Classic Day – Brothers
Beauty and grace are always common subjects in music, but none do it so significantly or as extraordinary as the prodigious Allman Brothers Band. With Duane and Gregg Allman as the front runners of The Allman Brothers Band; the rest of the company followed directly behind as each member featured on their self-titled, debut record, The Allman Brothers Band is an incredible addition, leading like monumental members of their own sections. Together, The Allman Brothers Band would become a memorable, quotable, and loveable group from “Where Florida Begins”, none other than Jacksonville, Florida.
The band started as nothing more than just simple a jam band, but would eventually turn into something entirely larger than life. With each member fulfilling their own duty, becoming outstanding in their own style of playing and in their own field. With Duane Allman on the slide and lead guitars, Gregg Allman on the organ and leading vocals, Dickey Betts on the lead guitar, Berry Oakley preforming on bass guitar and background vocals, Jai Johanny Johanson on the percussion, as well as Butch Trucks leading on the percussion as well. Not only were The Allman Brothers Band substantially tight in their musical playing, but they often times performed with one set of two different percussionists at a time. This could mean that Johanson would be performing on the congas while Trucks performed the actual sectional set drum parts; and vice-versa. Often times, there were two drummers playing a set a time and made for a grand stage performance live. The backing instruments are just as important as the leading instruments and are often times thrust into the foreground with solos or breaks in the standard line-up.
Moments where this is especially true is the track, “Dreams” which is closer to the end of The Allman Brothers Band’s Self-Titled, but still an important track to highlight for the use of Gregg Allman’s organ and just how incredible he was at such a young age of twenty-one years old. No one in the recording process of The Allman Brothers Band was over twenty-five at the time and this is not only an incredible feat in sound, but also an incredible accomplishment in creative art at such young stages in life. As “Dreams” continues on, it becomes one of the most beautiful tracks to ever be created by The Allman Brothers Band as it continues gently, but is moving in the way that a stream or current would be. It is soft in approach and almost soothing to hear, Gregg’s instantly recognizable sound is projected perfectly and gracefully. The following instrumentalists tread closely behind his leading hand and play elegantly; in a subtle, but fluent manner.
The final moments of The Allman Brothers Band is just as eloquent as the start of the record, but picks the pace up with “Whipping Post”, a definite crowd favorite and explosive ending to an outstanding piece of wonder. Almost coexisting within that defined beauty of the first half, “Whipping Post” is a straight-forward attack of rocking momentum, but slows to a dramatic crawl of howling high-pitch guitar that echoes in eternity with a memorable statement. That guitar will forever resonate within The Allman Brothers Band as being one of the essential pieces to grace their musical talent. When paired with the sudden momentum shifts and the constant organ and backing instruments that reign through the silence as instruments of pure acoustic beauty. “Whipping Post” is magical and a perfect closing to an artistic zenith that only continued to climb years after the initial release.
From the masterminds of pure, unfiltered beauty; The Allman Brothers Band becomes a staple in music history for their unending influences on other musicians and for making an album that is simple in concept, become one of the most cherished albums for generations to pass and follow.
Listen to The Allman Brothers Band Here!!! – Spotify/Amazon/iTunes
Misc. Day – The Horrors Of War
Cobalt’s Gin is an explosive, adrenaline-filled, love letter to metal music and an instantly recognizable golden standard in musical production and the true abrasive nature of musical ability. With only two members, Cobalt quickly rushes onto the scene and makes their appearance more grand than a thousand red carpets, more influential than fifty spoken word poets, and a beautiful dedication to both, the late Ernest Hemingway and Hunter S. Thompson.
Erik Wunder and Phil McSorley are the creative brains behind Cobalt, and to say creative would be an understatement. Cobalt is sporadic in a sense, maniacal in another, but gorgeous in other stages. Gin follows a loose adaptation of a structure that flexes and bends between outrageous subsections of hardcore elements, and music that features screams, constant assaults from the percussion, and guitars that sound horrific in the way that they growl and hiss like an untamed animal. The other portions of Gin are much easier to handle and while still managing to keep a discreet undertone of cult-esque chanting or atmospheric playing, Cobalt stands tall as a monument for experimentation and for creating a gruff, but polished sound with Gin. The twisting and contortioned child that springs from Cobalt is aggressive and comes off to be exactly what a war both externally, and internally would embody. It is incredible to hear a pounding of tribal sounding drums, to then shift into soft, but echoing vocals of subtle cries for help. Gin is a constant reminder of how music can shift both tone, and thought within the listener and stay consistent throughout the near hour of resonating and pronounced sound.
There is a certain ambience behind Cobalt’s personal sound, their noise derives itself from a place of pure ugliness, confusion, and the darkness that weighs like cinderblocks on both the physical and mental wellness of a person’s personal journey. With Phil McSorley shouting desperately into a void with lyrics of bitter anguish and animalistic nature; the following track “Stomach” is a prime example of both McSorley and Wunder becoming animals in their craft both lyrically and musically. McSorley and Wunder begin, “His eyes are lost, and his form is gone. His time was up and he lies in the fields, in the banks of rivers and on the edges. What I’ve seen you won’t see, urge to kill and love and hold and smash”. To read through the thought process of the musicians on Gin is almost churning to the stomach and even with the sections of instrumentals, Cobalt is still a reckoning force of nature that smashes everything held within a blast radius of their overbearing, daunting, and near-frightening sound.
Through the motions of the horrific, Cobalt pushes on through a journey of memoirs and shattered pieces of what seem like a distant enigma within themselves. Gin is a place of incredibly personal themes and of overstating abrasiveness, but also a call to subtly and to instinctive ability. With the track, “Two-Thumbed Fist” for an example; Cobalt rushes through the nine-minute journey with an unrelenting force of bass and guitar that shakes the Earth, becoming a golden standard for Cobalt. There is then the following track, “A Starved Horror” which still shouts and makes a presences known, but it does so in a slower, more melodic manner. “A Starved Horror” builds up to the abrasiveness and takes the gentle road to a screaming match within itself. The guitar work from Wunder is a shining example of simplicity against the grain of melodic nature. He works fruitfully and grasps the listener with cold hands, but the hands continue to shine a symptom of life.
Gin is a textbook example of experimental metal that takes a turn for complexity and powerful prowess. Cobalt spares no expense with leaving stones unturned, with leaving a single track without a substantial end, and an ugly solution to an ugly situation. The use of wicked guitar and deadly percussion is a must-have for Gin and the style of lyricism combined with the inner demons of both Hemingway and Thompson make for an engaging display of both fire and brimstone.
Listen to Gin Here!!! – BandCamp/Amazon/iTunes
New Music – The Dynamic Trio
CZARFACE is the adaptation of every comic book lovers dream, from the Silver Age Supermen to the Golden Age Captains of Industry, CZARFACE is a wonderful addition into the music fanatics collection, and a beautiful idea that brings nerds everywhere together. Similar in storytelling style of MF DOOM, The Triple-headed Hydra of 7L, Esoteric, and as well as Inspectah Deck from Wu-Tang come to join forces to destroy evildoers and any that represent the forces of death. CZARFACE is truly a rare breed and their newest project, First Weapon Drawn is a narrative piece that surprisingly makes an earth-shattering statement without even rhyming anything together.
