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musicarenagh · 3 months

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Side Chain Breaks the Ice With Their Latest Single 'Equipoise Delirium' Side Chain's journey began in 2015 when Dustin Miller and Stephen Shatzer formed the band, later joined by John Kyzer, James Pennington, and Nathan Cameron, the rock band is making a powerful comeback with their latest track, "Equipoise Delirium," after a five-years break. This sound is sure to tickle your nerves with its dark undertones and infectious radio-friendly vibe. Their musical journey hasn’t been a smooth one, they’ve being through the highs and lows, marked by the tragic loss of their friend, John Kyzer, during the creation of "Subterfuge." However, they persevered, with Mike Helmbeck stepping in to help complete the track and continue the band's legacy. Now, in 2024, Side Chain is back in full force, ready to rock the airwaves with their unique sound. In this exclusive interview, we sit down with Dustin, Stephen, and James, the creative minds behind Side Chain, to delve into their musical influences, creative process, and future plans. From their humble beginnings to their musical evolution, Side Chain opens up about their inspirations, challenges, and aspirations. So, grab a seat and join us as we explore the world of Side Chain, where music is more than just a passion—it's a way of life. Watch Equipoise Delirium below https://youtu.be/47aMm0GSWTA Follow Side Chain on Facebook Spotify Youtube What is your stage name? Dustin: Don’t have one currently. Stephen: I don’t have one. James: Chip Is there a story behind your stage name? James: Years ago I met a man while I was at an airport in Ireland. We’ve remained friends to this day. His name is Chip, so I took it and it stuck. Where do you find inspiration? Dustin: Everyday life Stephen: Hearing a song that moves me and inspires me to keep writing. James: Daily Life What was the role of music in the early years of your life? Dustin: Parents were always listening to music ever since I was young. Stephen: I started playing hip-hop ever since I could write. Started writing lyrics and making beats on a keyboard. I didn’t really get into rock and metal until I was in my mid to late teens. James: Both of my parents and older sister were Into music when I was growing up. I got the full spectrum. Are you from a musical or artistic family? Dustin: Musical Stephen: Not really. Grew up in a religious household so wasn’t allowed to listen to a lot of music (except for Christian music and 80’s rap). I kind of found my own calling. James: Both. Who inspired you to be a part of the music industry? Dustin: My parents Stephen: It wasn’t until I heard the first Pantera album when I figured out where I really wanted to go musically. James: I would say probably my mother the most. How did you learn to sing/write/to play? Dustin: Self taught and still learning Stephen: Self taught mostly however I did take piano and violin lessons when I was young which also taught me music theory. As far as playing drums, I had such a passion for it that I practiced for hours a day for about a year until I started getting decent at it. James: Self taught What was the first concert that you ever went to and who did you see perform? Dustin: My parents took me to a Cheap Trick show when I was 6 Stephen: The earliest I can remember is seeing Rob Zombie and Korn. James: Grand Funk Railroad How could you describe your music? Dustin: Mostly Dark with a hint of Party animal Stephen: I would say dark with some melodic elements James: Melodic with dark subject matter. https://open.spotify.com/track/4C6QPzLsf9n5GIHeo7zBjV?si=d39bc500004a4f38 Describe your creative process. Dustin: Jamming along to other songs gets the juices flowing. Stephen: Hearing a guitar line and evolving the production from a simple scratch track to a full production. James: I’ll hear something, and if it clicks , and the chemistry is the lyrics almost kind of write themselves. What is your main inspiration? Dustin: My son Stephen: In life, my wife and kids. In music, creating music that people enjoy.

James: I want to reach people on a very personal level. What musician do you admire most and why? Dustin: Buckethead. Very versatile and you can feel all the emotions in how he plays. Stephen: I don’t think I could pick just one. Sometimes it’s the entire band that contributes to the overall sound in my opinion, which is what I admire most. If I had to narrow it down I would say Dimebag Darrell, Vinnie Paul, Matthew McDonough, Matt Greiner, and Danny Worsnop. James: Oh man, so many! James Hetfield, Maynard James Keenan, Pete Loefller, Chino Moreno, to name a few. Theire music has all touched me in so many ways. Did your style evolve since the beginning of your career? Dustin: Yes Stephen: Absolutely James: Yes Who do you see as your main competitor? Dustin: I’m not big into competition. Stephen: I don’t believe in being competitive when it comes to music, especially local music. I believe everyone should be helping each other instead. Although friendly competition amongst friends is always fun. James: I’m always competing with myself daily. What are your interests outside of music? Dustin: Traveling, fishing, watching sports, hanging out with my son and family Stephen: Firepit nights with the wife, hiking, being out in nature. James: Writing, hiking, nature If it wasn't a music career, what would you be doing? Dustin: Playing pro baseball Stephen: I enjoy working on movies/film production James: Book author What is the biggest problem you have encountered in the journey of music? Dustin: Sometimes you go through periods of writers block. Stephen: Balancing time to work on music James: Finding time to get into the studio If you could change one thing in the music industry, what would it be? Dustin: Local radio stations should help local bands get their music out there and be more involved in the local music scene. Stephen: An easier way to make your music heard. James: Getting your music to more people. Why did you choose this as the title of this project? Dustin: It’s cool sounding lol Stephen: James came up with it. The song is about loss and grief and I thought the name was fitting. James: The theme of loss and grief played a big part in it. https://open.spotify.com/artist/4Of1Tkg3vRqCBNp5VwU2Wy?si=K91FofwyQSqW6l1YYJk8UA What are your plans for the coming months? Dustin: Write more songs Stephen: We have a couple new songs already in the works. James: My goal is always to do my very best to make the next song better than the last one. Do you have any artistic collaboration plans Dustin: At this current point in time, not at the moment Stephen: Not planned, but it’s possible. James: I’m always open to the possibility. What message would you like to give to your fans? Dustin: Thanks for digging the music!! We love you all!!! Stephen: Thank you for the support! James: Never give up, no matter how hard it gets, and always stay true to your self.

#Interviews #EquipoiseDelirium #EquipoiseDeliriumbySideChain #EquipoiseDeliriumfromSideChain #EquipoiseDeliriumSideChain #SideChain #SideChaindropsEquipoiseDelirium #SideChainEquipoiseDelirium #SideChainoutwithEquipoiseDelirium #SideChainreleasesEquipoiseDelirium #SideChainwithEquipoiseDelirium

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sanstropfremir · 3 years

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I’d love your thoughts on BTS and their current image and music if you have them and aren’t afraid of the mindless internet hoards.

