Interview: Chicago Punk/Rock Band Torch the Hive Talk About Their Timely New Video "Shame on You"

““Torch the Hive” is ambiguous to interpretation, so people are free to view the name however they wish. To us, “Torch the Hive” means to go above and beyond what’s expected of you and oppose those who try to control you.”

— Torch the Hive

You've mentioned that Torch the Hive was formed after the breakup of your last band; what does the name "Torch the Hive" represent?

"Torch the Hive" is ambiguous to interpretation, so people are free to view the name however they wish. To us, “Torch the Hive” means to go above and beyond what’s expected of you and oppose those who try to control you.

Congratulations on the release of your music video for "Shame on You". What was your thought process when coming up with its treatment and who directed it?

The idea for the video came before we even wrote the song. Tyler and myself were at a bar one day and started discussing what a new music video would be like since we haven't made one prior to this in years.

We scribbled the ideas on a bar napkin (I think he still has it in one of his coat pockets somewhere). We never ended up using any of those ideas. We recorded the track with Chris DeQuick at Million Yen Studios then quickly brainstormed ideas with our director, Stephen Sotor. He came up with the video's premise of using social media/news inserts that surround the band throughout the duration of the video.

In a way, we wanted viewers to feel like they are being brainwashed with American propaganda. We all had a hand in creating the texts in each social media insert. They are basically an amalgamation of our opinions on the direction society is going in and how the media can mold one's beliefs.

As for the political aspect of the video, we chose to use footage of the riots in Hong Kong and protests from America to portray the perpetual cycle of violence and what happens when the upper class are the ones who hold power over people.

It almost seems like "Shame on You" could be the soundtrack to the protests taking place right now in the US and around the world. What were some things that inspired you when developing the song's lyrics?

Both the video and lyrics for "Shame on You" were written in a pre-pandemic/protest world. At the time I wanted to write a song about my frustration with the world. The line "some people hate me for the color of my skin / well fuck you snowflake I don't know what I did" is especially close to my heart now because I’m a Filipino American born and raised in Chicago and I had people telling me to “go back to China” during the beginning of the pandemic.

Will "Shame on You" be a part of an upcoming EP or album you guys are working on?

“Shame on You” will be part of an upcoming release that we are planning to release this year. We’re currently writing and had to scrap a few songs to make way for new songs to better fit the current political climate of the world today.

The first song on the album will be called “Copaganda”. You can fill in the blanks to figure out what that song is all about.

When someone listens to or watches the "Shame on You" video for the first time, what do you want them to take away from the experience?

When viewers are watching/listening to “Shame on You” for the first time, the first feeling I want them to feel is outrage. Question your government. Question why citizen surveillance is a priority among officials.

Question why these so-called social media “influencers” are taking advantage of the Black Lives Matters protests for their own clout. Question health insurance companies and why people live in fear of going to the hospital when they are sick/hurt.

The next feeling I want them to experience is empowerment. Don’t be afraid to stand up to racism and bigotry. Don’t be afraid to use your voice. Use your voice as a blade to cut the binds of oppression that have had a hold on marginalized groups of people for years. Use your voice as a tool to rebuild a society that desperately needs reworking.

Connect with Torch the Hive: Facebook | Twitter | Instagram

Interview: Mississauga, ON Rapper/Producer Will Ryte Discusses His New Album "Nothing in Common"

““Nothing In Common” means to me that I am in my own lane. I believe that producing, engineering and mixing all of my songs on my own sets me apart from the average musician.”

— Will Ryte

What is your creative process when developing new music? Also, what do you look for in production that you write to?

When making new music I always start with the beat. After making my beat if I feel inspired by it, it goes in my writing folder. If it doesn’t inspire me, it might inspire someone else and it gets put into a beat folder where I sell beats from.

My process with writing is I usually set the mic up and have all my vocal effects on while I write so I can see if what I wrote sounds good so far. After getting a blue print recorded I re record everything professionally and then mix and master. I feel like it’s also a great idea to add things to the beat after the song has been recorded and mixed if you feel like it needs more.

Congratulations on the completion and release of your new album "Nothing in Common"; what does that title represent to you as an artist/producer coming out of Mississauga?

Thank you! The title “Nothing in Common” wasn’t actually my first choice; I was having a hard time figuring out an album name so I had to consult a few close friends. After going through the track list, we realized “Nothing In Common” would be a great fit for me.

“Nothing In Common” means to me that I am in my own lane. I believe that producing, engineering and mixing all of my songs on my own sets me apart from the average musician.

Were there any songs that you recorded, planning to include on the album, that didn't make the final cut? If so, why didn't they?

There’s always going to be songs that don’t make the cut. I think this time there was 5 that didn’t fit on the album.

Sometimes it’s a matter of exposure and if the song will get enough traction on the album. Some songs are really meant to be singles and marketed on their own. Other times the song just doesn’t fit the vibe.

How would you say that the Metalworks Institute has helped fuel your growth as an artist/producer?

I would definitely say that Metalworks Institute has been a huge part of my growth as a musician and as an individual. I dropped out of high school in grade 11 and got caught up in drugs and crime landing me in jail on several occasions. After 18 months of collective sentences, I found myself reconnecting with my musical roots. Metalworks helped me focus on the more important things in my life.

The school enabled me to learn from music professionals such as Alfio Annibalini , Chris Crerar and Lenny DeRose, a Juno award winner for his work with the Philosopher Kings. He has also worked with Three Days Grace, Mother Mother, Walk Off The Earth, The Barenaked Ladies, The Tragically Hip, Motley Crew, Bryan Adams, Celine Dion, The Trews, Alice Cooper, Kiss, Honeymoon Suite, Prozac, Michael McDonald and many more.

Learning from these musical geniuses has been the most career advancing experience I have ever had.

Who are some Toronto rappers that have inspired you as an artist throughout the years?

An obvious inspiration from Toronto is NAV. I think it’s important to look up to someone in the game and learn from them as much as possible.

Another artist from Toronto that I see as an inspiration is Ali Gatie. Although his music isn’t something I would regularly listen to, I respect and admire the way he marketed himself into the spotlight.

Stream and Share “Nothing in Common”

Connect with Will Ryte: Facebook | Twitter | Instagram | Soundcloud | YouTube

Interview: Los Angeles Based Songbird dove vega Talks About Her New Song "Nightcap"

“I always write my name “dove vega” in lower case letters, in homage to powerful, black writers such as bell hooks and dream hampton. Both sistas have inspired me throughout my life to speak truth and to seek truth. ”

— dove vega

What are some things that inspire your creativity when developing new songs, both production wise and songwriting wise?