If the images of flashing booms, vibrant colors, and the constant marvelous nature of Stan Lee’s true believers jumps into your mind, then First Weapon Drawn is an emotional rollercoaster and just exactly what any Brave and the Bold fan needs in their life. From the bombastic pressure of 1960’s stylized rushes of heavy bass and blitzing guitars, to the subtle creep of the graveyard-esque synthesizers and keyboards that make up some of the backing tracks that go along with the narrative. First Weapon Drawn is more of an adventure than a record to listen to and it can be thrown on as simply background noise, but does demand to be sat down and listened to, almost like an old Dick Tracy radio broadcast. This is one of the more important aspects of CZARFACE; not only are they talented in making something that is eye-catching and reminiscing on the olden days of entertainment in their artwork, but they are ear-catching and show a real appreciation to the craft of making art that is substantial and works fantastically as an observational piece as well.
There is a real definite line of beauty behind CZARFACE’s First Weapon Drawn and a real fan appreciation to make something both interesting and exciting. It brings the edge of the seat to a new level and the constant shifting nature that CZARFACE and the instrumentals behind him keep the flow of the album moving flawlessly. With almost every single track having some sort of seguing momentum or stylistic approach, First Weapon Drawn feels and acts more like a single project than an unclassified group of tracks together. This method of creation relates well to the storytelling aspect and makes First Weapon Drawn stand out as not only a narrative piece, but also a musical piece that effortlessly combines both listener-engaging storytelling, and a wonderful arrangement musically as well.
From the earliest tracks of fuel-filled adrenaline to the final moments of sharp and clever uses of atmospheric instruments like shrilling noise and obnoxious whirling to simulate a real, true to life record of every comic book soundtrack piled into one, delicately wrapped piece of wonder. The track “What The Problem Is” sticks out for these uses of the warping bass and synthesizers that fill the room and engulf everything in a noxious gas of stylish proportions. It opens with some of the actors displaying pure shock and awe when CZARFACE enters and the instrumental goes straight from their banter, into an instant climb of minor percussion and purely atmospheric advances. There is also a seguing motion that flies into the following track, “Death of a Comrade” which features graceful, operatic singing and eventually builds up into a downright beautiful level of instrumental that combines both authentic and synthetic instruments working together to spawn a glorious array of storytelling procedures and a detailed level of instrumentals gluing together the pieces of one of the greatest virtual comic book stories ever told.
Listen to First Weapon Drawn Here!!! – Spotify/Amazon/Soundcloud/iTunes
Classic Day – Wade In The Water
Slowdive is a band that can be described in a single word: stimulating; the English band made their debut with Just For A Day and created a wave within the independent community. The record’s floating methods of creation and accessibility did wonders for Slowdive’s sound, landing them on the number three spot on the UK Indie Chart back in 1991 when Just For A Day was first released. Now, the album feels like a hidden gem in a monumental wave of records being released both independently, and the mass market production from substantial record labels.
Slowdive created an over-produced sound for Just For A Day and was a major step in the genre of shoegaze where a repetition of sounds is played to establish the backing of each track with assorted distortion and effects from pedals. The genre reaches into the sub-roots of new wave and creates a dreamscaped feeling of wonder with each incoming track. There is so much room to become a creative space for Slowdive and they resort to using their ethereal voices, sensualized stringed instruments and gentle percussion to fill most of the record’s sound and sense of direction. With Rachel Goswell on vocals and guitar, Neil Halstead on guitar, vocals, and keyboards, Nick Chaplin on bass, Simon Scott on the percussion, and Christian Savill on guitar, Slowdive makes gradual strides into a future of atmospheric rock where each track can feel like hours in only a span of minutes.
With the opening track “Spanish Air”, Slowdive makes their first move in the chess game of Just For A Day and leads the momentous building toward a bright future of a 43-minute journey filled with hopeful instrumentals and essential vocals that capitalize on the durable foundation of Slowdive’s sound. Their sound is quite bold and dramatic, sounding in similar variety to a movie score that would include symphonic styled of playing in the way that the strings are being manipulated makes Slowdive’s precise playing stand out just that much more. It is immediately noticed in the final moments of “Spanish Air” as the voices stop, and the final grouping of instruments are playing together. It almost acts as a dramatic opening shot and first glance into the rest of a glorious journey of fleshed out beauty, cleverly disguised within incoming tracks.
The gentleness of Slowdive’s style makes their music an approachable medium and their progression of tracks are delightful. Slowdive shows true promise with Just For A Day and is something that blends together well with itself, seguing the multiple tracks perfectly with no sudden jumps or cuts in or out of any action. This style of mastering and mixing is an aid in the process of engrossing the listener into the album, making it feel more as one complete piece than just a thrown together, strung piece of art. Just For A Day is truly a beautiful piece of music history and the appealing nature of the instrumentals, the handsome progression, and the under-bearing sense of sound never engulfs, but instead tenderly surrounds and comforts.
The final moments of Just For A Day are truly special however, as Slowdive erupts in a wall of sound; then suddenly stops and disappears into the silence. It is an interesting dichotomy of emotion that makes itself apparent for only a few moments, before leaping back into the sun-setting streets, and into the spirits of man.
Listen to Just For A Day Here!!! – Spotify/Amazon/iTunes
Misc. Day – Lighting The Fires
Belus is the twisted son created by Varg Vikernes, the mastermind behind the black-metal, heavily-anticipated, long-winded band, Berzum. Originally sprung in the music industry as a producer of his own low-budget, ambient and deathly focused sounding records that Vikernes himself went onto stating, “wanted the worst recording quality possible”. The lo-fidelity works of art slowly marches their way into the mainstream and Vikernes found a mainstream level of attention after a controversy of murder trials, convictions, arson cases, and eventual jail time. Through the continuous ups and downs with Vikernes own personal life, Berzum has remained a statement in music history as a prime example of how one singular person can accomplish something truly daunting and inspiring.
Belus is the first record coming from Vikernes after his release from a sixteen-year sentence, with the gloves finally off and a return to more than just synthesizers, Berzum can finally flourish and become a more polished, but still impactful journey through the heavily-wooded, under cover hills of what was to become Belus. The atmospheric measures taken to enclose the sound and feeling behind Belus is incredible, and Vikernes spares no expenses when using handmade introductory instruments to create these creeping instrumentals that slither between the cracks of Belus. On the opening track, “i. Lukans Renkespill (Introduksjon)” Vikernes begins with clasping pieces of what sound similar to bottles to get a subtle, but building level of atmospheric focused layering that then leads directly into “ii. Belus Doed”, the first fully-sprung track on Belus.
