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.
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.
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.
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.
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.
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.
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.
This is a new collaborative effort from Drew The Architect and Grayera… I like it and you might too. I don’t feel like doing anything fantastic today so this is what my friday will consist of. Come to my showcase on May 26th and it’ll be cracking. Mostly, it is a short distraction from this life to the grave. Happy Friday kids, stay safe on the weekend, and don’t forget to do at least one front flip a day.
Somewhere in the barren recesses, there lays a diamond amongst the sand. A true jewel of musical sound that laid buried deep, and almost in plain sight. This diamond was the strange, wonderful, and occult compilations known as The Desert Sessions; a love-child of Joshua Homme, Chris Goss, Samantha Maloney, Mark Lanegan, and the numerous personas that stemmed from Cole Jontrane, Nigel Thistlewaityourturner III, Gross, Alain The Mighty, Natasha The Great, and even Joshua The Mildly Entertaining. From these laidback, experimental sessions of recording, some of the greatest Queens of The Stone Age tracks, features, and products have come to fruition.
Volume 7 (Gypsy Marches) & Volume 8 (Can you See Under My Thumb?… There You Are) are a compilation effort of both talented and experimental instrumentalists and vocalist that create an intriguing approach to a double sided album. Almost in no correlation, Volume 7 begins with “Don’t Drink Poison,” a promiscuous styled lumber of stylish cymbals and tom percussive work that almost borders on a Middle-Eastern sound of sitars which slowly transfigures into a march of snare drums and horrific chants. The string work on the first portion of “Don’t Drink Poison” is enticing and is reminiscing of a fantastic dinner party, while the second portion becomes a sudden ritualistic trial of short, bursts of knives that cut through the sound and become quite animalistic. Even as the track frequently switches between these two styles, “Don’t Drink Poison” is thrilling and keeps a consistent flow which drones out into “Hanging Tree.”
As Queens of The Stone Age later revamped the track, “Hanging Tree” uses Mark Lanegan as the main vocalist and his stone-dead voice is chilling, but still tender when letting out the subtle cries of the daunting setting. Lanegan describes, “Round the hanging tree, Swing in the breeze. In the summer son, as we two are one.” Of course while he nearly whispers these lines, the instrumentation behind him is similar to a Spanish/Mexican dance track where the acoustic guitar is played in a certain manner and the percussion is focuses on drawing attention to the pounding tom drums. Then, in succession, the track “Winners” slides into frame and is more of a joke than anything. It features a funky electronic beat and has different voices reading names of students as they proclaim, “The following students in your high school were winners.” It shows the level of variety and the care-free attitude that the musicians had when forming the Desert Sessions’ records. They were meant for experimentation and to change the formula of music.
The track “Winners” and the following, “Polly Wants A Crack Rock” are polar opposites and the jump is almost jarring. The sudden four beat count-in from the drumsticks is the first opening of the gates into one of the best written and most musically progressive tracks on Volume 7. “Polly Wants A Crack Rock” is catchy, with a punk style of percussion and the guitar being a flurry and flash of simple, but memorable fret-board maneuvers. The vocal aspect is the most predominate and Nick El-Dorado does a beautiful job of illustrating an addiction to crack with sudden huffs and inhales as a backing piece to his vocals of “Polly wants a crack rock, Polly’s on the wrong block.” Even from the jumps from the first, “All dressed up, nowhere to hold…” to then the second verse where El-Dorado screams, “All fucked up, hanging around,” is a sudden, but effective lash of energy that segues into the final moments where the following track, “Up In Hell” can shuffle in.
The final track of Volume 7, “Up In Hell” is subtle in the introduction but quickly changes into a crush of percussion and claps that echo through the track, even the chorus features a band of people in unison stating, “Up in Hell.” The guitar work is a shining example of how unfiltered expression can make for a solid display of precision as the entire work feels like a guitar-solo dedicated to overlaying extra noise over an already deeply layered track. “Up In Hell” is an effective transition of cult-esque chanting, ritualistic drums, and the final notes of the guitar acting like a wave to subdue all the sound, paving the way for Volume 8.
“Nenada” is the first track to grace Volume 8 and is a straight-forward track of a continuous jam session of hi-hat clasps, chanting, and guitar work that shines through into the later work of Queens of The Stone Age. Volume 8 is a much slower, more gentle side than its predecessor and the final track, “Making A Cross” is a perfect example of this sulking approach. It is a ballad of acoustic guitars and a crawling advance toward percussion that acts more as a finale. “Making A Cross” is beautiful and is a well-placed closer to an album of experimentation and oddities. An album that destroys genre and instead focuses on creating whatever was wanted, ignoring the rule book and adapting to a new order.
Where does the center of punk music lay? Does it have roots dating back to the earliest ages of the ancient Egyptians? Does it spawn from the first days of the missing links? Could it possibly have started with the sudden eruption scientists describe as the Big Bang? I personally do not know, but I do know that Blazing Eye is an extension of that pent up aggression and desirable punk music that the public so desperately needs. From the enclosures of the sudden urges to break everything in sight, Blazing Eye launches an attack with terror and displays no sign of mercy, no points of slowing down, and no sense of rationality. They destroy, rebuild, and crush again the very foundation that stands around them.
