Seven-Minute Death
Seven-Minutes; Seven-Minutes is all it takes for CøNDITIøN to become a boa constrictor of hardcore anguish. Their newest EP, Subjugated Fate is a thrashing monster of blood-pumping energy. From the bowels and pits of punishing, aggressive, threatening punk, come CøNDITIøN; they swing in full fury and leave faster than they entered.
With the first self-titled track “Subjugated Fate”, CøNDITIøN waste no time blasting on, guns blazing. The unapologetic fury of blitzing strings, crashing and crushing cymbals, and vocals that match well with the chaos. Subjugated Fate just barely reaches under the seven-minute mark, leaving CøNDITIøN to maneuver like a rabid animal that attacks relentlessly and with very little to no breaks in-between their onslaught of sound. There is however, a method behind their madness and the following track, “Civilization Decimation” uses riffs that are sporadic, but still have a sense of seguing motions and CøNDITIøN keeps a consistent flow behind their noise.
It is the moments of pure gasoline and matches where CøNDITIøN stands above in a sea of hardcore bands. They have a cutting-edge of mixing a melodic and crushing style behind these sudden moments of segues that completely blend the whole action together into one giant, well-formed mix. On the third cut, “Metal Poisoning”, CøNDITIøN uses drum fills to correlate the different layers of their rough, but focused style of playing. There is also a bass break-down around the minute-marker that cuts the action for a split-second before launching into the final track on Subjugated Fate.
“Signed in Blood” is the loudest, most furious of all the tracks featured on Subjugated Fate. It shows no code of morals; it instead focuses on beating the listener to a pulp under a baseball bat of pounding percussion and vocals that shake the room. As they progress through the near annihilation of music, CøNDITIøN reaches another break-down where they slow, but still move fast enough to jump off the furniture or the stage. The sudden throat-punching, dog-esque “bark” from the vocalist comes striking through the emptiness, leading CøNDITIøN down the dark path of inevitable silence that takes Subjugated Fate into the fading light.
CøNDITIøN is by no means friendly, their hardcore style of play and their dangerous attitudes makes them a threat that loves to be watched. Without a moment’s notice, they can be thrashing through the window, breaking everything in sight, or lighting the fires of a thousand suns. Through Subjugated Fate, they are given a platform to stage their destruction, and do not care who gets in the way.
Listen To Subjugated Fate Here!!! – BandCamp/Spotify
STREAMING // (Video) Jimmy Wopo – “Jimmy Bonds”
Pittsburgh Hits // Listen/Watch Here – Youtube
STREAMING // (Video) Radiohead – “Lift”
Ready to cry all over again? // Listen/Watch Here – Youtube
STREAMING // (Video) King Krule – “Dum Surfer (Dir. By: Brother Willis)”
Krule King // Listen/Watch Here – Youtube
STREAMING // (Album) Young Nudy – “Nudy Land”
Slimeball // Listen Here – iTunes
Classic Day – Three Sets Of Hands
Plainfield, New Jersey, “The Queen City”, home to George Clinton, Milt Campbell, Joe Black, and Bill Evans; the prolific jazz pianist with fingers of silk. His talents are unmatched by his gentle prowess and easy going style of being able to create wonder behind his keys. With his 1967 release, Further Conversations With Myself, Evans is already a master in his craft, but uses his talents to transcend the standard style of recording with overdubs of his own play styles.
William John Evans is primarily a trio styled pianist, working in triplets and adventuring with Miles Davis as well. He was known for his stand-out style of play, and the way that he could manipulate the keys to create treasure in any setting. Evans begins on Further Conversations With Myself humbly, with overdubs of himself; making for the only real music being played his own. There are no featured musicians, and Evans makes up for this by assembling a multi-part body of systems that play rhythm sections and lead section in what seems like ease. The overdubbing is an addition that can be frowned upon in some traditional jazz settings, but this is simply where Bill makes himself part of the spotlight. The way he can split himself into multiple people while staying consistent in creating a beautiful and graceful style at the same time is magnificent. The first introduction to Evans’ beauty can be found on “Emily”, where it begins in almost a somber style with the lower pitched notes conflicting with the higher overdubs. The style at which Evans can produce is one of true glory as he switches tones suddenly, making “Emily” become a much more angelic experience as he begins to move the pace in a progressive manner.