The shrill of the guitars, the pounding of the incoming crash cymbals, and the relentless pounding on the percussion brings a smile to the face and sudden rush to the brain. Relentlessness is a word that Berzum focuses on with Belus and the crushing nature of the instrumentals when paired with the mostly growling vocal production, makes for a match only made in hell. Even with every single instrument, every key being played, every lyric being sung by a single person, Vikernes still manages to create both similarities in the chord progression and a distance within himself. It is almost as if he works with a gravitational pull to dissect the production of Belus, creating an album that features both old and new styles of black metal music. The constant pounding is a prominent staple in black metal, but the varied style of singing and the cleaner production feels fresh to longtime Berzum fans and newcomers alike. The sense of depth within the fifty-two-minute experience is exciting, with many morose layers to dig through, while still keeping a consistent pace of rushed thrills.
Even through later tracks, both “vi. Keilohesten” and the final track, “viii. Belus’ Tilbakenkomst (Konklusjon)”, Berzum is a conquering mess of sound that illustrates a greater sense of sinking depression and animosity with each continual step. An intense sense of dread is overcome with a fascination to hear more, to learn more, and to take the leap into the greater unknown of Berzum’s Belus. The additional pieces of the puzzle that string everything together and make Belus a wonderful album are present till the very end; the droning guitar that finally seems to take a break from the near-nonstop crushing. The percussion that finally eases its steps and allows a re-catching of the breath, and the final inevitable silence that drowns out any and all noises from Vikernes, a fitting and well endowed ending to a long-awaited return of the Lord of the Basal.
Listen to Belus Here!!! – Spotify/Amazon/iTunes
New Music – The Mutants of Jersey
To entrap the sound of pure aggression is never an easy task, it takes years of meditational anger and incredible pain to break through the rough outer shell of a human psyche and to then tap into the unending folds of despair is a task almost unachievable. Ho99o9 or more formally pronounced Horror, is a wealth of absolutely noise-driven sucker punches of bass, screams, and almost never-ending sound that can manage to evoke more movement and more emotion within the near fifty-minute record than a party full of punk rockers. The genre-blending, emotionally-driven assault is wonderful in its own right, and makes for a memorable journey that never overstays its welcome, but does destroy the house you live in, burn the car you drive, and spray paint nearly ever wall in your happy home, a dark, unwashable black.
Ho99o9 is comprised of two, unified members and often times a third who fills in for the percussion. TheOGM and Eaddy are the two primary members, while Ian Longwell often times fills in for their live performances and the trio makes for an incredible display of intriguing instrument bending and impressive switch ups throughout United States Of Horror. From the classic punk rock, more straight-forward approach with a simple two step percussive beat and one of, or even both vocalists shouting at the top of their lungs; to the grinding style of some of the later tracks that take the listener by surprises as they lure those in like a creeping snake waiting to strike on a prey. The track “Feels Like… – Interlude” is a perfect example of acting as a pure hip hop track, including a classy undertone and a large focus on the instrumental aspect. The mood is then quickly changed however as the beat fades out into “City Rejects” which takes inspiration from GG Allin and some of the godfathers of punk rock. With the sporadic vocals and the buzzing string section, Ho99o9 makes bold moves in creating a mutant of a record with the enjoyable factor being pushed to the forefront, ignoring the practicalities and rules of creating a true full-length record.
Perhaps it is even later in United States Of Horror where the consistent changes are even more progressive and if “Feels Like… – Interlude”, “City Rejects”, “Hydrolics”, and “New Jersey Devil” where all played in a consecutive manner with no context, every track could seem like it was produced by entirely different artists all together. Both “Hydrolics” and “New Jersey Devil” are such polar opposites that the sudden transition will leave you speechless and questioning just exactly where Ho99o9 has been all your life. “Hydrolics” starts with a very trap influenced, wavy style of instrumental with a focus on the glamour of rattling hi-hats and crashing bass drums that act almost in a boom-bap accordance. “New Jersey Devil” is however an unexpected blast of double-bass slapping right through the past track, and leads right into a hardcore influenced wave of blitzing guitars and vocalization. One thing that can be said about Ho99o9 is that they have a serious amount of energy and really seem to take a true love in paying homage to what made hardcore such a popular genre in the first place. They can stomp heads into the ground with the punishing sense of instrumentals one second, then take the mood down several notches into a more chilled, club style of track that reminisces about the cold nights in Jersey.
It is by no means an easy job, but someone has to do it. Ho99o9 is not the lord and savior of music, but peace was never an option with Ho99o9 and they soon make for the quick break to the fire pit, destroy everything in sight, and bring a swinging mix up of fun-filled punches and questioning morals, making for one hell of a ride.
Listen to United States of Horror Here!!! – Spotify/Soundcloud/iTunes
Classic Day – Bathory Motives
A revolution has been coming for a long while, everything has a life cycle and this extends into the foregrounds of music where even the most experimental of albums have a lifeline. A place where geniuses are forgotten about, a place where a sound can be replicated a million times and never be remembered, a place where a single changing distinction can redirect the boundaries of music; this is a place where Swedish Metal became a frontrunner of 1970’s-1980’s of the continuing sound for decades to come, with Bathory at the helm. One of the first artists to create a “Black Metal” sound of low-budget, junky, and absolutely filthy recording style, Bathory was an artist that made a continuous shakedown of an industry and revolutionized on the noise that would come from Sweden, and from the rest of the neighboring world even today.
An instant classic album is hard to create, even harder to replicate, but impossible to eliminate. Bathory’s self-titled debut record Bathory has become a staple in hardcore for being a seasoned veteran of the surviving trends. The album is timeless and shows a distinction of being something captured in the spirit of hardcore at that time, and with only two functioning musicians; it is incredible to see exactly what Bathory became. Quorthon, who is the multi-instrumentalist behind the vocals, guitars, songwriting, and atmosphere, but he also worked with Stefan Larsson who handled the percussive aspect on Bathory and while the album itself has withstood the test of time, the true fact behind Bathory was that Quorthon was only eighteen-years old when this album would be released on Black Mark Production. A truly premature mastermind of his craft; Bathory adapted a harshness behind it, making it one of the first punishing records to grace across the Northern Skies
From the beginning of church bells and thunderous crashes, to the eventual pounding of the feverous percussion swelling guitar, Bathory makes quick moves and shows a destructive prowess. Like a recreation of a Stefan Eggeler painting, Bathory uses the shadows to its advantage and summons a shroud of darkness around themselves. There are moments of sudden jumps and punches through the silence that make Bathory seem almost terrifying in instances, but this terror is then brought back into the inevitable silence and mix-ups of atmospheric tracks that overlay throughout Bathory’s debut. Even their short-lived intermissions, Bathory still seems relentless in becoming crushing and showing a distinct, instantly recognizable sound; a sound that would carry on for years after the initial release.
