Review: "Just Before Dawn: 2nd Wave" Album by Ezza of Choom Gang
Previously, we got to know Canadian artist @Ezza905 on his project “Pilot Boy” and in 2021, he’s starting the year off with his new project, dubbed “Just Before Dawn: 2nd Wave”. Check out our in-depth review of this DOPE album now.
Previously, we got to know Canadian artist Ezza of Choom Gang on his project “Pilot Boy” and in 2021, he’s starting the year off with his new project, dubbed “Just Before Dawn: 2nd Wave”. The album starts off with a dreamy, and fragmented beat on its intro track, and is titled “Vibes Are Us”. This song carries a Jack Harlow style drawl and features a collaboration with Light Spectrum and Ill Table Manners.
It’s the ultimate track to pair with an after-work blaze sesh or a wake n’ bake session when you’re looking to fade your troubles away. This relaxing song is meant to chill you out, or as this track puts it, “I believe we could loosen it up/ I don’t know if Metamucil enough, though.”
“Fate” wakes up the album a little more, coming at the haters with a slightly harder beat as he dictates: “It’s all love/we gettin’ rid of that hate/it’s time to come together and control our own fate.”
This is a message we could all do with mid-pandemic - take control of your life and brush out the haters. Ezza also professes his love for cannabis in these lines, with a stoner-friendly twist on the usual allusions to drank: “sippin’ weed drank/ but it feel like champagne/we the champions/ I ain’t talkin’ a brand name.”
“Interdimensional” has an addictive chanting backbone to it as Ezza makes allusions to new and undiscovered dimensions to his intergalactic production and lyrics. As he finesses his way around Jasmine and Aladdin wordplay, Ezza’s magic carpet takes us to new heights, exploring around his hometown and paying homage to Canadian locales with “about to buy a home in Muskoka/then hit up Etobicoke/only a forward motion that I’m rollin.” It’s one of our favorite tracks on this work, with a fire stoked by aspirational hustle and hometown inspiration.
“Spiritual Warfare” clarifies that “this ain’t some street sh*it/this is spiritual warfare/I believe it.” In this song that reminds us of Big Sean’s “Harder Than My Demons”, Ezza shares his story on fighting the negative vibes and rising above to be better. During a pandemic, this is advice we could all benefit from following. Other lessons in the track? “Never front/cause that’s just what they want/they want you to be successful long as you are what you’re not/but remember who you are/cause it’s never too far/you a god in the flesh let me remind y’all.”
It’s an anthem for the underdogs promoting self love, which we don’t see too much of in the rap game - especially from men. “Heal My Soul”, the clincher on this album, follows suit with the same philosophy. Last year was a tough one, and Ezza’s work is an introspective reflection of that. Here’s to 2021 being filled with less demons, more healing, and a whole lot of self-acceptance.
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Review: "Mediator" EP by Mediator
Mediator presents a pristine piece of dance pop perfection on his joyful self-titled debut. A wide slew of influences come into the mix, from elements of folktronica to video game soundtracks to dirty electro grooves. Check out our in-depth review of "Mediator" now.
Mediator presents a pristine piece of dance pop perfection on his joyful self-titled debut. A wide slew of influences come into the mix, from elements of folktronica to video game soundtracks to dirty electro grooves. With this eclectic approach, Mediator incorporates so much color into the atmosphere in a way that becomes so beautiful to behold. The narrative that begins to come into focus over the course of the journey has a magnificence to it as there is a heft to the way they balance the many layers of sound onto each other, resulting in an almost psychedelic quality at times.
Nods to groups like the indie pop darlings the Postal Service appear throughout the whole of the EP’s duration. Mediator’s thoughtfulness regarding arrangements further has an inspired clarity to it. Elements of Four Tet’s unique soundscapes and designs further add to the allure of the approach for it has a sun-drenched optimism about it. Beyond this, the low-slung grooves that adorn many of the pieces draw from Brainfeeder Records’ unique hybrid style, for pieces of jazz and hip-hop are cleverly referenced within the entirety of the collection.
The opener “Penumbra”, featuring Moon Mouse, has a mysterious aura to it, right from the glow of the organ setting the tone. Upon that open, the glitched-up effects and toy box melody add to the lovely, tender spirit. Vocals further infuse life into the space. Peppy beats underpin the whole of the bouncing scope of “Loki” complete with some rather delicate string sweeps that further flesh the sound out.
With the deliberate pacing of “Galileo”, featuring Tribbs, there is a kindness to her lullaby-like cadence, as the piece floats on by in a lush yearning hue. Going for a playful disposition is the sprawling rhythms of “Something for the Journey” which features a nice driving tempo behind it. Pure ambient bliss reign supreme on the delicate “Digital Parasites”.
