Interview: Albuquerque, NM Rap Artist Charlie Alpha Papa Discusses His New Album "Part of Me"
Big thanks to Albuquerque, New Mexico based rap artist @capishmusic who connected with DCWS to discuss his single “Maybe”, which is featured on his DOPE new project “Part of Me”.
“I’m an artist that draws inspiration from memories or current situations. Usually I surf beats and wait for the one that grabs me, then I write.”
Congratulations on the completion and release of your latest album "Part of Me". Tell us about your creative process of the development of the project's songs, specifically "Maybe", and how you connected with its producer Brian Leotaud.
“Maybe” is a track produced by Jeremy Hayes, aka Stix in the Mix, who’s discography boasts artist like: E40, B Legit, Celly Cell, and others. The song evolved from nostalgic feelings of falling for a crush. Stix and I have connected musically for many years and he knows my taste in production.
Do you plan to shoot music videos for any of the album's songs? If so, which ones?
I am planning on releasing an animated music video this coming year for one of my tracks, I’ll keep that a secret for now.
When you are working on new music, what are some things that inspire your creativity and what do you look for in production?
I’m an artist that draws inspiration from memories or current situations. Usually I surf beats and wait for the one that grabs me, then I write. Sometimes a song comes to mind first and I’ll attempt to produce something vs trying to find the music.
Tell us about the hip-hop scene in Albuquerque; are locals generally supportive of the artists there?
I just moved to Albuquerque a couple years ago. The music scene is mainly comprised of punk and indie rock with a few hip hop artists. As Covid took over this year, my opportunities to network and perform dwindled to a halt. I plan on getting the ball rolling again in 2021 with shows, interviews, and local networking.
With 2020 winding down, what can your fans and our readers look forward to from you musically in 2021?
More music coming in 2021 with a focus on singles and EP releases vs an entire album. Hopefully more visuals and stage performances to follow! Again, thank you for listening!
Stream and Share “Part of Me” on: Apple Music | Spotify
Connect with Charlie Alpha Papa: Instagram | Twitter | Facebook
Review: "Shadows" Single by Reptile Room
Atlanta based electro pop trio @reptileroomatl recently released their latest single “Shadows”, which captures the initial reaction to change; and not only the idea of change, but the unsettling, uneasy, and honest feelings around it.
Atlanta based electro pop trio Reptile Room released their latest single “Shadows” on November 13th. This single captures the initial reaction to change; and not only the idea of change, but the unsettling, uneasy, and honest feelings around it.
“now I think I’m drowning”
“this is how we live now”
Obviously, every song is up for interpretation. But I’d say that this song shines light on the immense pressure that an artist feels when they’re first stepping into their own success.
Reptile Room released their first EP in 2017, titled “Reptile Room” and have gained massive following ever since. Their song “Control” was featured on SYFY’s original series “Magician”.
The song is titled “Shadows”. Both used here metaphorically and literally room. Reptile Room sings:
“Shadows on the hotel walls
Lightning, dancing through the windows
Voices echo through the halls
And I can’t sleep at all”
I think that this was all part of the horrific change that was happening. I think that this lyric speaks truth to the unease of being a touring artist. The give and go, push and pull of the lifestyle. And, quite literally I feel as though that time actually happened. Trying to fall asleep, you don’t know what time it is, people are awake and you hear people, but you literally can’t sleep. That’s scary.
Room goes on to say:
“it’s 4:03, Germany. I can’t sleep it’s been weeks”
I think this lyrics speaks truth to the nature of the lifestyle.
However, I don’t believe that these lyrics are purposed to antagonize. And you can feel that, as a listener. The song is well balanced with its lyrics and; sonically, its rhythmic tones. The song narrates itself in the form of a short story. It’s not a scary story. It’s an honest one, with the uncomfortable feelings involved with change. It’s acceptance. Opening the door and letting “it” in, whatever that may be.
Reptile Room creates a beautiful story about the acceptance of change. And, what a good reminder to all of us during this time of discomfort. Where everything seems to be changing every second of every day. The artists leave us with this.
“this is how we live now
This is how it feels now”
A brutally honest statement of truth. And to Reptile Room, thank you, for your humbling reminder.
Review: "What Could Possibly Go Wrong" Album by Dominic Fike
Check out our exclusive review of the “What Could Possibly Go Wrong" album by rap artist @DominicFike
Three nights at the motel
Under streetlights
In the city of palms
You hear that one chorus and you’re immediately brought back to all those nights you went out. You hear it at the pregame, then, when you’re driving to the bar you hear it again, then, you’re at the bar and you hear it again, and again. And again. You never got sick of it! “3 Nights” by Dominic Fike.
“3 Nights” is what put Fike on the map! It was ranked number 1 in the US, and went platinum in the US, the UK, and New Zealand. AND went double platinum in Canada, and 5x Platinum in Australia. Quite some success from just a hometown Naples boy.
Dominic Fike is so good at creating music that appeals to my generation of 20 some-year-olds. I think in a sense it feels like we grew up together. Why? Because he’s growing up too, and we’re all trying to figure this life stuff out together.
Dominic Fike, age 24, grew up in the great state of Florida. Where he started playing music from the ripe age of 10. His love for music and production grew, and grew, and GREW.
At age 17, Fike was put on house arrest, which later developed into some prison time. Luckily for him, during his time in house arrest he had plenty of time to focus on his music; a creative outlet. Well, that creative outlet turned out pretty amazingly for him. Because guess what happened with all of that music? It was released on SoundCloud, and labels fought tirelessly through a bidding war. The war ended with a $4 million signed deal to Columbia Records.
… and “3 Nights”? That’s the one! A single from his 2018 album: “Don’t Forget About Me, Demos”; that’s what put this young rapper on the map.
Now, fast forward to July 31st of 2020. Fike releases his second debut album titled “What Could Possibly Go Wrong”. A relatively introspective album exploring a lot of Fike’s anxieties and insecurities. Although, my favorite song is Track 7, “Chicken Tenders”. A song about the push and pull of a causal relationship.