Listen to Bathory Here!!! – Spotify/Amazon/iTunes
Misc. Day – The Foundation Grows
Black Marble could have survived in the early 80’s, among the racks of VHS, Laser Discs, and Cassette Tapes; Black Marble is a wonderful piece by piece look into the past, while keeping a progressive forward-thinking future in mind. It is most easily described by Ghostly International, a record company that houses Black Marble, “Black Marble formed in 2012 as an artistic extension of Chris Stewart’s collection of songs and ideas.” Not only does Black Marble become both a minimalistic sense of gentleness, but it also becomes a contrasting, deeply-layered adventure of dashing percussion, grinding guitars, and buzzing amplifiers that carry Stewart’s voice into what feels like another generation.
The latest project, It’s Immaterial has a lightweight, laid-back, but never careless sense of feeling behind it. From the very beginning, it is apparent that Chris Stewart has an incredible amount of technicality behind his work and shines through. From the “flurry of ideas floating around him”, to the singular style of production, Stewart breaks through the mold of lo-fi, a term that seems almost oversaturated at this point, but becomes a stronger, more adaptable breed of animal. The tracks are mostly straight-forward; they do not make sudden changes or create loops for the listener, instead Stewart uses loops of percussion, synthesizers, and guitar to create a steady wave for the listener to happily follow along. From his beginning tracks where cheerful rock music can be echoed throughout, to the later songs where the more subtle tracks where Stewart is so incredibly soft-spoken that he is almost inaudible, Black Marble is truly a force of beauty that embodies sunshine on a rainy day.
His opening track, “Interdiction” is comprised of all synthetic sounds and samples with arpeggiator chords, creating this waving motion of patterns that coexist within themselves. It is almost horrific in motions and is fantastically unparalleled when compared to the rest of It’s Immaterial. The first track and the rest of the record are polar opposites and the sound is soon abandoned to then become the standard sound that Black Marble so wonderfully produces. The following track, “Iron Lung” is rather faint and while it contains a large amount of sound, it is actually quite gentle and leaves room for the guitars and percussion to take the spotlight while the ambient bells and background noise lay the backing of the track. Stewart does an outstanding job of mixing and mastering all the sounds together to create a well-rounded exhibition of noise.
Even much later into the near forty-minute performance, Black Marble still manages to create a memorable style and way of progression within his tracks. The track, “Self Guided Tours” is one that sticks out as it uses more electronic percussion than most of the other previous tracks and each instrument feels like a major piece of one giant puzzle. From the synths to the guitar, back down to the percussion and the chimes, every segment is impactful and eye-catching. While none of the instruments over-power each other, or create a distance, they actually bring each other together and are incredibly harmonious. The true amount of beauty that follows Black Marble’s sound is awe-inspiring, there is not a single track that feels like a filler or something out of place. Even as Black Marble reaches the final moments of It’s Immaterial, Black Marble winds down and creates the perfect closer to an already near-perfect journey.
“Collene” feels like a step in the time machine for one last ride, the last side of the vinyl, and the last play on cassette Side B; a blissful ending to a joyous journey. Every fantastic album needs a closer that makes the journey want to be repeated over and over again and with “Collene”, Black Marble makes sure that no stone is left unturned in a last effort to bring the final act of lo-fi loveliness together. Stewart’s masterpiece is a few steps in, with multiple releases, but it is It’s Immaterial that truly creates a monument in stone or in the marble slab in this case, forever encasing a past look within a future idea. The wave of the 80’s may have ended, but to Stewart and Black Marble, the past looks incredibly bright.
Listen to It’s Immaterial Here!!! – BandCamp/Spotify/Amazon
New Music – My Graduation
In Honor of me graduating high school today… I am not writing anything serious and I am just going to throw out a list of bands that I have been listening to on repeat for the last few weeks…
Most of these bands have already been mentioned on this site and have been reviewed/showcased… Well Who cares basically… so in honor of my final days as a high school bum, these are the bands that I love and the ones that have personally gotten me through the lifeless monotony, the utter cesspool that is the high school education…
Black Flag
Death Grips
Pouya
Trash Talk
Anything off Iron Lung Records
Lil Ugly Mane
Ratking/ Wiki
Mammal
Bones
Minor Threat
Queens of the Stone Age
Desert Sessions
Worm Suicide
GG Allin (Bite It)
Nirvana
Suicidal Tendencies
King Krule
No Outlet
La Femme
The Avalanches
MF DOOM
Danny Brown
Earl Sweatshirt
The Bill Dixon Orchestra
Miles Davis
John Coltrane
Death Valley Girls
The Body
Acid Bath
Napalm Death
Full of Hell
Seratones
The Internet
Clipping.
Lumpy and The FUcking Dumpers
Necro (Fun)
Negative Approach
Gorilla Biscuits
Vince Staples
Earth Crisis
Code Orange
Nickelus F.
Kali Uchis
Nina Simone
Milt Jackson
Charles Mingus
Jackie McLean
Millions of Dead Cops
Choking Victim
BADBADNOTGOOD
Wild Belle
Black Moth Super Rainbow
Knxwledge
Gate Creeper
Eternal Sleep
Wild Stabs in the Dark
Paint it Black
Single Mothers
Mac Miller
Thee Oh Sees
The Beatles
Black Noi$e
Emma Ruth Rundle
Run The Jewels
X (not XXXtentacion)
If I Could Kill Myself
Agents of Satan
Black Marble
Skepta
Black Pus
Frank Dadure
Wound Man
Ragana
Mannequin Pussy
WoodBoot
Isaiah Small
Freddie Gibbs
Karma To Burn
Mad Season
Nas
Kanye West
Bad Brains
Supertramp
$UICIDEBOY$
Iggy Pop
Tame Impala
Samiyam
Radiohead
David Bowie
Tyler, The Creator
Toro Y Moi
SECRET FUCKING CIRCLE
Gods Connect (SO DOPE)
Death
A Tribe Called Quest
Ice Cube
G.O.A.S.T.T.
The Smiths
The Misfits
Alice Cooper
Thanks For Sticking By Me…
Dead Weight Can’t Weigh Me Down
The Mirror Stared Me Right Back
The Dead Weight Made Up This Town
That’s Why I Never Looked Back
Classic Day – Seeing Red
The legacy of punk music is a vast and extensive list of aggression, community-based organizations, and a focus on originality and identification. Minor Threat is not just another addition to the vast majority, they are one of the corner marks of music and there can not be a conversation about punk music without bringing up Minor Threat. Their influence not just scratches the surface of other hardcore musicians, but also spans a way of life through present musicians of varying genres that take what Minor Threat did in such a short span into consideration. Changing the game is not easy, but it was Minor Threat that really took the mold and made it their own through using complete and total control of emotions in their music to make one of the best compilations of songs known to a generation, and even to man today.