A disorienting experience defines the poetry of “Cyma” featuring Tribbs, as a certain trance pop effect is explored in full. By far the highlight of the album comes with the colossal finale of “Umbra” featuring Moon Mouse. Everything here works from the acid-tinge of the synthesizer to the dub-inflections of the bass.
On his self-titled effort, Mediator delivers a sound that feels absolutely timeless and touching.
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Review: "Autumn Ruminations", "Fool", Yeti Demos II", and "Love to Give" EPs by Cooper Chasse
Check out our in-depth reviews of Cooper Chasse's newly released EPs, "Autumn Ruminations", "Fool", Yeti Demos II", and "Love to Give", which complete his Quarantine Demos collection.
“Autumn Ruminations” offers a looking-back beauty, proving Cooper Chasse to be an exceptional storyteller. Neatly summarizing the state of the world without directly alluding to it, the collection is aptly named for there is an autumnal beauty about it. With these songs focused on a sort of reflective stance, the pieces unfurl at their own pace. Here he employs a slower, more delicate approach with the guitar as everything has a hushed awe about it. Lyrics feature small moments that make up a life from standing out in the street to watch the fourth of July to the way that one gets inside their own head, trying to dissect what just happened to them.
The reference point here is one from a bit of a while ago, specifically Red House Painters’ “Down Colorful Hill”. Like that release, there is a hint of thoughtfulness behind it. Gestures here are kept to the essentials and volume is not a must, for these are songs that are perfect for listening to after a long hard day and simply wanting to fully get away. Cooper’s voice here has an unvarnished tenderness to it, for the lyrics have a sense of poetry to them.
On “Tonight” the collection begins with a hushed awe to it. Cooper sings it earnestly and honestly for the lyrics touch the very soul. By far the very core of the whole collection comes from the angelic “Autumn Ruminations I & II”. Letting things sprawl out a bit, he manages to explore a certain sense of wonder.
Relationships here rest in the very heart of the matter, as Cooper’s expressiveness and the carefully considered flourishes have a sense of serenity to them. Guitar work in particular has a gorgeous touch to it, for the pacing proves to be pitch-perfect. Careful elements come together on the balance of “Autumn Rumination III”. Here Cooper references the zeitgeist indirectly, allowing for large bursts of colors that feels outright vibrant. The song unfurls at its own pace as there is a sense of community that comes into view.
Cooper Chasse carves out a gorgeous spry little series of vignettes on the lovely “Autumn Ruminations”.
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Cooper Chasse shows the power of minimalism on the bountiful “Fool”. Experimentation occurs in the smallest of ways, from the tuning of the guitar to the way he lets the sound build up. There is an adventurous spirit that guides the entirety of the collection while he utilizes every single resource at his disposal while keeping things so clean. Within such a pared-down set, he manages to cover quite a bit of terrain. A careful storyteller he lets these narratives grow and elaborates upon the many details, with every verse weighted for maximum impact. Here he takes a few risks with the pace, with the tempo, and with the texture of the guitar chords themselves resulting in a series of unexpectedly joyous twists.
In terms of its ambition, Cooper Chasse’s work recalls a bit of the Microphones in terms of its unusual approach. Like the Microphones, he allows a series of hypnotic little elements to grow and build themselves into outright bursts of color. Beyond this, his close, powerful voice does feel a bit reminiscent of early Mountain Goats at their absolute best and most raw. There is a grit here behind what he does, even as his voice tries to remain strong. A sense of vulnerability works absolute wonders for the way the sound unfurls gives it a small sense of majesty.
A fragile introduction opens the collection strong with the passionate “Idol”. Little moments are celebrated in full on the tenderness of “Sometimes”. Small traces of true longing come through over the course of “Sometimes”. A surprisingly brisk pace gives “Frida” a loving, tender tone as he lets his hair down just a little bit, as the guitar work flutters on by. Going in the opposite direction “A Creature Well Lived” has a dreamy cadence to it all for it swirls about in a fantastic haze, making it easily the highlight of the entire journey. Bringing it all home in the delicacy of “Fool” which ends things with such power.
“Fool” presents a rather thoughtful tenor, one that highlights Cooper Chasse’s uncanny ability to find serenity in the still air.
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Cooper Chasse offers up a fiery, passionate performance on the lo-fi intimacy of “Yeti Demos II”. Vocals here have an intense, clear-eyed focus to them recalling elements of the blues that filter into the fray. By keeping things fully felt there is an urgency that helps to tie the whole of the collection together. His guitar playing has a fierceness to it for the chords sing up into the sky with a sense of true catharsis. Within the entirety of the collection Cooper pours out his very heart and soul, making the journey one that feels so vivid.