“But, why do you love it???”, you ask. Because it’s formulaically a pop track. But it’s a pop song done really, really well! I love firstly, how quickly the song grabs you. It’s a song that starts with the chorus, and those are always really fun. You just feel like you’re thrown in the middle of the dance circle at Coachella. Additionally, but not limited to... it’s a song called CHICKEN TENDERS. That’s so fun! And what’s more relatable than chicken tenders?! Everybody loves chicken tenders!! Although in an interview with BBC, Fike clearly states that he “[prefers] chicken nuggets to tenders, that’s just a fact”.
Another reason I love this song is because one of my homies from high school did some engineering on the majority of the tracks from the album. So, big shout outs to Ryan Dulude. Keep representing Chapel Thrill.
Stream and Share “What Could Possibly Go Wrong” on Spotify
The Rumjacks Announce Their New Album "Hestia" Out March 12th, and Release "Sainted Millions" Single/Video
The Rumjacks have shared their new single/video, "Sainted Millions", the first to be taken from their newly announced album "Hestia", out on March 12th.
The Rumjacks have shared their new single/video, “Sainted Millions”. The track is the first to be taken from their newly announced album “Hestia”, out on March 12th.
A drunken chat between the living and the dead, ‘Sainted Millions’ is loud, fast and rousing fun. The intro was written to be reminiscent of a soldiers' song from wars of yesterday, all of whom lay resting. With imagery of fresh spirits carelessly walking through battlefields, mid-fight, as tracer rounds whistle by overhead, the sentiment is that there is peace once on the other side.
The military references arise from the writer's walk through an old New England cemetery – and some of the characters you'd chance upon in such a place. "Sleeping sainted millions, can you tell me what you know? Sing to me a song you wrote beneath your pile of stone." The dead's response: "I wouldn't trade it for another, and I would do it all again." The song is a celebration of life from the grave.
The fifth studio album from The Rumjacks, Hestia marks a new era for the band. The album introduces new lead singer Mike Rivkees, whose songwriting skills have rejuvenated the band’s collaborative spirit. Hestia takes the energy of traditional folk music, lights it on fire, and then sprinkles it with ash. Dark, gritty, and historically aware, this is music grounded in the character of the Rebel.
When writing Hestia (named after the Greek goddess of home and hearth), band members Mike Rivkees (vocals), Johnny McKelvey (bass), Gabe Whitbourne (guitar), Adam Kenny (bouzouki/mandolin), and Pietro Della Sala (drums) apply their diverse American, Australian, Italian, and Irish perspectives to create a new, globalised iteration of the Celtic punk legacy dating back to The Pogues, with punk, ska, and hard rock sounds pulsing through their veins.
The album was recorded under strict Covid-conditions in Milan, Italy where the band stayed and created the new album through August, September and October 2020. For twelve years, The Rumjacks have written songs that you cannot help but start singing by the second chorus, even if you have never heard them before. In this short career, they have released four acclaimed studio albums and two live albums that capture their most renowned asset: their electric energy onstage. That organic energy has garnered them a far-reaching fanbase.
The band’s breakthrough hit, ‘An Irish Pub Song’ (2011), a tongue-in-cheek jaunt about all the Irish pubs in the world, has over sixty-five million views on YouTube. The band now counts hundreds of thousands of fans in USA, Germany, France, Canada, UK, Italy, Poland, and Australia.
Watch “Sainted Millions” right now, stream it on your preferred music service, pre-order “Hestia”, and connect with The Rumjacks on their social media.
Interview: Greenville, SC Rap Artist Lex the Don Talks About His New Single "Elevator"
We connected with Greenville, SC based rap artist/founder/owner of TBT Entertainment @TBT_Ent for an exclusive interview to discuss his newly released single “Elevator”, and much more.
“That’s what I look for when it comes to beats I use. Can I realistically see this being on the radio, does it sound like a hit and most importantly to me...if I’m not instantly inspired to pick up a pen and paper to write right then and there when I first hear it or I don’t see the video in my head, I pass.”
Salute to you on your new track "Elevator"; it's very dope. How did you connect with JeeJuh Productions and what was your creative process for the song's development?
I have been working with JeeJuh Productions since around 2014/15. Their beats are always clean, radio ready and hit potential. JeeJuh is actually a conglomerate of individual producers so technically the track was produced by "The Legion" for JeeJuh Productions.
That's what I look for when it comes to beats I use. Can I realistically see this being on the radio, does it sound like a hit and most importantly to me..... if I'm not instantly inspired to pick up a pen and paper to write right then and there when I first hear it or I don't see the video in my head, I pass. If I can't visualize it, I don't touch it.
Will "Elevator" be a part of an upcoming EP or album? If so, what can tell us about it?
Yes it's the first release on the upcoming album "Tale of 2 Cities" which basically encompasses me being a native NYer now living in the south where my parents and sister are from and the influence the two worlds had on me and my music over the years, which you will hear throughout the album.
How would you describe the rap music scene in Greenville, SC? Are there a lot of venues to perform at and are locals supportive of talent in the city?
Honestly I don't think the city supports local talent the way it could and should. I mean you see a lot of what I call "Promoter Hustles" kind of stuff. Open mics and stuff. My time here I have honestly felt like Greenville doesn't really take advantage of being two hrs away from ATL which is sort of the nucleus of today's rap scene.
You have a lot of major concerts throughout the year but you never see any auditions for opening acts; it's kept under wraps for a chosen few. Whoever this one or that one wants to see make it rather than who has the best shot of putting SC on the map musically. It's like every DJ, every party promoter so-called has a record label and therefore some artist or homeboy that whether he has a realistic shot or not at appealing to anyone outside of his zip code the powers that be will force feed them to the market and insist he or she is the next big thing. Yet the same people that organized the concert and kept that quiet til somebody that no one has heard off outside of their zip has already been handpicked and thrown on the flyer will magically tag and dm everyone that ever attempted to rap in the state. Like I said "promoter's hustle".