Personally, I liked a lot of their older stuff, but haven’t liked anything since I think the Fake Love promotions 3+ years ago. They’d started losing their personality and soul before that album cycle, but it feels like the sanitization of their image and artistry really kicked into hyperdrive after that. Now most of what they do seems like a sterile money grab driven by the Hybe hive mind which is a shame.

ok alrighty (cracks knuckles) let's get into it.

now that i've fully given myself a headache watching the majority of the bts videography, here are three points i'm going to cover:

performative character and the lack thereof

interesting aesthetics and the lack thereof, and

the inevitable cracking of perfection

ready, set, let's begin.

idol music is very clearly definited by spectacle based aesthetics. and it's had that structure for its entire existence. so i gotta hand it to hybe for this one, because they managed to revolutionize being utterly fucking average. the triumph of bts is that they're just some guys and they look like just some guys. hybe found a niche in the system and then gamed that system to the tune of one of the largest musical acts in the world. they're not marketing bts as a romantic parasocial relationship, they're marketing them as your friends. and that is just as insidious to lonely kids as a run of the mill romantic fantasy. but that's not what i'm here to talk about today.

there's a pattern i find very interesting with bts mvs and that is that i don't remember anything about them. specifically, i don't remember the stuff that's happening IN the video; not the styling, not the setpieces, if i didn't know the members i doubt i would remember them either. what i DO remember, is how expensive the production is, and specific shots. i couldn't tell you what a single member was wearing, but i sure as hell remember that first upward angle shot of jungkook and the rusted park ride in spring day. or every single time they do that birdseye shot of jin in like every video. honestly as far as i'm aware jin has only ever worn a loose fitting beige longsleeve shirt.

it took bts a long time to establish any kind of consistent visual character. and the character they did establish.... i don't know if you can call a family-friendly-style clean aesthetic 'character'. they debuted as a hip hop group to little (comparative) success, and then made a switch to doing an early version of where they're currently at right now. if you've seen any of the mvs, you know that this is a pretty significant visual change. i don't think it is inherently a bad change, since the visual branding for hiphop based groups always tips over into iffy terrritory, but it is dramatic enough and early enough that it doesn't strike me as a natural evolution. concept switch ups are common, but they usually work because the members have established a bit of character for themselves, used their performance abilities and presence to fit into a niche in the group. the idol mould is perfect for showcasing the performers; that's its function. the groups that are the most fun to watch are the ones with stage presence, the ones who know how to perform, who can act all the parts they need to play. and bts? 4/7 actual performers on a good day. in my personal opinion it's 2/7.

i'm gonna expand on what i said about jimin here (this is technically the first part of this series), because it does apply to the rest of the group on the whole:

and i think here is where we see the main crux of the difference between taemin and jimin as performers: taemin has both an artistic and an idol persona. we know and understand him to do solo work that has a separate artistic meaning to just him being an idol. even though this performance was pre-move, i would still say this applies, because he's hot off press your number, where he's acting in a story based mv. jimin on the other hand just has his idol persona. he's not known for creating the same kind of storytelling that taemin is.

bts has been very insistent on the image of the group as a single unit. despite having the size of fanbase and the revenue that would make any official solo debut a massive success, none of them have done any substantial solo work. this isn't artistically a problem, and i think it's very admirable of them to be so dedicated to the image and the legacy of the group, when that can be an uncommon trait in the industry. i do however, think it starts to become an issue when we want to discuss what the artistic visions and images of groups are. shinee taemin and solo taemin have two distinct artistic representations, and taemin himself will attest to that. it's the same with all the shinee members that have solo careers, and the same with other groups. jackson, bambam, yugyeom, and jaebeom's solo work is all very different from got7. yixing's solo work is very different from exo's. even the subunits within exo all have their own character (cbx and sc). kpop groups all ostensibly are trained under the same system, so why the disparity with bts? mostly, it's their brand of "authenticity." it's impossible to perform authentically, by the nature of performance as a medium it is unnatural, and tragically, not everyone is naturally interesting, or suited to performing: that's why the performing arts even exist in the first place. it required painstaking training to be good at performing; it is a complex set of skills and those skills are not learnt by "being authentic." being an idol is not just the singing, dancing, rapping; that's only half the work. you need to be able to act to be a compelling performer. pulling your true self and emotions out on stage every night is a fast track to burnout and psychological issues, there's plenty of evidence. the only member of bts of whom i can say for some certainty has a persona and a stage presence is jhope/hoseok, a) because he's kept up a very specific brand in the solo work that he has done, and b) he has actual dance training, not just kpop dance training. the rest of them may have the kpop dance and the kpop vocal training, but what they do not have is the ability to market themselves as compelling performers on stage. taehyung is the only other member i would hesitantly give a semblance of persona and ability to, but i think he stumbled onto that mostly by accident. and if all the pieces don't each have a distinctive colour, how can the whole machine be visually interesting?

bts may never have been able to establish an aesthetic brand, but what they did establish is an intellectual one. if you talk to a fan, the schtick they give is that "it's about the lyrics." as noble as having an intellectual or cerebral message is, what does that look like? how do you portray intellectual on stage, on film? what about intellectual is interesting to watch? cerebral, by it's literal nature as a descriptor, is very difficult to communicate in visual language because it is internal. to successfully communicate cerebrality and intellect in a short form medium like music videos requires a deft hand with metaphor that can elude even an experienced designer. and honestly? i don't know whether to applaud hybe's visual team for being the most successful subtle contemporary designers i've every seen, or to decry them as worst kpop designers i've ever seen. maybe both. regardless, i don't think they're able to cross the gap.

there are exactly four mvs where i actually remember the content of the mv and not the frame it sits in, and those are dna, idol, the singularity comeback trailer with taehyung, and war of hormone. and of an eight year career......that's not very many. these four mvs have at least an inkling of interesting spectacle and character, but even then, it's still a stretch. there is absolutely nothing to write home about in the styling for dna, other than it's well colour matched. I don't even know if I should include singularity because it involves none of the other members. idol is probably their most interesting mv because it actually has alternative styling and varies (at least a little bit) from the standard hybe boom crane shot-that-shows-off-how-we-can-afford-big-studio-spaces-and-locations. the company and the group would be loathe to admit it, but war of hormone is a well designed and interesting mv for the time it was made, with a well crafted gimmick and some actual showing of character from the members. it was the start of a potential that they squashed quite quickly because it wasn't picking up in the hiphop-group-saturated market of 2014. but the rest of their mvs? remarkably uninspired styling. like it's truly impressive how boring the styling is. and like i've said, that is the triumph in their aesthetics: they all look like normal dudes (if you had professional skin + makeup techs looking after them for the last 8 years).