Over the course of the collection one particular source of inspiration rings true, specifically that of Elliott Smith’s “Roman Candle”. Cooper channels Elliott’s spirit in a number of ways, from the raw sense of place that the pieces pervade to the way the songs have a quiet fury about them. At any moment, the tension feels like it could practically explode. Yet, like “Roman Candle” Cooper keeps things calm, cool, and collected, while teasing the possibility of an outburst to lend the entirety of the trip a sense of purpose.
Things start off on a spirited note with the gracious guitar licks of “Breathe” where there is a certain cathartic presence about the entire thing. His voice has a commanding presence to them, with his lyrics cutting right down to the very bone. Vulnerability reigns supreme for the word choice revels in the outpouring of his very soul, as he explores longing in full. Gentle in tone “Follow” has a playful quality to it, as the pastoral beauty of the track lets in so much springtime sun. Going for a contemplate tact, “Keep On” features some rather lush guitar work, as there’s a sense of hope and purpose that runs through the whole thing. By far though the highlight comes with the fantastic finale “Lessons”. Here he appears to touch upon some sort of classic folk magic as there’s an affectionate quality to the way it all unfurls.
“Yeti Demos II” shows off the undeniable deft skill of Cooper Chasse in exploring a world that feels truly and fully lived in.
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A stripped-down soulful piece, Cooper Chasse explores an intimate spirit with “Love to Give”. The pathos with which he plays the guitar grants it a tremendous undeniable power. Every gesture fully considered; the way the thing sings alongside him feels outright magical. By far though the true heart of the entire sound comes from the expressiveness of his voice. He conveys whole lifetimes within these pieces each one of which has its own narrative. With a literary flair to it all his careful character studies have a poignancy to them. Vast space proves to be an important ally within the sound as he ensures that the whole collection has a sense of place behind it.
Cooper Chasse has a sense of purpose that drives these pieces forward. Not in any sort of pounding drums sort of way, it is rather more of a vision. His cadence and delicate work recall the poetic beauty of Nick Drake for the songs have such depth despite their minimal origins. Within this, his sound has a bluesy quality to it for he pours his entirety into these tracks. Guitar work recalls a bit of John Fahey’s careful ragas, as the gestures matter when they are taken in as a singular whole.
“Morning Song” opens things up with a bit of early sunlight entering into the sound. There is a meditative quality that comes from it as he reflects upon all those he’s met and those he has yet to meet. Passionate to its core “To Have” has an intense romanticism to it, as the song takes its time in evolving ever so gingerly. Pastoral imagery is at play on the outright pretty “To Hold”. Vocals work wonders on the spaciousness of the title track “Love to Give” by far the highlight of the collection, as the song feels drenched in light. Delicate phrasing adds to the hushed reverence of “Stay”. Quite lovely, the soulful “One” neatly ties together all that came before it.
Reflective and outright stunning in its simplicity, Cooper Chasse proves to be an important addition to the singer-songwriter tradition with “Love to Give”.
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Review: "Winterlude" EP by Weapon
Check out our in-depth review of “Winterlude”, the brand new EP by Boston based rap duo Weapon.
Boston based rap duo Weapon (Fantasy & DFizz45) proves to have an incredible range on the powerful and soulful flows of their new EP “Winterlude”. The songs run the gamut from stripped-down bare bones minimalism to careening groove full of such confidence. Their vocals have a great strength to them with lyrics that opt for the poetic and there is a realism to each verse, giving the whole of the audio trip a majestic sense of grandeur. The production here has a flawless quality to them for each track has a polished perfection to it with grooves that hit hard. Emotionally Weapon runs the range from pure swagger to confessional odes.
References abound throughout the whole of the collection. The dreamy jazz-like hit of the grooves reflect upon the similar vulnerability of Tyler, The Creator’s most recent works. With the flipside, there is a sense of the thoughtfulness of Kendrick Lamar in terms of how confessional the verses become, as they are offered completely unvarnished.
Production at times draws a bit from Mac Demarco’s woozy, warped rhythms. On the yearning side of things, the tracks where everything is washed in a fine yellowed yearning nostalgic glow, Weapon brings out elements of Boards of Canada’s experiments with hip-hop.
“Fire” introduces the collection and lives up to its name. Featuring some outright splendid hard-hitting basslines, the track spirals out wildly in a way that feels quite magnificent. A completely different tact emerges on the spaciousness of “Slow Down” where Weapon explores a nighttime noir atmosphere. Elegance radiates throughout the entirety of “2Hr Drive” which features some impeccable grooves that have a soulful, jazzy cadence.