Anyone that's been in the game for more than a year knows nobody goes to open mics or indie showcases anymore other than the artist that are performing and their entourages. There's no exposure to be gained from that. No visuals even. A video of you performing in a venue for a crowd that's a 10th of maximum capacity that only consists of people there to gain fans not become one, is not a come up for anyone but the people throwing the event and the venue.
Perfect example, I recently had a falling out with a DJ that use to be on FM radio with a real platform for independent artists that pretty much ignored my music and the fact that I was Source Magazine Unsigned Hype "Most Viewed Artist" back in 2015 and wasted the platform and exposure on artist that jocked him constantly even though most of them had terrible recordings crappy music in general and most didn't even have their music encoded or registered anywhere so whenever u would tune in, instead of your stereo display showing the artist and track name it would just say, "Track 1" instead. If that's not a waste of exposure I don't know what it.
Meanwhile, you have artists making dope music with dope beats, dope recording and they are actually BMI or ASCAP, Soundscan, SoundExchange registered which means they not only could've received royalties from BMI or ASCAP but could possibly chart if it places enough because it could be pitched to stations in other markets and had a better shot at being played elsewhere because their sister station played it. No such luck here though. So unfortunately I have seen most of the more talented shot worthy artists either move to Atlanta or just get discouraged and give up because they can't catch a break here. It's like that everywhere in South Carolina for the most part. I would say Charleston and the surrounding area is the only real exception.
Most cities and towns every 2 or 3 years or so some guy becomes the chosen one based more on the fact they were the only one pushed more than it being a people's choice situation. Can't really say someone was chosen if they were the only option presented. So for the next few years every party in every club in that town will keep having the same artist perform over and over and over and over till finally they fade to black and then another "promoters choice" act comes a long and whether they are good or not the promoters circle the wagons and swear this guy is the next to blow meanwhile no views on YouTube, no shows or movement outside of their town even with all the exposure opportunities being monopolized on their behalf.
Tell us about TBT Entertainment and what motivated you to develop it? Also, what are some of your goals with the company?
TBT was founded by myself and a couple of friends in college shortly after my dorm roommate and I secured a radio show on the school's radio station lineup. We then went after and secured a TV show which was a parody of the now defunct BET Rap City In Da Basement hosted by DJ Tigger. Not long after that since pretty much the whole crew with the exception of the girl was a rapper with some serious bars. We were all mostly from the 5 boroughs of NYC and eventually transferred.
We started going through a local hipster newspaper "The Village Voice" that would list auditions for showcases and other opportunities for artists in and around the city. After a bit of success with showcases and a lot of networking, I built my first studio in my bedroom at my parents house and started putting out mixtapes and selling them in the neighborhood and around the city.
It wasn't until I set my sights on the south and relocated to be closer to Atlanta that we started seeing some real advancement as far as getting closer to the goals we set and feeling more like an artist with a profitable music career rather than a starving artist. By then I had years of research as far as the top to bottom inner workings of the industry and how to navigate it and Atlanta was the perfect place because by then it was just as big in the rap industry as NY only with 10 times the opportunities for indie artists and 10 times better quality as far as the opportunities themselves.
There's janky promoters in every city where rap lives. The difference was that there were even more legit opportunities and they weren't hidden as much as NY or even here in South Carolina. The goal for the company is to get to the point where we are the new Maybach Music or Young Money or Rocafella etc but without having to sell out our ideals and beliefs and just making braindead rap to sell records. I rather work a 9 to 5 than do that. Nothing trumps being true to yourself. That's the first and most important step to being true to anyone else.
What would you say has been your biggest accomplishment as an artist thus far in your career?
I would say being The Source Unsigned Hype Most Viewed Artist back in 2015 was a start. After that was when I transitioned into being an opening act for major artists. The first was an outdoor concert in Charleston, opening for Boosie Badass when he first came home.
The second was for Trina in NY back in 2016 and last year returning home to do a show with Dej Loaf and Jay Critch at one of the biggest venues in NYC. It was like a homecoming for me. Coming back to where it all started for me life wise and musically.
I left NY trying to get my foot in the door in the south and came home years later on tour with a superstar on a very hot streak of hits. Every year my goal is to top the biggest accomplishment from the previous year. I'm on the right track I think considering I have a promo track with Boosie and another with Rick Ross that I will be dropping on Soundcloud and YouTube next month.
With 2020 winding down, what can we expect from you musically in 2021?
You can expect banger after banger after banger from me this year. Pedal to the floor all 2021. I have a ton of singles, videos, promo/throw away tracks lined up and an album scheduled to drop this summer.
Connect with Lex the Don: Twitter | Instagram | Facebook | Spotify
Review: "Alternate Realities" Album by Ultra_Eko
South London based rap artist @Ultra_Eko spits pure fire on the punk-infused hip-hop of his new album, "Alternate Realities”. Check out our in-depth review of the album now!
South London based rap artist Ultra_Eko spits pure fire on the punk-infused hip-hop of his new album, "Alternate Realities”. Lyrics rest front and center of the entire project for he creates pure poetry. Ultra_Eko's storytelling abilities are unparalleled with the arrangement running the gamut from gritty post-punk experimentation to buoyant disco grooves with elements of jazz framing the whole thing. Such an incredible range results in a fully realized work, one that explores a life lived to the absolute fullest.
Attention to detail means that these tracks absolutely radiate with a tremendous amount of color. The kaleidoscopic rush feels perfect for Ultra_Eko brings a whole slew of different approaches into the fray, resulting in a fully-fleshed out world where the characters are drawn so richly.
Ultra_Eko's storytelling has an intimate quality to it, drawing from Kendrick Lamar’s output. Akin to Kendrick, there is a strong sense of playfulness that comes thought over the entire album. The unique arrangements feature a keen ear for melody for he lets the tracks evolve at their own pace. With the hybrid quality of the sound recalls a bit of King Krule’s darkened hues and ability to effortlessly blend genres together into something entirely unexpected.
