Review: "The Melancholiac II" by JSDavani

Smeared surrealism soaked in acidic alliteration gives JSDavani’s “The Melancholiac II” a wonderful and wild approach. Entirely and utterly baffling, the songs defy easy categorization. JSDavani exists on the proper fringes, making things like genres hard to place. Yes, there is certainly a catchiness to the entire procession, but it is not the usual poppy demeanor. Everything here is far too complicated for pop. It layers, expanding the whole sound into the seemingly infinite. The word “experimental” has been coined for music like this, the kind that seemingly embodies a distinctive personality.

The reference points love the outsiders. The vocal treatment clearly nods to the early work of the Residents, as the art flair and general unclassifiable demeanor give it a distinctive charm. Further along, the dreamy scope sometimes captures the equally perplexing narratives of Connan Mockasin because there’s that same element of infectious hooks alongside some real out-there approaches, easily listening as a half-forgotten dream. Some of the melodies have a haunted beauty, drawing from the nostalgic hues of Leyland Kirby’s countless sorrowful projects. For all these touchstones, this remains a highly unique work that lives on the edges.

“Heartdrops” opens the album, setting the tone for what follows. The use of field recordings continues the blurred lines of composition, as is found in “Feeling is shared.” Sci-fi elements permeate James Ferraro - referencing “Wants/Needs: A war between.” Fractured rhythms get broken and stretched beyond the recognizable with “2wait4weight.” Layers give “_:00 AM” a sense of enormity, like there is no definitive beginning or end, with the synthesizers feeling like they could melt away at any moment.

Going for a subdued ethos are the broken beats and mournful moodiness of “The Melancholiac II.” Like a half-remembered dream is the bliss of “Falling asleep: Nodding off” with little melodic fragments bubbling through. Near-silence runs through the captivating “That warm place: Denial.” Vocals become impossible to place on the endless manipulation of “WAKING Up :the sky with laughter.” “The Bottom :escape extinction” remains hard to grasp, with the multi-faceted, multi-suite piece giving it a sense of eternity. Tying everything together is the industrial-edged “A Beginning/Ending :Rinse/Repeat.”

“The Melancholiac II” is an album to get completely lost in and surrender to, and JSDavani proves a skilled worldbuilder of weirdness. Listen to this album below.

Stream and Share “The Melancholiac II”

Review: "Down Below World" by REPTIEL

San Francisco’s REPTIEL use a mind-melting blend of styles, textures, and timbres in their otherworldly “Down Below World” album. Sunburnt psychedelic rock with a neat twist of progressive rock dilates time, slowing it down and speeding it up at a moment’s notice. By keeping things so strange, they keep the listener guessing, refusing to clarify anything. This mysterious tenor defines the entire journey through the album. There’s a gleefulness they take in being so willfully obscure.

Acid alliteration is akin to that of Van Dyke Parks' levels of abstraction and poetic, given the sheer opaque number of references. The broken nursery rhyme cadence draws from early Pink Floyd, specifically Syd Barrett's era “Piper at the Gates of Dawn.”

Utterly disregarding the usual, REPTIEL morph their tones into something akin to Faust’s early 70s relentless experimentation. For all these touchstones, there’s a strong sense of community that helps to give the “Down Below World” album a well-deserved mysticism, as if things are just continuously residing on the edge of perception. Messing with listener expectations feels refreshing, as they refuse to play it safe.

Vocals bloom on the tone-setting “A Really Deep Groove (Aleph to Bet).” The sprawling “It’s an Alternate World” explores a whole universe, which feels like a series of suites connected through the narrative. “Deep(er) Below” has warped wonder from the strength of the guitar riffs to the celebratory keyboards that adorn the experience.

Wordless is the interlude of “Searching for Thos” and “Ja’roque” completely baffles with retro synthesizers and a chorus borrowed from the criminally underrated Cromagnon, whose general vibe continues with the following “Ja’vere’s Theme.” Glam rock with a sci-fi aesthetic runs through the swagger of “Obsidian City.” “Preserved in Amber” feels like a long-lost classic transmitted from another universe. A pure drone on “Turbulent Blobs” makes it one of the more straightforward pieces of the album.

Keyboards intersect on the slow-moving gait of “Introit”, while twisting and turning “Thos Unearthed” has a grandeur. Patterns intersect, giving “Post-synergistic, Atmospheric Explosion” a celebratory sensation that underpins the message. Like a hazy late-summer afternoon is the dazed “Chamber of Reflections.” A more minimal “VITRIOL” ends the album on an eerie note.