Pure intensity rushes through on the energetic flows of “Who to Blame”. Such clear-eyed focus emerges throughout the piece as the delivery has a wild, freewheeling presence to it. Easily the highlight of the EP comes from the powerful closer of “No Love”. Warped guitar work comes alongside delicate keyboard melodies, as Weapon’s deliveries have a starkness to it, with the words hitting with a profound quality.
Lives lived to the absolute fullest and explored in vivid detail, Weapon’s Fantasy and DFizz45 go straight for the heart on the tenderness of the “Winterlude” EP.
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Review: "Endangerment" Album by T.E.E
With “Endangerment”, rather than braggadocio or descriptions of drip that have been overwhelming rap, Goldsboro, NC based artist @THAONLYTEE is here to bring us a more relatable album for the everyman, while still pushing us to do better.
Rather than braggadocio or descriptions of drip that have been overwhelming rap, Goldsboro, North Carolina based artist T.E.E is here to bring us a more relatable album for the everyman, while still pushing us to do better. A lot of us have found ourselves in a pandemic-related slump, and this motivational, ambition-peddling work entitled “Endangerment”, is exactly what we need to hear.
The first track “Get It” is a cold and ruthless reminder to get back on that hustle. The beat is delightfully minimal but hard-hitting, reminiscent of a drill beat. This rapper’s unique delivery and vocal timbre piqued our interest. Whether this is a reminder for you to get up and get to it or the soundtrack to your workout, this track is versatile and has a timeless feel.
T.E.E references his inspirations as Meek Mill and Rick Ross, and while that’s immediately evident from his songs, it doesn’t feel overly derivative. His tracks are aspirational, also dedicated to his thoughts and surroundings. There’s a sense of self-awareness that intrigues us.
“Worth” is another standout that starts with a brightly tinkling piano. “Worth” showcases T.E.E’s lyrical talents, as he reminds his competition that his lyrical lessons don’t come for free: “Show ‘em how to do verses well, but I have to tax ‘em.” Still, he’s not above sharing his mental health struggles, which we’ve all inevitably dealt with recently, “My depression got me stressin’, existential drip.”
“Self Made” ups the tempo and pushes the competition to the side with the help of artists GenWorld and Jhony Allen West the Sketch. With energy, the chorus delivers: “Get out my face/get out my way/get off my case/or run this fade/y’all n*ggas made that I’m self made.” Targeting sellouts and those who climb the networking ladder, T.E.E is clearly focused on his own journey, and getting there on his own terms.
“Music Junkies” on the other hand is an homage to the artist’s authentic and genuine passion for music over clout. T.E.E also produces beats along with his raps, and for him, music always comes first. With “I’m a music junkie/I don’t f*ck with y’all/with the tools on me/I be dropping these bombs,” he flexes his production and the behind-the-scene process that many rappers aren’t a part of.
T.E.E is about the anatomy of a song, not just getting the glory for delivering it.
“We’ll Be Right Back” featuring 2FLY KING departs from the Meek-style delivery and slows it down to a lazy, old school (and beautifully mixed) beat, giving us a chance to catch up with this fiery artist. This fluid track goes down like honey and is definitely a DCWS favorite.
Authenticity is something the industry has been lacking for a while, and it’s soul-fulfilling to see that independent rappers like T.E.E are still pushing the envelope, and hungry for their next chapter.
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Review: "Into The Multiverse (The Subsequel Mixes)" Album by Ultra_eko
The “Into The Multiverse (The Subsequel Mixes)” album proves South London rapper Ultra_eko to be an exceptional explorer of sound sculpting, with stories that linger in the mind. Check out our review of this album now.
Ultra_eko goes into a wonderful, woozy approach on the lush arrangements of “Into The Multiverse (The Subsequel Mixes)”. Within this singular album of Subsequel remixes, Ultra_eko takes a different tact, for the stylistic variation results in some wonderful left field experiments.
Hip-hop still remains the main attraction, but Ultra_eko’s usage of downtempo, jazz, trap, tech house, and more offers a rather creative take on the originals. His vocals still rest prominently in the center of each track yet the way that the pieces unfurl has a lot more unexpected elements about it, for the fantastic twists and turns add to the emotional resonance of the collection.
There is a multi-hybrid quality to the pieces, at times touching upon the polyphonic glee of Underworld’s early output. Akin to their early stuff, Ultra_eko is not afraid to lean into some rather unusual takes with hip-hop’s roots, resulting in moments that are true bliss to observe. Beyond this, Ultra_eko also fits in with a wide array of his contemporaries who refuse to make something simple, as they fuse up elements of jazz, funk, and rap in ways perhaps best observed on labels like Stones Throw and Brainfeeder Records.
