Krule King // Listen/Watch Here – Youtube
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.
HE HAS RISEN // Listen Here – Adult Swim
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.
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