Done with a sense of whimsy and charm, REPTIEL delivers something genuinely divine in “Down Below World”.

Stream and Share “Down Below World”

Review: "Legends of the Underside" Album by Ultra_eko and DaRealMrLee

A post-modern hip-hop radio play, UK based Ultra_eko and DaRealMrLee craft an otherworldly stage with their newly unveiled “Legends of the Underside” album and accompanying award winning visuals. So much gets incorporated into the mix that it becomes impossible to sort out. They have an intense amount of confidence for the sheer amount of narratives they bring into the fray, with Biblical references, addiction, lovely seaside beach towns, and surrealist elements brought in for good measure. Volume is a must, for this sound needs to wash over the listener to surrender to it.

The existential aspect of the lyricism by Ultra_eko and DaRealMrLee and some of the production choices recall the Weeknd’s uncanny ability for deep introspection. On the more mind-melting side of things, the sheer swath of different approaches alongside tying these constantly shifting genre-blends touches upon the utter complexity of Ol’ Dirty Bastard, as there’s a similar sense of playfulness in the monologues.

A kaleidoscopic approach makes Ultra_eko and DaRealMrLee the equivalent of the UK Outkast, as they take on many other approaches. Drill, honky-tonk, funk, and more get filtered within their strange vision. For all these reference points, they make sure they are all woven together.

“Intro” starts the album on a demented note, like a play gone awry. Setting the tone of the album “Ladies and Gentleman” has this sprawling, dreamy tenor with many different suites interacting, ambient and hip-hop together. Excellent pop vibes come through as “Pingu, Legends Edition” as the sheer number of references from musical tastes to the death of a family by a killer whale.

The violence adjacent to “Barroom Brawl Part 1” is unhinged with its approach. Relatively goofy comes the melted funk of “Camber Sands.” “Outsider Artist” has a darkness punctuated by the world’s bleakness. “Pingu’s Trip to the Beach” nicely brings the two main characters together for the first time. Spaciousness defines “Intermission.” A great guitar lick anchors “The Echoes, Clockwork,” as the song reflects the meaninglessness of modernity’s cycle.

Completely bleary with its exploration of its surroundings, “Bish Bosh, Do Ya” seems to move at a breakneck pace. Pure swagger with a nice tempo stride emerges in “Jehovah.” Layers blend with “Barroom Brawl Part 2” as the sparkling melodies give it warmth. “When I Were a Lad” has a gleefulness. Elegance pours from the sheer beauty of “Our Hero’s Journey.” Heavy synthesizer stabs give “Pingu the Creator” a beautiful, blissed-out approach. Tying it all together is the unique “Outro.”

The “Legends of the Underside” album and visual present a different take on the concept of self-discovery, with Ultra_eko and DaRealMrLee at the forefront of artistic innovation as we enter 2024.

Stream and Share “Legends of the Underside” on Spotify

Review: "Human Nature" EP by Mikebøi

Experimental electronic producer Mikebøi confounds all expectations on the emotionally charged “Human Nature” EP. In a hybrid series of styles, there are an endless number of angles that are pursued. Pop, dubstep, noise, hip-hop, broken beats, and brittle textures reign supreme.

The EP’s six tracks explore the idea of near collapse. Beats have flexibility, with elastic grooves stretched far beyond any reasonable comfort zone. Change is the only constant, as Mikebøi makes sure to tear apart their arrangements, rearranging them in confounding, complex, and startlingly unique ways. Even at their most experimental, Mikebøi maintains a degree of vulnerability that can be found in the melodies to the nimble, ballet-like rhythms.

Nods to the latest wave of avant-garde meets the club emerge throughout the duration of the collection. Arca’s maddening twists and turns prove to be one touchstone of the overall aesthetic. On the heavier side of things, the glitch cacophonies that reassemble repeatedly draw upon early Oval, as there is that same level of dissonance mixed with beauty giving it that sweetness. The physicality of the pieces, the fragile and the frantic, incorporate lessons learned from Four Tet. Among all these different aspects one thing remains true – that Mikebøi manages to sculpt a sound very much rooted in the here and now.

Stuttering electronics fall apart with the fantastic opener and title track “Human Nature.” A longing aspect comes into focus, as the beats briefly flirt with EDM. Lumbering bass runs through “Never Stay”, featuring SRU with the inclusion of vocals adding a fine touch to the emotional tenor. One of the catchier pieces, the longing of the work has an intrinsic bliss, with the chopped-up vocals for the finale a fine touch to an already visceral piece. Industrial aesthetics on “Elevate” goes for the unhinged. “I Know a Ghost” has a beat-down expressiveness, allowing for chords to ring up to the sky. Gleeful abandon rushes through as “Dimension” clips samples down to mere milliseconds. Strangely hopeful “Φ૱Φ૱Φ૱” has an origami-like aspect, bringing things to a grandiose close.

