#absolute new bar for storytelling in mc

[salemoleander]

I love being like "holy shit, I cannot recommend OwengeJuiceTV's newest New Life episode enough"

and then realizing I should also probably point out it ends in a suicide

[ebonysplendor]

Trembling Essence (Extended Demo)🌲

TL;DR: Noah is cute and all, but what isn't cute is the fact that he wants us to stay holed up in this mouldy ass house with him. Like, I get that you live around, or possibly in, a swamp and everything, but damn, bitch, you live like this...?

Game Link: https://zombeebunnie.itch.io/trembling-essence-extended-demo

Notable Features: Self-Insert, Yandere LI, Choice-heavy, HP Bar, Affinity Bar, Gender Neutral MC Spiciness: 0/5 -- Unfortunately, because this man is fine as hell... LI Red Flags: 1.5/5 -- Pretty bossy, pretty moody, and a lil' sassy, but other than, pretty solid dude (so far)

Wanna know more? Well, let's get into it!

So, listen. I have been meaning to finish and get this posted for like three, maybe four, or possibly even five weeks now, and damn it, I'm finally going to, so overlook the excessive grammar errors or whatever; I was lowkey rushing lol. This ain't about that though; it's about this visual novel, and let me tell you, I think it's really good, and it's super promising so far.

I know, I know, I know; I say that about every game but hear me out!

If you've read my reviews before, then you know that there are certain qualities about a visual novel that just scratch my brain in a particular way and absolutely ruin me in the most perfect way possible. One of those things is a choice heavy game. As I've said many a times, I am an absolute slut for a choice heavy game. It is something about every decision that you make mattering in the most detrimental way possible, bonus points if the consequence isn't immediate. Like, yes, make me hesitate and overthink if I should have waffles or cold pizza for breakfast, dev daddy...maker mommy...program parent? Program parent doesn't have as 18+ of a ring to it, admittedly, but we'll make it work.

Anyways, as I mentioned, the game is super good, and as far as I can tell, it's pretty choice heavy. Like, I'll play a route damn near the same way, but respond differently to one thing, and there's a whole new option the next time around like huuuuuuh? Absolutely love the visual novels that do that.

I'll get more into how amazing the actual game itself is in a second, but I'm a little impatient, and I want to jump into the synopsis. Nothing even really popped off as far as showing the LI's yandere side -- well, at least not as crazy as it could be. It was implied, and there were little peaks, but nothing too wild popped off -- but this has some damn good build up for the rest of the game.

Right now, and tragically, it's just the (extended) demo, but it is damned good. But, no, seriously. I'm going to go ahead and jump into the summary. As per usual, ya girl is going to tell you as much about this game as possible without ruining the game itself as a whole. Why? Because, duh, I want you to play it! That's the whole reason for the reviews, big dawg!

So, without further ado, I'm going to get into storytelling mode and summarize the game for ya!

So, boom.

When this whole thing pops off, we're lost in the woods.

Because we're lost with, like, zero bearings of our surroundings, we just kind've wait around in this hollowed out, rotten tree for someone to come along and help us. Admittedly, kind've a tall order, but we're trying to stay hopeful in this hopeless situation, so we wait it out.

We wait, and wait, and wait, and wait some more. We're sleeping on and off, and it's honestly making us feel worse. Why? Well, first off, it's hard to sleep in the current situation we're in anyways. Not to sound ungrateful, because at least we're somewhat shielded from the cold and wind and rain -- yeah, we're dealing with that, too --, but sleeping in a literal swamp area is not the most pleasant sleeping condition, let alone sleeping outside in general. The second is, since we aren't actually fully sleeping, we just feel tired whenever we wake up. It's just an all around sucky situation, but it'd be stupid to continuously wander around when we just see trees and more trees.

With not really much of an option other than to wait and get more crappy sleep, we wait and get more crappy sleep. The next time that we wake up though, it's because we hear the crunching of leaves and someone staring us down until we wake up, and when we do --

GYATT DAAAAAAAAAAMN.

Well, well, well!! Are we still asleep? Are we dreaming because I'm about to act ALL THE WAY up. Like, my most pleasant and ladylike woof for you, my good, visually pleasing sir, and I mean

Woof~♡

Even still though, going from seeing no one to seeing someone, especially this damned close, is pretty startling, so we try to go further back into the tree, but there's not really much further back that we can go.

This guy -- his name is Noah, by the way, and is an absolute bae -- sees us do this, and he's just like "Ayo, calm down. It's just me. Also, you look rough. Haha, sorry, that was rude, but like, this is what happens when you run off". ...Huh?

"Run off"...? Oh. Oh right. This is one of those games. Lmao I almost forgot that this man is probably psycho.

Anyways, he's pretty much lowkey talking shit. Like, he's not trying to from the tone, but he's pretty firm about what he's saying. Basically, we've been gone for about 2 and a half days now, and he's like, either we can come back with him and ensure our safety and survival or we can fuck around and find out. The reason why I say this is because apparently there' s another storm coming, and it's implied to be worse, not to mention that it's going to get mad cold.

...Well, we definitely don't want to fuck around and find out, so we go with him.

He's lowkey still talking shit, though, saying that he's glad we're being "very reasonable" this time and all that, but he's being pretty sweet about being gentle with us; he even helped dust our clothes off and offered to be better company this time around.

We make it back to his cabin, and it's still kind've ghetto and mouldy, but it's better than the last time we were here, so he must've been serious about trying to be better company. That being said, Noah starts trying to rizz us up a little...or that's how I took it, because I'm highkey down bad for this man.

In actuality, he just knows that we're in pretty bad shape and is trying to help us out by getting us on the couch, cleaning our face, feeding us, getting us warm, and, honestly, trying to be as gentle as possible. Partially, because he probably doesn't want us running off again, which he makes super clear because, as most people like him do, he explicitly tells us to never pull that crap again and that he just wants to keep us safe and all that.

Anyways, he gets us some clothes and let's us take a shower. Just because I feel that it's necessary to be said, there's mould in here, too, but it's only a little bit, and it's at the corner of the ceiling. Now the thing is, we can smell some kind of cleaning products so whether he used it on the walls or the utilities that were in the bathroom, we're not sure, but it reassures us that he does at least make an attempt to clean. I mean, the mould is still gross, but at least we aren't outside in the storm and freezing cold.

After a bomb ass shower, we head back out into the living room and regroup with Noah. He makes sure that we're all good and heads into his room to call it a night, but not before very sternly -- what's up with the random sass? -- telling us to not wake him up. Like, yeah, because there's so much to do in this dank, mouldy-ass, minimalist cabin that would cause such a ruckus, Noah. Like lmao be for real, homie.

Whatever, though, we just kind've let him go on about his business. Once he's gone, we look outside and oof...

He wasn't bluffing. Not only did it rain like he predicted, but it's coming down mad hard.

...

I mean, it would be totally stupid, yeah, but we could take our chances and escape for realisies this time since we're refreshed, or we could wake up Noah like he specifically told us not to do, maybe look around a bit which he also told us not to do for whatever reason.

Hmmmm...decisions, decisions.

Super sorry if the storytelling didn't flow as well as usual (if it even did beforehand), but I was pretty excited about getting to the review.

Me, personally, this was a demo done so absolutely correct. I'm honestly anticipating this visual novel so hard, and it's more for the story than the actual game because Noah is so...normal so far? Like, right now, he just seems like your typical tsundere hard ass that gets sassy for no apparent reason but has those really soft moments. I'm so ready to see this man come totally undone. Like, I need to see how psycho this man actually gets, because why did we run off the first time? Did we get kidnapped? Did he help us and wouldn't allow us to leave? Are we actually his partner and we tried to call it quits but our memories got wiped and now he's trying to start fresh so that's why he doesn't want us looking around? Was the reason we left because of the mould? Like, I have so many questions, and I'm invested in this story.

Can we also talk about the affinity and health bar? Such a nice touch; I love it. The way that everything in me just drops whenever either of those bars starts dipping down, and then the apprehension I got when they'd get dangerously low. Like, wait, what's going to happen to me? I'm honestly so excited to see what kind of turmoil the dev decides to create with it. I wonder if it's not what it seems though. Like, I wonder if you have to get his affinity in a certain range versus trying to max it out or as close to max as possible. You know, like you can't just always be a "yes" person towards him, but you're not supposed to be super combative either; just enough to get that cozy 72% and unlock a true ending or something.

This game has so many possibilities and so much potential, and I'm just damned excited about the direction that it's going in. The art style is sleek, the LI is a total bae, and the story is storying; it's an experience and a damned exhilarating one. Like, I'm in deep just because I'm so curious about, first off, what's going to happen next and, second, what tricks the dev still has up their sleeve that they hadn't showcased yet.

Okay, I think I've gushed enough. I absolutely recommend playing the game if you haven't already. Like I said, as far as the LI goes, nothing too out of pocket happens, just some sass, but the build up is damned solid. Definitely give it a good playthrough if you're willing, not to mention, there is multiple "endings" just in the demo which is wild. But yeah, if you want to give it the ol' college try, here's a link to the game. If you end up liking it and/or want to give the dev that extra push to keep going with a classic "Ayo, this game is kind've dope, and you are you. Give MOAR", head over to the game page (or the dev's tumblr) and post those encouraging words; if you're able, drop a few coins for them, too -- I'm sure they'd appreciate the extra support.

That's all from me though, so now, I'm going to somewhat awkwardly close this out and use this as a transition sentence since I can't think of anything better.

As always! A huge reminder! Drink water, don't be dumb, and hope to you around~!

Trembling Essence

Dev's Tumblr Page

[indepthjaybeats]

(FREE) Old School 90s Hip Hop Type Beat x Boom Bap Instrumental [2024]

Hey, Hip Hop heads and groove aficionados! Have you ever felt that undeniable urge to nod your head to a beat so sick it transports you back in time? We're talking about a time when the beats were phat, the rhymes were tight, and every track told a story. That's right, I'm taking you on a nostalgic voyage back to the golden era of Hip Hop – the 90s. But here's the twist: we're spinning these classic vibes with a fresh, free Old School 90s Hip Hop Type Beat mixed with that soul-shaking Boom Bap Instrumental, and it's all for the love of the culture in 2024. Now, you might be scratching your head, wondering how these nostalgic beats are still revitalizing the modern music scene. 

Don’t you worry – by the time we're through, you'll not only get a crash course on the roots of these timeless tunes, but you'll also grasp why they're absolutely unmissable today. So, whether you're an up-and-coming MC looking for the perfect beat to spit bars over, or just someone who appreciates the fine art of beat-making, this one's for you. Let's kick things off with a simple question – what makes a beat an 'Old School 90s Hip Hop Type Beat'? 

Picture this: You’re walking down the streets of New York City, the birthplace of Hip Hop. It’s the 90s, and every block has its soundtrack. You hear the heavy kicks, the crisp snares, and the thick, undulating basslines that make up the Boom Bap rhythm. These beats are straightforward yet profound, drawing from the deepest wells of funk, jazz, and soul, creating a backdrop perfect for storytellers of the street to lay down their verses. 

 Now, cut to 2024. The game has evolved with trap hi-hats and digital soundscapes dominating the airwaves. But, amidst all this evolution, the soul of Old School 90s beats has experienced a revival. Why? Because in a world of overproduced tracks, there's something magical about returning to the basics, to the raw, unadulterated sound that started it all. And guess what, folks, this sound is accessible to everyone, and I mean everyone – it's free! Yup, you heard that right, FREE. So, how did this fusion happen? How did the Boom Bap beats of the 90s find their way back into our playlists? It’s all about the culture. Hip Hop has always been more than music. It’s the voice of a community, it's a form of expression, and as such, it's immortal

. It carries history within its bars and beats, and people are drawn to authenticity. The new generation of beat-makers and producers have taken inspiration from the legends – the likes of DJ Premier, Pete Rock, and J Dilla – and they're infusing modern productions with that old-school flavor. Let me give you an example. Picture a modern-day producer, sitting in a room surrounded by both vintage samplers and state-of-the-art software. They dig through crates of old records, looking for that perfect loop, that snare that cracks just right, that sample that speaks to the soul. They blend these elements with modern techniques, and voila – a beat is born that carries the essence of the 90s but feels fresh and current.