Evans can manipulate the track to become his own personal device for translation. He practically bleeds into the keys with each track, and his following, “Yesterdays” is no different. Through the sporadic styles that each dub adopts, Evans makes it sound like a symphony of multiple players without even leaving a single step. His play style is quite modernized for his time period, and the way that he bounces without much of a straight-forward rhythm is rather traditional of many jazz pianists. He stands out however for the way that he can use very little to no percussion on his releases to keep a rhythm, it is something that is mostly unheard of even with the likes of jazz heavyweights; Evans stands as a modern example of doing it for yourself with little interruption. Even as he reaches the tracks “Funny Man” and “Little Lulu”, Evans is in full swing with very little chance of slowing down. He moves rapidly on “Little Lulu” as if he had three sets of hands playing behind him.
The variation, the way that Evans can manipulate, and the way that he opens tones and moods through his music is just incredible. Further Conversations With Myself is a beautiful display of prowess behind a craft. Evans is not just a magnificent figure behind a single piano, but the many pianos that he commands like a maestro with complete control. His methods are slurred in moments, but the consistent frames of shift where he capitalizes in full force without sacrificing for the more melodic sections is genius. Bill Evans is a legendary musician that has a serious grasp on what makes the keys truly come alive, making Further Conversations With Myself more than just simply a jazz record.
Listen To Further Conversations With Myself Here!!! – Spotify/Amazon/iTunes
STREAMING // (Track) DOOM – “VIKTOR VAUGHN – 06. Notebook 05”
HE HAS RISEN // Listen Here – Adult Swim
STREAMING // (Albums) $UICIDEBOY$ – Kill YOURELF PART XVI-XX
THE FADED STAINS SAGA // Listen Here – Soundcloud
THE SUBURBAN SACRIFICE SAGA // Listen Here – Soundcloud
THE FALL OF IDOLS SAGA // Listen Here – Soundcloud
THE DEEP END SAGA // Listen Here – Soundcloud
THE INFINITY SAGA // Listen Here – Soundcloud
Misc. Day – Choked Sunlight
Aphotic is hopeless, the moments of despair are overbearing and encumber the listener in a solid-state. A trap of endless dread where Jupiterian can crush and act vigilantly toward the ultimate darkness that they produce. There are times where Jupiterian embodies the natural sense of death, they portray the muck and mire from which nightmares are born; a style only manageable by the four French members that dress in cloaked robes with an inseparable love for grief.
Jupiterian begins the onslaught of Aphotic with “Permanent Grey”, a track that springs immediately into the decrepit creep of deeply tuned strings, percussion that is shallow and dead, then finally with a vocalist’s style of growls that never reach higher than a scream. From the members of Jupiterian being simply titled “V”,”A”,”R”,”G”, or the all black attire that dawns like a funeral garb; there is a certain mystique behind Jupiterian’s style and approach. With the deadly strikes that overpower the listener, succumbing them to the graveyard that sounds similar throughout the five-track descent as Jupiterian continue to illustrate their sense of destruction behind their style. Each track is similar in the way that the percussion and strings play droned out, almost similar to stoner rock where the strings and percussion are the driving forces of the tracks, but they do not become blitzing or even truly rushed. Instead, Jupiterian is a band that feels like a gradual lowering into the pits rather than a sudden jump.
This is where Jupiterian uses the roots of evil, and the seeds of malicious intent to become deceiving, leading the listener down the darkened hallways of the catacombs toward an eventual end that shrieks through the shadows. It is present on “Proclamation”, where Jupiterian moves away from the moments of authenticity behind the instruments and instead becomes a synthetic play style of heavily over-produced bass and guitar that eventually adds percussion in a simple snare beat that claps along with the bass until reaching an ultimate climax of whirling drum fills and guitar shrills.
