STREAMING // (Track) CIVEROUS – “Herodacy”

Listen Here – BandCamp

New Music – The Hip Joint

It’s been a long time coming that Your Old Droog would surprise audiences with one more drop before 2021 was coming to a close. The lord of ad-libs and challenging intricacies,  Space Bar quickly makes the last-minute mark for being one of the strongest releases of 2021.

Opening simply with “Space Bar Intro,” the string sections and rugged vocals are a beautiful coinciding factor to the mix. Most of Space Bar can be contained into being a walk through otherworldly areas that vaguely represent Manhattan. The space taxis and buses carry people from place to place and ultimately resemble something from Futurama.

Your Old Droog’s vocals are fantastic in the way that they flow over the orchestral strings without a single fray in the notes. He takes “Space Bar Intro” as a diving board into “Cosmonaut” which spends less time in limbo as it does getting right into an audience’s palate.

The boom-bap instrumental dives through the asteroid belt and has Your Old Droog as a faithful leader through the impossible to avoid danger. He describes, “My next shit is off the meat rack, fuck ___, I need that Chloe Bailey beat pack” as laser guns fill the void for vocals. The way that the audience can listen in and illustrate in their own finishing describes one of the strongest relations to MF DOOM.

Even as the rhymes that reference to “Beef Rap” that describes, “Ain’t got to go to music class, still could be flat. Spitting beef rap like you ain’t been wack beat cat.” One of the most important things about Your Old Droog is the fact that each bar can be a teaching tool for the listener to be not only punchlines but also have some moments of pure vitality to the bars.

He takes pieces like “Yuri” which might be one of the best instrumentals that Your Old Droog ever touched and configures it to fit his own style. The ripping guitar is a fantastic sample to live over as Your Old Droog explains, “Dude’s be having mad fans and no supporters, and anyone in close courters can feel my aura, accountants, lawyers, hoes that work at Sephora. Don’t get me started on Europe, been a legend there. Got my own statues like Lenin square.”

Other pieces like “Babushka IV (Zinfandel)” continues the saga of “Babushka” and takes a track with absolutely no percussion where Your Old Droog can primarily continue to focus entirely on the narration. Quickly the verses overlap and as he illustrates, “Bout to hit ya grandma’s crib and get cozy, only mess with hoes that’s beautiful. All my exes are 10’s, like Roman numerals.

Space Bar quickly becomes a dissertation, much like every other Your Old Droog album. He’s able to tie together strands of obscure instrumentation and ride the USS Enterprise around the stratosphere.

Listen To Space Bar Here!!! – BandCamp/Spotify/iTunes

STREAMING // (Album) Hope Drone – “Husk”

Listen Here – BandCamp

Recorded By: Christopher Brownbill

Mixed By: Hope Drone + Christopher Brownbill

Mastered By: Brad Boatright

Artwork By: Joscha Bauer

Drums + Additional Percussion: Francis Keil

Vocals, Guitars, Noise: Christopher Rowden

Vocals + Bass: Aaron Smith

Guitars, Keys, + Noise: Karl Hartwig

Track List: Inexorable, Husk, Existere, Dwell

STREAMING // (Video) Fly Anakin – “Ghost”

Listen/Watch Here – Youtube

Featuring: Nickelus F.

Produced By: Like (of PacDiv).

Shot + Directed By: No Fun (Tahjee Wallace + DuctTapeJesus)

Classic Day – Turn The Page

What happens when mixing (The) Melvins, Faith No More, Slayer, and Mr. Bungle? The combination would probably sound something like a hellscape of harsh cutting noise and fiery instrumental prowess.

Fantômas is that answer and with their self-titled debut record released in 1999, gives insight into the strange, occult, and perhaps otherworldly science fiction of tomorrow’s sounds.

Looking at this album nearly 23 years later, there is much of an influence that came from the mostly unknown record. Elements of noise and experimental sequencing tie the audience to the chair, torturing them with impossible to predict rhythms and lacerations around the eardrum.

Fantômas is a 30 track record, but each piece lasts around an average of 45 seconds to a single minute. The 42 minute LP holds Mike Patton as the lead vocalist and head behind production while Dave Lombardo occupies the percussion. Rhythm is a vital section to have with some natural-born killers and Trevor Dunn on bass and King Buzzo Osborne covers the guitar.

It is a sludge match made in heaven for a lineup and together Fantômas becomes frightening and intimidating with “Page 1.” They pull back a curtain of low-tuned bass strings that growl against Patton’s grumbling. The behemoth is rattling through cymbals and is almost apparitional in stance. Between the specter’s hand that reaches to the audience disguised by the distinguished production, Fantômas suddenly transitions continuously.