S/T 7” may only be a near seven-minute journey, but Blazing Eye treats this journey like a flurry of broken bones waiting to happen. The glimmering beacon of hope that acts as a build up into their first track, “No Outside” is not quite punishing, but instead acts as a safe zone for mosh pits to gradually form and become the onslaught that Blazing Eye will surely deliver on. Their sound goes beyond the limits of emotion and becomes a thrill-ride of electricity that instantaneously throws a wall of sound to the listener, threatening them, and finally launching a blaze of percussion and gutsy guitar that seems to echo continuously through each track. Anger is a repeating factor of their musical sound and the abrasiveness is the weapon of choice as Blazing Eye will move from track to track in a consistent fashion of never seeing a stopping point. Their music is like a train ride of fire, the wheels never slow and the noise only continues to grow more and more rambunctious.
In the subtly named “Kill You,” Blazing Eye takes an approach of using their vocalist as a screamer and introduces some solo work on the guitars as a way to mix up some of the flow of the music. Their approach is still the same, a sucker punch of kerosene that burns brighter than anyone around them. Blazing Eye is also home to LA VIDA ES UN MUS RECORDS which shows a touching grace to Lumpy and the Dumpers, and other outstanding acts like S.H.I.T., Rat Cage, and Anasazi, all of which have been known to be angry and show similar signs of Blazing Eye’s claim of glory. The general sound of LA VIDA ES UN MUS RECORDS is a hardcore jump with a twist of modern personalities. Blazing Eye feels familiar but also is a touch of new that is a welcome addition to the ever-expanding palate of hardcore music.
Blazing Eye then continues on with “Devil,” and the final track, “Biting.” Both of these tracks are a fighting spirit of head-slamming glory and force movement within the first few seconds. The pounding of the percussion, the swinging style of the guitar, and the in-your-face-attitude of the vocalization is a wonderful end to a fire-pit of hard as nails fury and a punch in the mouth to anyone being able to witness Blazing Eye’s assault.
RAGANA is the deadly duo of femme fatales that bring a crushing wave of sound, but also make use of beautiful chord progressions and incredibly daunting transitional pieces to create one of the more subtle, but punishing assaults on metal music this year. RAGANA is not a new band to the scene and both members, Nicole and Maria are no strangers to the musical background. With their newest record, YOU TAKE NOTHING; they establish newfound footing and continue to progress their overall sound another milestone.
From the gentle opening of singular notes played on a guitar, to the sudden crashing waves on the introductory track “Spare No Man,” RAGANA establishes a common duality within their music that contains both the beauty of melodic and droning styled metal instrumentation, with the howls and bitter screams of anguish that accompany the instruments. It is almost overbearing within first contact as the screams are so incredibly forceful and abrasive. Maria is the conjurer of the intense screams and does a fantastic job of creating a serious disconnect from the false beauty behind their music. Perhaps it is the sudden jump from angelic guitar work to the smashing percussion that crushes through like a hammer, RAGANA is unique in their approaches and show a strong disdain and detachment from being a place of solace.
“Spare No Man” is by no means a short track, lasting around three-minutes, but it does create a sense of blending within YOU TAKE NOTHING, as all the tracks have a sort of seguing property to them. There is no unapologetic jumps or leaps into a sudden blast of noise between tracks, the intensity is concurrent and never becomes a jarring stab. Even from “Spare No Man” to “To Leave,” RAGANA moves as a singular being where the percussion and guitar work shine immensely through the overbearing theme of darkness on YOU TAKE NOTHING. “To Leave” features the first appearance of clean vocalization and the voice is simply lovely when paired with the creeping, gentle builds that lead into the following track, “Winter’s Light.”
The percussion is something that always stands out on RAGANA’s records as of course, while only being a duo, there has to be some shining element of the band in order to create a memorable sound. Nicole does a fantastic job of switching from building sections of tom and snare hits where they continually pound and pound before reaching a tipping point of a full-frontal assault of rapid-fire cymbal and snare hits. When paired with the guitar work and the frantic vocalization as well, they make for an unforgiving combination of raw emotion, and pure power. This is also where RAGANA can illustrate their sense of adaptability as well, on the second half of “Winter’s Light,” RAGANA takes the progression down and becomes more focused on delivering a much slower, more steady sense of direction. The change is welcome as it enables RAGANA to become subtler, letting the feedback of a guitar flood out, and letting the inevitable silence to flood in.
The next two tracks, “Destroyer” and “Somewhere” are similar in style and act both as catalysts for RAGANA’s suddenly punishing touches and gentle approaches. RAGANA has such a wonderful sound and while their range is mostly consistent, it is the unanticipated changes that keep the listener on their toes and always trying to understand when the next transition will happen. This is RAGANA’s greatest ally, the element of surprise makes YOU TAKE NOTHING a constant journey of unexpected turns and gives the record a new level of replay value. From the beauty of Maria’s guitar work, the gentle build ups, and the final crushing waves of percussion from Nicole that truly make YOU TAKE NOTHING a thrill-ride from start to finish.
With the final act of the self titled track, “You Take Nothing” is the second-longest running track, but it is also the most important when looking at YOU TAKE NOTHING as a whole. It singlehandedly manages to capture RAGANA’s sound within its six-and-a-half-minute run-time while keeping consistent in building emotions and and the repetition of Maria’s words, “You Take Nothing, You Take Nothing, You Take Nothing…” which constantly builds before reaching her primal yells of the same phrase. It is a truly powerful message that becomes engrained through repetition and makes for a punishing, destructive finale to one of RAGANA’s best records yet.
Listen to YOU TAKE NOTHING Here!!! – BandCamp