 But what's so special about a Boom Bap beat? To understand this, we need to take a quick beat-break and dive into what 'Boom Bap' actually means. Boom Bap is a style within Hip Hop characterized by those hard-hitting 'boom-bap' sounds made by the kick (boom) and snare (bap) drums. It's visceral. It makes your heart race. It's the kind of beat that, when you hear it, you can't help but feel the groove down to your bones. It's infectious in its simplicity and powerful in its ability to convey emotion without a single word spoken. Now, these beats aren’t just for the old heads, the ones who lived through the 90s. They're for everyone. They're for the kid in the bedroom dreaming of becoming the next big thing, the dancer poppin’ and lockin’ on the streets, the artist painting murals on the city walls, and even for the office worker who needs a beat to get through the day. This beat, this music transcends time and connects us all.

[rainydawgradioblog]

RDR Essentials - Hip-Hop/R&B (2/10)

RDR Essentials is a weekly newsletter of alternating genres that outlines key releases of the past month, upcoming events around Seattle and happenings in the specified music genre.

Made in collaboration between Rainy Dawg DJs and the Music Director.

Releases:

Playboi Carti- Whole Lotta Red

Playboi Carti’s long-awaited sophomore album, Whole Lotta Red, finally arrived Christmas day, and to say that the reception of the project by fans has been mixed would be an understatement. Discourse surrounding this album’s release permeated into the new year and further, with longtime fans finding Carti’s switch into a more aggressive and unrefined sound for much of the record off-putting. Yet, if there is any outstanding strength that this record’s allure can be attributed to, it is certainly that boldness, and Carti’s raw energy. Vocals are often rough, with Carti’s vocals ranging in inflection, volume, intensity, and even intelligibility all within a few bars. Tracks like the booming “Stop Breathing” and opener “Rockstar Made” demonstrate a Carti that sounds absolutely furious, straining his voice and almost screaming, whereas cuts like the nonsensical “JumpOutTheHouse” and “New Tank” feel like a punch to the face. This album is less filled with the usual sickly-sweet Pierre Bourne beats Carti’s previous work has become known for, to the disappointment of many fans. Yet that sugar-trap vibe combines with heavy bass and high-energy on highlights such as the demented ice-cream-truck-theme “Teen X” which sees Future even leaning into Carti’s lane. Further, the punk-meets-vampire energy that’s been ascribed to this project and its promotion manifests on tracks like “Vamp Anthem”, which sounds laughable on first impression but sticks in the mind like an infectious funeral accompaniment. It’s not a perfect record by any means: it’s far too long, with a second half that drifts into familiar yet almost lazy territory, and is populated by sparse features that either feel right at home, such as Kid Cudi on the ethereal “M3tamorphosis” to downright bizarre like Kanye West on “Go2DaMoon.” What it is, however, at least at its’ best moments, is genuinely boundary-pushing. Its highs are missing the sticky baby-voiced earworms of Die Lit, but in their stead comes a far more raw and unique sound. Carti’s new description of himself as punk and a “rockstar” has pushed the buttons of those who feel ownership over those terms: in a way, that makes him far more punk than anything we’ve seen in years.

- Casey Chamberlain

billy woods & Moor Mother- Brass

Few rappers are as veiled and unrelentingly hard to understand as MC billy woods, and few artists in the last few years have made as much of an artistic statement as poet Moor Mother. To see the two meet up on a full-length project sets a certain expectation, of grim realization and disturbingly poignant tidbits. Amazingly enough, Brass delivers on all one might expect from either of the two: a project draped in an ethereally disturbing energy and soundscape, and a vehicle for the dispersal of wisdom seemingly long locked away. The energy that woods and Moor Mother provide is often dreary, yet filled with understanding, with each retaining much of their signature style. Woods' verses feel laced with nods to vignettes and far away stories, as his best verses are want to do: “Cinders in the wind, ashes in your mouth/ It's too late to repent/ You owe and we here to collect/ You know how it go over in debt/ Numbers scribbled on butcher's paper/ A bad wager/ We waved every day, but good fences make good neighbors” woods relays on “Blak Forrest.” Moor Mother’s voice commands, filling the ears with an almost terrifying sense of understanding: “I only write for the dead, somethin' ELUCID said/ Wrong words get you cracked in the head” she asserts on “Gang For A Day”, referencing rapper ELUCID, with whom billy woods forms the duo Armand Hammer. ELUCID himself makes a few appearances on the record, alongside Mach-Hommy, Navy Blue, and Fielded, among others.

Tracks on the record range from terrifyingly chaotic, such as the vocal-less “Mom’s Gold”, morphing into a full on assault of harsh noise, to hauntingly gorgeous, such as on the flickeringly ethereal “Giraffe Hunts”: “It’s beautiful” woods himself remarks, prior to a verse that transitions into a sinister beat change which Moor Mother uses to offer a retort, as the track flips back and forth between this beauty and the filth. It’s perhaps this track which best offers a glimpse of the artistic contrast the two provide on this album. “The zoo had a decapitated giraffe/ A dedicated staff of volunteers, the acid was bad/ The gift shop was packed” woods relays, only to be cut off by Moor Mothers’ own ruminations: “Saw men draw meridians through life lines/ Why we tip-toe 'round these land mines and fault lines/ Feel the earth movin', flat earth see-saw/ Me and Woods in the rickshaw being pulled by horses/ I'm hearin' voices.” In truth, this is a record with many quotables, so infuriatingly dense and with so many thought-provoking segments that little does it justice apart from listening with full attention. An album like this feels like one that has lessons to be learned and knowledge to be gained; knowledge that perhaps should be known, but is hard to come to terms with. “But you the one what strung the rope” woods remarks. “We sacked Rome in ski-masks, stripped the pope/ Nowadays he never miss a lot, he be doin' the most... He be doin' the most.”

- Casey Chamberlain

Kid Cudi- Man On The Moon III: The Chosen

Few artists of the last decade have proven to have had such a large influence on the sounds that would follow them as Kid Cudi. The music of megastars like Travis Scott wouldn’t exist as it does without Scott Mescudi, an artist who has long been held near and dear by his fans due to his brutal honesty about his struggles with mental health, depression, and substances. Cudi’s 2009 debut album, Man On The Moon: The End Of Day, is held as a classic of its time, and for good reason, Cudi’s artistry, storytelling, and intimacy on that album is still astounding. With Cudi’s resurgence in the last few years following his critically adored collaboration with Kanye West, Kids See Ghosts, in 2018, Cudi has seemingly sought to continue his hot streak with the long-awaited third installment of the Man On The Moon series, being Man On The Moon III: The Chosen.

On first listen, this album sounds a lot like Cudi has been influenced by those who followed him rather than the other way around. Much of the first half of the record sounds like it would fit right at home on a Travis Scott album, much like last year's collaborative track between the two, aptly titled “The Scotts.” Tracks like “She Knows This” and “Tequila Shots” feature a spacey, drugged out trap vibe, with the former breaking into a groovy beat switch in its last portion. Meanwhile, other tracks branch out into new territory for Cudi, such as the drill-inspired and in-your-face “Show Out” which features a hook from the late Pop Smoke as well as a fantastic verse from Skepta, while “Rockstar Knights” features Cudi and Trippie Redd trading melodic ruminations. For much of this project, it would be easy to interpret much of this as Cudi’s takes on a number of styles birthed from his original run, and while it certainly is that, the wide swath of sounds that Cudi pulls from speaks more to his unseen influence than anything else, making much of the record feel like a statement: that without Kid Cudi, there is no Travis Scott and no Trippie Redd, so Cudi’s steps into their lanes feel like reclamation rather than imitation. Yet, the record’s strongest moments come mostly in the back half, where Cudi falls back into old habits and channels an almost updated version of the sound he originally burst onto the scene with. Tracks like “Solo Dolo III” and the gorgeous “The Void” feel like exactly what a matured “Man on the Moon” would sound like and tracks like “Lovin’ Me” featuring Phoebe Bridgers harken back to Cudi’s experiments in indie rock years ago, albeit more successfully. All in all, Man On The Moon III feels like a victory lap of sorts, a more mature Cudi revisiting the sounds he popularized and making a statement: that he is back, and better than ever.

- Casey Chamberlain

The Avalanches - We Will Always Love You

There is little an artist can do to combat the expectations they face after releasing a record like The Avalanches’ 2000 masterpiece Since I Left You, one of the most highly regarded plunderphonics records ever released. To follow up an album like that is no small feat, and the duos’ 2016 follow-up,  Wildflower, is a commendable release, although a different beast entirely. It’s with the groups’ newest release that their strategy with that record has been reaffirmed: the only way to follow up a record of such stature as Since I Left You is to simply not do so. The Avalanches’ We Will Always Love You is more 2016 Avalanches than it is 2000s; it’s a sprawling, grand project with features from some of the most talented artists working across the board, focused less on instrumental epics comprised of samples and more on flowing backdrops for their guests to flaunt their talents. Themed around the vastness of space and the Golden Record on the Voyager, the extraterrestrial-ness of the record permeates its every corner; its grandness feels like its statement, as it stands larger than the sum of its parts. An air of nostalgia flows through it, laced with voice memos from a woman professing, over the length of the record, that though she is now gone, perhaps departed from the mortal plane, she will “always love you.”

The features on the album are an achievement on their own: any album featuring this wide of a swath of talent must be commended for its boldness. To hear Denzel Curry, Rivers Cuomo, MGMT, Pink Siifu, Blood Orange, Kurt Vile, and countless others on a project together and have it sound cohesive is a miracle on its own. The interstellar nature of the album doesn’t always come across, and it’s a weighty record, at an hour and eleven minutes, and not every moment feels like it contributes to that runtime. It isn’t a perfect record by any means, and for many, especially those who fell in love with the record scratches and horse neighs of “Frontier Psychiatrist” are likely to be still disappointed in the trajectory of the prodigal sons of plunderphonics. Yet, if one can get past those expectations, there remains a larger-than-life moment to be lived through here, an intergalactic celebration of music, and one laced with themes of loss, pain, and nostalgia. The emotional peak of the record comes with the stinging “Always Black” driven by gorgeous piano and striking vocals, with a cutting poetic recital by Pink Siifu: “Stay, will you stay?” More than anything, the album plucks on that idea of staying and leaving and doesn’t let go of it. Starting from the voicemail left to the listener in opener “Ghost Story”, that feeling of love despite distance reverberates throughout the album’s highs and lows. Love has no distance limit, The Avalanches seem to be telling us. Across the vastness of space, that love persists.

- Casey Chamberlain

Channel Tres - i can’t go outside 

Channel Tres has no damn business being as smooth as he is. With an array of singles, remixes and an EP under his belt, Tres has seamlessly blended techno and house with West Coast rap and production to create a sound that is uniquely his own. And his voice is the icing on the cake. Tres moves effortlessly from rap to R&B, sometimes without a change in pitch. There are times when Tres sounds like he rolled out of bed and started recording and it still works perfectly. And on his debut album, i can’t go outside, Channel Tres is firing on all sonic cylinders. Tres has elements from techno, house, rap and R&B in his production arsenal and spreads them throughout the track list. The album’s opener (“i can’t go outside – intro) features a synth-focused, breezy R&B beat and the flick of a lighter, letting you know how to listen to the project. On “2000 chevy malibu”, Tres delivers lyrics to drive along the Pacific Coast highway to over hip-hop-based drums and encapsulating, spacey synths to make you stare out the window. Although overlooked due to its classification as an interlude, “broke down kid” is easily the most interesting track. Here, Tres rolls completely into house and techno to create a beat that could be a standalone instrumental. Sticking with his pattern of merging different, or even opposing, themes or genres into one, Channel Tres laces the bouncy, uplifting beat of “broke down kid” with lyrics regarding mental distress and unhealthy self-isolation. But you’ll never get the same song twice. Following the best interlude of 2020 (so far), Tres teams up with Tyler, The Creator for the bass-driven “fuego”. This track features glorious background vocals and some steamy lyrics from the duo. Although his debut was only seven tracks, Channel Tres has proven he’s capable of taking his sound anywhere. 