all of this is a carefully crafted image that's tailored to hooking an audience, especially an international one. the mvs are boring in the relative scale of kpop, but they're just different enough from a western pop mv to catch attention. and once you do sink a hook, there's a direct clickfunnel of content that bills itself on these men being "authentic" and "self-producing," which is a huge draw to international fans, because people are racist and believe that the kpop industry is a factory that produces idols like clones, where none of them know how to do anything other than sing and dance and all the music is just handed to them by companies. and they have SO much content that there's no way a new fan can get to it all in a timely manner, so they'll never have to engage with any other kpop artists' work if they don't actively seek it out. but that's another essay for another time.

that brings us to current day, in which at least the last five bts releases have been in the same aesthetic vein of positive, sanitized, and pristine. i said it in one of my txt responses and i will say it again here: money scrubs the humanity from the aesthetic of living. minimalism is for rich white people. hybe and bts may have pivoted their style and brand directly into the lane of mass appeal, but when you pair that with the amount of money funding them, there's a cognitive dissonance between the message and the aesthetics in which it's portrayed. some people do like the clean cut looks, and i won't say that they don't work, but as you've likely gleaned from this response, it isn't my style and if you've been around and reading my writing for longer you'll know that my tastes runs much closer to the messy and the weird, so very little about any of bts' visuals have appeal to me. i do find the contradiction of applying the appeal of radical relatability with the aesthetics of expansive (and expensive) minimalism interesting; it's an extremely fine line that hybe is walking and eventually they are going to tip over, the porcelain mask will not hold forever. maintaining the all ages aesthetic is going to be difficult now that all of them are grown ass men. with other groups of this member age and generation there's very obviously been a shift to a more adult tone, and not necessarily explicitly. got7, mx, nu'est, btob, shinee, 2pm, and groups that have older members like a.c.e and sf9 have all made slow shifts in tone that are undeniably aimed at a maturing audience: they know their core fanbases are aging with them and they (the fans) are not as interested in the 'boy' in boy group. and most of them have telltale visual styles, enough so that i can distinguish a specific group's mv. the last year and change of mx mvs have a very distinctive character; got7 too, since easily as far back as if you do. i can always tell an a.c.e mv by its impeccable fashion and formic styling, and although shinee has always had a more experimental aesthetic edge, their sound and voices are unmistakable.

honestly, i can't predict what bts is going to do in the future, but i personally don't believe they can keep up their clean aesthetic indefinitely without some fallout. part of the fun of following bands is watching them grow musically, and the last couple of years of bts haven't felt like growth. there are fans that have already started realizing it, and there's likely to be more soon.

---

the third part is here, which is a short followup about some of bts' industry influence.

#this is long one dear readers #a very long one #strap in #i've sat on this for probably a week now in the hopes my brain can make some interesting connections but honestly?#not a lot about bts is interesting in comparision to the rest of the kpop industry #personally i am of the opinion that lyrics do not matter in idol music and i am not interested in them in the slightest #and bts videos ARE extremely bland visually #unless you like looking at expensive production. whatever floats your boat i guess #they make a lot of sense as an entry kpop group but once you get actually into the industry there is SO much happening #which i talk about in the third part a little bit #this is way too long i am so sorry anon and everyone else who has been asking about this topic #im not entirely sure it's coherent at this point but whatever. its out there now #i wanted this to be under 1k and that emphatically did not happen #it is double that. why am i like this #875 #kpop questions #kpop analysis #group analysis #text #answers

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thebandcampdiaries · 3 years

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Rachel Wong just announced a new single: Stay Away

A very uplifting and energetic new single from an artist who’s always ready for innovation and new ideas, while still retaining a catchy vibe.

June 2021 - Rachel Wong is a singer and songwriter who recently announced the release of a fantastic new studio single, Stay Away.

Hailing from California, Rachel made her debut on streaming platforms in 2020, and she continued to build a strong sonic legacy, releasing some outstanding new music throughout the year and deep into 2021 as well, culminating into an amazing album titled “SAVE US B4 IT’S TOO L8,” featuring eight new songs, including the well-received “Angel Of Death” (nope, it’s not that Slayer classic!) as well as Smoke Signals and Before You Go. She is now ready to release something new, and keep exploring new ideas with her wonderful music.

Stay Away is a perfect new chapter in Rachel’s discography, and it feels like a perfect evolution of her style and sound. She didn’t stray too far from her earlier releases, but definitely pushed herself to avoid falling into her comfort zone, and bringing in some fresh creativity to the mix, without necessarily alienating her current fan base. This release comes highly recommended if you enjoy music that’s energetic, fresh and dynamic, with ties to pop, punk, and other styles. Rachel Wong managed to strike gold with a very creative songwriting formula. Her music has a very refreshing touch, and while there are some familiar elements that reveal the artist’s background and influences, there is definitely a unique personal touch which drives the sound of Rachel Wong’s releases, Stay Away included! In terms of production, this song kind of falls in line with what I like to call “Travis Barker” wave - The legendary (and super-talented) drummer from Blink-182 isn’t just a master at hitting hard and fast, but he is also a talented producer, who almost single-handedly brought back Pop-Punk, spicing things up by incorporating elements of pop and hip-hop into it, two other genres he knows and loves. Rachel Wong’s music has a crisp, really huge production, with punchy drums, massive walls of guitars and cool atmospheric parts to add more to the overall vision. If you like any of the recent music from KennyHoopla, Machine Gun Kelly, Dead Rituals, or Mod Sun, you should definitely check this out, because it might be right up your alley! Rachel Wong’s vocals are lush and atmospheric, and there are some really good harmonic layers, making the track fuller and ramping up the appeal of the melodies, without compromising in terms of energy.