“Human Nature” has an endearing, lovely sound as Mikebøi offers a stream of consciousness that is equal parts atmospheric as well as emotionally moving.

Stream and Share “Human Nature”

Review: "The Dancing Cavaliers" Album by KS

Los Angeles based musician/filmmaker KS brings the grooves in unexpectedly sly ways on his cinematic new album “The Dancing Cavaliers”. Forgoing vocals, there is a classic cool to the way that he stretches the rhythms out. Elements of trip-hop, folk music, electro, pop, and dance all blend together in this rather beautiful way.

The soaring elements have their own charm to them for KS possesses a great ear for melody, and various different details bounce off of each other. Instrumental variety ensures that the listener is kept on their toes for KS switches things up in a gleeful fashion. Layer upon layer is applied with the utmost of care.

Plenty of reference points exist for this rather eclectic mix. For the raw gritty approach, KS brings in elements of Portishead and the Sneaker Pimps into the atmosphere. Like those groups, KS certainly knows how to lay down the beats and bass in a way that feels quite natural. The work out of the dance rock mixture brings to mind a bit of DFA records output, though with perhaps a more surrealist bent. Despite these influences KS embraces a style that is distinctively his own.

Dusty beats and fanfare start the album off in grandiose fashion on “Boludo”. For the title track “The Dancing Cavaliers” KS brings together dance rock and funk in a way that has a fever dream quality to it. Light as a feather, “Nostalgia” has a delicacy to it. On “Dimension Latina”, KS employs quick, sharp edits. “Pop Stupide” has a lustful quality.

Going for something quieter and reflective, “Danse” begins quietly before working itself into a frenzy. Hip-hop aspects filter into the expansive “Gadabout”. Noir vibes with a hint of jazz comes together on “Mon Cul”. Keyboard chords swell on “Esperando” complete with a delirious soundtrack getup to keep it interesting.

Distortion defines the heaviness of “Lamento”. “Funky Church” is aptly named as there is a gospel meets electro aspect to it. Woozy synthesizers lazily weave their way through “Too Cute”. A mediative, reflective stance on “Topo” has an easy-going elegance. Completely spaced-out things come to a lovely conclusion on the finale “Soledad”.

A psychedelic swirl of sound, KS delivers a thing of exquisite beauty with his “The Dancing Cavaliers” album.

Stream and Share “The Dancing Cavaliers” on Spotify

Review: "Funhouse Mirror" Album by Vinyl Floor

Danish rock band Vinyl Floor craft sophisticated, triumphant chamber pop on the downright lovely album “Funhouse Mirror”. The melodies here have a thoughtfulness to them. Lyricism seems drawn from a life lived to the fullest. Rhythms keep a steady pace always with a laid-back attitude to them. Pop reigns supreme on the album, whether it is indie pop, art pop, and other elements brought into the fray.

Instrumentally vibrant, Vinyl Floor’s interplay feels soul-affirming. So much love gets poured into each moment that is easy to get swept up into their hopefulness. For, right at the very core of thing, is a sense of hope that guides the entirety of the journey along.

There are a lot of reference points in this one. For the sheer level of fidelity that the production presents I am reminded strongly of Grizzly Bear’s early output. You can virtually hear ever single creak in the studio from them for it is that clear. The elegant verses recall some of Jon Brion’s pop work, with the urbane sensibility very much there.

Beach Boys also present a bit of Vinyl Floor’s influence, as the choruses and the emotionally complex arrangements feel just pitch perfect. All of these though are mere touchstones, as what they create from these points is something quite uniquely their own.

The quite literal fanfare of “Anything You Want” opens things up in a majestic sweeping fashion. With a hint of playfulness to it, “Click with No Hands” spins about in a theatrical way. Contemplation reigns supreme on “Between Lines Undone”. Elements of jazz pop on through “Dear Apollon” which has an old-school Ben Folds Five aspect to it.

Aptly named “Ever, The Optimist” rolls on through with gleeful abandon, all the way down to that perfect percussion. Vocals soar up to the sky on the epic “Pretty Predictable”. Easily the highlight comes through on the title track “Funhouse Mirror”. Little snippets of nostalgia poke through. Quite an expansive work they end the album off with the ambitious “Days”.