Clever glitch aesthetics rest at the very heart of “The Second Chapter” where Subsequel has fun messing with the groove in elastic, ecstatic ways. Tempos are stretched into a low-slung roll with “Keep Busy”. Pieces of dance rock filter into the fray on the swagger of “Cash Money Moolah”. Elements of Neon Indian’s fondness for 80s synth pop comes to the forefront on the lush chords of “Pingu”.
Giddy energy bursts forth on the sly funk of “Girl From Round The Way”, as the song gets sped up in a joyful way. Dub effects add to the heavy cadence of “Yellow” while the song has a kaleidoscopic spirit where the focus keeps changing up. Pure togetherness races forward on the celebratory “Where You At?”. Ending things on a classy, classic hit is the drum n’bass hyperactivity of “Ashes To Ashes”.
The “Into The Multiverse (The Subsequel Mixes)” album proves Ultra_eko to be an exceptional explorer of sound sculpting, with stories that linger in the mind.
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Review: "Crazy Child" Album by Jordan Ziskin
An emotionally raw piece of work, Brooklyn based Jordan Ziskin is a deft singer-songwriter on the captivating “Crazy Child” album. Check out our in-depth review of Jordan’s soon to be released album now.
An emotionally raw piece of work, Brooklyn based Jordan Ziskin is a deft singer-songwriter on the captivating “Crazy Child” album. Proving to be an exceptional storyteller, these narratives unfurl with a true undeniable sense of life.
The usage of rock, folk, and chamber pop within the sound further lends it a fully-fleshed out quality. Jordan lets these tracks build, grow, and burst forth in tremendous blooms of color. Melodically rich, it is easy to get lost in the multi-layered, multi-faceted approach. Volume is a must, for the way it washes over the listener has a patient cadence to it. Such a wide range of instruments adds to the beauty of the album tying it together into a cohesive whole.
The way Jordan lets the sound get drenched in sun gives it a golden, AM pop playfulness to it. With a classic cadence to it, it recalls a bit of the Fleet Foxes’ clever, creative arrangements. A honeyed spirit defines the work as there is an optimism to the whole of the album, and the way the tracks interact adds to the compelling calming effect. In this way, the way he captures these small moments recalls the love of one’s surroundings that the Kinks did so perfectly.
“Don’t Let Me Down” sets the tone for what follows, as a big-hearted ethos enters into the fray featuring some fantastic guitar work. Giddy energy drives the tender touch of “Mexico”. By far the highlight of the album comes from the passionate performance of “Three Dimensions”. Aptly named, how Jordan lets the track evolve feels masterful.
Stripped to the essentials is the spirited yearning of “Think Of Me”. The fluttering piano work of “I’ll Be Waiting” gives the song an urbane sophisticated. Sly guitar work weaves itself into the fantastic, easy-going grooves of “Broadway”. Gentle delicate gestures grace the fragile “Crazy Child” with an intimacy that has a compelling cadence to it. A reflective presence takes shape on the thought-provoking bliss of “Sunsets” that closes out the album.
The “Crazy Child” album shows off the incredible skill of Jordan Ziskin in crafting a world that feels so warm, welcoming, and reassuring.
Review: "Arepa" Album by KS
Check out our in-depth review of “Arepa”, the brand new album released by Los Angeles based musician and filmmaker KS.
Los Angeles based musician and filmmaker KS deftly blends a vast selection of styles in a psychedelic fashion with the celebratory energy of “Arepa”. The mixture of electro, dance, rock, funk, and pop works wonders as it swirls together in its sly, limber grooves. Melodies radiate such tremendous color and there is a celebratory spirit within each track. Layers intermingle, woven together in such a careful yet simultaneously carefree fashion. Never rushing things, atmosphere proves to be of the utmost importance for the way it rolls through feels fantastic.
References abound, but KS’s style shares an affinity for slow-moving mid-fi funk jams like Com Truise’s flawlessly sculpted fat basslines. Everything about the album has an almost nostalgic cadence to it, for the meshing of rock and electronic structures means that it does not comfortably fit in either category, but instead has a hybrid-like tact. With this sort of nod, KS also brings a bit of Justice’s messy approach into the fray for the distortion is laid on pretty thick at times featuring some truly joyous moments that shine in such a clear, lovely, lilting way.