- Charlie Darnall

Kota the Friend - Lyrics to GO, Vol. 2

To be honest, I’m not sure Kota the Friend’s Lyrics to GO, Vol. 2 is essential to the hip-hop genre. I doubt Kota the Friend would even say the album is the best in his discography. But artists don’t have to make albums that make you rethink your life, win awards, or get radio plays. Sometimes artists just want to make something fun and positive to listen to and if there’s one thing I can say about Lyrics to GO, Vol. 2 is that it’s good for the soul. And we all need that right now. What the fifteen-minute project lacks in time it makes up for in storytelling, production and *vibes*. “Luke Cage” is the best example of an equal distribution of these qualities. On the track, Kota reflects nostalgically on past neighborhoods, romantic interests, and friendships. The beat is a coffee shop bop with a groovy guitar riff and the organs near the end. “Flowers” features Kota reflecting on growth over a perfectly placed piano sample that almost competes for the listeners attention. To me, this song sounds like what looking at a bed of flowers in full bloom looks like. If you agree, let me know – it’s 2am and I think I’m onto something. Ok, not to go deeper into this, but Lyrics to GO, Vol. 2 includes another song that (somehow) matches its sound to its title: “Living Room”. The sampling of distant conversation, acoustic guitar chords and Kota’s discussion of safe spaces and peace will make you want to curl up on the couch. Kota also further solidifies his flow as one of the best on this project. Most songs only contain one verse which makes it even more impressive that Kota can move between and within topics impeccably. I cannot think of a single time or situation where this album couldn’t make you feel even the slightest bit uplifted and, for that reason, it’s essential. 

- Charlie Darnall

Arlo Parks - Collapsed In Sunbeams

After the virality of Arlo Parks’ “Black Dog”, a song written so gracefully yet accurately about depression, showcased the singer’s incredible poetic abilities, R&B fans and critics alike patiently awaited her debut album. And with Collapsed In Sunbeams, Parks doesn’t disappoint. I have to start with Parks’ voice - everything else revolves around it. The lyrical content and production are great, but without Parks’ soft and angelic vocals, every song would sound like Robert Frost poems being read over a Wallows jam session. With the blessing of a voice that pairs well with anything, Parks is free to stray from the blueprint “Black Dog” created and enter new genres and explore new themes. Although placed only two songs above “Black Dog”, “Hope” functions as its antithesis. With breezy and gentle indie rock production to match, the chorus serves as both a reminder to the audience and to herself: “You’re not alone like you think you are.” But if “Hope” is Parks’ mental ceiling and “Black Dog” is her floor, then every other track must be a mix of the two. On tracks like “Too Good”, where Parks reflects fondly on her partner from a failed relationship, or “Eugene”, where she discusses falling in love with a friend, Parks expresses the complexity, and sometimes irrationality, of her emotions. Instrumental inspirations on Collapsed In Sunbeams include indie pop (“Portra 400”), folk (“Collapsed In Sunbeams”) and pure R&B (“For Violet”). Although sonically eclectic, every piece of production perfectly fits Parks’ lyrical themes. Through the highs and the lows, Collapsed In Sunbeams signifies the beauty in the struggle. This line from “Portra 400” does the best job at encapsulating that: “Making rainbows out of something painful”.

- Charlie Darnall

Upcoming Releases:

Slowthai- Tyron (2/12)

Few have the energy that UK rapper Slowthai has on a track. 2019’s Nothing Great About Britain saw Slowthai burst onto the scene and cause a commotion that feels like it hasn't calmed down since. On his new record Tyron, however, Slowthai seems poised to get a bit more introspective, approaching his childhood traumas and his newfound fame. The first single for the project, “feel away” featuring the signature crooning of James Blake as well as Mount Kimbie, feels immediately like a shift, with a more intimate sound. Other singles including the bouncy “MAZZA” featuring A$AP Rocky and “CANCELLED” with Skepta feel like a more refined version of the energy we’ve seen Slowthai channel before. The rapper’s sophomore outing will most certainly further shape Slowthai’s artistic direction. Tyron arrives February 12th and features Skepta, A$AP Rocky, Denzel Curry, Dominic Fike, and more.

- Casey Chamberlain

JPEGMAFIA- EP2! (2/12)

Not content with last years’ excellent EP!, the enigmatic JPEGMAFIA has announced plans to release a second EP this month, featuring his recent single “FIX URSELF!” as well as the previously released “LAST DANCE!” from his last season of single releases among a batch of new tracks, including “PANIC ROOM!” which features co-production from James Blake. The rappers’ steady output has been accompanied by a widening soundscape on his newest material, further setting Peggy as one of the most forward-thinking artists currently working. The aptly titled EP2! drops February 12th and features the previously mentioned singles along with new tracks “INTRO!” “KELTEC!” “THIS ONES FOR US!” and “FEED HER!”

- Casey Chamberlain 

[thebandcampdiaries]

Vytal MC introducing brand new EP release: Is Christ Enough?

A brand-new EP featuring various hip-hop and trap influences, as well as a powerful message, inspired by faith, love and understanding.

March 2020 - Vytal MC is a driven, direct and forward-thinking artist with a truly one-of-a-kind vision. The project’s most recent studio effort is a stunning new EP titled “Is Christ Enough?”

This release is very balanced and extremely diverse, making for a very special combination of different genres and influences.

The punchy edge of rap music blends in together seamlessly with the ultimate melodic sensibilities of modern trap and the consciousness of the Christian message, going for a deeper and more powerful listening experience. In other words, I’ve always believed that there are mainly two types of artists out there, regardless of genre definitions and sonic aesthetics. Some of them want to simply follow trends, entertain themselves and others. On the other hand, there are some artists who realize that they have to use their God-given gifts in other ways. The want to inspire the audience, connect with people on a much deeper personal level, and more importantly, spread the love and word of Jesus Christ. It is safe to say that Vytal MC definitely belongs to this particular category! In addition to the broad musical and creative coordinates of this project, the artist also complemented the music with some outstanding lyrics. There are 5 songs on this release, and each track brings something unique in terms of sounds and aesthetics. However, they all share some honest, genuine and insightful lyrics that will connect with listeners right away. The wordplay is witty and direct, combining great vocal melodies and powerful dynamics, with heartfelt songwriting with something to say instead of relying on the usual clichés that too often devalue rap music. This is the kind of songwriting that feels very deep and personal, yet it has a very relatable feel that makes it very easy to relate to. For this reason, this EP is the best combination of catchy and deep, going for a light-hearted feel with the music, but sharing important wisdom with its message of faith, love, and understanding.

One of the most interesting and striking features of this release is definitely its remarkable consistency. Not many artists can easily pul off a project that features such a wide variety of elements and influences. The most obvious risk is that the material can end up sounding quite disconnected and loose - but this is definitely not the case. Vytal MC is a master at creating organic, cohesive and consistent vibes, which really flow well throughout the span of this release. The performances are loaded with passion and integrity, while the production aesthetics are also excellent. The mixing quality is indeed absolutely world-class, with some amazing definition in the top end and lots of punch in the low-end and midrange. The results sound warm and present, yet never harsh or fatiguing, which is quite an amazing achievement, particularly in this genre!

Another thing that’s worth mentioning is also the fact that this EP is the follow-up to a music video, which was actually released a little over a year ago. The EP feels like the next step forward in the artist’s career, and it is a very natural creative progression! On this EP, Vytal MC really made a point to set the bar higher, not only for himself, but also for his listeners, genuinely delivering something that’s catchy and direct, yet forward-thinking and challenging in the best possible way. The title track itself is an amazing highlight of this EP. I love the modern sounding production, which feels ambitious and far-reaching, with so many different influences coming together beautifully. In addition to that, “For The Kingdom” is probably one of my personal favorites in the EP. What I love about this song is that the production has more of a warmer, grittier tone, which somehow makes me think of the 90s hip-hop scene, a period that many fans of the genre still refer to as a true golden age for rap music! The song’s more direct sound isn’t only a stylistic choice: it also brings so much more realness to the message, highlighting the passion in Vytal MC’s delivery. “FLY” is a great track with a very positive vibe, and it definitely sets the mood in a different direction, highlighting the artist’s ability to create so many different sounds. “Sandman” and “What you need” are two very distinctive songs, but they truly speak to the audience, showcasing Vytal’s passion for storytelling. These songs almost feel like conversations, in the way that the artist is able to speak to the audience as if he was talking to an old friend, sharing some deep personal thoughts, feelings, and topics that are important, yet often overlooked in our daily lives. At times, we can get too caught up in our daily routines, and we often forget that there is something greater out there, not only for us, but for the whole world to witness.

Ultimately, what makes “Is Christ Enough?” a very special EP is the fact that these songs are energetic and uplifting. However, this is also music that will give you a lot of comfort and that will help you reconnect with the love of Jesus Christ. With concerns for the climate, as well as pandemic viral diseases and political divisiveness, music can be one of the most important ways to connect people and bring everyone together with a bit more hope, love, and understanding. Artists like Vytal MC are doing a remarkable job at sharing something positive with the world, reaching out to people with their faith and with their ability to express the message to a broad audience.

The EP is currently available on Spotify, Google Play, Apple Music, Deezer, iHeart radio, as well as many other music streaming platforms on the web. Listen via your favorite link and find out more below:

https://distrokid.com/hyperfollow/vytalmc/is-christ-enough

Is Christ Enough? EP on YouTube: https://www.youtube.com/channel/UCXhj1dpppsYmYbUL5KYjsLw Forever 

Praise music video: https://youtu.be/G-S3h84CqGk

[cypheras]

i would like to volunteer Unda (who works are now user only but nonetheless!!) and especially M.C. Escher that's my favorite MC and Dayvhe's Broken Diamond Club. They are both super long stories that take the characters you know and love (or hate) and breathe new life in to them.

POTENTIAL SPOILERS AHEAD

The stories are sort of detached from canon (spoilers: you start shipping sol/vris unironically) but theyre both amazing stories for different reasons.

If found family is your thing, or if you have a fascination with the striders? Or maybe you just wondered what homestuck would be like if not everybody died than M.C. Escher that's my favorite MC is for you. I have never read another work like it in terms of found family and sense of belonging, it has set the bar so very high. It's a soulmate au too, which is just the icing on the cake. Unda is an AMAZING storyteller but how absolutely attached you get to characters in this fic is astounding. Like i cared about Kankri, they gave KANKRI an actually personality. amazing

So I read Dayvhe's Broken Diamond Club as it updated and some weeks it was the only thing that kept me going. (btw they kept a very professional, very consistent upload schedule). It's suspenseful and so well thought out. It's Trollstuck, but so fleshed out. Again Unda manages to set the bar higher than anybody else, setting a precedent for trollstuck aus. Plus its soldavekat, and bonus strider family feels. Definitely more angst ridden and action-y in my opinion.

TL;DR CHECK OUT UNDA'S WORK ITS REALLY GOOD

ao3 homestuck literature roundup

ok so honestly some of the most impactful pieces of literature I’ve ever consumed… have been fanworks for the web comic Homestuck. while fanfiction in general has the potential for greatness, and there are definitely some non-homestuck works out there i that i’ve enjoyed, Homestuck has a unique potential for spawning creative, original and daring stuff! and there are so many new fans who didn’t even experience the first wave of ao3 webcontent. sadly the site has not proved archival quality when it comes to preserving content, and many fics I’m linking feature broken links/images or have been orphaned by their authors. I’m posting only what I consider to be Good Literature. these are pieces of writing that have struck me, haunted me, and made me cry. Thank you to the writers, and please enjoy! the full rec list is under the cut >:)

Keep reading

[wachelreeks]

10 More Things I Learned After Three Years in Comedy

It's been three years since I started doing stand-up. Since then, I have done annual (and public) progress checks with myself in the form of "Things I've Learned" lists. I guess it's like sitting down with a boss to talk about my performance without any of the scary stuff like "goal-setting" or "having a boss."