Rapid fire “The Second Chapter” opens the album off on a high note featuring carefully balanced verses that seem to cascade. “Keep Busy” taps into Sleaford Mods’ style with a nimble sparse groove speeding along as the biting lyricism rushes through. House beats drop on the defiant scope of “A Bloody Struggle”. Drenched in nostalgia is the playful groove of “Girl From Round The Way”, one of the highlights of the album, with ornate vignettes that filter into the fray.
Old school funk underlies the bubbly inviting rhythms of “Cash Money Moolah”. On “Where you at?” Ultra_Eko explores darker terrain. By far the centerpiece of the album comes from the joyous trip of “My Old Man” where his vocal delivery has just the right level of warmth. Nicely bringing the whole of the album to a tremendous close is the reflective finale of “Ashes To Ashes”.
The “Alternate Realities” album displays Ultra_Eko’s immense talent in crafting a universe that is completely and distinctly his own.
Stream and Share “Alternate Realities” on Spotify
RnB Pop Singer-Songwriter Roman Rouge Drops His New EP "Blood on the Scene"
El Paso, Texas based R&B pop singer-songwriter @RomanRouge has released his new six track EP entitled "Blood on the Scene". Listen to this DOPE project now.
Roman Rouge is a R&B pop singer-songwriter from El Paso, Texas. Born with music running through his veins, the musician was exposed to the industry from a young age and never looked back. Despite various struggles which he faced throughout his childhood, including his single mother trying to make ends meet, Roman took every obstacle in his stride, ultimately building his character and making him who he is today. Through every failure came strength and eventually the hardships paid off.
The passionate and driven artist now not afraid of anything that may come his way, is ready for the next step of his journey. Inspired by personal events and poignant moments in life, the singer confides, “The message in my music overall is always relatable, something you’ve been through can and always affect the decisions you make in the future. My songs are linked to each other, I like to convey a story and be as honest and forthcoming as I can”.
Influenced by the likes of Majid Jordan and The Weeknd, Roman is following a similar path to creating music bursting with personality, whilst encouraging others to be their most authentic selves. Roman reveals, “The main theme of my music is to be aware of why you are who you are, and how you can let your past experiences define you, learn from your mistakes, move on and be better”. Roman continues to deliver audiences with his unique and fresh combination of moody and sweet tones, emphasizing the contrast between light and dark.
Roman has just released his new project entitled "Blood on the Scene", a six track EP featuring a mix of specific situations and symbolism including fighting one's own personal demons, surviving toxic relationships and guilt of mistakes in the past.
Listen to “Blood On the Scene” right now and connect with Roman on his social media.
Toronto Rapper and Singer Ekelle Releases Her Eclectic New EP "Hood Pop"
After releasing three powerful singles over the summer, Toronto rapper and singer @OfficialEkelle drops her highly anticipated “Hood Pop” EP, produced exclusively by B.Morales.
After releasing three powerful singles over the summer, Toronto rapper and singer Ekelle drops her highly anticipated “Hood Pop” EP. Produced by B.Morales, this contemporary 5-song EP takes listeners on a smooth, musical journey.
“Hood Pop” combines elements of hip hop, pop, and R&B, it's popular music with a street edge! “Hood Pop” may sound like a funny name, but there's definitely a method to the madness.
"My musical style doesn't necessarily fit one genre so I had to create my own. I was concentrating on straight up rap when I first started out because I thought that was the thing to do. As I started to grow as an artist I wanted to express more of my own life story and the things that inspired my sound. The name Hood Pop came to me because I'm a fan of so many styles, but namely hip hop, pop and R&B so I thought this would be a good way to combine what I love" - Ekelle
Ekelle is no holds bar with her relatable lyrics. Candidly drawing on her experiences with heartbreak, happiness, race, and sexual orientation she definitely has an anthem for you.
Listeners can expect a range of sounds starting with Gimmie’s dance-rap excellence. Things get a bit more real on “Dropped”, and Why’s R&B vibes, and “LA (Lies)”, and “Broken” veer more to the modern hip hop side, seamlessly balancing the project.
Check out “Hood Pop” now, stream it on your preferred music service and connect with Ekelle on her website and social media.
Connect with Ekelle: Website | Twitter | Instagram | Facebook
Khruangbin Announce Late Night Tales Mix, Out December 4th, and Share Kool & The Gang Cover
In conjunction with the announcement of their involvement as curators for the @LateNightTales Mix, @Khruangbin share their horizontally brilliant cover of Kool & The Gang’s “Summer Madness”.
Late Night Tales is pleased to announce its latest installment to its long-running artist-curated mix series, this time curated by Khruangbin, the trio of Laura Lee Ochoa (bass), Mark Speer (guitar), and Donald “DJ” Johnson (drums). Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s “A Calf Born in Winter” in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. Most recently, they released Mordechai, “a nostalgic LP that explores human memory” (The New York Times). “Late Night Tales is such a special thing to be a part of, because we wouldn’t have made it if it wasn’t for Bonobo’s Late Night Tales,” says Khruangbin. “Because that’s how we got into the LNT family – and got a break.”
In conjunction with the announcement, Khruangbin share their horizontally brilliant cover of Kool & The Gang’s “Summer Madness,” exclusive to their mix, as is Late Night Tales tradition.
“‘Summer Madness’ became a staple in this medley that we play,” says Johnson. “Specifically, one of my favourite things about it is the tone of the bass, which really reminds me a lot of Laura Lee’s bass which has this chunky, peanut butter, rich tone. It was always a special moment, getting to that song because, it just did something to the room, everywhere.” Laura Lee continues: “‘Summer Madness’ was paying homage to Kool & The Gang, a band we aspire to be like and also we’ve played it a hundred times but never in full.”
With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco “Khushi,” produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute “Don’t Go,” a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with “Contigo” before hightailing back to Texas.
Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle, while the mix concludes with an exclusive, Khruangbin-produced spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s “Gnossienne.”
“We definitely wanted to cover as much global territory as possible,” says Khruangbin of their Late Night Tales mix. “So it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. Then these gems from across the world, showcasing them in the same way. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric. But what makes Houston is this constant international influence; that’s the gulf stream, bringing it right into the city.”
The Late Night Tales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Hot Chip, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.