In addition to the music, the artist actually just posted a really cool song teaser on her Instagram account (linked at the bottom of the article), which features a sketch-like animation featuring some of the song’s lyrics. The songwriting seems very personal and dynamic, giving the audience a nice perspective on the artist’s storytelling skills and allowing the true emotion that drives the release to really stand out. From start to finish, this song is really fresh and enjoyable. It is definitely the kind of track that I would love to blast in the car, driving in the sun and possibly going to a nice beach (yes, I am kind of done with being indoors for nearly 2 years due to this crazy pandemic!) I feel like the universe kind of owes us all a really good, hassle-free summer, and this is the perfect soundtrack for it! This track is definitely going to be your cup of tea if you do enjoy music that’s made with passion and integrity, each step of the way.

Find out more about Rachel Wong and do not miss out on Stay Away, as well as other studio releases from this excellent artist, who is definitely on track for an amazing future, if this song is any indication! As mentioned earlier, the song has been teased on the artist’s social media, but it is actually going to be released in July - The wait isn’t long, but in the meanwhile, hit Rachel’s Instagram page and don’t miss out on her updates!

https://www.instagram.com/rachelwangmusicc/

https://linktr.ee/rachelwang

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wnmnblog · 6 years

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Donald Trump Declares June African American Music Appreciation Month

Donald Trump Declares June African American Music Appreciation Month. This from the White House at 10:17 AM EST:

African-American Music Appreciation Month, 2018

By the President of the United States of America

A Proclamation

During African-American Music Appreciation Month, we celebrate the tremendous achievements and contributions of African-American musicians. The musical ingenuity of talented African American artists laid the foundation for so many recognizable and cherished genres of music, including rock and roll, rhythm and blues, jazz, gospel, hip hop, and rap.

Throughout our history, African-American music has demonstrated its power to elicit comfort, healing, happiness, conviction, and inspiration — as well as its ability to unite people of all backgrounds. Today, it resonates in jazz quartets, rock and roll guitar solos, gospel choirs, and hip hop beats. The expression of these artistic and diverse styles of music acts as a voice for freedom, justice, love, and the pursuit of happiness.

African-American music has played a significant role in shaping the American dream and instilling a sense of pride in being an “American.” The talent and creativity of pioneers like Miles Davis, Duke Ellington, Nat King Cole, Etta James, Whitney Houston, and many others have indelibly enriched our culture and our lives. As Etta James noted, “I wanna show that gospel, country, blues, rhythm and blues, jazz, rock ‘n’ roll are all just really one thing. Those are the American music and that is the American culture.” Etta James recognized that the history and evolution of music in America reflects our country’s cultural uniqueness and our country’s commitment to protect and love every voice.

African-American music brings together people of all backgrounds — people who hum it, whistle it, and sing it — to enjoy blended tunes and hard-to-hit notes. Its contagious rhythm empowers its listeners to recall memories of the past and grow excited for the future. Our Nation is indebted to all the African-American artists whose music fills our airways and our homes, lifts our spirits, and compels us to think, dance, and sing. These musicians and their legacies ignite our imaginations and prove to us that the sky is the limit.

NOW, THEREFORE, I, DONALD J. TRUMP, President of the United States of America, by virtue of the authority vested in me by the Constitution and the laws of the United States, do hereby proclaim June 2018 as African-American Music Appreciation Month. I call upon public officials, educators, and all the people of the United States to observe this month with appropriate activities and programs that raise awareness and appreciation of African-American music.

IN WITNESS WHEREOF, I have hereunto set my hand this first day of June, in the year of our Lord two thousand eighteen, and of the Independence of the United States of America the two hundred and forty-second.

DONALD J. TRUMP via IFTTT https://youtu.be/3FHC37I7KW0

#IFTTT #WordPress

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twimclabel · 7 years

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EVERYONE AFRAID TO BE FORGOTTEN

Swedish singer, songwriter, producer and filmmaker, Jonna Lee, brings the evolution of her ten-year creative career to a new peak with the release of her maiden ionnalee offering, EVERYONE AFRAID TO BE FORGOTTEN on 16 February 2018 on To whom it may concern. and Kobalt Music.

A studio album and, in due order, a stand-alone filmic counterpart (co-created with cinematographer, John Strandh, in alliance with fashion and art trail-blazers, COMME des GARÇONS), this is the most ambitious project which the Stockholm-based master of audiovisual artistry has embarked on.

Two years and two albums into a solo endeavour as a guitar- wielding folk’n’roller, 2009 saw Jonna Lee beginning a seminal metamorphosis which would lead her to join forces with best friend and long-term producer, Barbelle a.k.a Claes Bjorklund, in creating the organically viral, electronic pop phenomenon that is iamamiwhoami.

A mystery and a riddle, iamamiwhoami’s visuals-backed clue trail of short, sharp, gratifying musical shockwaves stumped fans and the media alike. It formed a gripping guessing game, which enticed audiences to explore its dark, elusory storyline. Moreover, as an entity still in its nappy days, iamamiwhoami’s real-time work process also meant that its cast of creatives’ initial decision to remain anonymous unintentionally caused a frenzy around the question of who was behind the surprise releases (Christina Aguilera and Karin Dreijer were but two of many suspects).

The group’s three ground-breaking audiovisual works [bounty (2010, digital); kin (2012); and BLUE (2014)] served as Jonna Lee’s vehicle for change, through which she has kept challenging limitations and untethering inhibitions in favour of development and innovation. The iamamiwhoami Youtube channel has, since its inception, garnered over 42,300,000 views and in 2011 - even before its first physical release - the group was awarded Innovator Of the Year Award at the prestigious Swedish Grammis.

In the three-act play of Jonna Lee’s creative voyage to date, whereby her late-noughties solo albums planted the inciting incident and iamamiwhoami provided a riveting plot twist, the artist’s debut as ionnalee ushers in the exhilarating climax, letting all that’s gone before culminate in an opus that honours the past, whilst simultaneously devising a recalibrated, fresh future.

EVERYONE AFRAID TO BE FORGOTTEN evokes thoughts about what drives an artist to create in a milieu brimful with people fighting to be seen and heard and to express themselves in ways that would single them out from others. With its eyes fixed firmly on the state of the world right now, this is a collection that concerns itself with what is the artist’s residual footprint, paralleled with people’s fear of oblivion.

As our generation pores over and pours into social media with a desire to leave as much of ourselves and our legacy out in the world – like a self-edited epitaph, to ensure that we are remembered and control how such remembrance is preserved - EVERYONE AFRAID TO BE FORGOTTEN explores the different fears and struggles we, as human beings, contend with. ionnalee has hers but, importantly, the songs are intelligently crafted so as to allow for the listener’s personal meaning to coexist.