Here's what I learned after one year.

1. The first time you do anything is hard and scary; just do it. 2. To make friends, don’t bring a posse. 3. Support shows. 4. Support each other. 5. You can be jealous. But don’t let it get in the way of you being supportive. 6. Your jokes aren’t funny; you’re funny. 7. If you don’t like a joke, you don’t have to tell it. 8. Every opportunity is a good opportunity, except when it’s not. 9. Comedy is entertainment not therapy. 10. Dating in a comedy scene is hard and weird.

And this is what I added after two.

11. When in doubt, go to the mic. 12. Say yes! 13. Write everything. 14. Find out why you're different. 15. Give 100 percent, even if the audience is giving -13. 16. Surround yourself with people who are funnier than you. 17. Be available. 18. Be polite. 19. Be funny. Every. Time. 20. Dating in a comedy scene is what it is.

This year, I hesitated to post another list. Looking back on the first two, the exercise seemed a little loftier and less reflective than it had when I wrote them. Reiterating the fact that these are things I’ve learned and not necessarily advice only goes so far when the list is undeniably framed as advice. And who am I to be giving advice only three years into this thing? I don’t know really. But for the sake of continuity, I decided to write another one.

There are as many ways to succeed in comedy as there are comedians, so there’s no telling what path will or won’t work for you. And, of course, I can only say what has gotten me to this point.

Since I wrote my last list, I’ve performed on roughly 160 more booked showcases and contests. I’ve participated in five more comedy festivals. I placed third in the Comedy Works New Faces contest, I produced a Funny Final Four showcase, and most recently got promoted to Comedy Works’s “Almost Famous” list. I went on tour with two hilarious women and I inherited an amazing storytelling show. I’ve made more friends and watched more comedy and been paid a little more.

I’ve also learned 10 more things.

21. When you're not getting something you want, you can always ask questions. Whether it’s a writing job or a club spot or a verified Twitter account, everybody in this business is chasing something. When you find yourself at a roadblock, call a friend on the other side and ask them how they got there. What extra work did they put in? Whose hand did they shake? When did they get there? Remember: It is possible that you aren’t ready for this thing. If that’s the case, don’t worry. At least, now you have a heading.

22. If that something is a show, go watch that show. If you’re not getting booked on a show, absolutely go to that show. Tell the producer you like what they’re doing. Get your face in front of their face. No Facebook message, no passing comment, no great open mic set will do more for you than showing up. That being said, if you plan on flat-out asking for a spot on a show, phrase it more in the “I like your show and would like to be considered for it” direction than the “Can I get a spot?” direction. And, for the love of comedy, include a tape.

23. "When you can't create, you can work." Some of my favorite creative advice comes from Henry Miller's 11 Commandments of Writing. This one is the best. There will be days that you’re not going to be able to write. Sometimes those days will be all in a row and it will suck and you’ll feel awful. Work a little, instead. Watch some old tape; go to a show; archive your jokes; or promote your shows. There’s always work to be done.

24. You have something in common with every audience. The hardest I bombed this year was in front of a crowd that I had written off. The vast majority of the audience was twice my age, married, suburban, and politically conservative. I thought, “I have nothing to say to these people. Why would they care what I think?” And I ate it. Hard. And it was my fault. It’s our job to make audiences laugh and most of us don’t have the luxury of picking our audience. So, don’t be dumb; read your audience, find common ground, and perform the hell out of every show.

25. If possible, write clean. I’m generally of the opinion that new comics should write clean. It encourages good writing habits and keeps the writer out of the “my vagina/my dick” trap at the beginning of every comic’s career (including mine). Also: You’re going to have to work clean eventually, so get ready. Don’t wait until you’re offered a $500, 30-minute, all-ages gig to find out you don’t have two clean jokes to rub together.

26. Watching comedy is almost as important as performing comedy. My first instinct when I started comedy was to hit as many mics as I possibly could, forsaking all else for a few moments on stage. But the longer I do comedy, the more I’m beginning to think that I can learn just as much from watching live, professional comedy. When you don’t have new stuff to work on, take a night or two to catch a national headliner. There’s a reason they’re a pro.

27. Watching your comedy is even more important. Yes. Everyone hates their voice. But you have to watch your tape. I try to watch it once with the sound on to catch lags in energy or laughter and another time with the sound off to recognize physical ticks or bad habits. Now if only I would start listening to my recordings…

28. Host like everyone is watching. Chances are, your first opportunity to work at a club will be in the MC spot, so get good at it now. Start your own show and learn the basics. Guest host the hell out of an open mic. Don’t waste an opportunity to develop your abilities as a host. It’s a lot trickier than it seems.

29. Check spelling. Check pronunciation. Before finalizing your posters, before starting the show, double-check how to say and spell your performers’ names. It’s the easiest thing to get right; so don’t get it wrong.

30. Social media matters. You should have a Facebook, Twitter, and Instagram; and they should be easy to find. I don’t think it’s super important that you post every day, but other comics do expect to be able to find you online. Don’t risk losing a connection because you didn’t pop up in the search bar.

[sinceileftyoublog]

Loose Cattle Interview: Making the Listener Not Hate You

Photo credit: King Edward Photography

BY JORDAN MAINZER

“The New York Philharmonic is basically a cover band,” Michael Cerveris told me over the phone a couple months ago. Okay, he was being facetious; in context, we were talking about the merits of labeling Loose Cattle, the group he leads along with Kimberly Kaye, as a cover band. They certainly started out that way 10 years ago, forming with the low-bar goal of playing country songs in their friends’ living rooms. (After all, Cerveris had a successful theater, TV, & film career, and Kaye in a ska band, so they weren’t banking on success.) When they started landing high-profile gigs and releasing only non-traditional recorded material like live records and Christmas collections, they didn’t really have time to ask themselves who they were as a band. You could argue that they finally get to do that on Heavy Lifting, their debut studio album a decade in the making, which came out on Friday via Low Heat Records.

On Heavy Lifting, Loose Cattle--which has always had Cerveris, Kaye, and a rotating cast of other members, at this time René Coman, Doug Garrison, and Rurik Nunan--finally record some of their crowd favorite covers and original material but also include some timely, somber interpretations. In a sense, they say it’s both the first album and the difficult second album, the original statement and the changing of trajectory. They get their kicks on a rollicking version of Buddy and Julie Miller’s “Gasoline and Matches”, Bob Frank’s upbeat “Redneck Blue Collar”, and “Sidewalk Chicken”, an original about disposed poultry that’s treasure for a passing-by dog. They duet on the Johnny and June-esque “He’s Old, She’s High”, a song written by Cowboy Mouth’s Paul Sanchez about the two of them (Cerveris and Kaye started Loose Cattle while in a romantic relationship), whose line “He loves his Dolly Parton / She digs her CeeLo Green” segues perfectly into their closing mashup, “F*ck You Jolene”. But the most poignant and notable songs on here are the somber ones, versions of Vic Chesnutt’s “Aunt Avis”, Judith Avers’ “West Virginia”, and Selda and Derek’s “Filling Space”, which gets a bluesy strings and pedal steel treatment. 

Cerveris and Kaye cite both the insularity caused by COVID-19 lockdowns and their ever-present tendency to look towards the margins as why they’re, too, most moved by these songs. “We’re required all of the time to be looking at people,” Kaye said. On the morning of our interview, the top story was essentially pictures of whatever Kardashian was currently horny for Travis Barker, pictures to which we were both subjected on our social media feeds. “If you’re going to look at somebody, why them?!?” Kaye said, exasperated. Songs like “West Vriginia”, on the contrary, “ask you to open your eyes a bit,” said Cerveris. They also wanted to roll out and open the album with more reverent tunes. “The idea of putting out songs in your face or requiring you to party felt really bad and discombobulating,” said Kaye, who couldn’t listen to almost anything during lockdown without crying--especially party music that made her miss her friends. A song like “Filling Space”, on the contrary, according to Kaye, “doesn’t have any judgement about what loneliness looks or feels like.” Though Heavy Lifting may preview a period of more original songwriting for Loose Cattle, these songs are just as if not more personal.

Which brings us back to the eternal question: Is Loose Cattle really a cover band? Perhaps somewhere in between. What’s clear is they reinterpret songs to fit their emotions and the zeitgeist the same way great jazz or country musicians do for standards. They’re artists. And, yes, at the same time, the next time they hang out and get tanked, they’ll probably start jamming and playing some well-known tunes.

Read the rest of my conversation with Cerveris and Kaye below, edited for length and clarity.

Since I Left You: What about Heavy Lifting is unique as compared to anything else you’ve released in the past?

Michael Cerveris: We kind of did everything backwards. We had both been in a lot of bands before we ever met, and so much of the time you spend doing rehearsals, learning music, teaching different people music. Once you’re out of college, you’re not on the same schedule as everybody else you play with most of the time, usually because the only way you can make a living in New Orleans or New York or places is being in 5 different bands in the same time. So you spend so much of your time sending messages back and forth and trying to find places where you can rehearse. We wanted to cut all that out when we started this band. The idea was that we would learn a bunch of country covers because we both loved that kind of music and the storytelling, and the characters in them were just great. Our highest aspiration was be to play in our friends’ living rooms, and that was it. That’s where we started. 

Within a month, we suddenly had these random opportunities to play on Mountain Stage in my home state of West Virginia and to play at Lincoln Center in New York and its American Songbook Series. The kinds of gigs you would build your career towards. We were randomly landing there out of the gate, so we thought, “Maybe we should rehearse like an actual band.” Similarly, with records, our first record was a live record from a residency we did in a club in New York called 54 Below. Our second record was a collection of Christmas singles we had been doing once a year to treat our fans around Christmas time. So this is our first debut studio record.

Kimberly Kaye: It’s coming years into being a band.

SILY: How did you go about deciding what to include on here, both covers and originals?

KK: The problem of being a band that exists for a decade before you make a record is that by the time you make a record, the five people who do love you already have a list of favorite songs that they want to hear on your record. These are the songs we never recorded that people were like, “Why don’t you have a version of this I can download?”

MC: There were definitely fan favorites that we had to do because we had said we would forever. There were a bunch that we wrote, because we wanted to move out of being a covers band. Kimberly and I have been writing separately and together, and that’s definitely where we plan to move as a band more and more. As we were recording them, we actually wrote another couple in response to where we were finding ourselves as the process went along.

SILY: Is there a general approach you take when covering a song or recording a song someone else has written?

KK: It’s challenging when you’re doing covers to be true enough to the original that people A) recognize it or B) think, “God, this terrible cover band just murdered this song I otherwise love.” That’s always a player, being respectful to the original. Also finding a way to to say, “Hey, I might be in New Orleans or in New York but we’re not a Bourbon Street or Times Square cover band.” How do we add texture? How do we use our approach to storytelling to emphasize the parts of the story that are very meaningful to us as musicians or humans listening to the song? Trying to strike a balance between representing the song so that the person who wrote it originally wouldn’t want to murder me if they saw me in public, and then backing that up with, “How do I make it interesting?” so that the person doesn’t feel like they’re hearing the song for the ten thousandth time. Regardless of who they are, making the listener not hate you, I think.

MC: The primary motivation of our band is not to be hated. [laughs] It’s funny: Cover bands get such a bad rap, but it’s so much a part of most bands’ development. The Beatles were a cover band for most of their beginning. It’s how you cut your teeth. [I think of it as being] song interpreters. A lot of people who are famous and not thought of as a cover band aren’t necessarily writing their own material most of the time. Nashville is full of people writing songs for other people. 