Minor Threat’s First Two Seven Inches or rather, First Two 7” came along with an inspiration to make a record that wanted to be made. It was the lovechild of explosive energy and a lust to step away from the mainstream, making their own path in the incredible world that is the music industry. With Ian MacKaye on the lead vocals, Brian Baker on the bass, Jeff Nelson on the percussion, and Lyle Preslar on guitar, Minor Threat became both iconic and synonymous with the hardcore movement that spanned in the 1980’s. By seemingly becoming a movement overnight, Minor Threat basked in the glory; making a historical chip in both the movement of hardcore and in music history. With crushing tracks of relentless force, “Small Man, Big Mouth”, “In My Eyes”, and “Guilty of Being White” became incredible stepping stones and while the album never graced any billboard charts, it did not have to as it became a legend around punk fans and was respected by all.
From the start, Minor Threat is violent and takes a stand-offish approach. Only after truly reading into the lyrics and starting to understand what Ian MacKaye was trying to convey with his words, is it then realized that Minor Threat was about expression to a group that had no expression. The first tracks and the entire record of First Two 7” is about giving the voiceless a voice and truly managing to change a generations’ way of thinking. Minor Threat did not force their ideals, but they wanted to make them known and did that simply by making as much noise as possible. From the track, “Out of Step” where Minor Threat expresses their disapproval of doing what was surrounding them at the time, MacKaye angrily explains, “I don’t smoke, I don’t drink, I don’t fuck, at least I can fucking think. I can’t keep up, can’t keep up, can’t keep up, Out of step, with the world.” Minor Threat’s aggression is one of the catalysts for their wonderful sound, but is also the abrasive distinction in all their lyrics. Punk rock’s lyrical style is usually angry and guided at the wrong of the world, Minor Threat takes this mantra and makes it their own.
Even through covering a track on First Two 7”, Minor Threat takes their own spin on “Steppin’ Stone” and brings the Paul Revere & the Raiders’ track into a modern age. They use blinding percussion, raging strings, and screams to illustrate one of the best anthems that would eventually reign as a punk symbol of honor. From Minor Threat’s abrasive sound to their callous outlook on the world, they still are one of the supreme leaders of punk and have spawned more than just a minor movement with their music.
Listen to First Two 7″ Here!!! – Spotify/Amazon/Dischord (Record Website)
Misc. Day – The Empty Skies
Subtly is an important factor when building intrigue and mystery behind a piece of music. Some artists can struggle with this key component and thus their music has no real flare or true depth. Loss is a band that transcends against the grain and builds an entire album on both the fact that their music is mostly slow-builds, gentle breaks, and an indefinite theme of struggle within their lyrics. Their newest record, Horizonless is a profound look into just how creeping beauty can clash with swift speed and use duality to the highest advantage. Loss builds an atmosphere with their music, a broken down, sluggish monument that eventually gains its footing and begins moving with impeccable timing. Loss can not only build upon the atmosphere, but they can crush what is around it and truly become a punishing force of ruin.
While nine tracks, Loss’ Horizonless stretches into the one-hour mark and it is a complete rollercoaster of emotion through in and through out. The opening sporadic drum pounds from Jay LeMaire are an indication of what kind of hell is coming to pay. Then as the other instrumentalists, an incoming hydra of Timothei Lewis on guitar, John Anderson on bass, and Mike Meacham on both the guitar and vocal aspects. These four instrumentalists are the catalyst for becoming both the harbingers of impending doom, and are the heralds of immense beauty that is instantly present on the first track, “The Joy of All Who Sorrow”. From the wicked guitar that seems to howl to the subtle style of playing that acts like waves in the ocean, both Meacham and Lewis are incredible in their craft and make for a truly wonderful experience on the strings. Anderson also supports Lewis and Meacham with crushing grooves and truly punishing strength that shines through when paired with Anderson’s smashing crash cymbals and ride cymbal. Loss is a rare breed of band that can work well with each other, creating an instantly recognizable chemistry and a serious threat that rides in fours.
The following track, “I.O.” is an atmospheric track that relies on the clicking of what feels similar to a type-writer and the use of ethereal vocals that work to the likeness of a horror film. The guitar featured relates to a music box and is then the seguing motion into “All Grows on Tears”, a track that proceeds back into the longwinded sagas that Loss masterfully creates. The lyrical style of Meacham is truly depressing and works well in agony, he begins, “I’ve sunken to that place again, where the sun only throws shadows and the stars have all burned out. Bury me in a lonely place and plant thorns on my grave, I wonder as to what nourishment those roots must be suckling from that tomb?”. His lyrical approach is fitting with the style of music that Loss produces and feels from a place of personal anguish. The concurrent theme of both the appeal of death, and the morosity of life are given vitality through his growls and the subtle building of the pounding instruments behind him. Loss works as a single entity to bring the idea of eternal agony and the everlasting end to the forefront of their music and is able to capitalize their sound in a colossal manner.
Loss can also work to make a feeling of dread become almost sudden like on the track, “The End Steps Forth” where the piano and guitar combination are simply one of the more beautiful mixtures of both an authentic and a synthetic style of instrument. Then almost as suddenly as the two begin, a grim voice comes like a powerhouse that brings a pipe organ and unforeseen percussion, shifting the entire mood to an almost cult-esque side. This is why Loss is such an impactful band as they can completely shift everything within a matter of mere seconds. From the abrasive to the subtle, from the thunderous to the faint, Loss can manage almost anything and creates new worlds within their sound.
The self-titled track comes into frame, “Horizonless” and is a prime example of how Loss can switch their sound, maintain a level of energy in both aspects, and wreck anything that surrounds them. As Loss begins to become larger with their overbearing sound, they still managed to keep a solid mold of both the vocals and instruments that work incredibly well together. From the gentleness to the pounding near war-like music that follows, Horizonless is a constant mix of non-complacency that never fully relaxes, never gives the listener a full second to breathe, and manages to become more of a journey than a simple record. Loss’ Horizonless is a rare-breed that can conquer, but can also become a tender ally of sound that is inviting and is a gradual process that becomes corrosive.
Staying available and accessible to an audience is never easy, but Loss does a fantastic job of keeping a constant theme of despair with a pretty packaging. They move almost effortlessly and create one of the best records to come from Profound Lore this year. The clashing tides of neutrality, the overbearing sound, and the final nails in the coffin of Horizonless, Loss is an act of nature that not only creates wreckage, but also rebuilds and shows the beauty in despair.
Listen to Horizonless Here!!! – BandCamp/Spotify/Amazon/iTunes
THE SHOW WAS A SUCCESS PT. II
THANKS TO EVERYONE WHO CAME OUT… I LOVE YOU…
CLICK ON INDIVIDUALS FOR A CLOSER LOOK…
MMM’s Musical Exhibition Band Showcase Number Five – Javed
If the 90’s could be reimagined and repackaged through a modern age, Javed would come the closest to making a time machine of sound and one of the dopest records to come out of hip-hop in a long time. The level of class that Javed reinvigorates into his music and which then, in turn creates a new contemporary level flow and style that is impossible to replicate, and even better to hear first hand.
