STREAMING // (Video) Choo Jackson – “Lost Years”

Prod. By:  Treetime

Directed By: Bradley Atom


Listen/Watch Here – Youtube



STREAMING // (Album) Pachyderm – “Verge”

Performed by Pachyderm, whose personnel is:
Ethan Mackowick – acoustic and electric guitar, vocals
Max Klemmer – bass guitar, vocals
Jaxon Stunden – electric guitar, vocals
Remy Erkel – drums, acoustic guitar on “Spend The Night”
Nico Sleator – keys

With help from:
Augie Bello – tenor sax
Sugah Cat – trumpet
Talisman St. Charles – band manager

All songs written by Pachyderm
Recorded in a variety of basements and bedrooms
Mixed by Nico Sleator (check out )
Mastered by Alberto Sewald
Special thanks to Max Rayschich for recording help and advice
Special thanks to Leon Sleator for lending us your nice microphone

Art by Peter Zurawsky


Listen Here – BandCamp



STREAMING // (Video) CZARFACE X MF DOOM – “Bomb Thrown”

Directed by: Kendra Morris

Concept by: Esoteric & Kendra Morris

Photography: Lewis Holiday

Art: El Ultimo Codice

Action figures: Killer Bootlegs

Visual effects: Josh Mac

Effects supervisor: Jeremy Page


Listen/Watch Here – Youtube


STREAMING // (Video) Queens Of The Stone Age – “Head Like A Haunted House”

Produced, Edited and Directed: Liam Lynch // Listen/Watch Here – Youtube


STREAMING // (Track) Germ – “BODYBAG”

Prod. By: Don Krez // Soundcloud

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Misc. Day – To Fall and Stagger

61rM-YtTffL._SY355_Music can transport a listener to a million different places in a short amount of time, with the metallic corridors of the deep dungeons, the high flying birds in the sky, or the smoke filled room of a jazz bar. Dreams and Daggers by Cécile McLorin Salvant takes the listener to the 50’s and 60’s where Jazz was in the golden age, where it flooded the streets and was more booming than ever.

Salvant takes innovation and vocal jazz into a synonymous, handshake of range and ability. Recording both through studio and live performance, Dreams and Daggers becomes at times a lengthy journey through the clear headed strut of Salvant and her band. Shown for the plethora of production and instrumentalists that specialize in making the mixes feel more genuine than felt before, the senior album of four by Salvant where she is at the helm feels right. Dreams and Daggers adjusts for her, create a conflict of both the glorious instrumentals and the heart-stopping vocal performances that border between elegant and abstract.

Discussion on marriage, solitude, and the ability of a free-thinking woman, Salvant is backed by Aaron Diehl on piano, Sullivan Fortner on piano, Paul Sikivie as the double bass and string arranger, as well as the Catalyst Quartet on strings. Percussion is handled by Lawrence Leathers, and with a direction that is laid out by the band as each track feels as a continuation of the last through tempo management and overall sound. The music is such a vital piece to aiding Salvant into a triumphant, emotional attachment to her own sound. It becomes a traditional jazz flaunt, but then devolves into the beauty and glory of experimentation with the sound by using changing tempos, the forming of audience noise, and even what becomes mostly covers on Dreams and Daggers.


The emotional stance and impact becomes quickly attached to Salvant as she displays more than just a beautiful voice on Dreams and Daggers, she displays vocal range and the ability to be a real threat as an artist. She moves in an elegant manner in certain forms, behind the soft spoken voice in between tracks. But more importantly, can understand a sense of what makes her beauty stand out, and that is the conflicting lower played and sung notes that bounce throughout the record in an effortless fashion. Salvant makes the impossible seem approachable, she holds a twisted shift that works immaculately in her favor.

Even as Dreams and Daggers begins to move through the total near two-hour mix, Salvant keeps the music feeling adaptable and easily digested through the intermissions of instrumental and vocal performances. The record is longer, but for good reason and gives Salvant a substantial platform to display her manipulation from both up-close and afar.

Listen To Dreams and Daggers Here!!! – Salvant’s Website/Soundcloud/Spotify/Amazon/iTunes

New Music – Underground Elegance

1516925699_efd83500fe40a6abbae892c2f8b5acfcPouya, the five foot five destroyer comes hailing from Florida, or rather Flawda as he describes it. He has a sense of cultural pride behind his home and flows with that southern style as Bone Thugs, but changes it to fit a new modern format.

On his newest record, FIVE FIVE, Pouya emerges from a break of touring and his last album, Underground Underdog, to reinstate his position as one of the faster, more breakneck rhymers of hip-hop. His work with $UICIDEBOY$, Ghostemane, or even Night Lovell who makes a feature on FIVE FIVE, Pouya shows his adaptability to both production and different lyricists on a near featureless masterpiece. The production which is handled exclusively by Mikey The Magician compliments Pouya incredibly well and has this elegance behind it. Pouya and elegance has never been two things in one sentence, but on FIVE FIVE he flips a script completely and rides these shifting piano heavy tracks that make for a new style to Pouya.