I’ve always seen myself as a child of hip-hop and RnB. I also really got a thing for jazz and good old fashioned 80’s arena pop. Generally, anything with a melody is my cup of tea.

Fun fact: I find I get really inspired watching anime. Always have. Specifically Toonami (90’s babies will know) and Avatar the Last Airbender (90’s babies will also know).

What does your name “dove vega” represent?

Thanks for this question! I always write my name “dove vega” in lower case letters, in homage to powerful, black writers such as bell hooks and dream hampton. Both sistas have inspired me throughout my life to speak truth and to seek truth.

If there’s one last thing I’d like to share about me, it’s that I want to shift the focus from my identity to my ideas, to my truth, and to my music.

Congratulations on the release of your new single “Nightcap”. Tell us about your creative process for its development and was it self produced?

Thank you so much!! 🙏🏽 I love this question, wow. So, with this song, things were a lil different tbh. Usually I’ll be chillin - might already have a fire beat, or I might be on the hunt for one (because I do love to produce my own beats, but I also L-I-V-E to collaborate with other artists), and I’ll just start to play around laying down different melodies or vocal inflections until something good emerges, then I’ll work at it until it sticks.

But with this song, things moved much quicker. It was a Saturday night (obviously lol), and I had had this beat from my dude, from years ago. I remember sippin’ my drink while my incredibly talented sister, Symonne, and I were just having fun while the instrumental played on loop. She came up with the first part of the hook and I was just like yooooo that. is. fresh. ...and honestly it’s super cool to think about that original demo for “Nightcap”, and how it sounded completely different from the finished single - whole different vibe. I love to see art grow.

“Nightcap” ended up becoming what it is today after I was blessed to find my engineer, Ryan Whyte Maloney. As far as I’m concerned, he took that track from one hundred percent to two hundred percent. I live for guitars wailing in that 90’s midnight way. He absolutely killed the instrumentation and the mix; when I heard it for the first time I cried. No lie.

Would you say that “Nightcap” from a sonic and thematic standpoint is indicative of what we can expect from your upcoming album “Kristiana”?

It’s hard for me to say, since ‘Kristiana’ is currently in development and she is growing and maturing every day. This album - as my first full-length release - is special to me for many reasons. What I want to give to my fans (love you, #vegabonds) is a mosaic of sounds that leads you through the jungle of my songwriting...sometimes it’s beautiful and fun and teaming with life; sometimes it’s scary and hard to hear.

I want my art to tell you the truth about me, and, given the past year of my life, I need to explore themes of uncertainty, betrayal, vindication, and the meaning of ‘love’ in my work. Not only do I feel the need to explore these themes in my album, I need to deal with these issues as a person, and I know I can’t be the only one. And at its core, ‘Kristiana’ is about finding yourself risen from the ashes of the bullsh*t that tried to take you down. If you listen to this project, I want you to feel like a freakin’ phoenix. 🔥💯

I’d like to think of “Nightcap” as a cute lil snack-size introduction; a lil piece of me. She’s a bubbly lil song, we’re playful now, but - just as we all are - expect the album to be multi-faceted.

Speaking of “Kristiana”, do you have a release date in mind for it, and will there be any features artists or producers contributing to it?

When it comes to features and collaborators blessing the album, I’m going to play that pretty close to the chest - for now 😏... don’t want to spoil any big surprises.

And as for the release date? Yaas! 🙌🏽 Fall 2020.

As a producer, what software/hardware do you use? Also, how did you get started with producing?

Another dope question, thank you!! I love being asked about production because, admittedly, it’s not something that comes naturally to me, not like writing (especially when it comes to mixing vocals), and I find I really have to work extra hard at it. I’m very proud of what I’ve been able to create up to this point.

I record most of my music in my home studio, using Logic Pro X on my trusty Apple Macbook. Don’t need much, just a mic (Bluebird SL - can’t go wrong), interface (Focusrite Scarlett 2i2 USB Audio Interface - classic), and my studio headphones (sorry I don’t know the brand - I’ve had them foreva), and, when I make beats, my absolute favorite toy is my AKAI MPK Mini mkII. Again, I’ve had that thing forever, and I know there’s fancier stuff out there, but hey, it just gets me... Very, very simple setup, but she works like a charm. Every time.

I first started making my own beats after I first built my home studio, and I did it all for the same reasons:

In my personal experience, as a young woman, I have found that many producers I tried to work with in the past would be interested in more than a business relationship. Frankly, there were too many times where certain opportunities or instrumentals were dangled in front me, and then ripped away, because that producer had hoped to get something more than my vocals on the track. It was discouraging, and humiliating most times.

Tbh, I started producing my own beats out of defiance, and I’m still learning. I can honestly say, I see it as the best investment I’ve made in myself thus far - and super fun. It’s like painting with sounds. Even if, like me, you’re self-taught/not God-tier at production, but you can get a rough mix that sounds even 80% like what you want it to, that’s a WIN. Cuz you know what? You can collaborate with someone who has the production experience, and then together you bring your complete vision to life. And you know what else? You get better every time.

Connect with dove vega: Website | Twitter | Instagram | Facebook

Interview: Las Vegas Rapper Jag Gatz Discusses His New Music Video "Live In My Bag"

“...I’m also eager to make history I can look back on. It gives me an opportunity to grow, and also a chance for fans in the future to check out my beginnings. This mentality keeps me driven for success and hungry for more.”

— Jag Gatz

Congratulations on the release of your new music video for "Live In My Bag"; it's a very DOPE visual. Tell us about how you connected with the director Sniik and where in Las Vegas was the video shot.

Thank you, that means a lot! I actually met Sniik at one of my earliest performances at a show, he was looking for artists to film and luckily I was in need of a director. I told him I would hit him up as soon as I had a song I wanted to do a video for, and thus we reconnected for “Live In My Bag”.

As the song has a dark and ominous feel to it, I wanted the setting to match that, and we happened to find an empty lot and parking structure that was perfect for it. We shot the video in Downtown Las Vegas, near the Arts District. This is an area that has played a major role in my come up through the Vegas music scene, so I was hyped to make a moment there that I can look back on.

Regarding the song itself, what inspired you to write it, and what about the Buu Backwards produced instrumental led you to use it?

Crazy as it is, I actually came up with this song before I had released any material. I’m coming up on 2 years since I started releasing my music, so it’s wild to see a song that I had held on to longer than that, finally come to fruition.