The final moments of Aphotic are just as deadly as when Jupiterian began, they show no code of mercy when it comes to the final drilling where the percussion has a barrage of clashing cymbals and pounding snares that reign through the silence as the strings work together to bring a wall of sound. The vocal output is still incredibly daunting, but almost gentle as they begin to slowly slither through the noise, creating a sudden disconnect in the moments where they are highlighted. Jupiterian is relentless in the forceful nature, but somehow have a relaxing sense behind them. Their sound, while overbearing at times, is still manageable and droned out by how long the cuts are from Aphotic. Even in the sense where Jupiterian acts as aggressors, their sound is still magnificently tight with little to no room to breathe in the rather spacious level of production.
In the darkest times of Aphotic, Jupiterian is a sullen and unapologetic beast of burden on the sound; in the moments where they are not destroying everything in sight, they are instead building each other up and working synonymously with each other. Even in the ugliest of moments, Jupiterian still shows a side of humility and a true sense of craftsmanship behind their style.
Listen To Aphotic Here – BandCamp/Spotify
STREAMING // (Track) Afro_Blue – “Tape_Beat41”
Philly Friends // Listen Here – Soundcloud
STREAMING // (Video) TeamSESH – “FAILURE (DIR. BY: DANIEL BEHRENS)”
COMING SOON // Listen/Watch Here – Youtube
MUSIC BY FLEECE (VIOLIN BY JENNIFER DOLLY)
APPEARANCES BY B.G_I, CAT SOUP, DREW, TYRUS, JESUS, JOE, SAM AND EL
STREAMING // (Video) Hardo X Kizzl – “Trapway”
THE VISUAL // Youtube
New Music – Come Get Cozy
Deep from the remnants of Yamborghini High, A$AP Mob come forward as a beacon of hip-hop compilation albums with their newest exhibition of Cozy Tapes Vol. 2: Too Cozy. Featuring more than enough gold-plated artists, A$AP Mob acts as a call back to the days of rap super groups like Wu-Tang Clan, N.W.A., or Bone Thugs-N-Harmony where they act as different heads of a multi-layered coin. Together, they become an unstoppable team of lyricists, singers, producers, and comedians as Cozy Tapes Vol. 2: Too Cozy does nothing but add more accolades behind A$AP Mob’s collection, in a world-wide take over that’s long overdue.
From the first insightful track, “Skool Bus (Skit)” where the comedic nature of A$AP Mob shines through with a laugh out loud display of a roasting session that ends with the final statement, “I’m cozy than a mothafucka in this school! I ain’t going nowhere”. The perfect segue to the very proud, “Perry Ave” that features A$AP Nast, Playboy Carti, Jaden Smith, and A$AP Rocky as they take their turns demolishing a new age hip-hop example of the varying styles that A$AP Mob can capture perfectly. The way that Jaden Smith is used on the hook/chorus to present a look into the lavish lifestyle, “Me and Rocky sip the sake up in Paris, eating calamari. Me and Carti at a party with some shawties, say what’s up to Bari”. Then as Rocky comes in a full swing, he wastes no time describing, “Out in Paris like I’m Perry Ellis, Parisian people love parasailing. Parallel park the 911, Parisian stones, fuck yo VVS’s”. The flexed style of A$AP Mob fits like puzzle-pieces to the much larger sections of Cozy Tapes, as shown later on the later following track, “Walk On Water” where Playboy Carti begins to describe, “We can touch the water, bitch I walk, walk on top of water…”, A$AP Mob acts as a tornado-tag-team of vocalists as A$AP Ant, Twelvyy, Ferg and Nast all move as a single unit that never shows mercy through the relentless displays of endless lyrics.
The output is changed quickly as Rocky takes the direction into a steadier flight with the following track, “BYF (Be Your Friend)” where A$AP Ant, Smooky Margielaa and Rocky lead a very smooth, gentle R&B track with a sung hook and a look into the more charismatic and tender styled Rocky. The sudden shift is almost jarring as it takes A$AP Rocky from a more dramatic, in your face style; to a more loving lyricist that explains, “I just, I just want to be your friend…This new sensation won’t feel the same again”. A similar change is presented once again as “Get The Bag” where all of A$AP Mob joins together to pass the microphone through the total eight different rhymers featured. While staying under five total-minutes, A$AP Mob deliberately sets out to create a sense of how much each of their lives have changed since the beginning.
