Listen Here – BandCamp
Curation + Artwork By: Strahinja Arbutina
Featuriing: DJ Break Da Law, NoiseJit, Mr. Harmless, KMS, AKAFAË, Syberian98, RELIQUISHED, Nortsch, FAITHFUL, Tzimtzum, Ausgewalt, Movod, HELLDEGÅRD, Emma Dowdy, DJ ANGST, Śmieciu, Óθεος, KARMAGEX, TZUHAN
Track List: Störenfriend, Parallax, Brother Vlad Says So, Fall Back, CIRCADIAN RHYTHM, h a t e m o n e y m o v i n, o, You Make Me Feel Like Everything Is Going To Be Okay, Seelenfaenger, Network Tearing, Your Nihilism Is Disgusting, 5Sigma, No Code, COULÉ, Neva, Untitled, Cutthroat Puppy, WTF, MODEL, 4 In The Morning
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Jazz fusion has always held a special place in the personal heart, especially for records that were covered in a thick layer of untouched dust for years. Pieces like The Sisters coming from Weldon Irvine are glorious and have a nature to satisfy the ears without stemming too far from an unapproachable standpoint.
Opening the well with the title track, “The Sisters” is a stomp through the streets of New York in white platform boots and velvet pants. Collaborating styles from yesteryear, The Sisters is a collection of previously unreleased material dating from the late 70s.
As a digestible 11 tracks, however, the record was first released in 1998 and gives this perfect introduction to the ambitious and frankly ambidextrous stylings from Irvine.
Displayed as a composer, Irvine takes tracks like “Morning Sunrise” where Westside Gunn could easily slide over the classy and soulful performance. Creating a graceful and incredibly well-timed style, “Morning Sunrise” immediately becomes the stand-out for The Sisters.
A track that desperately needs to be dissected and repeated, “Morning Sunrise” has this rhythmic progression and incorporates splashes of shimmering lights disguised as horns to prowl in the backing. This warmth is encapsulating and treats the audience as if they were the most important factor to the world. The backing vocals take notes from Marcus Miller, Omar Hakim, and Bobby Broom, who together support Don Blackman.
Other tracks take “Sexy Eyes” and become more fit for the club or discotheque where the thumping nearly slap bass style of funk overpowers the audience in comparison to other pieces. While it isn’t nearly as glorious or as progressive as “Morning Sunrise,” the emotion here is different and the vibrations are different.
Irvine steps further into the funk hole where the audience can either tighten their star-studded glasses and strap in, or dive back into other loving slow jams like “Heard It All Before” which is less of a conquest and more of a slow journey through public access television soundtracks.
The perfect record for a Sunday afternoon, clothed nearly entirely in silk garments, The Sisters is a three-act play of energy, beauty, and finally overwhelming warmth through happiness. The tonality is beautiful and the nearly 40-minute record spins better as a smaller sectional rather than as a full release.
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Track Produced By: Black Noi$e
Directed + Edited By: Ryosuke Tanzawa
Produced By: Sean Gordon-Loebl
Director Of Photography: Alex Huggins
Location + Set Design By: Jerald Cooper
Executive Producer: Naoya Watanabe
1st AC: Victor Grossling + Dan Muchnik
Colorist: David Torcivia
VFX Artist: Pete Puskas
Production Support: Eric Hatch
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12 tracks in under ten minutes is an explementary reason why Twompsax can march straight from our punk rocks dreams and into our punk rock hearts.
Headed by Cher Strauberry as the main vocalist and writer of the group, much of the beauty that forms around I H8 ME is the self-reflection of being trapped inside a scene of sound.
I H8 ME begins with “dysphoric,” a 40-second belligerent blast that gives the audience the first glimpse into Strauberry’s warped and feedback-ridden vocals. Describing, “I’m sick, I looked in the mirror. She’s broke. It’s only exterior, feels dysphoric. I’m not important.”
The microphone that Strauberry opts to use resembles a child’s toy with a concave dome grill. As the instrumentation continues to blitz and assault the ears, I H8 ME keeps this as a theme to stay relevant in the fist-pumping motion.
Stage diving crashes into the scene with “punks n jocks” as the 23-second long track pushes and pulls a crowd like a whirlpool. Strauberry asks, “Punks and jocks, what’s the dif? Pick me apart, makes you feel real big.” As Strauberry begins to howl, the instruments almost incorporate these bells to slam behind the vocals like a cutesy outlook to the mosh.
Later pieces like “trap” are outward-looking to what other people see, describing, “She’s a sissy, she’s a trap on a skateboard deck. She’s a sissy, she’s a trap, she’s a threat threat threat.” The track is again, incredibly quick and a hidden treasure of fast and aggressive performance. The instrumentation makes no trade for the lo-fi style and instead hunkers down with only three out of the 12 tracks reaching over a single minute.
The entire nine minutes and 53-second production is a punk rock short story that even in a live setting, is over before the fun becomes daunting. With Strauberry at the helm, the rapid-fire tracks force an audience to fall in love and then beg to be heard over and over again.
Listen/Watch Here – Youtube