The inspiration really came from how I saw everybody talk about how they were “in my bag” and it’s phrase that I felt perfectly resembled my mindset at the time. It’s so simple, and it basically describes dismissing the distractions and staying focused. Therefore, I took the phrase and elevated it to “Live In My Bag” and just wrote what I felt I’d need hear to keep me in that bag. After that I had about 60% of the song sitting there, and once me and Buu connected, I heard that beat, and I knew it would be perfect for this song. The high pace and sinister vibe complemented the lyrical content of the song, so I finished it up, shot the video, and got ready to show it to the world.

Will "Live In My Bag" be a part of an upcoming project that you're currently working on? If so, what can you tell us about it?

Yes it definitely will. I aimed to use this song and video as a kind of roll out for the project, hopefully to build up hype for it. I feel like this song truly sets the tone for the project, and I would say “Live In My Bag” is my best song to date.

As for the project, it correlates to the song as it is filled with motivational music that I feel gives me encouragement. I’m praying to get the project out soon, but with all that’s going on in the world there have been a number of setbacks. No matter, I’m anxious to show my talent to the people and have them enjoy what I have to offer.

If you could pick any artist to appear on a remix to "Live In My Bag" who would you select?

As such a big fan of hip hop I could think of so many names that inspire me that I’d love to get on this song. As always, many of the top artists are so versatile they would destroy any quality track you gave them, such as the Drake’s and Kendrick Lamar’s.

However, as much as I’d want that, to fit the question, I think I would choose someone who would speak to this song specifically. My choice would be Meek Mill, as I feel that he would go crazy and match the energy and tempo of this record. I feel like Meek doesn’t get his props enough, so a song with me and him is for sure something I need to see.

What are some things/people/places that inspire your creativity as an artist when developing new music?

I’d like to think I’m able to pull inspiration from a lot of places for my music, and I think this song is a dope example of that. Basically I got a lot of inspiration from just the phrase of being “in my bag” and seeing how people were using the phrase, along with the energy around it. I resonated with that mood heavily, so I just tried to put that energy into a song, and I’m very satisfied with how it came out.

As this is my first music video, I’m also eager to make history I can look back on. It gives me an opportunity to grow, and also a chance for fans in the future to check out my beginnings. This mentality keeps me driven for success and hungry for more.

Connect with Jag Gatz: Instagram | Twitter | Soundcloud

Review: "Nothing in Common" Album by Will Ryte

Mississauga, ON based rapper, producer and guitarist Will Ryte delivers a pristine, polished sound on the introspective “Nothing in Common” album. Arrangements go for pure luxury for every single element has a silky-smooth quality. Nearly physical with the gorgeous low end, the songs have steady powerful bass line anchoring the whole journey.

The songs’ melodies have a warped, woozy quality to them. Drenched in darkness there is a late-night vibe that runs through the whole of the album. Sonically tied together, the way that the tracks build off each other makes it akin to a grand journey. The small details matter for the entirety of the album, going for a spacious, expansive take. Nothing ever overstays its welcome, for Will Ryte keeps things tight.

Going for a distinctly newer hip-hop style, Will Ryte draws from elements of Yung Lean’s far-off, spaced-out sound. Production too nods to Yung Lean’s early work, as does his fantastic flow. The faded approach at times draws from a weird and wonderful array of influences. For the nostalgic tact, elements of Boards of Canada’s eerie melodies permeate the pieces. On purely the beat craft, Will Ryte draws from the crisp nimble tact of Flying Lotus in terms of its sheer creativity.

A lovely open comes through on the tremendous title track “Nothing in Common” where the tempo takes on a languid contemplative tact. Lilting samples tie together the whole of the bombastic beats of “Cash Out”. Tenderness rests at the very heart of “Milli”. Verses cascade down on the energetic “Never Know, feat. K-Cuzz. Highly ornate “Looking Back”, feat. 595century, opts for a slightly tragic note.

By far the highlight of the album comes from the exploration of anxiety with “Saying Less”. Delivered with urgency, the piece swirls about in a surreal haze. Nimble percussion skitters over the whole of “Rooftops”, feat. gads6y. The hauntingly beautiful “Count on Me” features a twisted toy box melody interspersed with lyrics that tap into a bit of defiance. “December” brings the whole of the album together neatly summarizing all that came before.

The “Nothing in Common” album proves Will Ryte to be a masterful storyteller, sculpting small vignettes from a life lived to the absolute fullest. We look forward to hearing much more from this talented artist out of the Greater Toronto Area.

Stream and Share “Nothing in Common”

Interview: RnB Singer-Songwriter Tori Helene Talks About Her New Single "If You're Lucky"

“I’ve always known that I was meant to make music for a living. It just came natural around the age of 10 or so. I always told myself that I was going to make it and this is what I’m destined to do.”

— Tori Helene

Tell us about how/when you came to realization that you had a good singing voice and could actually monetize it.

I’ve always known that I was meant to make music for a living. It just came natural around the age of 10 or so. I always told myself that I was going to make it and this is what I’m destined to do.

Congratulations on the release of your new single “If You’re Lucky”; who produced it and what was your creative process for its development?

Thank you! My producer Natown produced it as well as all of the songs on the project.

My creative process for this project was mainly me driving in the car singing melodies and at work writing as I was supposed to do my work.

I wanted this project to be upbeat and give a positive message. I felt very free during the process. I kind of just wrote the songs in the most unusual places lol

This single will be featured on your upcoming EP “Chainless”. What can you tell us about this project?

“Chainless” is very upbeat and positive. I wanted to create a project that was more in the “pop” lane but still add the r&b and some latin and west coast elements. I loved blending a variety of different sounds together in my production to make it unique and not expected.

Can we expect a music video for “If You’re Lucky”? If not, do you plan to drop another single before releasing Chainless?

Yes you can! I’m actually releasing the music video next week! And yes I’m releasing one more single next month before I release the full project but I have a lot more visuals coming soon as well, so I’m excited.

If you could feature any artist on a remix to “If You’re Lucky”, who would you select and why?

Hmmm I think Tinashe would be pretty dope on the remix. I feel like she would sound good with me on it and plus, I just love her!

What would you say has been your biggest musical accomplishment thus far?

I think so far my biggest accomplishment is creating these projects and hearing my supporters say how much they love my music and how it gets them through, which is why I do this in the first place.

Connect with Tori Helene: Website | Twitter | Instagram | Facebook

Boston Based Artist Baby Cate Releases Her Self-Produced EP "Self Love"

We’re always excited to showcase the DOPEST new music on DCWS and now is no different. We’ve got the new EP from seemingly unknown independent artist Baby Cate ready to share with you right now!