“Funhouse Mirror” shows off the good taste of Vinyl Floor for they deliver an album that has a true sense of timelessness to it.

Stream and Share “Funhouse Mirror” on Spotify

Review: "Chapel Ceilings" EP by Ezza of Choom Gang and Kadaj the God

Ezza of Choom Gang and Kadaj the god spit incredibly wild bars on the DOPE collaborative project “Chapel Ceilings”. Already sounding downright classic with the clever deep-cut sampling, the flows on here are fantastic. The lyricism has a tremendous wit behind it, one that informs the entirety of the journey.

Here, Ezza of Choom Gang and Kadaj the god forgo the contemporary trends to come up with something a lot more classic. Elegant, stately, the presence on here reveals a series of rappers that run through creating a completely engrossing universe one entirety of their own creation.

Their ability to blend the highbrow and lowbrow gives them a literary bent. Nods to great storytellers like Biggie Smalls certainly appear over the course of the journey. Everything about it feels fully lived in and raw. An intimacy is introduced over the entirety of the EP, one that seems almost uncomfortably close at times. Part of this is due to their delivery style – quiet, subdued, yet absolutely nimbly running through the verses.

For the rest of the sound, Ezza of Choom Gang and Kadaj the god incorporate a noir-jazz setting, that at times brings to mind the well-listened ears of MF Doom. Yet, for all of these reference points, theirs is a sound that does essentially feel so completely unique compared to a lot of hip-hop out there today.

“Super Lemon Row Boat” starts things up with an easy listening clip before the lyricism proves to be a compelling counterpoint. A confrontational spirit bursts onto the scene with “Been Nuts”, Yung Next and JubElectron, for he commands the mic. Much dreamier with its attitude, “See the Stars” embraces an ethereal quality with the song simply floating on into the infinite. Drums have a dusty flavor on the nimbleness of “Sam Porter Bridges”, with Yung Next.

The highlight serves as the title track “Chapel Ceilings”, featuring Sayzee. Starkly real, the song’s darkness and meditative quality feels harrowing. Like a track melting away “Double Barrel” seems to be transmitted from a whole other world. On “The Golden Ratio”, with DJ K-Flip, they end things on a triumphant note.

“Chapel Ceilings” shows a wide range of Ezza of Choom Gang and Kadaj the god’s ability to tie together a whole plethora of emotions, from outright fire to quiet contemplative moments.

Stream and Share “Chapel Ceilings”

Review: "The Ocean" Album by Air Show Disaster

Air Show Disaster’s Eric Sporer blends hard rock with progressive rock to create hallucinatory trips with his “The Ocean” album. Defiance rests at the very core of the entire experience. Volume is a given for they blast off with nary a care in the world. Here they utilize a cryptic form of storytelling for the lyrics here offer a poignancy. With a clear nod toward acid westerns, the songs seemingly sprawl out into the infinite. Interplay amongst the group is quite spirited. Buildups of the atmospheres result in whole universes that completely wrap themselves around the listener.

The slew of references abounds throughout the album. On the psychedelic western twang side, they bring up illusions of Meat Puppets at their prime. Much of the lyricism features a similar degree of sheer oddity, with the word choice further adding to the dreamy disposition of the entire work. Going more on the progressive rock side of things, they opt for the brutalism of Cheer Accident. Much like Cheer Accident, they embrace a hint of the theatrical adding to the overall sense of glee that they employ over the course of the entire journey.

Starting things up right is the powerful blast of the opener and title track “The Ocean”. Guitars and organ tones get gnarled up together for the rhythm almost seemingly long to be untangled. Punk-like energy reigns supreme on the wildness of “Fireball”. Everything about the song features a forward, wall-like sprawl of sound. A bluesy touch to the proceedings gives “The Dregs” a pensive, reflective stance one that perfectly dovetails with the sprawling experience of the piece itself. Ramshackle old-timey grooves settle down as “The Shortest Day” strips away the detritus for something highly intimate.

Nice guitar athletics and riffage dominate the angular “Liberator”. Full of such heart “Home” has a pining, yearning aspect to it for they once more slow things down to give it a careful meditative quality. Drums play an essential role with the rollicking “A Single Grain, One Million Years”. By far the highlight of the adventure comes with the finale “Converge”. With the amplifiers fully blown out there is a dazed, hazy quality to how it closes things out.

Everything about Air Show Disaster’s “The Ocean” is a pure booming delight, one that feels absolutely liberating to behold.