I think it’s always about trying to find songs that mean something to you. That bottom line is how songs end up in our setlist. It’s a song one of us will hear and think, “We should cover that.” When we say that to each other, it means the song has struck something in us, which normally means it’s about someone who is marginalized or in an uncomfortable situation not part of the mainstream. We both gravitate towards the margins and misfits and outsider type people. Those kinds of songs, either written from that perspective or about people grappling with those kinds of things, usually strike us.

[When] there’s something in the song that somehow feels like something we have a way to express, that will be true to us. There are songs we sometimes think of that we think are great to cover, but what we really want is just to have been in that band who did the song originally. It’s only when we feel like we have something to add to the song we love or we want to share it with more people. A lot of our fans think we’ve written a lot more of our material than we have. It could be because we’ve made it absolutely unrecognizable, or that the way we do it makes it feel like it comes from us.

SILY: There’s a good mix on here of better-known songs, and songs I looked up and couldn’t find the original version online, like “Filling Space” and “He’s Old, She’s High”.

KK: Michael and I aren’t in Nashville, but those are this album’s, “Hey, if we were in Nashville, this would be our Nashville moment.” “Filling Space” was written by a songwriting pair that go back and forth between Nashville and New York, [Selda and Derek]. They put that together and sent it to Michael thinking it would be a great song for us, and they were right. “He’s Old, She’s High” was written for and about Michael and I as a gift by Paul Sanchez, now of solo fame in New Orleans, previously of Cowboy Mouth.

SILY: I was gonna say, it was almost too perfect the way you combined “Jolene” and “Fuck You”, which inspired the line, “He loves his Dolly, she loves her CeeLo Green”.

MC: It was actually the other way around.

KK: It was one of those things before we were a band, and we hadn’t performed yet, and Michael said we should start a covers band for living room parties. I said in that case, we should try to find a way to cover CeeLo Green’s “Fuck You”, because it’s my jam. That’s how old that cover is. That song was new at the point where I thought we should wedge it in with “Jolene”.

MC: The song used to always be in the first person, and we decided when recording that it would be about two other people to make it so more people could feel it was about them.

KK: It felt a little masturbatory to sing the song about just us, so if we changed the tenses and the pronouns, maybe you know a couple where he’s high and she’s old. 

MC: When we started the band, we were a couple, and we thought starting a band would be a great thing for our relationship, because clearly we had never read any band biographies before. Even though we stopped being in a relationship but kept the band together, the dynamic between the two of us is a lot of what informs everything. It does feel like a family, though people have come and gone. Kim and I are the constants. Now, we have this really solid band that feels like a band, which is what we always wanted.

SILY: "Aunt Avis” is the first single and album opener, one of the more downtempo tracks on the album. Why did you choose to lead with it?

MC: We were aware that it was kind of an odd choice as the opener and first listen people were gonna get of the record. I guess the odd choice is the choice we go with most of the time.

KK: Yep!

MC: [laughs] I think it also captured a lot of what we’ve been talking about. It’s somebody else’s song that exists in an original version that’s so idiosyncratic and iconic. Nobody else performed [Chesnutt’s] songs the way he did. But it’s also a song Widespread Panic does that a lot of people think of as a song by Widespread Panic. This is the kind of band we are. We’ll take somebody else’s song and try to make it ours. 

When we originally recorded [Heavy Lifting], we thought we would put it out in 2020, and for reasons we’re all aware of, that didn’t seem like a good idea at the time. We started to sit down to figure out when we were gonna put it out and guess what the future was gonna be like, when people were gonna want to listen to music and when we were gonna want to listen to music, and when people did want to listen, what kind of music it was gonna be. When we looked at the record, this song kind of seemed to be the ideal song to talk about things that are on people’s minds and have been for the past year. How do you be good? How do you keep going when you don’t know how or if you should? Starting out of the gate with something not acknowledging the world we’re in would be jarring and weird and could be good if people wanted escape, but we’re not entirely an escape kind of band. It felt like the right song for this moment to represent us and the record and let people come in through that. The next single, “Filling Space”, too, is a step along that road. When people get into the full record, there’s all kinds of stuff on it, much more lighthearted and rocking stuff. But it’s been a rough fucking year, and we wanted to let people ease their way out of the cave.

SILY: What’s the significance behind the album title?

MC: We’re such an old school band in a lot of ways. We’ll take forever deciding on the sequencing of the record. I still look at records as A-sides and B-sides. It really matters to me. There are a million ways to do it, but I spend a lot of time thinking about the flow of the record. Similarly, we take forever naming our records. I don’t know how many titles we had for this record.

KK: [laughs] A lot.

MC: They go from the ridiculous to the less ridiculous to approaching the sublime, but mostly just ridiculous.

KK: For a minute, we were calling it Herd Immunity, definitely leaning away from the sublime on that one, more towards the absurd. But [Heavy Lifting] was a dark horse that came out of nowhere and kind of won the race. We had another title picked, and I can’t really remember it, so it obviously wasn’t that good.

MC: This definitely came up post-COVID lockdowns. I think it might have been encouraged by finding the photo first.

KK: Yes. I remember it came from the photo.

MC: And the sort of dual nature of “heavy lifting,” which feels like what everybody is getting through these days, to “heavy, comma, lifting,” which suggests that maybe this weight is slowly getting lighter. We liked the duality of that idea.

SILY: By the way, when I was Googling “heavy lifting loose cattle interviews,” just to see what other interviews you had done, I got a lot of results for interviewing for jobs on farms, and the proper way to lift loose cattle.

KK: [laughs]

MC: I think I’ve done the same thing. [Note: At the time of publication] The top hit you get is this harness, because there’s this thing for lifting down cows, which goes around their hips and lifts them down by their pelvic girdle, which doesn’t seem like a great idea, but I guess it’s what you do when you have a cow to lift.

When you Google “loose cattle,” you often get great videos of herds of cows across the world, wandering across freeways and through town squares. I think, in a way, it’s appropriate.

KK: Loose Cattle the band is not on TikTok, but we have a very strong showing on TikTok anyway if you type us in, just because people love filming animals in places they shouldn’t be.

SILY: What else is next for you, as a band or individually?

KK: In 2020, we were positioned to be playing such great shows. We had a spot at French Quarter Festival in New Orleans, which, if you’re a local, is your favorite, since [New Orleans Jazz & Heritage Festival] is very crowded. We had this incredible year of gigs lined up, and then all of a sudden, nothing, and we were all in different places, so we were not allowed to interact. While we didn’t get to work on too, too much as a band, we did, as we do, produce some more covers, which are not on the album but are really great. We found creative and interesting ways to make videos while in quarantine. We covered David Bowie’s “Heroes”.

MC: We [also] did John Cale’s “Fear is a Man’s Best Friend”.

KK: That was the height of the COVID spike and election stuff. We made these two kind of poignant, interesting things people love. I get a lot of folks messaging me saying they’re listening to our cover of “Heroes” saying it’s helping them get through something. In the meantime, trying to keep busy, I accidentally started a not unsuccessful true crime and horror competition podcast with a friend of mine. We compete to tell really horrifying stories from history. Hottest Hell Presents. It marries stories from history’s colon with competition.

MC: My day job has been as an actor for a number of years. I got a job on a great new series for HBO called The Gilded Age which should come out early next year some time. It’s written by Julian Fellowes, who made Downton Abbey, and it’s kind of Downton Abbey for the U.S., set in 1882 in New York. Kind of follows America in a really transitional phase after the Civil War, and the rise of the Industrial Age. I’ve been learning, doing research while we’re making it. [It’s amazing] how much we talk about today, like race relations, labor relations, the rise of the 1% and suffering of the 99%, the seeds of it came out of that period of American history. I’ve been filming it in New York and Newport, Rhode Island. It’s been a blessing to have a place to go and be creative and manage to feed myself so we can keep doing the band.

[airadam]

Episode 135 : Airflow.

"How it took you thirty years just to sound aiiight?"

- Rustee Juxx

2020 continues...feels like all you can say! I didn't get chance to include any Malik B (RIP) last month, but have fixed it this time with a couple of his best verses, alongside other late greats like Sean P and Aaliyah, plus remembering some truly classic albums. Light on the new releases this time, we dig back into the crates...

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Playlist/Notes

JoJo Pellegrino ft. Ghostface Killah and Raekwon : 3 Kings

Coming out of the gate strong on this single, with Ghostface owning the Yountie Tha Noize-produced track in the first few bars! That said, everyone does an excellent job on the mic, including Pellegrino, an MC from the same general area of Staten Island as many of the Wu-Tang - Ghost and Rae included. No pause for a hook, just lyrics on lyrics on lyrics. 

[Alchemist] Twin & Alchemist : Different Worlds (Instrumental)

Ah, the early days of Alchemist! One of the most respected in the game, and one who has been associated with two highly significant crews from opposite sides of the country - the Soul Assassins from LA, and the Mobb Deep family in NYC. This is some of his fairly early work with the latter, a 12" from 2001; this beat is dope, but "Big T.W.I.N.S" on the flip is even better!

The Roots ft. Dice Raw, M.A.R.S, and Co-Op : Clones

One time for Malik B! This is a classic single from The Roots' "Illadelph Halflife" album, packed with quotables from all the MCs, and backed by a stripped-down but ferocious beat. The verses are separated by a chilled-out jazz sample, right before the drums, piano, and bars come crashing right back in. Greatness.

Exile ft. Co$$ : Pay The Co$$

I always rated the cutting up of the Malik B line from the final verse of "Clones" for the chorus here, and this is the perfect position to play it. Cashus King (AKA Co$$) is an MC out of Leimert Park in LA, and this track on the 2006 "Dirty Science" producer project looks like one of his first appearances, if not the very first. I'd have to imagine this isn't an easy beat to work with, as the Exile-produced rhythm lurches and twitches, with a somewhat cursory relationship with the beats in each bar. You've got to be good to make this work, on either side of the mixing desk!

Chuck D as Mistachuck ft. Jahi : freedBLACK

Chuck D was comparatively old as an MC when he first hit the scene, and showed how that was nothing but an advantage as he could take a different perspective to the late-teenagers on the mic elsewhere. That has continued throughout his career, where he brings his experience to bear on every verse - including here, on the "Celebration Of Ignorance" album. There's actually a piece at the start of the track I missed off as it wouldn't have mixed well, but that should be encouragement to buy the whole thing! C-Doc and ID cook up a beat rugged enough for the Hard Rhymer and Jahi, his compatriot in PE2.0.

Nine : Any Emcee

This gravel-voiced MC from The Bronx was first heard on Funkmaster Flex's "Six Million Ways To Die" as Nine Double M before tweaking his name, and eventually putting out a solid debut album of his own. "Nine Livez" is definitely worth a listen, if very much of its time, and this was the second single. Tony Stoute is on production - a forgotten name, who to be fair really did his work within the span of 1995. This is quality work though, putting some boom into a classic soul sample and then topping it off with the Rakim sample for the hook.

Brand Nubian : Allah U Akbar

Actually really proud of how much I nailed the mix into this one 😂 The call is very slightly off the nearest beat, but in the context of the production as a whole it totally works. This was a great track to open the second Brand Nubian album, "In God We Trust". Before it was released, a lot of people thought Brand Nu were done after the departure of Grand Puba Maxwell, but those doubts were swiftly dispelled. Sadat (formerly Derek) X and Lord Jamar were more than capable of carrying the load on the mic, and together with DJ Sincere, the production too.

[Kev Brown] MindsOne & Kev Brown : Nightstalkers (Instrumental)

Anyone who's been doing their homework should be able to recognise that Kev Brown bassline style! Great MPC work as usual out of Landover, Maryland from Brown's production on the collaborative "Pillars" LP.