His project Window II Your Soul is like jumping right back into the golden era of hip-hop where boom-bap reigned supreme and was the king of sound. Not only does Javed adapt this subsection to be his own, but he dominates the court and is a step above the competition. From the first opening self-titled track “Window II Your Soul” to the playful “N64(No Games),” Javed uses witty wordplay, clapping bass lines, and a focus on making each instrument feel unique and stand alone in the crowd of sound. While the first track is a sample of Madvillain, Javed still uses the instrumental to begin a hyping and uses a seguing motion into the first authentic track of Window II Your Soul, “Blindest Eyes.” Javed makes hip-hop approachable and something that anyone could hear and fall in love with. It was a style that seemed to almost disappear, but Javed makes sure that it stays better than ever.
Even moving on into the later tracks of Window II Your Soul, Javed continues with the same level of energy and classic style that he began with. Not only does Javed create a world of sound, but he invites the listener in and has authenticity behind his voice. As one of the later tracks, “Sweater” is a perfect example of being able to feel every lyric behind Javed and truly make Window II Your Soul transcend just being a collection of tracks but to actually feel like a journey through sound. Javed is a visionary in the craft and Window II Your Soul is a buried diamond in a rough of hip-hop.
The final track “Deadly Sins,” while short, is a strong personal recollection of his past life and what he can see in his future. Hip-hop is a universal bonding movement and Javed is a local leader of Pittsburgh but has the potential to branch out and make the United States his home. From his lyrical style, boom-bap revival, and prowess to succeed, Javed is an artist that needs to be under the spotlight.
Listen to Window II Your Soul Here!!! – BandCamp/Soundcloud
YOU CAN ALSO SEE Javed PERFORM LIVE THIS FRIDAY (MAY 26TH) AT THE MR. ROBOTO PROJECT AT MATT’S MUSIC MINE’S SECOND MUSICAL EXHIBITION!!!
EXTRA INFORMATION HERE!!! – Showcase Info
MMM’s Musical Exhibition Band Showcase Number Four – Caleb Coradi
From humble beginnings, Caleb Coradi jumps into a different atmosphere with his newest record, The Getaway. Disassociating himself with the materialistic style of rhyming, Coradi instead adapts a more down-to-Earth nature and proves himself as a natural lyricist and as a producer as well. From his earliest tracks to his debut projects, Caleb Coradi has made a name for himself and is slowly on his way up to being a real name in the local music scene of Pittsburgh, as well as progressing onto a more global sound.
Subtly is the catalyst to Coradi’s beginning track, “Trees” where Coradi explains, “Let’s go to a place where we got no service, where they can’t disturb us. We’ll be all alone, looking at the trees far from home,” before launching into a mix of slapping 808 percussion and warping synths that act sporadically for a moment before falling back into a soft-spoken rephrase of the chorus. The track itself shows signs of a jungled-style of music with tribal-esque percussion while keeping a modern twist and the following track, “Oasis” takes this modern twist and completely makes it the theme of the track. It uses rising synths and sudden bursts of 808’s with different modulations on Coradi’s voice that adds an additional layer of depth behind the production. “Oasis” has some of the tightest production on The Getaway and it is easily approachable, but the different styles of depth make the track feel more packed down than at first glance. Caleb Coradi is not just going to rap on The Getaway, he also does singing over acoustic tracks and this mix-up keeps a fresh style and the consistency is going to be broken up through both a solid mix of over-productive rap tracks with synthetic percussion and flashy instrumentals; to the acoustic tracks that focus on piano and guitar with a more subtle approach to the lyrical style as well.
Coradi shows that he is more than just a rapper, more than just a singer, but he is actually a versatile artist that is cheerful in his approaches to tracks and manages to let the twelve-track album never feel stale or that it drags on. With his feature list that adds more creative minds to the mix, to the sudden switches of style, Coradi is a display of courage within his music. He shows the necessary risks to succeed and shows just how bright his future is for his own personal getaway.
Listen to The Getaway Here!!! – Spotify/iTunes
YOU CAN ALSO SEE Caleb Coradi PERFORM LIVE THIS FRIDAY (MAY 26TH) AT THE MR. ROBOTO PROJECT AT MATT’S MUSIC MINE’S SECOND MUSICAL EXHIBITION!!!
EXTRA INFORMATION HERE!!! – Showcase Info
MMM’s Musical Exhibition Band Showcase Number Three – Isaiah Small
To be a man of many genres takes impeccable skill and a prowess on music that most would not be able to comprehend. Isaiah Small is a young, fresh, and up-and-coming artist from Pittsburgh, Pennsylvania that taps into the specialty of funk music, but also pours his heart and soul into making an incredible rap, jazz fusion style that he can call his own. His style is unique and his newest release, Colour could just be your new favorite piece of independent sound.
Small is a prolific keyboard player at heart, but can also rock with percussion, bass, guitar, and even lays down his own vocals which is not only intriguing to hear, but it is also impressive to witness first hand. Colour is an EP of sorts; lasting only slightly over the thirteen-minute mark, but is substantial enough to bring a listener back continually to discover all the additional layers of depth that Small creates in his music. From the growing beauty that is the opening track, “Radiohead Kid” where Small fades the instruments and gives a wonderful first insight to what is to come on Colour. His voice is light on the ears and the gorgeous piano work continues to be the highlight of Small’s sound and is what keeps an attachment on the listener after hundreds of listens. To one of the following tracks, “Ayite” where the theme of beauty on the ivories continues, but this time includes outstanding chord progression that truly makes “Ayite” feel like it was created by a team of a thousand people and not just a single person. The vibraphones that subtly lead into the main portion of spaced-out vocalization and an eventual build-up with every instrument becoming more fleshed out and with a larger focus on breaking each instrument down to its core mechanics. Just as the vibraphones lead in the track, “Ayite” finishes with seeing the vibraphones subtly leading out the instrumental and leads into another section where Isaiah Small breaks down the walls of genre, spawning a new level of love to music.
“Sunshine” is a cheerful track that features another unlisted vocalist who acts as a rapper behind the funky and percussive heavy instrumental that holds Isaiah Small as a background vocalist who lays down the chorus, “So you can be my sunshine, see I can be the light right in your eye. So you can be my apple pie, see I just want to dance with you one night.” Small’s approach is light-hearted and the cascading piano riffs that splice with sporadic playing on the hi-hat makes for one of the best instrumentals coming from the Minnesota-grown, Pittsburgh-player, soon to be global artist, Isaiah Small.
Listen to Colour Here!!! – Spotify/Soundcloud
YOU CAN ALSO SEE Isaiah Small PERFORM LIVE THIS FRIDAY (MAY 26TH) AT THE MR. ROBOTO PROJECT AT MATT’S MUSIC MINE’S SECOND MUSICAL EXHIBITION!!!
EXTRA INFORMATION HERE!!! – Showcase Info
MMM’s Musical Exhibition Band Showcase Number Two – Skeletonized
Skeletonized is indeed a rare breed of musical style that branches out from the gutters of Pittsburgh to bring an aggressive twist on the one-man band show. Drummer Matt Rappa combines both the authenticity of raw percussion work and various samples and electronics to create an unholy triple threat of emotion, confusion, and intrigue. Throughout his work, Rappa works in both the sporadic movement of jazz, to the complex cadences of heavy bass focused tracks with grooving snare rolls and freeform flow that is impossible to replicate and comes strongly on the ears.