Reflecting on her own perspective, ionnalee says: “I’ve been evaluating the role that’s cut out for me by society in general and the music business in particular, as to how I should look and behave, both as a woman and as an artist.” In shaping the record, ionnalee has been preoccupied with the experience of societal pressures on women, such as the inescapable normative push to become a mother, pitted against the professional pull of meeting the audience’s expectations of her as an artist.

A further premise underlining EVERYONE AFRAID TO BE FORGOTTEN is the theme of perception vs misconception when it comes to an artist’s work. “We live in a time where anyone can do anything”, ionnalee says, reflecting on the ever-growing prevalence of the audiovisual format. “It can be beautiful, when it’s done purely in pursuit of creative motifs, but in many situations it is only really done because of the current perception that just being a musician is no longer enough and the music has to be dressed to the nines in order to be heard. My visuals have always been part of my creation and, yet - frustratingly - they are still often being perceived strictly as a promotional tool.”

Fulfilling and transformative as it was, the hectic and exhausting, non-stop cycle of work since the inception of iamamiwhoami has, cumulatively, taken its toll on the musician, resulting in significant stress and periods of depression. “I’ve been burnt out”, she admits, ruminating on an invariably stringent schedule, exacerbated by the pressures of running her own independent record label. “The independence I have has enabled me to be bold and innovative as an artist but, by default, it also often makes the workload overwhelming.”

Never one to go for the easy option, however, ionnalee made a defiant choice: “I wanted to bring out my insecurities instead of my strengths.”

The most significant source of insecurity and fear has, ultimately, proved to hinge on ionnalee’s health, as a cancer scare, numerous medical screenings and a subsequent diagnosis of a thyroid disorder exposed a serious possibility of permanent damage to the singer’s vocal chords.

Facing that real risk of not being able to sing in the future and the fear of losing her most important way of self-expression, there arose in ionnalee an even greater drive to produce something special and perdurable with EVERYONE AFRAID TO BE FORGOTTEN. “The thought of not being able to sing had never occurred to me. That would be like losing my gut”, she says.

For ionnalee this record not only had to be made, but it had to be made now and it had to bring in elements of her history in order to open a door to a hopeful thereafter. “I wanted to see who am I in the present, as a solo artist. I want a lifespan career and, for that, I need to make sure I’m clear about who I am as an artist now.”

To do this, she decided that, along with the album’s brand new compositions, she would hark back to older sounds and song elements that, despite never previously being released, stand as pivotal stepping stones in her career. “I wanted to connect with the beginning of iamamiwhoami and the evolution I’ve gone through since”, she says.

An instance in point is brand new single, ‘GONE’, which keen-eared followers will recognise as a reconfiguration of the fourth, so-called (by fans) ‘PAPACHOO’, prelude, put out by iamamiwhoami in February 2010, as a minute-long taster for what eventually became their audiovisual album, bounty.

Epitomising the evolutionary process of ionnalee, ‘GONE’ adopts one of the foundation stones of her previous incarnation and transforms it into a bustling and infectious full song, whose lyrics tap directly into the core of EVERYONE AFRAID TO BE FORGOTTEN and its resounding themes: “the songs that you sung / and the words that you meant / will be here when you are gone”, she prophesies on the chorus, as the verses gesture at the initial media circus concerning her identity (“the wonder who I am”) and the turmoil surrounding her health (“this mouth on me /and this voice against time”; “this weakening noise /will fade softly to silence”).

The track begins by establishing the prelude’s signature bottle percussion as an underlying rhythmic device and the synth-led, dramatic Baroque nuance beautifully complements ionnalee’s vulnerable voice in creating dark Renaissance electronica. The majestic, sweeping chorus quickly lodges itself in the mind’s ear with an instant grab, whilst the middle 8 showcases a soaring vocal performance.

The video for ‘GONE’ was directed by ionnalee together with John Strandh and is a key chapter in the longer visual narrative arc supporting EVERYONE AFRAID TO BE FORGOTTEN.

The album’s first taster came in February 2017 with ‘SAMARITAN’, a blunt eschewing of other people’s demands and presumptions, over which the artist has no control. Boasting a big and immediate pop chorus, ’SAMARITAN’ feels tailor-made for a record that is often conscious of and rebels against what is expected.

“I don’t think people should feel secure in their expectations of me”, ionnalee says. This is, for example, why effervescent sophistidisco, ‘NOT HUMAN’ (which was co-written with Com Truise), comes to an abrupt, surprising end as though inadvertently paused and also why recent, contemplative single, ‘SIMMER DOWN’, doesn’t have a video (previously, every iamamiwhoami track had its own visual counterpart, collectively amounting to an all-encompassing series dating back to 2009, which follows one evolving storyline from beginning to end).

As a lover of beats, bass and drums, ionnalee’s favourite part of producing her own material has been making up the rhythm sections, thinking outside of her own comfort zone. “I’ve had to push myself to learn how to not only be a good creative mind, but also a good technical producer, to be able to make things sound like they sounded in my head”, she says.

In terms of the arrangements and the record’s sonic direction, ionnalee was fascinated and influenced by baroque composition, which fits in with the sense of it being something of a requiem: “I drew from my background in sacral choir singing and merged it with my other great loves, industrial and spectral synths and old school hip hop beats”, she says. “I wanted it to be an album to grieve to but there is a fairness and innocence to the sound, which makes it hopeful in midst of the darkness. Producing this work is a proud moment for me as a musician.”

Offering solace in grief, EVERYONE AFRAID TO BE FORGOTTEN is a labour of love emanating from introspection as well as self- awareness. As with every one of her endeavours, ionnalee again seeks to find and make something that is different. “The album format is regarded by many as a thing of the past”, she says, “with tracks being the primary way of consuming music.” Her vision, instead, is to make a sustainable and epic album that will endure, rather than something that is easily digested and spat out shortly afterwards. “An imprint that will stand with time”, as she describes it.