Interview: The Chronicles of Manimal and Samara Discuss Their New Single/Video "The Descent"
Major thanks to Daphne and Andrea from @tcomasmusic who connected with DCWS for an exclusive interview to discuss their recently released single/video “The Descent”, and much more.
“Creating the video is for us a very important stage in the making of meaning in our music. The moving image really provides a suitable medium to consolidate and crystallise the message imbued in the music and lyrics.”
How did you two meet and decide to create music together? Also, what does the band's name, "The Chronicles of Manimal and Samara" represent?
We like to tell others that we met in a dark corner at The Worlds End (a pub in Camden Town, London) where Manimal became captivated when he found out that Samara’s favourite band was Slayer and that she loved both death metal and techno. We started making music together later, in early 2020, during the first London lockdown.
Andrea: The lockdown gave me the time and headspace to focus on making new music. I was determined to create a sound that could resonate throughout the wide spectrum of musical genres. In particular, I wanted to combine electronic music with rock, two genres of music that usually don’t share the same crowd. I wanted to create something that could bring people together, kind of like what Bob Marley did through his music and the message that came with it. During this period, I recorded quite a number of instrumental tracks. I wanted Samara to provide the vocals for all the new music I had recorded so I came up with an idea...
Daphne: Our first vocal recording session happened when Manimal asked me to improvise and recite some of my old poems over an instrumental track that he had composed. The magic happened once I started reading my poems out loud – the stanzas of my poem fit so snugly into music at the very first take. The structure of my poems and writings went perfectly with the musical arrangement of the song. This was when we realised that we had found our ‘sound’ and decided that we would make ‘the performance of words with music’ our thing. This recording was in fact, “Psychopath’s Monologue”, our second single.
We originally created ‘The Chronicles of Manimal and Samara’ as a manga comic series and developed the characters and the storyline, which was a tale of a schoolgirl who runs away into the jungle to escape from society and the modern world. “All grown up but alone in the wilderness, she discovers someone who would change the course of her life forever…” This story will be further elaborated in our 7th single, ‘TCOMAS s01 e01’ which we will be releasing on the 18th of December 18th – so do stay tuned.
We decided to adopt the names of these two weird and wonderful characters in our band name, and used our drawings of the two characters on the cover artwork of our debut single, ‘Atoms’. I guess you could say that “Samara” and “Manimal” represents our alter egos, or perhaps our musical doppelgangers...
Congratulations on the release of your new single/video "The Descent". What was your creative process for the development of the song, and was it self-produced?
Yes, it was self-produced, everything about TCOMAS that you hear, see or read is made by the both of us. Our collaborative process usually begins with Andrea composing and recording the music, which Daphne then casts into words.
Andrea: Before making the music, I usually begin by mentally visualising the topic or the story I want to convey. When this visualisation becomes clear in my mind, I pick the instruments and start to record it - translating this vision into music. For ‘The Descent’, I wanted to capture the essence of nature’s duality and for the music to convey a sense of the beauty and brutality of nature on a spectrum. Mother nature operates on her own timing which is not synchronised with the ways of civilisation, so when she decides it is time to strike, we don't expect it nor recognise the signs of imminent disaster immediately - this is the story behind the music of ‘The Descent’.
Daphne: I wanted the lyrics to really bring out the story that Andrea wanted to tell through the music. Nature does not have a voice, and hence she communicates with us through signs. For instance, she warns us that imminent natural disaster is about to strike by giving us signs which manifest in abnormalities in the tide, wind, and the way animals behave. So I decided that the best way to translate Andrea’s musical language was for the story to be told through the voice of Mother Nature herself, whereby she warns mankind of imminent natural disaster in the form of a monologue. Hence the lyrics had to be recited and chanted rather than sung. But I also wanted to go beyond placing brief interludes of spoken word over the instrumental composition. So I re-wrote two of my old poems to give the sound and structure of words a more regular and rhythmic pattern in order to set it in lyric-mode within the musical composition.
The music video for "The Descent" is incredible; was it difficult trying to decide which footage to include?
Thanks, We are glad you enjoyed it! It actually wasn’t that difficult to decide what footage to include. The main challenge was deciding how to tell the story and convey the message and meaning through the medium of moving images. We wanted our video for 'The Descent' to do two things. Firstly, it had to convey a sense of nature's transcendence and almost divine and numinous character. On the other hand, it also had to convince viewers of the realness of its powers of destruction.
For the first part, we felt the best method to capture the essence of the sublime in nature was to try to show the full extent of nature's beauty by contrasting imagery of nature’s grandiosity with her more quiet and patient nature. On one hand, we showed nature’s magnificence and grandiose side on a macro scale – blizzard sweeping across the jagged peaks of snow-capped mountains, the swell of waves crashing into rugged cliffs, the migration of whales across the great oceans. In contrast, we also wanted to show that beauty in nature can also be found by observing her quieter details and qualities – the germination of seeds, the resilience of the animals and living creatures large and small that we share this world with. We usually take these fleeting moments of beauty for granted, so we slowed down the speed of the footage to bring out the beauty in the small and slight detail in some scenes – the patient growth of plants, water running over moss covered rocks along a gentle creek, the satin sails of jellyfish moving through the current of the ocean's deepest trenches, the meticulous bumble bee collecting nectar, flower by flower...
As for the second aspect – we wanted to show the realness of the dangers and powers of destruction when nature chooses to strike. We decided the best way to do this was to play with the notion of time and ways of representation by juxtaposing digital and film footage, alternating historical news and documentary footage with contemporary stock videos. By contrasting footage of the past with the present, we felt that it would accentuate the authenticity of the powers of nature's destruction and the realness of a natural disaster happening and directly affecting our lives both in the present and in the future.
When someone listens to or watches "The Descent" for the first time, is there an overall message being conveyed through the visual and the lyrics?