As Self-Titled Cassette Excerpt opens, it is greeted with the simply titled “Side A Excerpt” that begins with near math-rock proportions of wailing horns, pounding percussion, and an assault of noise that floods to the listener and is reminiscing of an unfiltered and never calm style. The random flow, while incredibly un-fabricated and seemingly without direction shows a sincere sense of creating a completely new idea. While taking elements from other sections and genres of music, Skeletonized is able finally wind down and eventually leave the sporadic playing for more of a groove on the second half of “Side A Excerpt.” This is where the sections begin to connect and show a more distinct sense of direction. Even as the second half slowly falls in and out of these sporadic moments, Rappa is still able to bring back the reigns and really hunker down behind the cracks of both the snare and the Morse code like noises that play behind him. Finally, “Side A Excerpt” lets the dust settle with a large amount of feedback and silence before launching back into another glimpse into the pseudo-future of both animalistic unpredictability, and sheer ferocity.
Launching back into the undefined style, “Side B Excerpt” puts an immensely large focus on combining both the horns and percussion, but in a way that lets both instruments have their own spotlight. As the horns continue to wail and what sounds like a saxophone plays through both low grumbles and increasingly bravado style blurts, the percussion follows behind with continuing rolls and smacks on the cymbal domes to give off a complementary feeling between the powerhouse of instruments. Then as the percussion gradually takes the lead, the horns dial back and are instead replaced with these strange and unruly synths that take the backseat to the thunderous bass drums. Skeletonized is more of an experience and the Self-Titled Cassette Excerpt while only a small look into the future of Skeletonized, is still large enough to get a taste of something more.
Listen to Self-Titled Cassette Excerpt (Skeletonized) Here – Bandcamp
YOU CAN ALSO SEE Skeletonized PERFORM LIVE THIS FRIDAY (MAY 26TH) AT THE MR. ROBOTO PROJECT AT MATT’S MUSIC MINE’S SECOND MUSICAL EXHIBITION!!!
EXTRA INFORMATION HERE!!! – Showcase Info
MMM’s Musical Exhibition Band Showcase Number One – Glasnost
From the dark, heavily-wooded hills of Pennsylvania shines a beacon of hardcore music. Glasnost is that shining light uses ripping-riffs, pounding percussion, slick bass work, and a punch of vocals that illustrates the City of Steel still has a few tricks up its sleeve. Not only is Glasnost powerful in their approach, but they show potential to become one of the stepping stones and a staple of Pittsburgh Hardcore.
While with only a single studio release, Shade EP is hopeful and features a solid mix of both straight forward aggression, and a hopeful insight into the future of human nature. With Andrew Frassenei on vocals, Nate Rupert on guitar, Sam Frassenei on Bass, and Vincent Clark on the percussion, they create a stopping force that together, is the equivalent of an atom bomb. From the start of “Generations,” Glasnost moves steadily and creates momentum within the instrumentalists before coming to the first subsection of lyrics and continual breakdowns and start-ups that keep the action in a constant state of non-complacent power. The frequent changes in both tempo and style are attention grabbing and the consistent switches from both clean to growling vocals is one of Glasnost’s best attributes. Together, Glasnost works perfectly together and their energetic chemistry is apparent from start to finish on the Shade EP. Even when transition from track to track, Glasnost seems to capture the same level of energy, transferring it into a seguing power and releasing an entertaining, near fifteen-minute ride.
Listen to Shade EP Here!!! – BandCamp
YOU CAN ALSO SEE GLASNOST PERFORM LIVE THIS FRIDAY (MAY 26TH) AT THE MR. ROBOTO PROJECT AT MATT’S MUSIC MINE’S SECOND MUSICAL EXHIBITION!!!
EXTRA INFORMATION HERE!!! – Showcase Info
New Music – Wall of Sound
Full Of Hell is the equivalent to stepping onto thirty booby traps at once, walking in a room filled with a thousand crashing cymbals, or jumping headfirst into an ocean made of amplifiers. They are loud, they are noisy, and they will literally crush everything in their wake that stands in their path. Nothing can prepare you for what Full Of Hell brings with their newest and latest record, Trumpeting Ecstasy.
With a mix of straight grind core and noise, Full Of Hell makes leaps and bounds once again in a mosh pit inducing, rage-filled, fist-fight to the finish line. Trumpeting Ecstasy is also an enjoyable experience that reminds everyone just how intense music can actually become in such a short amount of time. The introduction track, “Deluminate” gives only a short, near fifteen-second salute to misery before letting Full Of Hell jump head first into the listener, creating an instantaneous wall of obliteration to follow. Most of Trumpeting Ecstasy is going to be blasting percussion from Dave Bland who lays down the deadly percussive work, the guitar being handled by Spencer Hazard, and the vocals aspects from Sam DiGristine who also doubles as the bass player, and Dylan Walker who handles the noise machines and electronics. Full Of Hell makes fair use of their musicians and their tools of destruction as well. From the moments of synthetic glory where Walker can shine through, to the intense breakdowns where the instrumentalists of Full Of Hell take the helm and steer the track like a mad bull. Hardcore may be a familiar genre, but Full Of Hell makes completely sure that every second is used for assaulting terror. From the sudden segues of tracks like “Digital Prison” to the track, “Crawling Back to God,” there is always a consistent use of sound.
“Crawling Back to God” is actually one of the more relaxed tracks present which is a complete oxymoron when talking about Full Of Hell, but it actually uses a lot of space between their breakdowns and constant assaults. The breaks in the action feel like much-needed stress relievers, but this method is quickly abandoned as Full Of Hell moves straight into “Fractured Quartz” where the production here is powerful enough to shatter diamond. From the feelings of angst when Full Of Hell begins, to the feelings of relief when each track ends, Trumpeting Ecstasy is a rollercoaster of emotions, that consists of mostly anger and anguish. There is a strong disdain behind the vocal aspect of Full Of Hell and their music is quite standoffish to a majority of people which is what makes their sound so personally enjoyable and unique. If someone can find solace within Full Of Hell then they could find enjoyment out of bands like N.A.I.L.S. and even The Body which are both bands that strike without mercy and control everything around them.
The seguing within these tracks is the most technically impressive of Trumpeting Ecstasy and it really does feel like the entire record is one, long, hardcore assault on the ears. Wonderfully produced by Kurt Ballou who has one of the most impressive résumés in hardcore. From working on practically every Code Orange record, Coverge’s records, Isis, Suicide Note, and High on Fire, Kurt Ballou has an incredible record and a distinct style of production. Full Of Hell is something that just simply has to be heard to be believed and Trumpeting Ecstasy is a record that can not be played enough. It demands to build a monument in its name, to then be burned and stomped in the ashes.