The catchy riffs of “Mind’ set the tone for the rest of the album featuring an exquisite hook that constantly evolves. A spaced-out electro vibe rests at the core of the vast sweeps of “Engel”. “Vox” features a fantastic little beat workout as the song churns and contorts in fantastically gorgeous ways. Surrealist delay and tonal decay add to the tactile percussion on the infinitely stylish “Montuno” easily the highlight of the entire journey.
Jazzy accents reign supreme over “Control”. Layer upon layer filters into the fray on the elastic tempos of “Centipede” where various disembodied vocals give the song a gleeful, almost Dan Deacon-like ethos. Beats go for a giddy spirit with the jubilant “Romp”. Sprawling and spacious “Huevon” offers satisfyingly sweet breakdowns as the song unfurls letting its freak flag fly. Quite ambitious in nature, the whole of the album comes to the fantastic conclusion on the reflective “Mess”.
The “Arepa” album shows off KS’s sun-drenched style, a gorgeous set that creates a whole mood one that has a tremendous sense of warmth to it.
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Review: "manic depression for dummies" EP by Dre A.M.
Dre A.M.’s new EP, “Manic Depression For Dummies”, proves to be a truly spellbinding work, one that shows off his deft skill in exploring ugly truths and how to navigate one’s own moods in a way that feels refreshingly honest.
Queens based rap artist Dre. A.M. spits pure fire on the feral flows of his newly released “Manic Depression For Dummies” EP. Lyrics here focus on the self, the relationships between people and the thoughts that fly on by in their entirety. The songs are kept to the essentials as the vocals here steal the show with his rapid delivery in an almost staccato rhythm. The verses have a tremendous intensity to them and the razor-sharp focus cuts through any filter. With this stark vision, Dre A.M. crafts a project that is incredibly direct.
Dre A.M.’s directness brings to mind some of Earl Sweatshirt’s output, for, like Earl’s work, there is a sense of brutal truths that arise. Dre A.M. does not sugarcoat it at all, and the songs benefit from the honesty. Beyond this, the deft and nimble work choice touches upon some of Aesop Rock’s dexterity. The production further emphasizes this impact, as there is a clarity to his vision, one where the lyrics are not hidden by layers of effects but rather emphasized by the arrangement itself. Within the whole of the collection, these two influences emerge the most helping to tie the whole of the collection together.
“barely alive” sets the tone for what follows, as the song’s singular sound adds to the jagged edge of the narrative. A rather dramatic emotion ties the harrowing experience together for the beats are kept brutal yet economical. Forward and backward looping effects add to the disorienting trip of “omens” as bad vibes permeate. The sense of panic feels palpable as the way the song is structured gives it a claustrophobic appearance, one that has a vivid realness.
Grooves hit with a physicality on “brevity”. Cryptic noir detail bursts on the scene with the intense journey of “get up”, by far the highlight of the entire collection, as Dre A.M.’s delivery is fierce. Things are kept on the reflective kick with the toy box melody finale of “diamonds”.
The “Manic Depression For Dummies” EP proves to be a truly spellbinding work, one that shows off Dre A.M.’s deft skill in exploring ugly truths and how to navigate one’s own moods in a way that feels refreshingly honest.
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Review: "Just After Dusk" EP by Jo-Rel, Featuring Ezza CG
Neatly capturing the surreal moment the world is in right now, Choom Gang’s Jo-Rel and @Ezza905 explore strange terrain with the woozy world of “Just After Dusk”. Check out our review of Jo-Rel's DOPE new EP now!
Jo-Rel and Ezza CG spit pure fire on the flawless flows of “Just After Dusk”. Warped, wonderful arrangements help to punctuate the power of their wordplay, for their verses have a tightness to them as they deftly reference a wide slew of pop culture. Everything about the collection stuns from the way they let an entire universe come into their sound. Samples are twisted and transformed into weird rhythms, though with obvious roots in hip-hop. The beats go way into the red as they have an urgency behind them, one that feels absolutely gorgeous.
References abound throughout the whole of the EP, as Jo-Rel and Ezza CG’s extensive knowledge and playful demeanor draws upon some of Das Racist’s style. Beyond this, the incredible dexterity of their delivery and the rather large swath of styles thrown into the mix recall some of Tyler, the Creator’s work in terms of its shockingly insightful observations. Despite using this as influences, their sound is distinctly their own for they manage to craft a universe that swirls around. Their trap beats further add to the freewheeling nature of the sound.
By far the highlight, the opener “Dusk” features a tremendous number of colors that burst forth. From woodwinds to flipped-around guitar riffs, the song has a force of nature to it. Symphonic with the great degree of joy is the elegant grace of “Move” where the bass underpins the whole of the entire journey.