Daphne: My interpretation of the music was that it gave me a sense of nature's transcendence and numinous beauty [and brutality] and her independence from civilisation, as in operating outside of our time. These are qualities that were almost abstract and otherworldly and beyond the scope of mere physical human experience. This is why I wanted the lyrics to give nature a human voice, a human psyche, and have her message told through a language that we can understand and relate to. So I decided that the song would be narrated through the voice of Mother Nature personified who warns us of imminent disaster through an ominous monologue, which she recites with both affection and stern admonition – almost like a love letter to humanity.
The lyrics are based on some old poems which I re-wrote for the song. One of these poems was in fact a poem I wrote back in 2004 right after the Indian Ocean earthquake and tsunami which started off in the west coast of northern Sumatra, very near to where I was. When it happened, it struck very close to home, so the sense of danger and relief at having narrowly averted the path of disaster was very real. The last line of the lyrics “climbing trees to have a glimpse of the world, crumbling nevertheless”, I wrote after watching a video on the news showing survivors of the Tsunami were stranded on tree tops in the aftermath of the Tsunami where a flood ensued. It is uncanny that something I had written years ago fit perfectly with the music and message of a song that Andrea wrote years later. It is perhaps synchronicity at work here!
As for the message conveyed in the visuals – in the second part of the video, we chose to use footage of volcano eruptions as it would evoke the latin saying “Igne natura renovatur integra” – ‘through fire, nature is reborn whole'. The story and message in “The Descent” continues in our next single, entitled “Love in the Time of Pestilence”, which we will be releasing on the 27th of November.
Creating the video is for us a very important stage in the making of meaning in our music. The moving image really provides a suitable medium to consolidate and crystallise the message imbued in the music and lyrics. That’s why we always create a video to accompany each song as we feel that it really completes the full picture.
Will "The Descent" be a part of an upcoming EP or album release next year? If so, what can you tell us about it?
Yes, “The Descent” and all the other singles that we released so far will be part of our debut album named “Full Spectrum”, which will be released sometime early next year.
The album comprises 11 tracks lasting over 67 minutes which we composed, wrote, and recorded between February and June 2020 during the first London lockdown. Each song takes upon itself to continue the meaning and message presented in the previous song. The record fluctuates between highs and lows, traverses dystopia and utopian worlds, and sweeps across the wide spectrum of musical experiences.
The concept behind the album is for it to take listeners through the full spectrum of life, love and human experience, balancing dark and grim reminders of human mortality with messages of hope and declarations of love.
While much of the musical content evokes a nihilistic and dystopian world, the album also offers triumphant moments of hope and individual agency, as well as moments of resilience and resistance. Likewise, much of the lyrical content bears stern messages to humanity, reminding us of the ugliness of man and the decrepit state of civilisation. But these grim messages also open up avenues for escaping beyond the harsh reality of the modern world – to a place whereby one can contemplate the transcendence and the numinous of our inner world.
Stream and Share “The Descent” on: Spotify | Soundcloud
Connect with The Chronicles of Manimal and Samara: Twitter | Facebook | Instagram
South London Rapper Ultra_Eko Releases His Second Album "Alternate Realities"
South London's own @Ultra_Eko just dropped his new album "Alternate Realities", a project boasting fifteen original tracks that is arguably his most expansive and ambitious record to date.
A new breed of artist at the centre of South London’s slow-burning cultural revolution, Ultra_Eko is arguably one of the most diverse and inventive independent talents around. With a penchant for contemporary hip-hop sounds, his style is brilliantly multi-faceted, blurring the lines between genres in a constant search for something new. His latest expansive offering comes in the form of “Alternative Realities”, a sharp and intoxicating new record that boasts an impressive fifteen-track run.
An enigmatic artist, Ultra_Eko’s past is a lavish blend of realism and fantasy, driving a refreshing narrative that perfectly complements his expansive style. Conceived during the great, but little-known Renaissance period that took hold of Croydon some years ago, Ultra_Eko first came to prominence as part of the unfortunately doomed ‘Croydon Space Exploration’ program, gaining acclaim as the formally appointed emissary and ambassador to the human race. His message was to be one peace and rampant consumerism, but sadly, after a series of allegations uncovered a foundation of corruption and scandal, the project was abandoned as quickly as it was imagined.
Lost in the politics and wreckage of the project, the world thought that Ultra_Eko has been destroyed, but instead, he had simply slipped into a transformative state, hidden away beneath the West Croydon train station. In the Spring of 2019 Ultra_Eko finally emerged, launching himself into the music world with a newfound purpose. By the end of 2020, Ultra_Eko has armed himself with an impressive musical arsenal, boasting a full EP and the release of his debut album, “Off the Grid”, and now he’s ready to add to that arsenal with the release of his sophomore album, “Alternative Realities”.
A titanic release boasting fifteen original tracks, “Alternative Realities” is arguably his most expansive and ambitious record to date, bringing to the fore a hard line of poetic verse, cosmic beats, and street truths. From the very first beats of album opener “The Second Chapter”, Ultra_Eko lays down the gauntlet, delivering a deft tapestry of new age sound and old school values. A swirling, shifting mass of deep house vibes, indie sounds, and dark hip-hop style, there’s magic in every second of the release, ensuring that it’ll become one of the best independent releases of 2020.
Highlights abound in singles such as “A Bloody Struggle”, “WTF Wifi Wifey”, and the undeniable “Always on My Mind”, Ultra_Eko’s new album sets a standard that few artists will be able to live up to. An artful balancing act between complex truths, hard-hitting anthems, and pure, indulgent entertainment, “Alternative Realities” is pure, unadulterated magic.
Listen to the new album below and be sure to follow Ultra_Eko on Spotify, Soundcloud and his social media so you never miss a release. Also, be on the lookout for our in-depth review of the album coming soon!
Connect with Ultra_Eko: Instagram | Twitter | Soundcloud | Spotify
Review: “Featuring Ty Dolla $ign” Album by Ty Dolla $ign
@tydollasign is among names such as Drake and Lil Wayne when it comes to being able to make any track better once your vocals touch it. He's been on so many albums it’s impossible to keep count. That’s why it was only fitting that his album was titled “Featuring Ty Dolla $ign”.