With “Page 2” the work becomes more metallic and warping with shouts and elements of samples tuned much higher than the rest of the mix. Fantômas becomes violent but easy to conquer with. The way that Lombardo can groove alongside Dunn becomes the bloodline to the record. Osbourne adds flairs here and there but the main focus is simply all over the place.

With around 30 listens to the record in the past two weeks, still I find myself being caught off guard and surprised. These rampaging changes are Fantômas’ best and most weldable weapon for them. With each “Page” that turns, Fantômas as a record is frequently changing shape.

This chameleon of sorts is trapped by this pressure to confuse the audience and always have them searching for a beat to follow. The experimental factors take some getting used to, but Fantômas becomes a favorite in the way that the weird can be a selling point.

Shrills, operatic takes, and blood-curdling screams are all present here from Patton and per usual, his performance is perfectly fitting for the instrumentation. Not one note wasted, not one ear spared, and certainly not a single track memorable by name.

Listen To Fantômas Here!!! – Spotify/iTunes

STREAMING // (Album) Mach-Hommy – “Balens Cho (Hot Candles)”

Listen Here – Spotify/iTunes

Track List: LA PRÈMIERE BOUGIE, LABOU, LA DEUXIÈME, SEPARATION OF THE SHEEP AND THE GOATS, MAGNUM BAND REMIX, LA TROISIÈME, LAJAN SAL, LA QUATRIÈME, WOODEN NICKELS, TRADITIONAL, LA CINQUIÈME, MONEY MAGNETS, SELF LUH

STREAMING // (Album) Pushpin – “POWERPLAY (Part 1)”

Listen Here – BandCamp

Mastered By: Gabe Zimbler

Cover Photo By: Sugar

Cover Edits By: Pushpin

Track List: Fall From Grace, Mizunderstood, Front So Big, Manifes’ Destiny

STREAMING // (Album) Detroit’s Filthiest – “Fight To The Finish EP”

Listen Here – BandCamp

Photo By: Julian Shamou

Artwork By: Dick Reckard

Mastering: LXC (Leipzig, Germany)

Track List: Get The Strap, Secure The Bag, Failure 2 Launch, Motor City Blues

Misc. Day – Fashion In Danger

Since the dawn of man, there has been this fascination with the near-death experience. Take SPY as an example; the California killers that together are a Zodiac of hardcore.

Sending messages to the audience instead of the police or press, SPY is the rambunctious killers of sound that together collide on HABITUAL OFFENDER to be brutal and act without mercy.

Opening HABITUAL OFFENDER with “AFRAID OF EVERYTHING,” SPY acts paranoid but not to be afraid of anyone but themselves. The rough guitar feedback leads the audience into a house of mirrors, confusing and soon to be their final demise. The last images strike into the brain with lyrics that illustrate, “Enraged by what you see, this world is not for you. I hate that I can see it inside myself too.”

To be a continuous force of nature takes much of the aggression and exertion on HABITUAL OFFENDER to be a 10 minute set over six tracks. The fear of civilizations toppling over follows onto “OBTAINED UNDER DURESS” where SPY pulls the audience further with an undertow of circle pit whirlpools.

The riptide of bodies disguised as countless waves is nearly impossible to distinguish as the crowd attacks together like a disjointed tidal wave. When the sluggish nature of “EXCEPTIONAL AMERICAN” enters the frame, classic two-stepping nature images blast into the mind. Stomping like the ground is littered with roaches or skulls of enemies, the kicks come up and begin to create distress within the ears.

The lyrics shouted over percussive onslaughts describes, “What a model citizen, such a good American. Wants to kill and die for this fraudulent republic.” A small tempo breakdown leads into the final rephrase where vocals declare, “What a model citizen, such a good American. Full of blind and thoughtless pride, fool fanatic fed only lies.”

Movement is SPY’s biggest ally, especially in a world full of watchful eyes. They keep low and strike when necessary, but keep a momentum running as if all the public was against them. On “Labor Dispute,” the audience begs for a reprieve and SPY essentially looks into their hopeful eyes and pushes their head further under the murky waters.

Describing a dystopia hellhole, “Remember eventually your time runs out, labor will be heard, labor will strike. Accruing wealth you don’t deserve, denying those whose work you steal, a chance at a decent life.” In the final lines of the track, SPY voices more concern for its own brotherhood of man than a coalition of the upper class.

Those same people that SPY were pulverizing in the first tracks, end up as a partnership to destroy together. Illustrating, “Send your pigs to repress us, when we’re done with them, it’s you we bust.”

One last dance with feedback to ring out the lifetime of misery from SPY, HABITUAL OFFENDER quickly becomes a dance with the hardcore demons of your dreams.

Listen To HABITUAL OFFENDER Here!!! – BandCamp/Spotify/iTunes