Stream and Share “The Ocean” on: Spotify | Bandcamp

Review: "Mushroom Cloud Radio" EP by Rsonal TheBeatChef and Ezza of Choom Gang

Rsonal TheBeatChef & Ezza of Choom Gang pack their verses with tons of references. Picking them all out runs the gamut from pop culture to ancient classics. A personal journey takes shape with each piece. Over the course of their album, “Mushroom Cloud Radio”, they seemingly conjure up imagery of vast, open spaces.

Samples add to this for Rsonal TheBeatChef & Ezza of Choom Gang make sure that there is a timelessness about it. Besides the various obvious fondness for hip-hop, they bring in elements of vaporwave, chillwave, jazz, trap, and a whole slew of other approaches. The style that they manage to sculpt is one that feels highly unique.

This is not to say that Rsonal TheBeatChef & Ezza of Choom Gang are without precedent. For their rapping abilities, they take a funnier, more languid approach touching upon the stoner rap antics of Das Racist, complete with surprisingly poignant insights. On the rather well-listened ear they employ for the sampling there are traces of MF Doom’s endless crate-digging ways. Quite an eclectic amount of stuff is filtered in their own, faded way. Speaking of faded, the vaporwave laden sound has a heaviness reminiscent of some of Yung Lean’s blissed out stance.

“Sun God” holds nothing back for there is a gargantuan size to the sound. On the periphery of the atmosphere, they bring some much-missed record scratching into the fray. All of it has a churning, yearning aspect to it. Bass frequencies weave their way through the noir-like quality of “New Dreams” featuring some ghostly choruses thrown in for good measure. A good sound system is recommended on the heavy rumbles that adorn “So Surreal”.

Rhythms have an elasticity to them with “Sour Candy” for the song has a bit of glee to it. By far the highlight comes the joking apocalypse of “Mshrmcld”. Here the word choice matters for there is a ridiculousness to the whole thing. Languid pacing rolls through on “Treasure Chest”. With “Sol Invictus” Rsonal TheBeatChef & Ezza of Choom Gang pay respect to the sun god and bring the album to a chilled-out close.

“Mushroom Cloud Radio” shows off the undeniable stylistic tour de force that Rsonal TheBeatChef & Ezza of Choom Gang create with ease.

Stream and Share “Mushroom Cloud Radio”

Review: "Departures" Album by Super OK

Psychedelic rock, ambient, and grunge merge to form Super OK’s intensely felt debut album, “Departures”. Volume is a given for the sound holds absolutely nothing back. A degree of decadence runs through the entirety of the journey for this is a rich, carefully considered sound. From the vocals that swim through the din to the way that they let their amps simply sing everything here has an intrinsic beauty to it one that pops with so much color. Lyrics too feature an uncanny knack for storytelling with the evolution of the sound becoming at times life-affirming.

The Los Angeles based band’s sound brings to mind the revamped version of Tame Impala’s tripped-out rock musings. Much like that group, Super OK harnesses a purely physical force. Everything on here too features a degree of interplay that is absolute bliss to fully behold. On the psych sound of things, Super OK would be in good company with the likes of much of Riot’s Season’s roster, for they too have a modern take on some of the trippy aspects of rock. Constant twists and turns help to make much of the work completely unpredictable.

“East Us Alive” starts the “Departures” album off with gusto as they propel the listener into their own aural universe. Things slow down a bit on the reflective stance of “Break the Faith”. With a hint of prog rock, “Traitorous” has a spidery aspect to it for it weaves a rather fascinating web. On “616” the song bursts at the very seams, with a blown-out presence and a driving groove. Drumming features a jazzy tact with “Debt”.

Shoegaze dynamics allow “Push” the right degree of dreaminess. Nearly angelic “Lease” has a purposeful aspect, calming at times. Drums hit with a persistence on “Same Cage”. “Agamotto” revels in the whole band’s exquisite chops with each reiteration of the theme bringing evermore chaos. Sprawling out into the infinite “Superego” has a meditative presence. By far the highlight, “Land” combines all that came before it into a sprawling yet cohesive whole. So lovely, Super OK’s post-rock leanings are most prominent on here. Fuzzed-out “Half Past Nothing” has a punk ethos. With “Rising Tide” they end things on a thought-provoking note.

“Departures” features the exquisite nature of Super OK for the atmosphere virtually wraps itself around the listener giving it a fully immersive experience.