Listen to Trumpeting Ecstasy Here!!! – BandCamp/Spotify/iTunes
Classic Day – Japanese Jazz
Ryo Fukui is a prolific jazz pianist from Japan based out of Sapporo where he made his way playing at the Slowboat Club and while his career spanned only four total records, they are all fantastic looks into the beauty and grasp of a national recording artist. Fukui makes an effort to capitalize on his ivory prowess, launching a wave of power, grace, and soul that transpires through his music and truly emotes alluring attractions of instrumental glory.
His 1976 album, Scenery is gentle in the first stages but eventually goes through several transitions of metamorphosis where a distant rumbling of bass and percussion is soon brought into the foreground as Ryo Fukui can unleash a shining example of mastering multiple emotions in several sections. From the opening track, “It Could Happen To You” where it is the shortest track present on Scenery, but also a track that proves Fukui’s immaculate talent. Switching from steady rhythms to sporadic hammering of the keys, Fukui is a legend in his craft, making serious advancements through his sound. Even as the keyboard is thumping steadily along, the other instruments, both the percussion and bass are important in forming the overall sound as well. Their power is almost just as important as Fukui on the keys and the two players Fukui uses are incredible in keeping both the subtly and the forcefulness at a point of never overpowering each other. The constant duality is only further displayed as Scenery continues and becomes ever more clear.
As Fukui moves onto one of his proclaimed masterpieces, “Early Summer,” the keys become a simple extension of Fukui’s movement. He moves what seems like effortlessly between his machine and does an outrageous job of managing to output different sequences that would make the standard person’s head spin. He is fantastic at what he does and his sudden tempo changes that shift everything up to level eleven is awe-inspiring. Listening to Scenery for the first time is similar to finding a jazz gold mine, each note that Fukui plays ultimately contributes to the final product of immense glory. The sporadic playing that follows midway through “Early Summer” is challenging to even listen to, as it is so incredibly fast and while it shows a pattern, Fukui and his band move together so fluently almost as one single entity of sound.
Even in the final moments of Scenery, Ryo Fukui still progresses with a great amount of emphasis on keeping the energy continuously live and fresh. There is no track that sounds similar, even as all the tracks are seguing together nearly perfectly. Because of this, Scenery feels much shorter than it actually is. The barely 40-minute record is a national treasure to jazz and needs to become acknowledged for the sheer beauty that Fukui possesses through his music. From the somber self-titled track, “Scenery,” to the blast on “Early Summer,” Scenery is a wonder of noise and sound that echoes in the mind years after the first listen. The replayablility and the downright attractive nature makes jazz feel like a new experience once again, even after hundreds of plays in the late nights to the early mornings.
Listen to Scenery Here!!! – Youtube (Thank you Woody Allen <3)/iTunes
Misc. Day – The Richmond Powerhouse
When people think of Virginia, the thought of Colonial America might form, or perhaps images of trees and sprawling forests, maybe the fantastic hills that the “Birthplace of the Nation” has to offer. There is however, a select few people who know the urban legends that spawned from the Richmond underbelly and Nickelus F is one of the vocal heavyweights that put Richmond as a footnote for musical ability. The Freestyle Champion, plague of locust flooding, production destroying, Nickelus F comes swinging with a melodic mix of fresh cuts on his latest record, Triflin’.
From the earliest days of 2000, Nick Fury/Sweet Petey/Nickelus F, what ever you want to call him by, each moniker is only a chapter in his life that shows a natural progression. He was a freestyling champion on BET Network’s “Freestyle Friday’s” and eventually worked himself up to studying with superstars like Drake and even some of the underground masters like Lil Ugly Mane from his sprawling career, Nickelus F has proved time and time again that he can master any microphone, studio, production, and still look calm, collected, and unable to break a sweat.
He begins his personal recollection with the opening track, “Laced Weed.” With a skit/intro that features Nickelus F and a police officer discussing a traffic stop over “no front tag” on his car, the officer then later explains, “The part, the are you live in is not such a good area down here, so when people have violations you know we stop just to make sure everything’s good.” Nickelus F then jumps right into the hook of “Laced Weed” where he almost speaks instead of rhyming and explains, “I leave go out, get to juggin’ unless you got a better plan. Step back and let that boy cook ‘em, whip whip with the left hand… Grew up to be a clever man, T-R-I-F-L-I-N.” The production is a solid mix of piano and 808 drums but does not come swinging in full force for an opening. It is more of a gradual build into some of the later tracks, but Nickelus F still delivers clever wordplay and some interesting one-liners. His clever flow resides into the following track, “Walls of Jericho” and the anthem to his city, “Richmond.”
Sweet Petey follows the subtle energy and eventually crushes it into a full-frontal rush on “Walls of Jericho.” The instrumental sounds something similar to Tim Burton’s Batman (1989) with these smoky piano chords that are eerily similar to the personification of criminal mischief. The track also matches well with Nickelus F’s rhyming style where he attacks almost relentlessly with lines that describe, “She say he ain’t in church enough, I pray, done prayed my whole damn life, but that don’t seem to work enough so I’m grinding, grinding, making’ moves…” and even “Got a clip in the ashtray, put it in my mouth, that shit be jumpin’ like a baby kangaroo from out the pouch.” He also drops a classic, Nickelus F charmer, “Smell my fingers, you can tell it was some wow. She said I can hit it raw, I threw the hat like Kung Lao, what now?.” Nickelus F has always managed to release a steady flow of comedic lines while giving off the impression that he is not trying to overthink anything. His lyrics are not the vocabulary assault, but they are still relatable and complicated enough to stand on their own.
On his following anthem, “Richmond” is a beautiful track that taps into F’s upbringing and how he made his way into both hip-hop and life. “Richmond” is also a double track that switches beats midway to create a total style alteration that flows effortlessly and keeps Nickelus consistently adapting to his production. He first explains, “It’s where I first learned to smoke the grass, it’s where I got my first piece of ass. We used to shoot dice between the class, and if you don’t pay up we gon’ beat yo ass.” To then using a slight intermission where the percussion is more focused and the production features warped voices that echo almost like ghosts of the track. This style switch fits Nickelus F’s lyrical style as well as he describes, “What you know about dark days, pointing that gun at yourself. Tell me everything about life, man you can blame nobody else…Swear I cried out to God begging for help, and then he gave it to me in the form of a mirror.” Nickelus F uses “Richmond” as more of a personal statement and does an outstanding job with connecting his past experiences and his future ideas into one consistent track.
Out of the fourteen total tracks that Nickelus F delivers, there is not a single track that feels like a filler, or even out of place. He does an amazing job of creating a surreal album that demands to be listened to from front to back with no skips in between. He destroys every track in his own stylistic choices and creates a personal connection to the listener without sacrificing for wordplay or experience. Doing the impossible is something that can almost never happen, but Nickelus F has proven time and time again that he can shatter the boards of hip-hop, pick up fifty-two points with ease, and make other artist seem silly in the craft.
Listen to Triflin’ Here!!! – Spotify/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)