Made up of three songs and an interlude, each song plays out like a different note in Cate’s personality, making up for a raw and unique listen. The EP is entirely produced and written by the 23-year-old, which comes as no surprise since her previous release Baby Cate:The Mixtape is completely self-made as well.

The Massachusetts native takes time to guide listeners through past experiences with themes of acceptance in ‘Move On,’ female empowerment in ‘Cry,’ and positivity in ‘We Good,’ all pieces fitting under the Self Love umbrella. With hip hop in the forefront of this project, the EP is also infused with elements of rock, pop and alternative r&b.

“With each song I write, for the most part, the process is never the same. Inspiration is huge though. I could come up with a simple track for production all of a sudden, then write to it, then build more production around the lyrics. I could have a hook in my head, the build around that etc.”

Listen to Baby Cate’s DOPE new four track EP, “Self Love”, stream it on your preferred music service,and connect with her on her website and social media. Also, be on the lookout for our exclusive interview with Baby Cate coming soon.

Stream and Share “Self Love”

Connect with Baby Cate: Website | Twitter | Instagram | Facebook

Interview: Savannah, GA Based Artist cunabear Discusses His New Album "Spirit Animal Club-House"

“I hope “Spirit Animal Club-House” speaks to you in a way that is personal to you and you alone. Don’t try to qualify or quantify all of your experiences during your time on this planet. Absorb it, give it time and space in your life and let it show you what it wants to. ”

— cunabear

Congratulations on the completion and release of your album "Spirit Animal Club-House"; it's a very dope project. Tell us about this self-produced album from a creative standpoint and what inspired you to develop it.

Thank you! “SACH” comes from spending most of 2019’s first half watching my father’s health decline to a dangerous place due to years of cigarette smoking, and spending the second half in a very opposite world- in the rap-career side of things, I was making bigger moves forward than ever before; playing shows with rappers I look up to in New York, touring to new places at the end of the year and the beginning of 2020.

The polarizing experiences, and the lessons they taught me really formed the core of the album’s subject matter.

It’s an album about being present and coming to terms with who and where you are in life right here in this moment, because it’s fleeting and your mortality is not guaranteed so you must seize each opportunity to live.

Were there songs that you recorded that did not make the album's final track list? If so, why not?

There was a verse to the title track that I ended up scrapping because I couldn’t ever find something that felt like it fit. That beat is just so happy. It’s such a moment of sunshine and I love it so much that covering it with my voice felt like a disservice to the production.

There were more instrumental-only beats that would have been scattered in as well, and they’re all available on the “SACH” Instrumental release, found via BearTooth Collective’s Bandcamp.

How would you say that this album compares thematically and sonically to your last release "sidequest 14+15"?

My “sidequest” series is more or less an opportunity to share beats and loops and sketches of musical ideas that I’ve accumulated on my desktop over a month or two. They’re hardly ever structured and very loose thematically, I don’t even really think about them as proper beat-tapes. More like the monthly experiments, harvested from the brain and presented to the class.

When someone listens to the album for the first time, what do you want them to take away from the experience?

I hope “Spirit Animal Club-House” speaks to you in a way that is personal to you and you alone. Don’t try to qualify or quantify all of your experiences during your time on this planet. Absorb it, give it time and space in your life and let it show you what it wants to.

Hell, half the time I don’t even know what my albums are going to teach me or show me until they’re years old. Take your time with the music you listen to and listen to it consciously.

With the album now released, what are some of your goals musically for the remainder of 2020?

I’m always working on multiple projects at once.

I’m hoping to put together a music video for “SACH”, but i don’t know which song yet.

My side project, “MELTYHERMIT”, will be releasing its 4th LP in 2020.

I have a few mixtape/collab situations in the works as well, and another solo-album, but all of those dates are tentative. Maybe 2020, maybe 2021.

I’ve been learning patience and taking my time has been fruitful so the pace will set itself for now.

Stream and Share “Spirit Animal Club-House” on Spotify

Stream and Share “Spirit Animal Club-House (Instrumentals +) on Bandcamp

Connect with cunabear: Website | Twitter | Instagram | Facebook

Review: "Spirit Animal Club-House" Album by cunabear

A hazy psychedelic sort of hip-hop anchors cunabear’s dreamy “Spirit Animal Club-House” album. Flows further incorporate the gorgeousness of the sound. Lyricism has a poetic quality with every word carefully balanced, every verse given equal weight.

cunabear takes his time making patience a powerful ally in the overall carefully sculpted mood. Every track plays off the last allowing the entire album to work best when taken in as a singular whole. Beyond the hip-hop psychedelic frame, elements of jazz, drone, and hypnagogic pop are brought together in a way that becomes powerful. Letting it all simply wash over the listener in a kaleidoscopic array of color, the attention to detail feels magnificent.

The skewed electronics and off-kilter rhythms recall at times some of Brainfeeder’s roster. Woozy with its effects and funky percussion, the playfulness taps into Thundercat’s jazz-inspired endeavors. For the more experimental side of things where cunabear truly lets it all loose, he brings a bit of Flying Lotus’s potpourri of genres. With his delivery, he brings to light some of Tyler, The Creator’s approach alongside the careful gait of Earl Sweatshirt.

Glowing tones open up the album on the instrumental “Unzip Yourself, Magic-Man! (A Beat For Big Moe, Rest In Peace)”. The metallic sheen of “Chandelier” revels in a beautiful, blissed-out shimmering sound. Lounge-like with its clever, warped vision is “Saturnalia” for the piece comes in and out of focus. A late-night noir runs through the atmospheric title track “Spirit Animal Club-House” as many layers are filtered into the mix.

Delivered with urgency is the fast-paced manic energy of “WE PARRY SPEARS! (Mobius Strip Contortion pt. 2)”. By far the highlight of the album comes from the multi-suite epic “Seizing Self-Belief” where the grooves have an infectious quality to them. The anxious energy of “Vicegrips & Broken Vessels” rushes the track forward. Done with a raw grit and soul, “Thicker Than Thieves” brings some field recordings into the fray. Forgoing lyrics for the finale “Free-Forming”, the album ends on a reflective note.

The “Spirit Animal Club-House” album shows cunabear sculpt a lovely, soothing world, one whose surreal quality reveals an entire aural universe to explore.

Stream and Share “Spirit Animal Club-House” on Spotify

Ann Arbor, MI Rock Band Black Note Graffiti is Dropping Their New EP "Volume III Fall" on June 26th

The long awaited EP “Volume lll Fall”, from Black Note Graffiti is dropping June 26th. The Ann Arbor, MI. Rock band has a lot to say with their thought provoking lyrics, heavy guitar riffs and melodic tendencies.