A$AP Mob is deserving of everything that comes toward them as they have constantly been able to mix with different genres and ideas, forming one mass of hip-hop collectives that influenced just about everyone on the market today. This is present on the single, “RAF” that features Quavo, Carti, Lil Uzi Vert, and Frank Ocean in a superstar rap track with a conflicting style of instrumentals that can play to each rhymer’s own personal style. The reverberation and the chord progression matches Ocean’s monotone voice and the rambling percussion fits both Quavo and Lil Uzi Vert’s style as well. “RAF” is a great ender that finishes with Frank Ocean on the final moments to lead A$AP Mob into the shadowy smoke from which they emerged.
The rules of A$AP Mob seem simple enough, their rhymes and the styles that they adapt are very true to all the solo careers of A$AP Mob’s; as well as doing something completely different. Cozy Tapes Vol. 2: Too Cozy is a bit of a mixed bag, but that is in no way a negative thing for A$AP Mob. Instead, it only boosts the ability as the mood changes in such dualistic directions. They act with a code of operations, and A$AP Mob is no stranger to staying on top of the competition.
Listen To Cozy Tapes Vol. 2: Too Cozy Here!!! – Spotify/Amazon/iTunes
New Music – Go For Two
Hip-hop, Boy-Band collective, BROCKHAMPTON is a team of around sixteen total members ranging from photographers, vocalists, producers, and creative directors that work together to bring yet another installment in their discography, only mere months before the last. SATURATION II is a continuation of SATURATION which came out only in June, and only two full months after, SATURATION II debuts and comes back with a shift in the tides of genre once again. Between the head-moving hip-hop, to the trance-esque tracks with sprinkles of slow dancing, BROCKHAMPTON is an interesting specimen in music, and one that is not going anywhere for a while.
The earliest moments of the graceful harps and string sections that lead into the sudden alarm clock interruption on the title track “GUMMY”, BROCKHAMPTON speaks in all caps and is somewhere stuck between 1990 and 2010 with their production as the classic hip-hop synths and the clashing hi-hats take the essence of music back to the roots of what made hip-hop become a staple in culture. With the producing being led by Romil Hemnan, Jabari Manwarring, Kevin Abstract, JOBA, and Kiko Merley, it is a consistent clash of classic styles that feels both fresh and interactive. As the track, “GUMMY” eventually shows its true form, BROCKHAMPTON is more than prepared to smack lyrically. Kevin Abstract begins, “Keep my heart with my dogs, keep my car in the yard, I can’t drive it nowhere so I’ll let you niggas take off…”, Abstract continues on to the chorus where he describes, “Cash don’t last, my friends will ride with me. Keep ‘em in my bag, we robbed a limousine. When the guns go pow, won’t bother us again, I don’t wanna do it but they keep on pushing me”. It is apparent from even the earliest moments, BROCKHAMPTON will be a conflicting and body of many faces as the tracks shift quickly, but smoothly; there is much room for the space that BROCKHAMPTON embodies as the later tracks begin to form shape.
BROCKHAMPTON then changes face once again as they adapt into “TEETH”, a socially conscious sounding style of rap track that acts almost like an acapella that is featured over no percussion and just bare bone, minimalistic church choir vocalists while Ameer Vann describes, “I done been in trouble, ‘bout as long as I remember, my momma tried to help me, but I hardly ever listen to her. So she sent me to them white schools, I learned that I was different, they told me ‘I’m a nigga’, well now I know I am”. The sudden silence that overtakes the backing vocalists leads into “Swamp”, a classy display of tapping and rattling machinery of hi-hats, chord progression that is simply beautiful, and guitar that makes the production on SATURATION II feel like a motion picture. Especially on the later track, “FIGHT” which features this clambering sitar and synth progression that moves into an overbearing monster of production. Kevin Abstract leads the outro of the track with a hook that explains Bum, bum, beat ‘em, I would never wanna be ‘em, If I catch ‘em slipping they gon’ have to meet the eagle.” A warning to anyone that tries to oppress BROCKHAMPTON in any way.