Raekwon : Spot Rusherz

The monumental "Only Built 4 Cuban Linx..." was released twenty-five years ago this month, and with it being one of my top two Hip-Hop LPs of all time, I couldn't let it pass without including a track. This one is buried late in the album, but would be the best song on any number of lesser releases! It's one of the few Raekwon-only tracks on the LP, and he goes into storytelling mode, with a highly-detailed account of a robbery of a rival dealer. RZA's beat is one of the many, many killers on that album, which might be his best end-to-end body of work ever.

The Roots : 100% Dundee

Needed a little more Malik B, so dipped into what is definitely my favourite Roots LP, "Things Fall Apart". Malik and Thought are locked in friendly mic competition on this cut, on one of the last tracks they'd work jointly on for some time. The beat is heavy on the low end with beatboxer Rahzel doing drums and bass at the same time, and sparkles at the high thanks to the added keyboard contributions of Scott Storch on an early appearance.

Phat Kat : Don't Nobody Care About Us

Detroit all day for this selection from "Carte Blanche". Phat Kat is rawness on the mic, which we were lucky enough to witness when he visited Manchester, and J Dilla backs him with a beat that bangs in a way that the original sample could never have dreamed of! DJ Dez rounds things out with the cuts on the outro.

Black Rob ft. Lil' Kim & G-Dep : Espacio

An anthem for our time, recorded twenty years ago for the "Life Story" album, the first from Black Rob. He was one of the more rugged personalities on Bad Boy Records at that time, which you can probably pick up from the rawness of his opening verse. Personally, Li'l Kim's verse is my favourite, and the beat by Joe Hooker and Mario Winans underscores her well. Also, possibly the only music video involving stunting on mopeds.

Marco Polo : RIP KALIBMA GOD

(sic) - I'm wondering if it should have been "kalimba", but I just work with the track title in front of me! The Toronto native working out of NYC gets much respect in the production world, and his selection for one of the Fat Beats "Baker's Dozen" projects, from which this is drawn, speaks volumes.

Sean Price ft. Cousin Reeks and Rustee Juxx : One Question

An ignorant classic for sure, and a mixtape cut that might have passed you by if you aren't a diehard Sean P fan. A standout on "Master P", where each MC takes a verse to talk smack and increase the crime rate over DJ Babu's production, playing off the vocal sample. Absolutely loaded with disrespectful quotables, at least one of which has to make you laugh!

Aaliyah : Hot Like Fire

It's nineteen years this month (already?) since Aaliyah passed away. This track so good, I was sure I'd played it before on the podcast - but no, so you get to enjoy it this month! This is from the "One In A Million" album, her second, where the combination of Timbaland's adventurous beats, Missy Elliott's writing, and Aaliyah's ability to work with both formed a winning combination. A slow burner with lots of bump.

Clipse ft. Pharrell : I'm Good

"Hell Hath No Fury" is still the best Clipse album in my opinion, but "Til The Casket Drops" was a solid release too. This was the lead single, and The Neptunes give the track a triumphant feel, appropriate for its summer release. 

Massive Attack : Safe From Harm

An old classic from the very first Massive Attack album, "Blue Lines". Masterful sampling (no, I'm not revealing all the samples, just in case) by the crew to concoct a solid groove, and Shara Nelson with the iconic lead vocal. This was the perfect track to open their now-legendary debut with.

The Cool Kids : As We Breeze (Instrumental)

Nothing much to say here - just a dope beat from this Chicago duo, taken from the "Gone Fishing" instrumentals!

The X-Ecutioners ft. Halex The Armageddon : Poetry In Motion

A track very much of its era, when turntablism was picking up traction behind legendary crews like the X-Ecutioners and ISP, and spoken word was having a moment in the sun! The "X-Pressions" LP was not the end-to-end scratchfest that we might have expected, but a varied collection showcasing many different aspects of turntablism, production, and vocals from guest artists. The late great Roc Raida is on production, while poet Halex (who has many versions of her name on different credits) orates on the subject of Hip-Hop as a culture. Certainly no dancefloor track, but a podcast where you listen closely is just the place for it.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

[chpkns]

BEST ALBUMS 2018

Ok here we go again for 2018, shall we?

Hon. Mentions: Negro Swan - Blood Orange; Singularity - Jon Hopkins; Elsewhere - Ryan Hemsworth; Scorpion - Drake; Diplomatic Ties - The Diplomats; Some Rap Songs - Earl Sweatshirt; FM! - Vince Staples; Rally Cry - Arkells; I’m All Ears - Let’s Eat Grandma; Be The Cowboy - Mitski; Kamikaze - Eminem; Ye - Kanye West; KIDS SEE GHOSTS - Kanye West and Kid Cudi; Tranquility Base Hotel & Casino - Arctic Monkeys; Black Panther: The Album - Kendrick Lamar, et al; KOD - J. Cole; Culture II - Migos; Hive Mind - The Internet; God’s Favorite Customer - Father John Misty; Blood - Rhye; Both Ways - Donovan Woods; Songs of the Plains - Colter Wall

10) Swimming - Mac Miller

This one was tough. Malcolm James McCormick’s fifth studio album was barely out three months before he left us. It’s hard to evaluate Swimming in isolation of Miller’s untimely death at age 26. Especially since, in my mind, the album represents something of a turning point for the former frat rapper. Recorded in the wake of Miller’s high profile breakup with Ariana Grande and in the midst of public struggles with addiction, Swimming is full of heartache and soul bearing self-reflection. Sonically, Mac’s airy raps and crooning vocals float over jazzy beats and orchestral accompaniments, with help from Thundercat and Dev Hynes. There’s room for fun as well amid the melancholy - the more upbeat Ladders and What’s the Use? are sure enough to keep a dance floor moving. The worst thing about Swimming is really how good it is, and how it felt like Mac Miller was on the cusp on something great we’ll now never see. 

Highlights: Self Care, What’s The Use?, 2009, Ladders

9) QUARTERTHING - Joey Purp

Chance the Rapper’s Savemoney compatriot Joey Purp is like a breath of fresh air. QUARTERTHING’s 14 tracks, most clocking in at under 3 minutes, come fast and furious like Purp’s (mostly) un-autotuned flow. Joey’s full throated, almost Meek-Mill-esque, delivery gives the album a mixtape-like authenticity - notwithstanding the varied and expert production from the likes of RZA, Knox Fortune and frequent Chance collaborator Nate Fox. The opening 24k Gold/Sanctified, and Hallelujah just two tracks later, feel downright celebratory pairing Purp’s flow behind a blaring big band sound. Others, like Look At My Wrist and Paint Thinner, are Chicago Drill and house inspired, feeling like they’d be right at home in a sweaty club basement. Lyrically, Purp is a classic hip-hop storyteller and street documentarian, drawing from experiences in a former life selling drugs and the violence of his home city. This impressive studio album debut is more than enough to solidify Joey Purp’s place among an exciting new generation of Chicago rappers.

Highlights: 24k Gold/Sanctified (ft. Ravyn Lenae & Jack Red), Godbody (ft. RZA) [Pt. 2], Hallelujah, Look At My Wrist (ft. Cdot Honcho), Karl Malone

8) Golden Hour - Kacey Musgraves

Kacey Musgraves is clearly in the pantheon of artists that can’t release an album without it making this list (I rated Pageant Material #8 in 2015 and Same Trailer, Different Park #9 in 2013... both criminally underrated in retrospect). Musgraves continued to be a revelation with her third album. There was a great Ezra Koenig quote last year, where he talked about seeing Musgraves’ concert and being inspired by the clarity of her music: “from the first verse, you knew who was singing, who they were singing to, what kind of situation they were in”. On Golden Hour, she maintains that clarity, stretching a little more outside the traditional country sound into pop and disco-inspired melodies. I do miss the dry humour and rebellious spirit of the previous two Musgraves outings, I’ll admit. You won’t find any overt weed references here, but Kacey finds plenty of ways to remind us how few fucks she gives about the Nashville country establishment. Golden Hour also shows off some of Musgraves’ strongest songwriting to date - the sprawling Space Cowboy stands out as one of the best singles of the year in any genre. I’m probably in the minority in thinking Golden Hour is not my favourite Kacey Musgraves album, but it’s still one of my favourite albums of 2018.

Highlights: Slow Burn, Space Cowboy, High Horse, Love is a Wild Thing

7) Lush - Snail Mail

It’s about to become clear that there is a “women in indie rock” movement happening on this year’s list. The debut album from 18 year old singer-songwriter Lindsey Jordan is one of the most aptly titled records of 2018. Lush’s indie rock soundscapes are just that. Loud, full and richly textured. Jordan’s crystal clear vocals soar and float above her ringing guitar chords and riffs. The songwriting is perhaps what you’d expect from an 18 year old, full of heartbreak, confusion and teen angst. She does it well though. As the first chorus builds on Heat Wave, Jordan’s voice builds: “And I hope whoever it is Holds their breath around you, 'Cause I know I did”. The album’s standout track for me is Full Control which crescendos to a refrain of: “I'm in full control, I'm not lost, Even when it's love, Even when it's not.” At the same time, Lush exudes a maturity and a nostalgia that hearkens back to Snail Mail’s spiritual predecessors like Cat Power or Fiona Apple. Snail Mail was one of many reasons that 2018 gave me hope that there’s a future for indie rock and “guitar music” generally. I’m very much looking forward to seeing what’s next.

Highlights: Pristine, Full Control, Deep Sea, Heat Wave

6) boygenius EP - boygenius

The only thing that ever held me back from including boygenius on this list was my long held view that “an EP is not an album”. Well, since Kanye decided that 7 songs can be an “album” why not 6? Any album that has 6 songs as good as the 6 on boygenius EP would make this list! boygenius is the indie “supergroup” made up of Phoebe Bridgers, Lucy Dacus and the holder of last year’s #3 album on this list, Julien Baker - all accomplished solo acts in their own right. Predictably, the whole is something greater than the sum of its parts. boygenius EP’s six songs are a tour de force amalgam of indie, country and folk (owing to the band’s cross-genre Nashville and Viriginia roots) full of raw emotion and grit. Dacus, Bridgers and Baker seem made to perform, and sing, together. The harmonies on this record make boygenius sound like an indie rock iteration of Destiny’s Child or an edgier, less twangy version of the Dixie Chicks. The songs do not hold back, with high highs and low lows. On Me & My Dog, the soaring chorus evokes an escapist dream: “I wish I was on a spaceship, Just me and my dog and an impossible view”. The emotional highpoint of the record might be Baker and Bridgers’ chorus on Salt in the Wound apexing with: “I’m gnashing my teeth, Like a child of Cain, If this is a prison I’m willing to buy my own chain”. I can’t stop watching live videos of these three - they seem so at home onstage together. As excited as I’d be to see boygenius become more than a side project, I’m equally excited to see what’s next for Bridgers, Dacus and Baker on their own.

Highlights: Me & My Dog, Stay Down, Salt In the Wound, Ketchum ID

5) DAYTONA - Pusha T

YUGH! Amid Kanye’s unhinged tweets, messy, disorganized projects, and Oval Office visits, DAYTONA, the 7 track album he entirely produced for G.O.O.D. Music veteran Pusha T, was one thing that gave us hope that Kanye hadn’t completely lost his touch (or his mind) in 2018. DAYTONA showcases both producer Kanye and King Push at the absolute peak of their talents. It’s amazing, in this era of Xanax-fuelled mumblerap, to think how long we’ve been listening to Kanye and Push do their thing. Lord Willin’ introduced the world to Pusha T in 2002 (alongside his brother Malice, as he then was, as the iconic rap duo Clipse). The College Dropout came out two years later. I still remember buying the CDs and wearing out my discman with both of them. It’s easy to forget that Kanye and Terrence “King Push” Thornton are both 41 years old! There’s something refreshing about two guys in their forties still being able to make a banging rap record about selling drugs and buying expensive shit. Push said DAYTONA was made “for my family...high taste level, luxury, drug raps fans.”  Those fans are well served by DAYTONA. After the beat comes in on album opener If You Know You Know, Push sounds like he’s speaking directly to his day one fans, raising a styrofoam cup to: “This thing of ours, oh, this thing of ours”. The album exudes the bravado of an MC on top of his game confident in the knowledge that he’s spitting bars on a classic. And we can’t forget the incendiary Infrared, the song that touched off a vicious beef between Pusha T and rap’s biggest star, Drake, ending after Push revealed in a diss track that Drake was hiding his son from the world. Almost 20 years on, Pusha T is still ready to go war, still “clickin’ like Golden State” and still wearing the crown as King Push. Long may he reign.