Black Note Graffiti is Gabrielle Bryant (vocals/keys), Kris Keller (guitar/vocals), Kurt Keller (drums), Ricardo Ortiz (vocals/guitar) and Adam Nine (bass).

Kris Keller says, "Volume lll Fall is the first of a two EP set that will be released by Black Note Graffiti in 2020. This collection of 5 songs reflects the realities and truths of the world's current affairs through modern Hard Rock. This band has put blood, sweat and tears writing and recording this EP and we're looking forward to sharing it with the world."

Black Note Graffiti's “Volume lll Fall” EP was produced by Grammy Award winning Producer/Engineer Chuck Alkazian (Pop Evil, Soundgarden, Tantric) at legendary Pearl Sound Studios (Asking Alexandria, Eminem, Filter).

Check out the band’s new single “Inch X Inch” and connect with them on their social media. Be ready to stream/purchase “Volume III Fall” on the 26th!

Connect with Black Note Graffiti: Facebook | Twitter | Instagram

Interview: ZoeJoey of Vivid Shade Talks About Their New Music Video "We Will Destroy You"

“...So all of these songs are exploring this world from different points of views. So to keep with this theme, we kept all the songs within a dark synthpop sort of vibe, with the idea that this could be something out of an 80’s dystopian sci-fi movie. We felt that a retro futuristic feel just went well with this whole idea.”

— ZoeJoey, Vivid Shade

Congratulations on the release of your new music video "We Will Destroy You"; it's a great visual. As its director, tell us about how you came up with the treatment for it and if you look forward to directing again in the future.

First off, thank you, that was my first ever directed piece and while there was much, much more I wanted to do with it, we just don’t have the budget to do everything I wanted. Originally the plan was for the music video to resemble the theme of the “Clickbait” EP, which the song is from, but that would have taken way too much money to create. So instead we took a different, more DIY approach. We wanted the scenes to be more metaphoric, more 90’s horror film sort of vibe and overall cheaper/home movie feel.

The song is from a robot’s perspective, and this robot is explaining his view of the world and how he’s constantly pressured to act, and react a certain way. The robot from day one was groomed and programmed to be subservient and to just fit in with the norms that society has in place. But as this robot gets older and wiser, he notices that the society that he's been groomed to understand and be compliant in, is just fucked up. Society never does the right thing, they base their ideals and rules on arbitrary things, and, in the robots eyes, it’s time for a revolution.

In real terms, this robot represents every oppressed group out there, women, LGBT, people of color, and many more. From day one, no matter who you are, you're groomed and are forced to fit into your surroundings. This sense of grooming and pressure from society, is what the black paint is meant to represent. The thing about grooming is that there’s no way to undo what has already happened. There’s no way to just forget any trauma that’s affected you, you just have to learn to live with it. And that in so many ways is unfair, like, why should you, or me, or any of us have to be harmed by others, and forced to do what others say when it doesn't benefit us in any way?

Through most of the song I’m angry and I'm struggling to get this oppression and paint off me. I'm attempting to just forget about it, to move on, but I can't, no one can, and we have to learn to live with it. So at the end, I finally give in, and I turn this hate that I have of the world, of myself, of others, and instead I let it empower me.

As much as I want my life to go smoothly, and as much as I try to fit in with the rest of the people, I can't just sit on a beach and chill. For me, even if I am doing absolutely nothing provocative on a beach, I'll still be sexualized for the sole fact that I'm a girl and I’m wearing a bikini. Movies and TV always portray a girl on a beach in a bikini in a sexualized way. Just look at Baywatch, or pretty much any music video that has girls on a beach in bikinis. The point is, girls can do whatever the fuck they want, and we as a society shouldn’t assume their intentions for merely just being present. A girl is always “too much” or “not enough” of something, because we always try to pressure women to fit in a box that isn't going to fit everyone.

I really hope to direct a lot more in the future. I love film and the whole creation process, it’s my favorite thing to do besides making music. I have been a big fan of Tyler, the Creator for a long time and I always admired how he was not only creating amazing music and concept albums, but also directing incredible music videos.

I’m also inspired by directors/creators like Alan Resnick (Unedited Footage of Bears), Casper Kelly (Too Many Cooks), as well as Becky Sloan and Joesph Pelling (Don’t Hug Me I’m Scared). I am really into dark surrealist and experimental films that force you to ask questions and try to figure out what the hell is going on. And in the process of doing that realize that there is way more going on then what it initially seems like on the surface. Until I actually have more than a $20 budget, I will continue to just create things with my friends. I typically have a lot of things to say through my art, so I enjoy being in control of the process.

What initially inspired you to write the song, and what does its music video represent for the viewer?

I wanted to write a song about robots taking over the world because that just seemed so cliche. But I wanted to take this cliche idea and flip it on its head. So instead of the robot being evil, I made the robot sympathetic. Here’s a robot that could destroy the world, but he doesn’t. He views the humans that created and enslave him as pathetic and self destructive, but still takes pity on them. The robot has more empathy than what the humans that are cruel to him have. That being said, you rarely ever see the oppressed and marginalized groups wanting revenge. Instead, they just want to be fairly treated and live in an equitable system. So the robot in the song really just represents any person or group that is a victim of oppression.

I think viewers will have many interpretations of the video. Each viewer will come into it with their own experiences and biases. I think everyone has some sort of trauma in their life, and I hope that this video is a reminder that regardless of how “OK” we look now, those traumas have changed us and not always for the better. But we all have to learn to eventually embrace it or at least accept it and move on with our lives, and hopefully speak out and be a part of a positive change so others don’t have to go through the same shit that we did. So while I may be speaking from a perspective that’s dealing with being a girl and being a part of the LGBT community, and reacting to the sexism and bigotry that I have experienced. I recognize that other people out there, even those that have been cruel to me, also have had to overcome trauma as well. I think that is a basic part of the human condition, that life sometimes is a struggle and damaging to us, but we have to find ways to keep going.

"We Will Destroy You" appears on your debut EP "Clickbait"; describe your creative process for the development of its 5 songs.

This EP is really a short concept album that came out of many conversions and observations I was having about technology and social media at the time. In my school I vividly remember them showing us a documentary about how technology is bad and we shouldn’t be using social media. The teachers kept talking about how bad social media and over use of tech was, but there was never a honest and open conversation about why it was so bad and how to use it in a more positive and productive way.

This bothered me because I had already seen so many positive things come out of social media and I had benefited from it in many ways. I was scouted as a professional model because of my Instagram, I met so many creative people through Instagram, I use social media to market and promote my music, and actually everyone involved in making this music video and even the guest rapper on “Secrets 2 Success” I met through social media.