Ty Dolla $ign is a generational talent. He’s among names such as Drake and Lil Wayne when it comes to being able to make any track better once your vocals touch it. He's been on so many albums it’s impossible to keep count. That’s why it was only fitting that his album was titled “Featuring Ty Dolla $ign”.
I am an avid listener of the Joe Budden Podcast. Joe, Mal, Rory and Parks have spent a lot of time over the past year excited for a new Ty project. Joe specifically has spoken about wanting to hear more music from Ty similar to his “Free TC” mixtape from 2015. For people who shared Joe’s sentiment, this album may not be what they were looking for. (Joe actually came on the podcast and said he hated this album.)
I personally enjoyed this album because I had no specific expectations coming in aside from dope music. The way I would describe it is it seems like Ty called in every industry favor he’d been owed over the last 5 years and used them for this album. The project features over 20 different artists ranging from lyricists such as Big Sean and Kanye, to wavy rappers like Roddy Rich, Quavo and Young Thug, to singers like 6LACK, Jhené Aiko and Kehlani.
With 25 tracks and tons of features, the album almost certainly has at least one or two tracks for everybody. You could throw this project on at a party/kickback, put it on shuffle and I don’t think anyone would be disappointed.
The reason I can understand someone not loving this project is because it feels more like a playlist/mixtape rather than an album. Albums typically are concise and focused on a particular theme and sound. Also, with albums, the main artist is typically the person you hear the majority of the time. This project essentially has every sound and every artist on it. It feels less like a Ty Dolla $ign album and more like one of DJ Khaled’s summer compilation projects like “Major Key” or “Father of Asahd”.
For what the project is, it’s really good. Ty makes good music and is great at deciding who would sound good on what track. There aren't many, if any, bad songs on the album. Even the more experimental, EDM type track “Ego Death” performs well in the right environment. If Ty’s goal on this project was to try and place himself in the conversation of most versatile artist out right now, I feel like he succeeded.
For me, my absolute favorite track on the album is “Track 6” which features Anderson .Paak, Kanye West and Thundercat. Maybe it’s because I’m such a .Paak stan, but I think that song is the main standout, Aside from that, I also enjoyed “By Yourself” featuring Jhene and Mustard as well as “Lift Me Up” featuring Future and Young Thug.
Ty displays his typical brand of smooth and wavy singing throughout the entire project while also reminding us of his ability to pick features, structure a project and choose dope production. Even if this wasn’t necessarily what you were expecting from the album, I feel it’s still incredibly enjoyable and replayable. Although I will say I’m interested to see if Ty ever does drop another album similar to “Free TC”.
Stream and Share “Featuring Ty Dolla $ign” on: Spotify | Apple Music
Check Out the Official Trailer For "A White Boy From Crenshaw" Documentary
Executive produced by Kurt "Big Boy" Alexander, A White Boy from Crenshaw is the story of infamous LA Hip Hop impresario Paul DJP Stewart, who revolutionized West Coast Rap with an unprecedented string of hits. Watch the official trailer now.
Executive produced by Kurt "Big Boy" Alexander, A White Boy from Crenshaw is the story of infamous LA Hip Hop impresario Paul DJP Stewart, who revolutionized West Coast Rap with an unprecedented string of hits.
Stewart's knack for promoting fresh talent was evident from his early beginnings as a street team archeologist and by the time he had discovered iconic LA artists Pharcyde, Coolio, Warren G & House Of Pain, the industry had come to know him as a man with the golden touch.
A chance meeting with legendary filmmaker John Singleton led to a deeply influential career in music supervision, beginning with "Poetic Justice" and resulting in 50+ Films/TV shows including Barbershop, Hustle & Flow, 4 Brothers, Fast & Furious 2 and TV shows Insecure & Snowfall.
This gritty microdoc takes you through Paul's life, growing up in an all black neighborhood in Crenshaw and through all the trials and tribulations of his incredible career.
Connect with Paul DJP Stewart: Instagram
Alt-Pop Artist Kat Saul Releases Her Sophomore EP "Made In The 90s"
Nashville-born, Los Angeles-based Alt-pop darling @katsaulmusic has released her sophomore EP, ‘made in the 90s.’ Listen to the EP now.
Alt-pop darling Kat Saul has released her sophomore EP, ‘made in the 90s.’ The 5-track EP includes previously released singles, “I Love To Hate You,” “Monsters,“ and “Alright,” as well as two brand new tracks, “X2” and “Cloud 9.”
‘made in the 90s’ is a coming of age record that celebrates how the past has made Kat Saul the woman and artist she is today. Saul captures the good, the bad, and the ugly of the human experience. She confronts her own mental health struggles on songs like “Monsters” and “Cloud 9,” works through heartbreak on “I Love To Hate You,” learns to let go on “X2,” and faces the fear of the unknown on “Alright.” Musically, ‘made in the 90s’ exists in a world unrestricted by genre, expectations, and trends. Saul seamlessly combines electro-pop melodies with 90s alt-rock instrumentals, creating a record that manages to feel both fresh and nostalgic.
“‘made in the 90s’ is me reflecting on who I am and what I’ve been through as I transition into adult life so that I can process how the past has made me who I am...because that’s what art is right?,” Kat writes. “It was written over several years, in several different stages of life, and in several different cities. I live to perform and I write to get through the chaos of being human. I was made in the 90s, and this is what that sounds like to me.”
Nashville-born, Los Angeles-based Kat Saul creates the kind of music that makes you want to dance, head-bang, and cry — sometimes all at once. The 23-year-old pop singer-songwriter has always thrived in her own paradox. She was a high school cheerleader who played guitar in a rock band; she listened to Top 40 radio hits and early aughts rock records; she blasted Katy Perry records in her babysitter’s car and attended pop-punk concerts at her local skate park.
‘made in the 90s’ is Saul’s second EP, following in the footsteps of her 2019 breakout record, '…From Unit 408.' Her quickly rising star as both a songwriter and artist has led to collaborations with industry heavyweights like John Rausch (Taylor Swift, P!nk) & Evren Göknar (The Killers, Snoop Dogg & John Lennon), and Prince Fox (Hailee Steinfeld, Quinn XCII) and gigs opening for RKCB and Great Good Fine OK.