Stream and Share “Departures” on: Bandcamp | Spotify

Review: "Black Floyd" Album by Boonie Mayfield

A distinct sun-drenched neurosis informs Los Angeles based artist/producer/actor/filmmaker Boonie Mayfield’s luxurious “Black Floyd” album. Production glistens for the mastering is done with such care. With a seemingly timeless sound, Boonie combines the old and new into something quite distinctive. Easy to get lost in, the differentiation between every work has a considered quality to it. Yet, there is a similarity within the scope of the album that helps to bind the whole experience together.

On the crate-digging side of things, many of the elements incorporate some of Adrian Younge’s careful arrangements. To ensure that the tracks have an accessibility, the beats and melodies waft on through taking their time in fully unfurling. Nods to Anderson .Paak emerge throughout the entirety of the album as well, for each piece seems to feed int a much larger narrative.

By seemingly allowing these songs to come together to create these intersecting experiences, there is a communal presence. Additional little touches such as the reference to a tape starting up are rather fine, pointing to Boonie’s own background in audio design and are quite welcome.

“Intro (The Bigger Picture)” featuring Revanon sets the tone for what follows – a reflective stance. Quite inventive “Bootsy Collins (All Day)” brings together beatboxing and lyricism with a cleverness that is a joy to behold. Eerie cryptic wheezes take hold on “The Doubt Monster (Whenever I Go)”. Going for a slow-burn “Dream a Mile High” lets the tempos lean back as the graceful groove rolls through. Highly delicate “While Black (Red Light, Blue Light, E’s and R’s)” the drumming on here alongside the nimble piano work stuns, making it the highlight of the album.

Kept to the bare bone essentials “Bass’d on a Birdwatcher (Make It Better)” has a theatrical quality. Tremendous buildup gives “So Much Fire” a satisfying finale. Confrontational “The Self Made Era” has a raspy quality that makes it visceral. With “@Yourlife (Give It Something More)” has an intricate effect to it. Beats hit with a ferocity on “Upside Johead”. Going for a bit of the topical comes “Quarantine Love (You’re the Only One)”. An early 90s flair ties together “Whatchagonnadoo” right down to the perfect sense of swagger. Wrapping it all up comes the finale of “Outro (A Good Place)”, featuring Giane Morris Vaughn.

The “Black Floyd” album shows off the exquisite storytelling of Boonie Mayfield with a flawless flow that features a large amount of depth to it, incorporating details that make it truly feel truly lived.

Stream and Share “Black Floyd” on Spotify

Review: "The Spirit And Its Fruits" Album by Lynx Cane

London based rap artist and producer Lynx Cane creates a truly remarkable, classy affair on the timeless hip-hop grooves of his newly released album, “The Spirit And Its Fruits”. Everything within the sound draws from multiple genres at once. The hybrid style ranges from chilled-out reggae to hip-hop to jazz to futuristic electronica to funk with so much more.

Word choice proves exceptional, for he proves to be a deft storyteller, a careful observer of culture, all framed within a distinct optimism. Multi-faceted and multi-layered these possess an incredible amount of depth to them. Verses possess a poetry of sort for these are tinged with just the right amount of sunlight to them, allowing them that degree of hope.

MF Doom’s sense of play and pacing definitely does factor into the overarching sound. Similar to MF Doom’s, there’s that joyousness that underpins the whole journey. Beyond this, nods to Flying Lotus’s eclectic style appears throughout for these have a more than a few takes from jazz’s looseness and willingness to experiment. Funk samples rumble on through, with a focus on the 70s that gives it a slight A Tribe Called Quest quality, especially their earlier work. However, Lynx proves exceptional at making this feel very much his own thing.

Samples plunge and out of perception with “El Roi”. Things keep up this reflective stance on “Fruits”, featuring engless for it unfurls slowly. Dub “Gold” has a luxury to it. On “Blessings”, with Mary Sue, the sound soars up into the sky. Deep chords give “The Spirit”, featuring Keagz*, a contemplation. Elements of dance music gets reinterpreted with “Kingdom”. Woozy “Fire and Brimstone” has Lynx doubling down on his sheer speed.

Absolutely soaked in nostalgia “Prideful”, featuring Clayhead & Swordbearer, proves to be the highlight of the entire collection. “Blossom”, featuring Somewhitekid, Jay Cinema, & Keagz*, has a communal presence. “The Day of Atonement” utilizes elements of faith in a thought-provoking fashion. A nice sunny interlude comes through with “Spread Love”. Bringing everything to a close is “Grief (Poem)”.

“The Spirit And Its Fruits” revels in Lynx Cane’s uncanny flow, one that combines the best of old school and contemporary rap while retaining a style distinctly his own.