But nothing is always completely good or bad. At the time, I was also really appalled at the adults I would see around me from day to day and their fixation with their phones. I’d see families eating in restaurants where both parents would have their face in their phones the entire meal and not interacting at all with their kids or each other. I’d see parents also just shove iPads and phones in front of their babies and toddlers to get them to just be quiet and watch videos on the screens. These kids were just trying to play, ask questions, and explore their world; you know just be a kid. But their parents just didn’t want to deal with them so they would use their phones to keep them subdued.

So on one hand I was hearing adults always telling teenagers “don’t spend so much time on your phone” but at the same time they seemed more addicted to their phones and social media than what my friends and I were. So I wrote these songs as a way to explore the dark timeline where adults who are addicted to their phones have raised children who have had no choice but to be addicted to their phones as well.

Likes and hearts become our only valued means of social status, and our social media bubbles have been so perfectly personalized that everything we see is customized to meet all our desires and keep us completely engaged. And with us completely consumed by our phones, the world around us is crumbling apart but we are too busy with the glossy fake reality presented through our phone to even realize it.

So all of these songs are exploring this world from different points of views. So to keep with this theme, we kept all the songs within a dark synthpop sort of vibe, with the idea that this could be something out of an 80’s dystopian sci-fi movie. We felt that a retro futuristic feel just went well with this whole idea.

Also, were their songs created that didn't make the final track list? If so, why not?

Yeah. There were some songs that we wrote during this time that we didn’t include. We usually have a bunch of songs that are in process and being worked on at any given time, and there were some that we considered including with the EP, but they just didn’t fit thematically.

We wanted to stick with the concept album idea with “Clickbait”, so the ones that didn’t stick with the themes either lyrically or musically got pushed to the side.

Tell us about the pop/electronic music scene in Singapore. What has your experience been like building a fan base there?

To be honest, it’s been difficult building a fan base in Singapore. There are not many avenues for young start up bands to perform. The bands in the music scene are pretty tight knit and they are really supportive of each other, but unfortunately it is hard to get a crowd to a local show. Usually the local bands that end up getting popular in Singapore tend to be kind of safe generic pop, rap, or other radio friendly groups.

Which is unfortunate, because there are some really cool bands doing interesting things here, but since they don’t have a mainstream appeal they get largely ignored locally. Bands like Microchip Terror, Knightingale, Summations, CB Dogs, Bad Dod, Coming Up Roses, and Sun Eater to name a few are all worth checking out and put on great live shows. Making a living from music here is extremely difficult, so the bands that do tough it out while working full times jobs tend to be incredibly talented and super humble.

Stream and Share “Clickbait” on Spotify

Connect with Vivid Shade: Website | Twitter | Facebook | Instagram

Interview: Moscow Based Quintet TheBlueStocking Talk About Their Debut Album "Algedonic"

“I’m very proud of how wholesome it is. The cover art, the track list, the songs themselves - it is a complete and accurate blueprint of a certain BlueStocking era. We did justice to our earlier songs, laid the foundation and now, with a clear conscience, we can move forward and experiment!”

— Kat, The BlueStocking

How did you all come together and decide to form The BlueStocking? Also, what was your thought process behind the quintet's name?

Hellen (drums): Once upon a time Kira and I were in a bar…and I said, “the band we’re in right now is not working, let’s try something on our own.”

Kira (song author, lead singer, keyboard): Yes! Hellen and I played in “Muzika Gnil’” (“rotten music”), but that Russian punk. I began writing songs in English and on the piano, they didn’t fit into the aesthetic of MG, so we decided to do our own thing. And it worked!

We’ve had a few changes in the band over the years, some people came, some people left. And here we are! And the name…I remembered the term “bluestocking” and was curious to find out more. As I was reading, I saw the english translation of it and thought that it was really cool.

Ilya (guitar, he also recorded and mixed the album): I only recently found out what it means.

Hellen: It also worked because in the beginning, there were three of us - Ara, our bass player and myself were engineers, Kira was a sort of music teacher - three girls in science!

Kat (bass and back vocals): And, of course, Amanda Palmer was a huge influence.

Ilya: I was recording the band before I started playing with them.

Kira: I remember we had a particularly difficult recording session with our guitarist, who already announced that he was leaving but wanted to finish the recording. That evening I half-jokingly texted Ilya saying “D’you wanna play guitar?” and he suddenly agreed!

Ilya: It was super strange and super awesome. I was actually thinking about joining even before that. In a way, it was love at first sound. I thought - “Holy shit, this is Russian Mr Bungle!”. And then I found out that you didn’t even know about Mr Bungle, which is crazy! That’s actually amazing - you weren’t copying or paying homage, it was literally parallel realities. That’s what I call awesomeness.

Kira: Ilya actually recorded our very first professional recording session at DTH Studios.

Egor (sax): I got into the band in the most banal way - I came to a gig and the music blew my mind. I immediately wanted to do something with it, like make a video (Egor is a film director). It all started with discussions about potential scripts. Then one day I was watching a live transmission of your rehearsal, got out my sax and just started playing. A month later I played my first gig with the band.

The rest is history.

And how I got to that gig, well…Kat was my director in a theatre show and she invited me.

Congratulations on the completion and release of your debut album "Algedonic"; tell us about your creative process for the album's eight songs and how long it took to complete it.

Ilya: Long as fuck.

Kira: The thing is, we started recording it and then had to re-record nearly everything because of transformations within the band. Also our technical skills and the technical possibilities of the studio have improved since the first recording. So we pretty much recorded the album twice.

Ilya: Two years.

Kira: A bit less, a year and a half. We started on April 15th 2018, and we got the final versions of the songs on November 28th 2019.

Ilya: The first recording was a year long - and then we re-recorded it in 6 months.

Kira: The songs themselves are quite old material - some of them are 10 years old, even bit more.

Were there songs that you recorded that did not end up on the final album track list? If so, why did the songs not make it?

Kira: The answer is simple - no! We started recording with a clear plan of these 8 songs. We even had the order ready. So we just went in and recorded them!

Ilya: Smooth.

Describe the Moscow rock music scene in 2020 for us; are there a lot of radio stations that support local talent and are there a lot of venues to perform at?

Ilya: Cruel question. There are basically no venues. There’s one radio station, Maximum, that has a weekly one-hour late-night show for new music. That’s it.

Kat: There was an internet radio station that supported emerging artists, we played a gig there 2017.

Kira: But it closed down.

Kat: The Moscow rock scene is a heartbreaking topic. Especially in 2020.

Kira: Masks’n’gloves.