Layer upon layer comes into the fray on the tense scope of “What Y’all Thought?” where the cryptic melody has an almost haunted quality to it. Going for a disoriented quality the swirl of “Right as Rain” features some fantastic call and response work.
“Gameofthrones” features a certain regal poignancy as they distort the sound through a virtual unlimited number of filters. The commanding presence of “Guardian Angel”, feat. Freelance Flint offers a celebratory presence to it, with an undue amount of swagger. Quiet jazz vamps add to the soulful finale of “Meeiune”.
Neatly capturing the surreal moment the world is in right now, Jo-Rel and Ezza CG explore strange terrain with the woozy world of “Just After Dusk”.
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Review: "Man On The Moon III: The Chosen" Album by Kid Cudi
@KidCudi music has represented transformative moments in a lot of lives, and the “Man On The Moon III: The Chosen” album isn’t an exception to that sentiment. Check out our in-depth review now.
Kid Cudi is back. Since “Day ’n’ Nite”, his releases have been catchy and solid but nothing special compared to his initial debut. But that all changes with the release of he hasn’t made such a unique footprint until his 2020 work, “Man On The Moon III: The Chosen”. Cudi conjured up a cosmic album with this work, which some critics were harsh on, but the sound and message is exactly what we need after this mess of a year.
It proved something we’ve known forever: Cudi has been the face of angsty rap for a minute now, and he’s kind of turned it into a genre of its own .At the same time, that emotional vulnerability in his tracks allows him to push past the rapper bravado and air his mental health struggles, which is something that we need more in hip hop. Especially post-pandemic, when a lot of people are dealing with anxiety, depression, and more.
Still, “Tequila Shots” manages to remain upbeat while Cudi airs his grievances, and is one of our favorite track on the album. From the classic Cudi beat and genre-melding flow, this track might sound like a mellow ride, but it talks about the inner battle of Cudi’s brain, which “cant stop this war in me.” He explores his faith and the gloomy themes that run through his music: “Back just where I started, it's the same old damaged song.” And while his demons haunt him at night, he finds refuge in creativity, indirectly encouraging us (night owls or not) to do the same: “Back up on my late night session remedy/ Something ‘bout the night that keep me safe and warm” but follows it up with the reality of depression and how it can unexpectedly rear its ugly head: “Lotta shit is weighin' on me, it's a storm/N ever thought I would be back here bleeding.”
The beat in “She Knows This” and “Dive” tap more into Cudi’s trap side, lightening things up with a faster tempo and a stronger bass-line. We see Cudi on a drill beat for the first time wit Skepta and the late Pop Smoke on “Show Out,” and if the clubs were open, it’s safe to say that DJs would be playing this track non-stop. “Heaven On Earth” also shows off an angrier, sped-up side that we’re not as used to, but he uses lo-fi fuzziness and guitar to make it a signature Kid Cudi original.
Then, all these flashy, racing tracks are follows up by the melancholic “Solo Dolo Pt. III”, which croons: “Yeah, I take it, they don't know 'bout it/Yeah, I take it, I don't need nobody/Deep in Hell in dark corners /Deep in my dreams perceived”. In the verses, he opens up about suicidal tendencies "Say, "I'm waitin' to die," I cry/Many nights I spent gettin' fucked up, livin' a lie" and explores the stages of self-blame, self destructiveness, and the toxic secrets that mental health struggles can cause. “Sad People” is another emo rap track for stoners that’s perfect for when you’re feeling down in the dumps. Still, the chorus lifts up depressing verses with an aspirational chorus: “N***a been in hell, the same ol’/On a mission and I'm gonna fly high (High)/This for the sad people who keep the blunt burning and we/Off on a journey, you learn me.”
For the critics who find Cudi’s new album underwhelming, they simply can’t understand the power of music for mental health. He shares his darkness with us, and lifts up us when we need it most. We’ll admit it - Cudi opening up about addiction and mental health at such a relevant moment in time doesn’t automatically make the album amazing. But the fact that this enjoyable work is also relatable and far from perfect connects this star to us normals, and we think that counts for something.
Cudi’s music has represented transformative moments in a lot of lives, and this album isn’t an exception to that sentiment. If you’re currently going through a low, put “Man On The Moon III” in your headphones as a reminder that you’re not alone in that feeling.
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Review: "Nowhere Fast" Single by Phil NDL
Check out our in-depth review of @philndl DOPE new single “Nowhere Fast”.
Phil NDL. A fellow friend and producer of Dominic Fike. What a guy. I’ve been fortunate enough to speak with him personally.
He’s a great dude. Honest and cool.
But aside from his personnel, his music speaks for itself. On November 13th, Phil released his newest single, “Nowhere Fast”.