He moves swiftly, making FIVE FIVE feel as a new artist and something that is a more mature cut than Underground Underdog. “Aftershock” is a fairly vivid look into this new style of Pouya where he shifts behind this classy percussion and thumping bass line. Pouya explains, “I got a thousand enemies and yet they all wanna rip me, but even if you kill me I will never die, my words will live forever. I thought this money was suppose to make my life look better, but now this money got me dancing, dancing with the devil. Heavy metal, got my pants sagging like a 90’s rebel, I can never settle, I need my settlements lately. Been around the world but Miami is where my grave be”.

Screen Shot 2018-03-14 at 2.45.46 PMMoving through the gun smoke and debris in a glimmering, triplet and shifted fashion, Pouya feels personal and has a better ear to his style on FIVE FIVE. There is still a strong clash within FIVE FIVE where the tracks become much stronger and move in a more destructive fashion. Especially on the self titled track, “FIVE FIVE” where the punching bass moves Pouya into a power stance, rhyming “So put some respect on my name, my flame is reigning with no label. Momma said ‘Get that bread and lay low’, while you sippin’ on your Faygo, 45 Blow off your halo”. It is the same raw tenacity behind Pouya’s voice that made crowds and mosh pits fall in love with him from the beginning, but now he moves with a stronger, more forward and flowing approach.

It is this violence that Pouya portrays however that makes his sound feel rough and as he is not a target but instead an assaulter. “Bitch back off of me, mac on my hip when I bust I turn you obsolete. Don’t bother me, iPhone buzz if I don’t get it once what the fuck you think. I’m not the type to think before I act, you can bust a 1000 rounds, I’m still intact”. Pouya raps over “Back off Me” where the foreboding instrumentation and eventual church bell chime conflicts with the rattling and twisted hi-hats to form a production that is fit for a king.

Mikey The Magician destroyed every bar here with the production and he quickly showed that he can be a driving force behind a great lyricist and move the pieces to fit this overarching puzzle piece. FIVE FIVE is important, a new stepping stone in Pouya’s career, and one that lives on through the beauty of the sunshine, but also the dark underbelly of Miami.

Listen To FIVE FIVE Here!!! – Soundcloud/Spotify/Amazon/iTunes

Classic Day – Twin Convulsions

maxresdefault-2.jpg(The) Melvins are a separate entity of sound entirely. There is not a single band that replicates the droned, broken sludge metal quite like they do. The heavy hitters in the grunge era come hot with the release of their fifth studio album, Houdini as a first major record label release; a turning point that would ensue on the Melvins’ career.

The percussion is a vital participant of Houdini and makes a substantial point to incorporate and smash the listener in a rage throughout each pulsing track. Houdini has these moments of broken, near crawling tracks that break the flow of action up and instead make the listener succumb to this overarching heaviness. Then other moments with “Night Goat”, Melvins are furious and driving behind their sound with the gut-wrenching screams of ”Buzz” Osborne  who is known for his wild, and almost esoteric style that reached a broad audience. The Melvins is a band of pure experimentation that somehow managed to run the thin line of having a rhythmic back bone; finding immense success in the audacity.

Houdini even recruited Kurt Cobain as a producer, but Buzz later stated “We did a bunch of sessions with Kurt Cobain [producing], but it got to the point where he was so out of control that we basically fired him and went our separate ways, which is unfortunate, because I think that would have been fun.” The sound does not have a directly influenced style by Cobain in any way either as it focuses more on the underlying pulverizing of sound rather than any punk influence. Even as Buzz stated that the Melvins began as a hardcore punk band, the roots of the album are much deeper and involves a larger grasp of genre defining style. Not only is their ability stretched from the KISS cover “Goin’ Blind” or on “Honey Bucket”, two entirely differently styled tracks. But, there is a maintaining a general forward progression no matter the sound or style that Melvins adopt.

24331576_403514580067154_3180113516761710592_nThey are strange, off-putting at times, but ultimately entertaining through Houdini as it takes a variety of shape shifting forms before finally falling back into the comfort zones of “Sky Pup” or “Pearl Bomb” where the instrumentation is a little more direct and focused. The tracks still have that occult Melvins’ sound, but adapts and becomes something more bass focused than previously displayed.

Even as a three-piece, Melvins are fairly raw after being dug open from the top to bottom. They move as a giant in the core of genre, one that smashes the boundaries and adapts to their own personal style. They throw the rules out the window, become illicit bandits, and make one of the more attention grabbing albums of the 1990’s.

Listen To Houdini Here!!! – Spotify/Amazon/iTunes

STREAMING // (Video) 21 Savage X Young Nudy – “Since When”

Slime Season, PROD: KIDD HAZEL // Listen/Watch Here – Youtube



10:00 P.M – MIDNIGHT

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