Kat: We have massive venues for those who are already successful and tiny venues which are perfect for first gigs. There is no middle ground. Only Powerhouse.

Ilya: But their sound system works best with jazz and electronic music. We (DTH Studios that Ilya co-founded) had a proper rock club, Model T. It lasted a year and a half because it’s incredibly hard to have a small/medium business in Russia.

Kat: 16 Tonns? (a legendary pub/concert venue)

Ilya: Yeah, actually. But it’s a bit of an elite rock club, not quite for us. Yet.

If you had to pick one song from your musical catalog for a stranger to listen to that best describes who The BlueStocking are as a band, which one would you recommend?

Kat: Depends on the stranger!

Kira: It’s hard to choose a song like that, because our music is very diverse, we don’t really have one all-representing song.

Ilya: Definitely “OCD” or “Bulletinawallet”. Yeah, our songs are very different, but I think these can really hook someone. But damn, so many good songs…You know what, people should listen to the whole album.

Hellen: I usually choose “Never Ready” or “Bullet”. “Never Ready” is a personal preference, I love it. And Bullet…is just a really cool song.

Egor: I keep trying not to say “Look At My Face”, but I can’t help it.

Hellen: Oh yeah!

Ilya: It’s my favourite too.

Egor: Every single time I listen to it, the finale always gets me.

Kira: Yeah, every time I hear the finale I get goosebumps.

Egor: I mean, it’s an epic canvas. You know, there are films that run for 1.20, and 3 hour films. And they are just different stories, different experiences, different depths of immersion. And you come back to the surface after it, and you’re a slightly different person. This is “Look At My Face” - not just a song, but a giant story that gives you a pretty crazy ride on the waves of its dramaturgy. And in the finale it smacks you on the head with a sack.

Kat: From wolves to hysteric laughter.

Egor: And I think that this emotional rollercoaster represents us pretty accurately.

Hellen: I just thought that you really should listen to the album in its entirety, the songs are so different. And what I really like is that it doesn’t have any cabaret songs because we’re actually not a dark cabaret band.

Kat: Yes, The BlueStocking definitely has elements of the genre, but we’re not a dark cabaret band. We’re post-dark cabaret! My goodness! We’re pretty much post-everything. As I said, depends on the stranger. When I send the album to someone, I always write “If you’re in the mood for a tender fairytale, that’s “Well”. If you want a stylish blues experience, that’s “Never Ready”. Want something heavy? “Look At My Face”. You wanna move, want something energizing? “Rhyme” & “Bullet”. It’s a mosaic, there’s something for everyone, you know?

With "Algedonic" now released, what are you most proud of with your debut album?

Hellen: That it actually came out.

Kira: I’m proud of the patience and stamina of the people that made it happen. Because a titanic amount of work and effort was put into it. Despite the fact that for me personally the process was very enjoyable and I loved it, it was pretty difficult and sometimes overwhelming for everyone. I’m proud of myself and the people who went through this grinder with me and came out with this very satisfying result.

Ilya: The professionalism and musical vision of the people on this record is incredible. I’m in awe of everyone’s music skills.

Egor: I’m most proud of the sound. And how the recording didn’t take anything away from it, but only enriched it. It helped bring out everything that was in Kira, in the songs, in all of us, and put it on the record without losing or distorting anything, the richness of thoughts and feelings that was in the songs from the very beginning.

Kat: I’m very proud of how wholesome it is. The cover art, the track list, the songs themselves - it is a complete and accurate blueprint of a certain BlueStocking era. We did justice to our earlier songs, laid the foundation and now, with a clear conscience, we can move forward and experiment!

Stream and Share “Algedonic”

Connect with TheBlueStocking: Facebook | Instagram | Bandcamp | Soundcloud

Interview: Tech-Pop Artist SWATS Discusses His New Music Video "Opaque"

“My solo work branches out into themes like relationships and emotions, infusing elements of Jazz, Pop and EDM into Hip-hop, so it’s a bit more laid back and technical. Years ago I called my style Tech-hop. What I create today is still in that same vein.”

— SWATS

Congratulations on the release of your new music video "Opaque". Regarding the song itself, who produced it and what initially inspired you to create it?

Thank you; I'm very excited about the track and the video. The song was produced by a phenomenal talent that goes by Sighost. I've been a fan of his work for a while and jumped at the opportunity to work with him.

Mixing and mastering was handled at the renowned Black Pearl Studios by the one and only Dhurl with some personal touches added by me. I'd wanted to create a song that catered to dancers and movers for some time now and “Opaque” became that track.

It was inspired by wanderlust, freedom and adventure. I have a great friend who travels often and her Instagram page is full of snapshots from those adventures. She's also the model on the cover art for the song. I wrote “Opaque” asking myself, "what would that freedom sound like?" It then grew into what it is today: a sonic representation of one's innermost desire to be fully transparent about how they feel; to no longer have to be opaque.

With "Opaque" now released, what is next for you musically? Also, will "Opaque" be featured on an upcoming EP or album?

“Opaque” was actually a surprise single which I wrote just prior to releasing my first solo album, "Reclamation" in February of this year. I could have added it to “Reclamation”, but it seemed special on its own.

It’s vibe was unique with a Spring/Summer type of feel. I'm currently working on a couple other projects that I'll keep under wraps for the moment. I will say that I've been toying with the idea of adding “Opaque” to a larger body of work.

You are not just an artist, you are an actor as well. Tell us about some of the on-camera work you have done and your goals as an actor in the future.

After graduating college with a BA in Drama, my professional acting career began around 2005 when I was a featured extra in a National Lampoon film and another named Junebug. I've since been a stand-in for an NFL player while racing a Corvette, filmed Verizon commercials, tailored training videos for various companies, and landed quite a few voice acting roles including voicing 2 characters in an on-going popular podcast called Into the Portal.

I've been represented by the Charlotte-based JTA since 2005. It's thanks to their hard work and support that I've been able to audition for these great opportunities. A goal of mine is to be featured in a film where I can showcase my skill as a martial artist. Either way, I plan to continue acting as long as possible whether the opportunities arise as print, voiceovers, stage or on-screen. It's a passion.

How would you say that the music you create as a solo artist is different from that of your band GameBreax?

At the surface level, I'd say our GameBreax music tends to lean more toward a dynamic Hip-hop meets Rock, larger-than-life vibe that is very heavily influenced by video games. Live shows are meant to rock your face off.

My solo work branches out into themes like relationships and emotions, infusing elements of Jazz, Pop and EDM into Hip-hop, so it's a bit more laid back and technical. Years ago I called my style Tech-hop. What I create today is still in that same vein.