Highlights: If You Know You Know, The Games We Play, Hard Piano (ft. Rick Ross), Infrared

4) Honey - Robyn

I found myself slightly disappointed in Honey at first, largely because my expectations for Robyn’s first album in eight years were based on the high energy electro-pop brilliance of 2010′s Body Talk. What I should have realized is that, if Robyn were going to make another Body Talk, she wouldn’t have kept us waiting this long. Honey is not Body Talk - you won’t find another Call Your Girlfriend or Dancing on My Own among its nine silky smooth tracks. But it is no less brilliant. If I can forget that Beach2k20 exists for a second, it feels pretty darn close to a perfect album. Honey betrays a lighter touch for Robyn, perhaps more in tune with the sound of the moment. A little more euro house and disco tinged, Honey furthers the Swedish songstress’s long evolution away from the pop idol of her late 90′s past. Honey still embodies Robyn’s signature juxtaposition of electronic dance rhythms alongside themes of sadness, loneliness and heartbreak. And songs like Honey and Missing U can still light up any dancefloor. The highlight for me is the slow-building Send to Robin Immediately, which just swells over its Lil Louis sample as Robyn urges the listener into action: “If you got something to say, say it right away. If you got something to do, do what's right for you. If you got somebody to love, give that love today. Know you got nothing to lose, there's no time to waste”. In between albums, and while writing Honey, Robyn lived through the death of a longtime collaborator and a breakup and reunion with a romantic partner. The emotional toll of these experiences seem to shine through. Robyn told the BBC’s Annie Mac earlier this year: “When I wrote this album I think I was quite tired of myself writing sad love songs, but I did anyway and looking back on that now, I think it's OK for things to be sad. Combining it with something that's bright and strong and powerful is a way of finding your way out of the sadness.” 

Highlights: Missing U, Human Being (ft. Zhala), Send to Robin Immediately, Honey

3) Clean - Soccer Mommy

Clean, the impressive debut album from 20 year old Nashville singer-songwriter Sophie Allison, was the first album I heard this year that I 100% knew would be on this list. By the time Your Dog hits at the third track, I was completely enthralled. That song is so goddamn rock and roll with Allison sparing no mercy for the subject shitty boyfriend of the opening verse: “I don't wanna be your fucking dog, That you drag around, A collar on my neck tied to a pole, Leave me in the freezing cold”. Elsewhere, on Still Clean, Allison plays with gruesome animalistic imagery singing of an ex-lover picking her “out your bloody teeth”. There is a warmer side to Clean as well. Scorpio Rising, with it’s “bubbly and sweet like Coca-Cola” softness and lyrics about meeting up after dark and missed calls from your mother definitely remind you that Allison is a self-professed devotee of Taylor Swift’s early work (which should give you another idea of why I love this album). Speaking of T-Swift, the rollicking Last Girl almost mirrors You Belong With Me in describing the crushing insecurity of comparing oneself to a new partner’s ex, somehow pulling off lyrics like “I want to be like your last girl, She's the sun in your cold world and, I am just a dying flower, I don't hold the summer in my eyes” as if that were a totally normal thing to say. Beneath the upbeat riff of Cool, where Allison idolizes the cool girl “with a heart of coal, She’ll break you down and eat you whole” is the understanding that being that person won’t bring her the happiness she seeks. Acceptance of one’s emotions and insecurities is the core theme of Clean - that “You gon’ be like that” (as Allison put it to the Fader) and you’ll be happier once you accept you for you. In many ways, Clean evokes a similar vibe to the Snail Mail and boygenius entries further up this year’s list, as a scrappy “girl with a guitar” indie record and a tongue-in-cheek stage name. That sense of charming honesty is what, I think, makes Clean stand above the other entries on this list.

Highlights: Cool, Your Dog, Last Girl, Scorpio Rising

2) Lamp Lit Prose - Dirty Projectors

The first of our top two is another repeat offender on this list (a previous incarnation of the Projectors’ Swing Lo Magellan had #7 back in 2012 and last year’s eponymous Dirty Projectors was my 2017 #8). I loved every minute of Lamp Lit Prose - it’s almost a 1B for me on this list and was pencilled in at 1 for a time in the drafting process. This album has everything that was good about last year’s DPs record but is, ultimately, tighter, more fun, less weird and less sad. Dave Longstreth appears to have moved on (at least musically) from the emotions he was working through on Dirty Projectors, which was essentially an extended meditation on the breakup of his relationship with Amber Coffman and the band’s upheaval. With Lamp Lit Prose, his “new look” Dirty Projectors (with help from friends like Syd, Rostam and HAIM) have put together something a little more traditional (by Dirty Projectors standards) and a lot more listenable. Longstreth told Exclaim that this album, compared its morose predecessor, “is really about feeling hope again, finding the things that give us hope, that make us feel optimistic and joyful.” Lamp Lit Prose falls somewhere between the twangly, jam band atmosphere of the Projector’s Swing Lo Magellan and Bitte Orca heyday and the more experimental, electronic-infused vibe of the Dirty Projectors released 18 months prior. Longstreth’s guitar riffs are again front and centre, but the voice modulation and distorted electronic sounds are still there, albeit in a more subtle way. Four part harmonies bounce over the jazzy melodies and hopeful lyrics. Where he was mourning a lost love on the last record, here we see Longstreth “in love for the first time ever” on I Found It In U (a salvaged beat from his work on Solange’s last album). On Break Thru, the un-named romantic subject is held up as “an epiphany” with comparisons in quick succession to Archimedes, Fellini and Julian Casablancas. The horn-backed chorus on What Is The Time is the high point of the record for me - the kind of song that makes you want to raise your voice and join in on the hook. All in all, it’s just great to hear this band making fun music again. Lamp Lit Prose is upbeat, creative and simply a joy to listen to. I absolutely loved this album... but just not quite enough to edge out our number 1.

Highlights: Break-Thru, That’s a Lifestyle, I Found It In U, What Is The Time

1) ASTROWORLD - Travis Scott

IT’S LIT!!! I would have never predicted that a Travis Scott album would land here at number 1, but here we are. And I feel good about it. ASTROWORLD dominated my listening from its mid-summer release onward and, with each spin, I became increasingly convinced of its greatness. Travis is an artist that I’ve long found perplexing. Insanely popular among his legions of young fans, he embodies so much of the “new rap” ethos, the first genre of music where I’ve started to feel like I might be ‘too old’ to enjoy it. It was clear on his prior outings, Rodeo and Birds in the Trap Sing McKnight, that the talent and creativity was there, but the overall product always seemed messy, disorganized, unpolished. With ASTROWORLD, Scott finally has made his Beautiful Dark Twisted Fantasy. The album is named for a former Six Flags theme park in Scott’s hometown of Houston that was torn down a decade ago and still sits vacant. Previewing the title of the album, Scott told GQ last year: "They tore down AstroWorld to build more apartment space. That's what it's going to sound like, like taking an amusement park away from kids. We want it back. We want the building back. That's why I'm doing it. It took the fun out of the city." True to his word, the album’s 17 tracks are tied together by an overarching creepy, grimy sound. Listening to ASTROWORLD feels like walking through an abandoned theme park. Even more impressive is how Travis, as curator of the album’s varied guest list, bends the star studded guest appearances to his will, fitting them in perfectly to his dank sonic menagerie. The likes of Frank Ocean, the Weeknd, Swae Lee, Tame Impala and James Blake don’t overpower Scott’s vision but blend into the scenery, their talents employed perfectly by Travis in the role of ringmaster. Newcomers get some shine too, like Scott’s Cactus Jack labelmate Sheck Wes who gets a guest verse on NO BYSTANDERS and a shoutout to his ubiquitous single from Travis on 5% TINT: “We did some things out on the ways that we can't speak, All I know it was "Mo Bamba" on repeat”. And then, there’s SICKO MODE. Why is it that the best Drake song each year invariably comes from someone else’s album, even in a year where Drizzy himself releases a double album? The ASTROWORLD track list, at least initially, left out the featured artists, so hearing Drake’s voice over the opening notes of the album’s third track was the first time most listeners had any indication that the 6ixgod himself would be making an appearance. What a wonderful surprise it turns out to be. SICKO MODE, the album’s best track, feels like three or four different songs as the beat changes form and Travis and Drake pass the mic back and forth. The song’s Tay Keith produced final act (the “out like a light” part) is for my money the best two minutes of hip hop music made in 2018. ASTROWORLD succeeds on its grandeur, vision and consistency. Travis Scott set out to build something big and from the moment the bass kicks in on STARGAZING through to the mellow, string backed denouement of COFFEE BEAN, he succeeds at every turn. ASTROWORLD was 2018′s biggest, most creative, most sonically consistent and most fun album in hip-hop. In my estimation, it’s the best album of the year.

Highlights: STARGAZING, CAROUSEL (ft. Frank Ocean), SICKO MODE (ft. Drake, Swae Lee and Big Hawk), WAKE UP (ft. The Weeknd), CAN’T SAY (ft. Don Toliver)

That’s all folks. Thanks for reading and see ya in 2019.

[tykewriter]

Culture: Trafalgar Square To Host Screening Of Asghar Farhadi’s The Salesman

Iranian director’s UK movie premiere is a snub to Brexit and Trump alike

Movie premieres are not usually political affairs, but the screening of an Oscar-nominated feature film by Iranian director Asghar Farhadi in London next week is clearly waving a two-fingered salute at President Trump in the wake of his travel ban – and there’s a singular middle finger aimed at Brexiteer Britain too…

By Mark Cantrell

COME Sunday, 26 February, the movie-going crowds are expected to gather in London’s Trafalgar Square for the UK premiere of The Salesman, by the Iranian director Asghar Farhadi, but the event symbolises rather more than an appreciation of the cinematic art – it represents something of a gesture of dissent too.

In a way, then, it’s as much a protest rally as it is a movie premiere. The free event was organised by the Mayor of London, Sadiq Khan, in the wake of President Trump’s controversial travel ban, which barred people from seven predominantly Muslim countries – including Iran – from entering the United States.

The ban caused chaos and anguish for thousands of travellers, many with a previously undisputed right to enter the US – including those who have lived and worked in the country for years. It also hit some unlikely visitors, such as the former prime minister of Norway, Kjell Magne Bondevik, who was detained and questioned at Dulles airport earlier this month – because his diplomatic passport showed he had visited Iran in 2014.

As an Iranian national, of course, Farhadi is subject to the possibility of being barred entry to the US, effectively on the whim of its president. US judges have since suspended the ban, provoking Trump’s ire but also his threat to sign a new version into effect sometime in the coming days and weeks, which means those likely affected still face a limbo of uncertainty.

Towards the end of January, the award-winning director announced he was reluctantly boycotting this month’s Oscar’s in solidarity with those affected by Trump’s ban, regardless of whether he himself might be granted special dispensation by the US government to enter the country in order to attend the ceremony.

“Hard-liners, despite their nationalities, political arguments and wars, regard and understand the world in very much the same way,” Farhadi said in his statement, reported in the New York Times (29 January 2017, where the statement is quoted in full). “In order to understand the world, they have no choice but to regard it via an ‘us and them’ mentality, which they use to create a fearful image of ‘them’ and inflict fear in the people of their own countries.

“This is not just limited to the United States; in my country hardliners are the same. For years on both sides of the ocean, groups of hardliners have tried to present to their people unrealistic and fearful images of various nations and cultures in order to turn their differences into disagreements, their disagreements into enmities and their enmities into fears. Instilling fear in the people is an important tool used to justify extremist and fanatic behaviour by narrow-minded individuals.”