Stream and Share “The Spirit And Its Fruits” on Spotify

Review: "Walk Alone" Album by Pluto Tideswell

Regensburg, Germany based music producer and sound designer Pluto Tideswell does not confine himself to any one genre on the joyous colorful bursts of his album, “Walk Alone”. Traces of industrial, electro, EDM, pop, and more filter into the fray. A highly unique experience, Pluto constantly confounds with a number of unexpected twists and turns. Quite organic sounding the pieces evolve in their own way. Hooks aplenty there is an eclectic aspect that helps to tie the whole of the journey together. Nods to the psychedelic emerge throughout the entirety of the journey.

This is not any kind of psychedelic; it follows the similar spaced-out quality of the new practitioners of the style. One can hear traces of Tame Impala’s keyboard heavy freakouts. Lots of colorful chords and careful usage of the synthesizers further flesh out the rather all-consuming sound. Beyond this, there is a yearning passionate plea that endures over the course of the album. Lyricism brings to mind some of Kevin Barnes’ Of Montreal output. Similar to that group, Pluto makes sure that the romanticism of the verses is not lost, but rather framed front and center.

Pulses from the synthesizer start things off with the intensity of “Greed”. On “Listening”, a dramatic flair is included for the song comes into bloom quite quickly. An anthemic attitude emerges on the cryptic spirit of “The Walker” with the beats hitting in an uncertain way, as if terrified.

The song “I Hate These Thoughts” has an eeriness to it for vocals work themselves into an absolute panic. By far the highlight of the album is the tender “We Meet At The End Of The Sky”. Here the melodies have a sweetness to them, full of tenderness. Grooves have an almost Warp Records sort of breakdown to them on the uneasy “Indecisive”.

Deliberately paced “Take Me Away” has a woozy, dazed atmosphere to it. Keeping things delicate and fragile “Could Be Heaven” has a kindness about it. Neon hued glows burst on “Flavor” for a nostalgic quality takes hold. Finishing things off strong comes the intense vision of “Black Bile (Runaway) – Cover”.

The “Walk Alone” album shows off Pluto Tideswell’s ability to craft a universe that has a great personal quality to it.

Stream and Share “Walk Alone” on: Bandcamp | Spotify

Review: "Mongo Slade" EP by Rich Writer

Bronx based rap artist Rich Writer possesses a sharp wit on the flawless flows of his debut EP, “Mongo Slade”. With the title referencing Bill Cosby’s character from the movie, Let’s Do It Again, there is a lot to explore here.

The samples themselves add to this richness of the storytelling. Rich Writer lets the grooves decide their own pace. Everything here is about atmosphere, for the rhythms have a leisurely pace to make sure that every single detail is fully celebrated. Over the course of the EP, Rich Writer proves to be exceptionally well-listened with a jazzy noir. Layer upon layer intermingles to craft this distinct level of oddity.

The sampling on here is so stellar that it brings up elements of MF Doom’s meticulous productions. I mean, how many hip-hop albums incorporate a sample from a theremin and make it sound effortless. A degree of a stoned demeanor brings to mind groups like Das Racist’s humor. With the sound gaining a degree of an ancient, rather classic spirit they prove to have a similarity alongside the Flatbush Zombies for the fidelity is that full and that completely realized.

“The Intro” starts things up setting the mood. On “Contradictions”, the track has a fiery presence to it, with references to Rick & Morty adding to the grounded quality. Verses have a hazy demeanor on the cleverness of “All Bad”. “Perspectives” cuts things down to the essentials with a boom-bap percussion adding to its haunted presence. Going for a bit of a change comes the conversational “The interlude”.

By far the highlight, “Drake Emotions”, featuring Sidda, has a honeyed aspect to it. Reminding me a bit of Common’s intimacy, there is a tenderness to these tones. Kaleidoscopic “Who Knew” explores a psychedelic quality to it, with harps intermingling with the taut beats that skitter on above. Nice vibraphone sampling starts “Round And Round” off right, and that additional sample is warped, warbled and twisted in unexpected ways. Bringing it all home “The Outro, featuring Mo Lowery, closes it off.

The “Mongo Slade” EP proves Rich Writer to be an exceptional wordsmith, with narratives that tie in the personal framing them with historical references to give them additional depth.

Stream and Share “Mongo Slade” on Audiomack

Review: "Luke 9:5" Album by Ezza of Choom Gang

Niagara Falls’ own Ezza of Choom Gang delivers an ancient, timeless vision with the soulful hip-hop of “Luke 9:5”. Atmosphere is of the essence for there is a lot to love within the exquisite sonic universe he creates. For someone who grew up with this style of rap, there is a lot of comfort here. Ezza’s vocals have a loveliness to them full of compassion. Lyrics too have that kindness to them. In many ways it does harken back to the early 90s from the dusty hits of the drums to the laid-back, contemplative flow that runs through the entirety of the album.