SATURATION II is overwhelming at moments, there are times where the lyrical and instrumental progression is intense and takes sudden shifts into incredibly different directions that it feels as motions from a film rather than an album. It is telling a story with the instrumentals and pulling the listener in an undertow of fantastic illumination. The short time in-between releases, the substantial work, and the way that BROCKHAMPTON conducts in this mass monster of artists makes for a strong project with a lot to teach.
Listen To SATURATION II HERE!!! – Spotify/Amazon/iTunes/Google.Play
STREAMING // (Interview) Henry Rollins – “Hot Ones”
Punk Rock Hero // Listen/Watch Here- Youtube
STREAMING // (Video) Jimmy Wopo – “Came Home”
FREE AT LAST // Listen/Watch Here – Youtube
STREAMING // (Track) Na-Kel – “Warzone (Prod. By: Black Noi$e”
Nasty Nak // Listen Here – Soundcloud
Classic Day – Cookies and Milk
MF Grimm, Grimm Reaper, Manhattan’s Finest, his name is synonymous with hip-hop, comics, producing, and the birthplaces of New York’s premier cuts of music. While never catching a serious mainstream attention, Grimm was able to wreck microphones while simultaneously being able to illustrate a true sense of pride behind his words. On his 2007 release, The Hunt For The Gingerbread Man; Grimm is a lyrical genius that describes the very real sense of danger in the world. There is a constant confliction of reality behind Grimm’s literal, real world of stories and the child-esque wonder of the instrumentals that Grimm presents on The Hunt For The Gingerbread Man. It is nihilistic and abrasive, but still colorful enough to stand proudly and exclaim that Grimm is still an Underground King.
From the earliest self-titled cuts on The Hunt For The Gingerbread Man, to the later tracks where Grimm is spilling his personal story into the track that acts as a therapist, Grimm is hellish in his approaches and the lines are fruitful for schemes, but have underlying styles of depression and confusion. MF Grimm is a storytelling rapper, a lyricist who can contain a narrative behind his word choice and his samples. In the track, “Gingy”, Grimm rhymes quickly while the production behind him is a boom-bap, relating back to his New York roots, percussive beat-down with piano that plays sadistically in the background. Even as Grimm moves progressively through the track, he explains, “V.I.P. Treatment, hit with the nine, twisted, sadistic, statistic of crime. Gingerbread rule world, there’s no negotiating, send you a bomb in the mail like Kaczynski”. His wordplay is the focal point of Grimm’s attraction, the fact that he can rhyme through rough and raw themes, while keeping a consistently destructive tone behind his production. His is a lyrical boxer that goes head-to-head on the following track, “Fame”, where he is rugged, but realistic behind his motives and his approaches.
Grimm opens with a sample from the 1992 film, Trespass which explains, “That’s the beauty of gold, it never tarnishes. Lasts forever too, you can melt it down, pound it, twist it, piss on it, but it’s always the same gold”. Then as Grimm begins his first verse, he describes, “Mental kickboxer, still test jaws, I’m Grandmaster Grimm Reaper, feds snooping at door like Mr. Roper… A man with a dream with plans to make cream, I want the money fuck the fame”. Grimm shares no remorse and covers much different topics than his once MF partner, MF DOOM who is more comedic and less straight-forward. The two distinctive rhymers who rose in the 1990’s are the catalysts for how Grimm builds his tracks and how he can shake the Earth with his mighty verses. This is especially true on the following track, “Earth” which has a nursery rhyme styled over a boom-bap percussive beat with steel-beams for lyrics. Grimm proclaims on the hook, “Trapped on a planet of pain and perpetrators that you call Earth, but I call hells equator”. With his verses where he explains, “Chariots of fire, gunshots from the wheelchair, Nigga I’ll leave you there”.
MF Grimm is a quick-witted, MC that captures the fear behind the streets and puts the listener into a box of paranoia and thieves. The den that Grimm paints is not for everyone, his production is boom-bap at the core, but still prevalent today as a true classic of hip-hop music.
Listen to The Hunt For The Gingerbread Man 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
(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)