The Salesman, which stars Shahab Hosseini and Taraneh Alidoosti in the lead roles of Emad and Rana, is a critically acclaimed movie. It won Best Screenplay at the 2016 Cannes Film Festival while Hosseini won Best Actor. The film has been nominated in the Best Foreign Film category at next week’s Oscar’s.

The movie’s open-air screening at Trafalgar Square (see details below) has been organised by the Mayor of London, Sadiq Khan, with the assistance of actor Lily Cole, producer Kate Wilson, and filmmaker and writer Mark Donne, to foster a spirit of cultural diversity and to reject the kind of narrow-mindedness and division Farhadi alludes to.

The date was picked to coincide with the 89th Academy Awards in Hollywood, with the film shown just hours ahead of this year’s Oscars being handed out (at midnight GMT).

“Screening The Salesman in Trafalgar Square has a great symbolic value for me,” said Farhadi. “The gathering of the audience around The Salesman in this famous London square is a symbol of unity against the division and separation of people. I offer my warmest thanks to the Mayor of London and the cinema community for this generous initiative. I welcome and appreciate this invaluable show of solidarity.”

Cole added: "Having grown up in London I have always loved the multiculturalism and openness of this city. I am very heartened that the Mayor of London – and our film community – have stepped up to celebrate that openness and diversity at such a critical political moment. It’s an important and positive signal to send. I look forward to watching Asghar’s film and hope you will join us.”

Donne said: “When I first had the idea for the screening, it was as a filmmaker, a Londoner and an individual who cherishes living in an incredibly diverse, open community. To have this event hosted by the Mayor of a city that’s globally synonymous with all of those things is pretty amazing. Asghar Farhadi is an incredible storyteller. I hope his work showing in this city, at this moment, sends a tremendous international signal of unity and tolerance."

Khan, of course, isn’t missing the opportunity to plug London to the world. The premiere is as much about declaring ‘business as usual’ for the capital as a world city in the wake of Brexit, as it is a chance to declare solidarity with the people impacted by the prejudice denoted in President Trump’s travel ban. London is open, the Mayor is saying; as much to reassure an international audience as a domestic one.

As City Hall points out: “Since the start of his Mayoralty, Sadiq Khan has led Londoners from across the worlds of film, dance, theatre, music, art, sport, retail and even the animal kingdom to say loud and clear that, post-EU referendum, London is open to the world.”

Khan, himself, added: “On the night of the Oscars, it’s absolutely fantastic to be able to screen the UK premiere of The Salesman in Trafalgar Square. I’m delighted to welcome people from across the capital and beyond to share in this celebration of London as an international hub of creativity and as a beacon of diversity.

“Londoners have always prided themselves on their openness to the world, and what better way to do that than to come together to watch this powerful film in one of the world’s most famous public spaces.”

Before the film starts, though, the audience, which is expected to be some 10,000-strong, will hear speeches and readings from some of London’s high-profile actors and directors, including the award-winning director, Mike Leigh; well, it does have an aspect of the rally about it, after all.

“It is to the Mayor of London's tremendous credit that he is hosting this special premiere screening of The Salesman in Trafalgar Square, said Leigh. “My friend Asghar Farhadi, whom I have known since we served together on the jury of the 2012 Berlin Film Festival, is one of the world's greatest film makers.

“For those of us who make movies about real life, real people and real issues, he is the master – a true inspiration to all of us. The Salesman is compelling, moving and entertaining, and I urge everybody in our capital to come and enjoy it in Trafalgar Square. We must show solidarity with Asghar and his principles, and against divisiveness and hate.”

Indeed. Let’s make hatred a no show, wherever we happen to be.

 The screening of The Salesman begins at 4.30pm in London’s Trafalgar Square and will end at 6.35pm. ‘Doors’ open at 3pm. People are advised to wrap up warm on the day, and to arrive early to grab their spot, as places are offered on a first-come-first served basis.

For those unable to make it to Trafalgar Square, distributor Curzon Artificial Eye said it will be organising screenings of The Salesman across the country on the 26 February. For more information, visit: www.thesalesmanfilm.co.uk.

 DETAILS:

The Salesman

Certificate: (12A)

FREE – first come, first served. Arrive early to grab a spot, the organisers advise

Trafalgar Square, London. Doors open at 3pm. Speeches from 4pm. Screening from 4.30pm (2hrs 5mins)

Blurb: Oscar winner Asghar Farhadi (A Separation) returns with The Salesman, a characteristically taut drama exploring how unexpected cracks can form in the foundations of a seemingly happy marriage.

The future looks promising for amateur actors Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) as they prepare for opening night on their production of Arthur Miller’s Death of a Salesman.

However, when dangerous work on a neighbouring building forces the couple to leave their home and move into a new apartment, a case of mistaken identity sees a shocking and violent incident throw their lives into turmoil.

What follows is a series of wrong turns that threaten to destroy their relationship irreparably. Winner of the Best Screenplay and Best Actor awards at the 2016 Cannes Film Festival and nominated for the Best Foreign Language Film at this year’s Oscars, Farhadi’s study on the potent power of pride, guilt and shame treads the line between arresting drama and revenge thriller with masterful ease.

Watch the UK trailer over on YouTube.

MC

Catch this article and more of my writing at me author website www.markcantrell.co.uk

[airadam]

Episode 116 : Headphone Fiend

"...but we worship the dollar, so what we gon' do for jihad?"

- Styles P

Happy New Year! If I say so myself, I think this is a great mix - plenty to match the colder weather we're having, and opportunities for some enjoyable-to-mix transitions between tracks. Press "play" and get ready for end-to-end quality...

Tickets for Homeboy Sandman and Edan in Manchester on Feb 7th - don't miss out!

Twitter : @airadam13

Playlist/Notes

Alchemist ft. MidaZ : Don Seymour's Theme

One thing you might not notice on first listen - this tune has hardly any drums! Alchemist makes a fresh beat regardless on this short and sweet track from his "Russian Roulette" album, an unusual producer-centred project that draws most of its sonic source material from old Soviet-era music. The lyrics are all American though, with Orlando's MidaZ just streaming bars out with no hook to stop the onslaught.

Exile : Love To The World

Fat Beats' "Baker's Dozen" series gives producers thirteen tracks each to show what they can do, and Exile's contribution is a fine one from a true master of the MPC. Not naming the sample, but if you know the Group Home "Livin' Proof" album, it should sound familiar - here though, it's flipped in a very different way.

Hyenas In The Desert : Wild Dogs

Long Island's Hyenas were one of the first acts signed to Chuck D's Slam Jamz label back in the mid-90s. Kendu is the only named MC, with the others being masked and uncredited. They had a bit of a weird vibe, maybe not quite "horrorcore" as I've seen them described, but not entirely out of keeping with a lot of other material of the era. Gary G-Wiz on the production here with a beat anchored around some tight drums. Find this one on the "Die Laughing" release - patchy, but a few good tracks on there.

Jean Grae : The Jam

One of the most flavourful MCs out there, and one who has probably never recorded a bad verse! I bought the "2K6 (The Tracks)" compilation to get a different tune which will appear on the show at some point, but this little heater has jumped the queue in the meantime. Even at a modest 92BPM, Khrysis cooks up a beat that can make you want to at least dance in your chair :)

Heltah Skeltah : Undastand

I was convinced I must have played this on a past episode but was glad to find I hadn't! Smooth but with those strong Beatminerz drums driving it along, this album track has Ruck (b.k.a Sean Price, RIP), and Rock (who at the time, was getting most of the shine) going back and forth in fine 90s style.

Lovebirds ft. Galliano and 80s Babies : Icarus (TBG Remix)

Tall Black Guy on the remix on this gem from Record Store Day 2017 - the original is dope, but when I flipped it to hear this version on the B-side I could barely hand over the cash fast enough! Jazzy, but with a nice bump on the drums, you can just relax for a few minutes to this one. 

Dibia$e : Luv Suite

A second pick from the "Baker's Dozen" series, this time from the mind of Watts' Diba$e. Listen closely and you'll hear several different flips of the same classic 80s soul record - a true suite in the classical musical sense.

Children Of Zeus : Head To The Sky

When the surprise release "The Winter Tape" dropped just before the Xmas break, this tune was my clear favourite and that opinion hasn't changed. The beat is an absolutely fire, fierce reworking of a spiritual anthem, but the words are what will stay with you. Konny and Tyler's lyrics about coping with stress and depression will strike a chord with many, and make this one a tune that deserves the widest possible airing.

AZ : Rather Unique

The 90s heads will nod in recognition of this one! "Sugar Hill" was the huge first single from "Doe Or Die", but this cheeky Pete Rock production was the B-side with more of a rugged edge. The master of the SP-1200 also lays plenty of cuts into the mix but leaves room in the verses for the man who broke out big on Nas' "Life's A Bitch" to shine. He certainly lived up to the track title.

Talib Kweli & Styles P ft. Rapsody and Chris Rivers : Let It Burn

I think I may have once sampled the same track as Khrysis did here, so I can appreciate how well he freaked it here! This is from the 2017 EP "The Seven", and while all the MCs do the business, I think Styles P slayed it on the opening verse, if not just his opening two bars. 

Viceversah ft. Kool G Rap : Legends Of The Game

I only heard this for the first time recently but it's a 2008 track from the "James And The Giant Beats" album by this Boston-based MC. Vice puts in a decent performance, but I came for Kool G Rap and he predictably steals the show! The Arcitype handles production, incorporating a bunch of snare rolls into a gloomy, forbidding beat.

[Havoc] Mobb Deep : Bloodsport (Instrumental)

This just mixes so nicely with the Viceversah track, it had to be done. Havoc on the beat with one of the less-mentioned album tracks from the incredibly dark and well-executed "Hell On Earth" LP.

Scarface ft. Rush Davis : Steer

From the opening vocals, you can't get much gloomier than this one. Scarface has explored the darker side of things since his very first recordings, and is one of the best if not the best at it. This track from "Deeply Rooted" hits hard from the very first listen, with Face in storytelling mode and Luke Walker (no way did other kids not call him Luke Skywalker) with the kind of beat you can't just stumble into. It's atmospheric, angular, hostile, and somehow soulful all at once, and one that plenty of MCs wouldn't be able to do anything with. This is also a track where the video is well worth a watch.

The Cool Kids : Black Mags Pt.II

"...went to jail and he left me his bike." Pure Weapon of Bass Destruction business here! The first "Black Mags" from 2008 was a killer (that I played all the way back on episode 5), but this amps up the bass even more as Chuck and Mikey look over their BMX days. This is a single that was one of my most welcome surprises of last year, and one that shows that you can, in fact, go home again.

Raekwon : Going At The Face (Freestyle)

One of the great MCs with a freestyle over one of the great instrumentals of all time, in my opinion - Salih Williams' monster "Sittin' Sidewayz" beat for Paul Wall. I could have done with it being a little longer, but that's the way it goes; it's just one of many short tracks from the Raekwon and DJ Thoro mixtape "Heroin Only". 

Showbiz & AG ft. Jeffery Nortey : Beautiful Lies

I wanted to play this song from "Mugshot Music" a few months back but couldn't make the speed fit - here, it's perfect. It's the melancholy story of a relationship gone sour, and the early instrumental reminds you of any number of love songs...then those drums smash through to underscore the lyrics. This 2012 release might have slipped under your radar but it's definitely worth going back to check for it.

[Kanye West] Common : The Corner (Instrumental)

Kanye might be on one right now, but I can't deny this beat. I still can't believe this single wasn't bigger than it was, this track is great.

Apollo Brown & Skyzoo : The Flyest Essence

This is a track that either needed to open or close an episode, purely because of the shape of the start and ending. A deep album cut from "The Easy Truth", the leisurely pace of the beat allows Skyzoo to confidently flow around it, like a lyrical river.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!