“I would like to view this as the beginning of the rest of my career. I want to grow my audience in my way, without compromising and without having to turn myself inside out. There’s a bigger, more personal weight for me with this record and much, much more at stake.”

words by Doron Davidson-Vidavski October 2017

PREORDER ALBUM

#ionnalee #iamamiwhoami #twimc #EABF #GONE #jonna lee

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thiqgruvz · 4 years

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The Great Roy Hargrove: A Titan Across Genres

The following post is a sort of track by track in homage to the late Great Roy Hargrove, formerly a major player in the Jazz Congress, and one of the musicians majorly responsible an increased reconnection of Jazz, Hip Hop, Soul, Funk, and R&B.

Let’s start with the classics!

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“What’s New” is an old Jazz Standard written by Bob Haggart in the year 1938 and recorded by Bob Crosby and His Orchestra as an instrumental piece with the title of “I’m Free.” The tune was renamed in 1939 when the same group rerecorded it with singer Teddy Grace performing Johnny Burke’s lyrics, “What's new; How is the world treating you; You haven't changed a bit; Lovely as ever I must admit; What's new...” It’s been performed by many Greats over the years, including Dexter Gordon, Sonny Stitt, McCoy Tyner, Bill Evans, John Coltrane, Billy Holiday, and many others, including, of course Roy. Even though the tune is a little old, Hargrove keeps it fresh with his modern, harmonically round arrangement with saxophonist Antonio Hart.

Over the first decade or so of Roy’s career, he mostly jumps around the repertoire of jazz standards imprinting his own stamp of greatness on tunes of all types from burning bebop to sultry ballads. Over time, he wound up gigging and recording with some of the best musicians in the world and as things go, they all got to know each other’s styles over time, which is when the real magic happens!

In 1997, Hargrove and his ensemble released “Habana,” a Grammy-winning project with a unique assembly of originals by Roy and other members of his band including Great trombonist Frank Lacy and Great saxophonist Gary Bartz. The album features top-notch musicianship and an eclectic combination of textures and rhythms that make up the band’s unique sound.

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Right before the first major shift in Hargrove’s sound, in 1999 he recorded the album “Moment to Moment” which was essentially a jazz quartet with piano, upright bass, drums, and trumpet, plus a lush string section. They play music that, in contrast to Habana, is subdued yet beautiful.

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In 2000, Roy begins to collaborate with the Greats of other genres such as D’Angelo on his Grammy-winning album “Voodoo,” Erykah Badu on her album “Mama’s Gun,” and Common, J Dilla, Questlove and more on the album “Like Water for Chocolate”

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Hargrove’s musical depth really shows in how he adjusts his sound to fit naturally into these different scenarios. Especially interesting is Badu’s track “Green Eyes.” Notice how there are three distinct sections with their own feel and texture, and Roy adjusts in a big way both what and how he plays to accommodate each context.

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After this group of projects in 2000, Roy plunged continually into this new between-genre with his friends, forming the group RH Factor. This music was particularly stacked because his goal was to break down the barriers between separate but related genres to form a new sound, so he collaborated with people from all stages of his earlier musical career.

In 2003, Hargrove and squad released the first RH Factor album, Hard Groove. The following song off that album features Q-Tip and Erykah Badu.

https://www.youtube.com/watch?v=IMTvT2a_BwU

Unfortunately Roy was taken from us too soon! Although his discography represents decades of prolific recording and vast evolution and reinvention of African American music, he passed away at 49 years of age on November 2, 2018. Fortunately his legacy is strong and many young musicians are making music in his footsteps. We can only hope that one day the legacy inspires another round of evolution toward unity in the years to come.

“The gift of information can’t be sold or bought” -RH

Rest In Peace, Maestro!!

https://www.youtube.com/watch?v=v201PxvQ4qM

https://www.youtube.com/watch?v=ezmpM0Puj40

https://www.youtube.com/watch?v=XR-9Uc4VNlE

https://www.youtube.com/watch?v=NlIOJoEjwzs

#BAM #RoyHargrove #ErykahBadu #D'Angelo #Common #Jazz #HipHop

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richhybrid · 4 years

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J Dilla Donuts 2006 Track Of Choice: Don't Cry I'll be honest here. I'm not a Hip Hop aficionado. I know what I like when I hear it. Whether that's Eminem and his wacked out rhymes or the clever Industrial rhythms of Disposable Heroes Of Hiphoprisy or even Kanye West and his strange world of beats and samples and ego. But recently I've been watching the odd documentary on the genre (some of the Vox vids on YouTube are great) but mainly Hip Hop Evolution on Netflix. This has opened a few doors for me. The one artist I know has had a bit of an impact is J Dilla. Not only has his production of other artists become a revelation but his own music has really dug itself under my skin. His weaving of beats and samples creates something truly beautiful. It's difficult to pinpoint what it is that's resonating with me. Just a well put together musical landscape that I can't get enough of. I've had Donuts on a few times now and I'm growing to love it more and more. So I picked it up on vinyl yesterday from @wahwahrecordswakefield What makes this all the more poignant is this album was released 3 days before Dilla's death from a blood disorder. Meaning this musical genius would be making no more of these stunning compositions. And that is sad. But the fact that this nearly 40 year old metal head in the north of England is loving his music 14 years after his passing shows that his legacy is well and truly secure. #BathTimeRecord #Vinyl #VinylPorn #VinylJunkie #VinylCollection #VinylRecords #Records #RecordCollection #RecordCollecter #AlbumArt #CoverArt #Analogue #OldSchool #LongPlayer #NowSpinning #NowPlaying #12Inch #TwelveInch #Albums #InstaVinyl #InstaMusic #VinylCommunity #VinylOfTheDay #RecordOfTheDay #AlbumsOfTheDay #JDilla #Donuts #2006 #HipHop #RIPJDilla (at Wakefield) https://www.instagram.com/p/B8WVqV0pBke/?igshid=1dk2x2hxevnb4

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djrelentless · 7 years

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“A King, A President and Our Future”