An instant jam. For me, it took me back to my youth. The idea of sunshine, friends, and freedom.
It’s that time you and your friends get dropped off at the mall. Just you and your friends. You give a middle-school-angst-induced-attitude goodbye wave to your mom. You plant your feet sturdy on the pavement the mall parking lot, and you’re on your way to freedom.
You gather your troops and head to the store which holds your coolness, highness, and self-worth: Hollister. And with all due respect, for a girl from the Maryland, Hollister was the coolest store there ever could be, ever.
Why? Because Hollister captured the idea of juvenile freedom. It did! You could see the store from ions away! AND you could smell it! Hollister stood for freedom. The kick off your shoes and run through the sand type of freedom! Forget your problems and live in the present and have fun!
That’s where this song takes me personally.
And though I’ve only been to the store, and not the physical location. I imagine that the store is exactly what it’s like in Hollister, California.
I can’t put my finger on what it is about this song, that takes me back. But if I had to guess I think it comes down to two distinguished features: the funk of the electric guitar, paired with the subtle and naturally fun riff, topped with Phil’s swangy tonality.
It’s the slurred notes into the next. It’s how the back-beat hits perfectly in between the lyrics.
Phil NDL has a particular and peculiar cadence of beats. Similarly, to Jon Bellion. The same way that Bellion curates his songs to fit perfectly snug between beat pockets. Phil NDL has that same gift; the ability to create movement throughout this song.
It’s nice.
Phil NDL, I am forever grateful that I get to review your work. What a fantastic way to grow both of our careers, and I’m excited I get to be a part of your journey.
Review: "Good News" Album by Megan Thee Stallion
Check out our in-depth review of Megan Thee Stallion’s DOPE new album “Good News”.
We listened to Megan’s new album “Good News”, which was highly anticipated due to the diss track towards her ex best fiend Kelsey and Toronto artist Tory Lanez. Raunchy as ever, Meg tackled this track and the rest with ease. Not letting her pettiness get the best of her, Thee Stallion shifts her focus on other tracks to her classic brand of body positivity and female sexual empowerment a la Lizzo. There’s a pandemic going on, and unless you’re married or living with a partner, the body you’re getting closest to is most likely your own.
“Shots Fired” is unforgettable with a minimalist, old school inspired beat sampling “Shots Fired” by Notorious BIG. She savagely rips apart those from her team that betrayed her and the man in the industry that attacked her and tried to discredit her truth "You shot a 5'10" bitch, with a .22/Talkin' 'bout bones and tendons like them bullets weren't pellets.” It’s a narrative that we’re missed in a lot of ad-libs based rap from the last few years, and Megan does more than borrow this B.I.G beat - she makes it her own.
“Circles” speeds things up with a New Orleans bounce backbeat and flow that channels a female Drake as she airs all of her grievances. Again, she explores fake friends and disloyalty, something that a lot of people can relate to: “Bullet wounds, backstabs, mama died, still sad at war with myself, in my head, bitch, it's Baghdad (Yeah)/New nigga tryna come around and play clean (Hmm)/And my clothes fit tight, but my heart need a seamstress.”
“Cry Baby” turns a baby cry into an addictive sample that’s catchy as hell - it’s a bummer clubs re closed, because this track would be everywhere. As Da Baby lists off the names of his conquests, we get reminded of the bassy beat behind this duo’s last famous feature, “Cash Sh*t.” it’s clear that these two have chemistry and we’re on the edge of our seat waiting for a full collab. Some female rappers get overshadowed by their male features, but it seems like the competition just fuels Megan to be her baddest - especially when she’s trying to prove a point to Tory Lanez. As she chronicles her spicy bedroom romps, she reminds her lover (and female listeners) to speak their mind and prioritize their pleasure: “Don’t fuck me like that, fuck me like this!”
She swaps gender roles and champions equality in “Movie” featuring Lil Durk, where she reminds us “I'm a boss, I could buy the same thing my man bought.”
Then Meg switches things up with a melodic SZA chorus that croon us a romantic 90s melody while Megan gets naughty with jaw-droppers like “Freaky bitch, I do this, suck it like I'm toothless” as she retorts to the haters that say she’s “too tall” for a man: “Long legs, he intimidated, Amazon, I'm elevated/Lil' people make lil' people/stallions breed prize babies.”
Our favorite tracks are all hidden gems - they’re not the catchy singles off “Good News” that are sugary pop or radio friendly. They’re the ones that scream classic Meg: racy, ruthless and unapologetically loving herself, but most importantly: encouraging her fellow women to do the same.
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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.
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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.