There is a hazy, dazed quality to the entirety of the thing. Production-wise it has a woozy atmosphere to it that draws from Tyler, the Creator’s rather colorful compositions. Jazz, hip-hop, R&B, pop, and more enter into the fray making the sound kaleidoscopic. On the other side of things, Ezza’s cadence feels reminiscent of Biggie Smalls’ cleverness, his uncanny ability to delve right into the very heart of a people. Going further on out, references to late 90s rock emerges within a few of the verses helping to give the songs a rather soothing, reassuring quality.

“St. Catharines (Sayzee)” opens up with true poetry, for the exploration of money and materialism feels truly impassioned. Funky breaks anchor the elastic grooves of “Delta Bingo”. Elegant to a tee “Obie” has a classic A Tribe Called Quest vibe to it. The sample treatment of “Misguided”, with Humble Hab, features a gauzy beauty. On “Spins”, feat. Yung Next, there is a swagger, a confidence that feels gorgeous.

Tempos get melted on “Interlude 2”, feat. chuck Nyndees, with nice attention paid to the drum beats. Bass rolls through on the cleverness of “99”, feat. Marcity, Jack Shitt, and DJ K-Flip. Paranoid vibes tie the whole of “New New”, feat. Light Spectrum for here Ezza expands the sound out into the infinite. Infectious hooks reign supreme on the chilled out “Resonate”. Light jazz licks rest on the periphery of “Hybrid”, feat. Jubelection and Dablock.

Turning a new page is the cautiously optimistic “Unsung Heroes”, feat. Ill Table Manners, with fantastically insightful word play alongside the gorgeous flute sample. Casually cool “Our Way” slinks along in a blur. A nice lustful track enters the equation on the chilled-out “Witchy”. Truly odd and out there “Still Trippin’”, feat. Ase Mor the Corner Store Rapper, seems to float up into the heavens. Almost vaporwave like with its treatment of the sample comes the album highlight, the lush environment of “Chumbawamba”. Darker hues enter into the fray with “K.O.W.”, feat Anubis5 and Jawn Mortar. Bringing it home with true swagger is the confident finale of “99 (Remix)”, feat. Marcity, Crabrat, DJ K-Flip.

The “Luke 9:5” album shows off Ezza of Choom Gang’s exquisite skill in crafting a universe that feels distinctly his own.

Stream and Share “Luke 9:5” on Spotify

Review: "this is ME" EP by KARMAA

KARMAA shows off her clever storytelling abilities on the soulful style of the “this is ME” EP . The word choice here is exceptional. By going for the macro approach of societal changes that need to happen, alongside the introspection of one’s own actions, there is an extreme honesty to the verses. Once this is pared alongside the crisp clean production, everything works together into a great vast network. Elements of trap, RnB, rock even, all of these get woven together in a way that truly feels distinct and highly thoughtful.

By opting for a hybrid style, neither fully pop nor fully hip-hop, there are strong connections to the loose, carefree attitude of Outkast’s output. Going for a more contemporary take Klein’s deconstructions and revelations are an important element to the collection. KARMAA’s delivery proves to be truly her own for she adds a lot of vulnerability into the entire equation. Various pieces filter into the mix helping to add to the kaleidoscopic array, the bright bursts of color she incorporates into the entirety of the journey.

“Do You See Me?” opens things up on a gauzy note. Samples and melodies waft up into the infinite. KARMAA’s voice takes the lead and from there the rest of the track quickly comes into place. Percussion snaps alongside piano on the lovely sound of “You Don’t Know”. Rather tragic, there is a dramatic sensibility about the way they let the whole thing unfurl. Various bursts of neon-hued splendor adorn “VICES”.

By far the highlight of the EP, the exploration of depression and anxiety feels highly confessional. Done with dignity the piece has a symphonic beauty. Buildup matters a great deal on the tense “work in progress”. Within this piece, the way that the groove evolves seems to perfectly parallel the careful meditative presence that the song explores with vigor. Tremendous celebration brings things to a close on the confident, self-assured strut of “I Got THIS” featuring a whole slew of detail to be brought into the mix.

“this is ME” proves KARMAA to be one of those musical innovators, pushing the sound forward into the future with thought-provoking lyricism.

Stream and Share “this is ME”