FRIDAY, JANUARY 15, 2016

It's Martin Luther King Weekend and although I am in Canada I still recognize and observe this holiday. From all the club flyers I saw in the past couple of years it seems that what was supposed to be a celebration for this great man had been reduced to excuses for twerk contests and showing up in your best bling. Since I have been in Toronto, it has been interesting to learn that many folks of color here feel that Dr. King's legacy is just African-American History since the majority are of Caribbean decent. And as I look around this year, even though we as Black People have many things to recognize as accomplishments……leading roles in motion pictures like "Creed" and on television shows like "Scandal" and "How To Get Away With Murder"…..Trevor Noah and Larry Wilmore are doing amazing jobs at replacing Jon Stewart and Stephen Colbert……we should be really proud of the idea "For Us By Us". But as he is closing in on his last year of as president of the United States, Barack Obama has been dragged through the mud for the past seven years. Actually, because this is an election year we should expect that….especially from the Rethuglicans. But in my opinion Obama has been one of the best presidents that the United States could have ever had. Do I agree with every single thing he has done? Absolutely not! The subject of drones and deportation of Mexicans will definitely be a thorn in his side in history books. But on a whole, this man has been phenomenal with what he has endured and accomplished. I'd like to think Dr. King would have been proud. But between the rhetoric of the Republican candidates hoping to get the nomination and the headlines about Bill Cosby there are plenty who are not pleased with all Black People. And even some people of color are torn on what is going on in the media. Some have said that they think Obama has not done enough for the Black Community and was not black enough in the White House. And these are probably the same Black People who believe that Bill Cosby is innocent….that this is another attempt to bring down one of our pioneers. Many are venting that the black colleges that are denouncing Cosby should return the money he gave them. But I guess this is just like when Michael Jackson was accused of molesting children. I can appreciate and respect him for his accomplishments and contributions to the industry plus our history, but all the evidence points to your guilt and I cannot excuse that. So, do we abandon the achievements and hang them in the public court? I say we do like the lyric in the theme song for the 80s sitcom Facts Of Life….."Take the good, take the bad". Because let's face it….we could not have a show like Black-ish without The Cosby Show. And for those who are criticizing Obama consider that he made history and broke a major color line. For all the young people who have been inspired by his accomplishments we have to consider how that will impact our future and Black Culture.

https://www.youtube.com/watch?v=z-e3ph1H7r4

I think in the movie "Selma" we got a different perspective of the man we knew as Martin Luther King. He was human with weaknesses like everyone else. Do we respect him less because we heard he had sexual affairs outside of his marriage? Do we label Obama as the worst president because it took him a while to publicly speak about the Black Lives Matters movement? I personally think that the good that these two men have done outweighs any of their shortcomings.

https://www.youtube.com/watch?v=HUZOKvYcx_o

In this year of Larry Wilmore's phrase, "The De-Blackening Of The White House", I would like to warn all people of color about what this year has in store. Remember when Mitch McConnell said back in 2009 that the Republican agenda was to block anything that Obama wanted to do in the White House? Well, as you can see they definitely kept their promise. And even though Obama outsmarted their tactics and found ways to make things happen, the Republicans are now blaming him for the very things that they blocked to add to the list of his non-accomplishments. Along the way they tripped up Hillary Clinton with voting against sending the needed arms and supplies to our troops in Benghazi back in 2012. I guess to help damage her image for this election. But I think the most disturbing thing that the Republicans have done over the past seven years is slowly restructuring voting districts to rig the next presidential election. I don't think that they were expecting someone like Donald Trump to come along, but they only have themselves to blame. He preys upon the politically uninformed and the lowest common denominator in socially aware causes.Actually, FOX News is really to blame. It was FOX that created the Tea Party which opened the flood gates for the extremists to come out of the woodwork. They wanted to create an anti-voice to support idiots like Sarah Palin back in 2008. I don't think they could have predicted that a few of the crazies would later end up in the Senate. And in turn, their witch hunt for Obama's birth certificate would give a voice to Trump to begin his platform. But make no mistake…this year the Republicans have every intention of taking back the White House to continue their agenda of tax breaks and deregulations for corporations. Why else would they vote to say that corporations are people. And I know it seems like some Bizarro World concept where people are saying and doing outrageous things and not suffering the consequences….but we have to stand up and stop this train. It's time to get off the crazy train! Republicans are so used to making money and keeping minorities in check that they feel entitled. Remember when Newt Gingrich ran for president back in 2012? He did and said some really outrageous things and an was unapologetic. Sounds like Trump borrowed a page from him for his campaign this year. And perhaps this is why someone like Bernie Sanders is rising in the polls on the Democrat side. I think all the propaganda of the past about socialism being communism is becoming a joke. For all the things that the U.S. has taught its people about the rest of the world is slowly unfolding into a huge lie. We are a country of dreams, but our culture is a hosh-posh of everyone else's. The melting pot has created Hollywood, entertainment and the art of leisure, but it's traditions and values are questionable.So, I beg everyone to start planning for this year's presidential election right now. Stop being distracted by the puppet show of Trump, reality TV and gossip. Start looking closer at what is being said in this election. I'm not telling you who to vote for. I'm just telling you that if you want to vote in this very important election. The future of our the United States depends on who makes it to the polls. Find your districts and what days you are allowed to vote! Yeah….that's right! I said "what days you are allowed to vote". Because the Republicans have done a job on most of the voting districts across the land. If you wait until November you will probably be really surprised by all the road blocks that have been put in place. And even though the Democrats were successful in taking the state of Florida to the Supreme Court about their rezoning of voting districts, that's not gonna happen all over the country. If you were upset about this year's Oscar nominations which excluded most of the black films submitted (I guess our consolation prize is Chris Rock hosting the ceremony), you should have been upset at Obama's last State Of The Union. The disrespect and contempt that the Republicans displayed during his final address was horrible. The anger and resentment that they feel because they didn't think he could even get elected is so pathetic. It has fueled their hatred and the movement of the extremists. This would explain all the politics that surrounds the cops who are getting away with shooting and murdering black people across the U.S. It's the voice that tries to lessen the the message behind Black Lives Matter. And it's the ones who kept their confederate flags up. Dr. King understood that his time was just the beginning and the first steps of our struggle. Obama understood that his presidency was the beginning of opening the possibilities for Black People in the United States. Viola Davis' speech at last year's Emmy Awards was a declaration of how far we have come. Kendrick Lamar's reach with his records, in my opinion, proves that Hip Hop is universal. If Martin were alive today I think he would praise Obama on his work. I think he would encourage our people to start looking within and take responsibility for our future. To quote a line from Jade Elektra's N-word protest song "Scared of Evolution"…."It's time to for us to wake up to the possibility of what we could be."

https://www.youtube.com/watch?v=o7MvFcwHuws

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jkdavidson-blog · 7 years

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Standing Rock Recap Part V (12/28-12/30)

28 December 2016

I felt a lot better this morning, after a hot bath and a good night’s rest. As soon as I awoke, I started packing and preparing myself for the long journey home. I loaded the car one last time and checked out of the hotel. I got the tire chains OFF the Kia. For a second, I questioned whether I should keep them on, because I was planning to make one last stop at camp, but the drive down the highway the night before with chains on the tires had been awful. They made such a racket I actually stopped by care and considered taking them off about a mile from camp. I could only bear to go about 35mph, the sound was so intense, and by the time I got back to the casino there were 3 warning lights on the display in the Kia that weren’t there before. I was worried that I’d damaged something major, but the car seemed to run okay once I got it back on the road, so I tried to ignore the lights.