Would you say that there is one song from your solo or band's catalog that most represents you as an artist? If so, which song?

I'd say "WATTS Up Danger" probably fills that spot. The song was written for and featured on Rooster Teeth's Death Battle web series. In the song I had the honor of portraying Miles Morales (Spider-Man) and was able to showcase quick-fire lyricism, use of harmonies and a multitude of double entendres.

There's one line in the track where I'm literally saying 5 things at once and it's been really satisfying to see people's reactions online when they start to uncover those hidden gems.

If you could create the soundtrack for any video game, which one would you select?

I'm a Fighting Game enthusiast first and foremost. I've had dreams come true writing for The King of Fighters and Streets of Rage franchises. If I were to pick something in a non-related genre, I'd love to partner with Rocket League. I've been really impressed by their catalog of sounds.

Stream and Share “WATTS Up Danger”

Stream and Share “Reclamation” on Spotify

Connect with SWATS: Twitter | Instagram | Facebook | Imdb

Mississauga Based Rapper/Producer Will Ryte Releases His New Album "Nothing in Common"

Passionate and energetic Mississauga-based hip-hop artist, producer and guitarist Will Ryte has recently released his new album entitled, “Nothing In Common”. This 13-track project includes guest features from K-cuzz, Gads6y, Tianda, and 595century, as well as production by himself and Gadsby.

Will’s music speaks to his past, present and future, and “Nothing in Common” is a breath of fresh air, as we always love to hear different, yet relatable perspectives from the artists we feature on DCWS.

We’ll be delving much deeper into Will’s new album very soon with our review, and our exclusive interview with him is also on the way. In the meantime, listen to “Nothing in Common” right now, stream it on your preferred music service, and connect with Will on his social media.

Stream and Share “Nothing in Common”

Connect with Will Ryte: Twitter | Instagram | Facebook | Soundcloud | YouTube

Make Music Videos with Facebook's New App, Collab

Facebook recently announced a new app, Collab, where you can make music videos like never before. This platform allows you to create music and upload it, share it with your friends and collaborate on projects with them. The Facebook Collab app could be the next big platform. However, it's still in the early stages of its roll-out.

This latest development from the social media conglomerate comes at a time when people are using technology to connect. The pandemic is still shaking the nation, and people need an outlet to connect with friends and family. Primarily, for Facebook, this new app will be a way to compete with the current leading app — TikTok.

The New App

Collab is a new app that allows you to make music and create a short-form performance. You upload three different clips of yourself singing or playing instruments, then stitch them together as one video. However, you can use other people's videos as well. Once you upload a clip to the app, anyone can use it. If you're new to music, you can start by finding clips of vocals and instruments from other users.

In Facebook's NPE press release, Brittany Mennuti states that this app is a resource to bring friends and family together while they're apart during the pandemic. You can create videos with your friends and share them across platforms.

If you do use other clips after exploring the app, Collab gives credit for all clips. Therefore, if someone else uses your clips, you'll receive credit. With this new experience, making music gets a new, collaborative name.

Part of the reason for this new development is to compete with TikTok. If Collab can make room for itself in the digital world, it can have the same success. It won't be easy, though. TikTok recently crossed the two billion downloads mark, making it one of the most downloaded apps ever.

TikTok has numerous capabilities and started as a music-based app, Musical.ly. If Collab follows this path, you may see it expand as well. For now, though, Collab is focusing on music creation.

in 2018, Facebook launched its app, Lasso, to compete with TikTok. However, it failed to live up to TikTok's pervasiveness. Now, Collab is its next attempt. Both apps have audio and visual components, but TikTok gears towards comedy and entertainment. It has countless video and audio editing features that provide unique twists for each user. Collab will need to stand out enough as a music creation app in order to compete.

Since independent music production is a growing field, Collab has a chance to stand out. It can help individuals express their creative side while developing their skills. This app is for anyone who wants to create projects. It also helps connect people with their loved ones during stay-at-home orders.

Early Stages

The app is rolling out in the U.S. and Canada first. Its beta version is currently only for iOS as well. If the app takes off quickly, you can expect to see Facebook release it in more countries.

Additionally, Collab has a waitlist to join, which you can sign up for. Facebook wants feedback from users so it knows where to improve the app. If you're interested in Collab, all you have to do is sign up.

A New Form of Collaboration

Though Collab does share some ideas of collaboration from TikTok's "duet" feature, it's working to make a name of its own. Facebook must make it unique enough where users can experience something new that they can't with TikTok. Music collaboration will bring individuals together during this pandemic. Where it goes from here is up to the people.

Join the Waitlist for Collab

Review: "But He is Strong" EP by Rep and Tramel

Rep and Tramel spits furious verses on the powerful “But He Is Strong” EP. With a keen sense of determination and defiance, the EP’s six tracks verge into a singular whole. Akin to a grand journey, the constant shifts of grooves, tempos, and textures lend the whole of the collection a spirit of constant reinvention. Stylistically heavily versed in hip-hop, they draw from elements of EDM, pop, trance, jazz, and a whole multitude. This helps to keep the flows fresh for they can turn on a dime. Rep and Tramel recall at times the nimble delivery of Q-Tip, right down to the unique way the grooves are assembled and disassembled with the utmost of ease.

The main reference within the collection borrows heavily from A Tribe Called Quest’s versatile output. Akin to their work, Rep and Tramel make sure to keep the listener guessing. Mixing humor with poignant insight, the lyricism becomes an unexpected joy, with verses carefully balanced for maximum impact.

Beyond this, Rep and Tramel incorporate bits and pieces from Kendrick Lamar’s assured take, proving to be deft storytellers as entire lives come into the fray. Production stuns thanks to the incredible work of True Justice and MNPLY, both of whom sculpt impeccable kaleidoscopic arrangements that refuse to stand still.

Samples rest at the very heart of the incredible opener “Mighty Men” where the mood is set, as everything swirls about. A weird woozy disposition radiates throughout the whole of the surreal “Fight Clubs XOXO”, where the skeletal snares add to the potency of the track. A swagger informs the entirety of “Watching Tsunamis” which serves as the very heart and soul of the entire collection.

Incredible energy defines the aptly named “Motivated” as the sheer physicality of the work overwhelms. Creaky, eerie samples and synthesizers weave themselves together in a fantastic portrait on the alluring “Hulk”. Tactile effects work wonders on the collection finale of “I’m A Monster” which neatly ties all that came before it together.

“But He Is Strong” shows off the impressive duality of Rep and Tramel in crafting a sound that both pays homage to hip-hop’s history while pointing to its future.

Stream and Share “But He is Strong” on Spotify