Listen to “Made in the 90s” now, stream it on your preferred music service and connect with Kat Saul on her social media.
Bandzoogle Launches New Pay-What-You-Want Fan Subscription Model
Musician web services provider @Bandzoogle announces the launch of their new pay-what-you-want pricing option for their fan subscriptions feature.
As musicians look for ways to engage their fans and earn a living beyond the traditional touring model, musician web services provider Bandzoogle continues to expand their direct-to-fan offerings accordingly. The platform’s most recent development sees an important update to their popular fan subscriptions feature as the company implements a pay-what-you-want option alongside standard pricing tiers.
In addition to offering set premiums per month, artists can offer specific rewards to listeners who make recurring payments at a price they choose, opening up support options to an even broader base.
Since its 2019 launch, the fan subscription feature has been one of Bandzoogle’s most popular commission-free offerings. Some artists have cited it as their main reason for joining the platform. “It’s recurring income for the musician and new, fresh content for superfans,” explains Communications Manager Melanie Kealey. And, as in-person performances remain largely impossible, it has become even more crucial for artists to find creative ways to maintain connections with the audiences who keep them afloat. “Since the pandemic started, a lot of musicians are at home,” Kealey continues. “They’re able to create more content, hosting Q&A sessions or virtual concerts at home.” Many artists also offer merch or special access to their recording catalogs as part of their subscription tiers.
This pay-what-you-want subscription feature is the latest in Bandzoogle’s long history of flexible payment options. “We added pay-what-you-want music sales in 2007, so that’s been a part of our e-commerce platform for a long time,” says CEO Stacey Bedford. More recently, Bandzoogle has rolled out a Tip Jar feature that allows fans to donate directly on Bandzoogle artist websites, an initiative that has been wildly successful and netted over $200,000 for artists across the platform. An average tip of over $42 shows that, given the option to set their own price, fans are often willing to pay more than what artists charge. “The problem with earning viable revenue is not the value to the fans,” Bedford continues. “This model is about allowing your community to support you as an artist directly.”
For Bandzoogle, those direct connections between fans and artists are at the foundation of every move they make. Their constantly-evolving, commission-free toolkit for musicians is one based on the immediate needs of their clients looking to cultivate an ongoing online presence. With the help of Bandzoogle, artists can diversify revenue streams while democratizing fan support options no matter the circumstances.
Review: "JP4" Album by Junglepussy
@Junglepussy just released her “JP4” album, and she’s as wild as ever. Her talent hasn’t dwindled at all since her last album, “JP3”. The 28 year old blends alt-rock, rap and new sounds in an empowering way that we haven’t heard before.
Junglepussy just released her “JP4” album, and she’s as wild as ever. Her talent hasn’t dwindled at all since her last album, “JP3”. The 28 year old blends alt-rock, rap and new sounds in an empowering way that we haven’t heard before.
The intro track, “Bad News”, an a newly emo take on Junglepussy with emo guitar and echoey effects. Think less bravado, and more a late night noir film with some ominous vibes. She’s making her sound more diverse, as artists like Princess Nokia have been doing with more experimental sounds that stretch the definition of hip hop. Men have been playing with sound for decades - why are girls boxed into corny lyrics and the male gaze? Track 6, “Spider” is another vintage-sounding, slowed down track perfect for late night vibes.
“Main attraction” lightens things up with some high hats and her a syrupy melody sung by Junglepussy. It’s almost like an alter ego to the last track, but her sugary delivery is permeated with her edgier rap voice. In the chorus of “Main Attraction”, we hear the rapper dreaming about a low-key bae who likes classy whiskey drink, and has antisocial tendencies: ‘I want somebody who don't like nobody (‘Body)/I want somebody who don't like to party (Party)/Sit in the crib and sip a hot toddy (Toddy)”
She brings out her less vulnerable side in the verses but still years for someone who’s “not a social butterfly” amidst a sea of lying, untrustworthy dudes. She just wants someone to do cozy thing and home with, and to be honest, ever since COVID, it seems like that’s all we can do anyway.
“Telepathy” has another equally weird background that feels like a Santigold meets N.E.R.D production with slicing words about the many fantasies in her complex mind with sexy, cocky lines like “I'm my own snack, why you brought me to the store?/You wanna buy me what it is you think I want/He purchasin' the sun, the moon, the stars”.
“Morning Rock” is the feminist wake n; bake anthem we never knew we needed. Setting our alarm clock to this song ASAP. As the playful refrain goes “Morning rock/ I roll the chef” she puts basic dudes on blast with statements like “Why I gotta smile so you comfy?/I gotta hate me for you to love me/I gotta teach you how to treat me/I gotta keep sellin' the fantasy” and “What a waste of this hairdo, six hours at the salon to impress you.”
She acknowledges that she needs to sell a fantasy that’s not the real her in order to succeed, but urges her fellow queens to be happy with themselves and the place they’re in, leaving us with a philosophical line that sticks in our memory. “Tellin' all stores the grass ain't greener on they side, nah/Whoever said that was high off the pesticides, bruh/Look at my lawn, bask in all the colors 'round here.”
“Arugula” transports us to deep Brooklyn in a Spike Lee scene with that drunken delivery against an equally slurry saxophone backbeat, but “Stamina” ft Gangsta Boo is still the highlight of the album for us, starting out with a beat that sounds like a tango.
The lyrics might be filled with sexually explicit spice, that’s more what we hear from the mainstream, but how could she not with a feature from the OG Gangsta Boo (the only female of Three-6-Mafia)? It’s about both being an outcast, but still embracing your sexuality as you desire.
Though each female rapper in the game is slaying their respective journey, “Stamina” is a quiet reminder that Junglepussy was here before Megan Thee Stallion, and Gangsta Boo was there before both of them.
It’s a way of letting us know that freakiness and embracing your sexuality has always been present in female rap, but these three multigenerational queens are here to remind you that their brand is definitely not for the male gaze.