I stopped by Oceti first. I walked to where the sacred fire should have been, at the hut Jacque had pointed out to me the night before. There were a couple of people hanging out there, blasting an electronic hip-hop mix over a loudspeaker, but no fire. Still, I stood in the opening where I imagined the fire had once been and looked around me, taking in the camp one last time. I said a prayer of thanks and blessing.

I found the donation tent and dropped a few things off—the jacket I’d worn while I was up there, a pair of boots, some warm gloves, and a couple boxes of hand warmers. Then I headed to Rosebud. I had gone through my garbage that morning and picked out all the paper and cardboard to give to Rosebud as kindling; I knew the wood stove could be challenging and they could use it.

I was happy I stopped by, because Grandmother Silvia was there. She was also getting ready to head out soon. We chatted for a few minutes. I told her again how grateful I was to have met her, and we promised to stay in touch, and perhaps join forces again sometime later on. She reminded me of her “safe house” in Hayward and invited me to visit any time.

I said my final goodbyes to Jacque, Ann, Orka, and Camille. I felt sad to be leaving them; although I hadn’t been with them long, I felt a great deal of affection for them already.

The sacred fire in Rosebud was still burning. I stopped there and sat beside its warmth for a while, gazing into the flames and contemplating my time at Standing Rock. Beside the hut that housed the sacred fire, a young man cheerfully chopped wood. I thanked him for what he was doing, and he replied, “Oh, it’s a pleasure! It’s such a beautiful day, and this wood is like candy, just cuts right down!” Typical Standing Rock response, I thought. Glad to be of service.

I added one more log to the sacred fire before heading back to my car and leaving camp.

Here is what I posted that afternoon:

Making my way home today. Next stop, Minneapolis!

It was bittersweet to bid farewell to Standing Rock this morning, yet I am fully ready to return home now. I feel such enormous gratitude for all the people I've met, the things they've taught me, and the ways they've inspired and empowered me to change the course of my own life. This experience feels like a rebirth in many ways. I feel like I am leaving this place armed with the tools I need to be an instrumental part of the necessary evolution of human society now gaining momentum on this amazing planet Earth, and now I am connected to a network of people with the same passion for creating the positive changes so necessary at this point in our history. But let's be real; North Dakota winters are brutal and although this place is stunning all covered in snow, I'm more of a warm-weather gal myself. Mad respect to all those hardy folks out there for the long haul. I send you endless supplies of love and warmth, straight from the heart. Thank you for changing my life. Now, I shall carry forth your legacy in a warmer locale.

I stopped at the co-op in Bismarck again, thinking it would be nice to eat something there, now that my sense of taste was beginning to return. I got another golden milk for the road, and made my way onward toward Minneapolis. The drive was pretty uneventful. I took my time getting there, knowing that my Air B&B host wouldn’t be off work until 10 or 11pm.

Thursday 29 December 2017

I woke up before sunrise this morning. The window of the room I was staying in had a view of the Minneapolis skyline. I watched the sky brighten against the towering buildings as the exhaust from numerous buildings billowed up around them. My host was still sleeping, so I dressed quietly and ordered and Uber to take me to the nearby Whole Foods. It didn’t cost much, so I figured it was worth it to have someone else drive me around the city a bit so I could stare out the window.

The night before, I was thinking I’d stick around the city for a while—maybe hang out at a coffee shop for a while and journal, or meet up with Anthony and Jeremy to chat about our experiences at Standing Rock. I really like Minneapolis and wanted to explore it more while I was there, but as I contemplated the 10 hour drive ahead, my nagging sickness, and the obligations awaiting me in Cincinnati that weekend, I decided it would be best to hit the road ASAP. I felt bad for bailing on Anthony and Jeremy yet again, but they seemed to understand my need to take care of myself.

The drive home seemed to take forever. I stopped and got some Thai food for lunch in Eau Claire, which seemed like just the thing I needed to clear out my sinuses, although I think I overdid it with the self-serve garlic-chili oil (sorry, stomach!). I did notice, however, that I was starting to feel a great deal better since leaving camp.

I made a couple of phone calls from the road, which helped pass the time in good company. I talked to Anthony, Faith, Baoku, and Harold. I enjoyed the conversations, and I enjoyed the silence in between.

I was so tired toward the end of my drive that I took a wrong turn somewhere around Indianapolis and ended up going 7 or 8 miles in the wrong direction, which wasn’t much of a detour in the grand scheme of things but felt like a big deal. The last hour is always the longest part of a road trip.

I arrived home around 1am. My dad was still awake, watching TV and eager to talk to me, but I excused myself and went directly to bed. My own bed, finally.

Friday, 30 December 2016, ~00:50

I just arrived home.

Many, many thanks to all of you who kept me company on the long drive, To everyone who sent your kind words and prayers or supported me in any way while I was on my journey, To everyone I met in Standing Rock, And to anyone who's still up there.

I love you all. Goodnight.

#nodapl #mniwiconi #waterislife #standingrock

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cryptodictation · 4 years

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Rapper Hungary lana 'Made in favela', first clip of the Legacy project

(photo: Hungary / Divulgao)

The rapper brasiliense Hungary Hip Hop launched, last Thursday (9/4), the music video Made in Favela, inaugurating the project Legacy, in which three exclusive music clips will be released monthly until June. The song extols the success achieved by a young black man from the periphery and the envy aroused by him.

In a way, the music mirrors the trajectory of the artist, who was born in Ceilndia, in humble cradle, and has become a phenomenon of national hip-hop. Anyway, Hungary was one of the precursors of ostentatious rap in DF. “I get a lot of inspiration from what I live, from what I see, from the communities here, from the things I have lived, from the things I dream about and I believe I will still live,” says the rapper.

According to him, the work “totally rap, totally trap, everything I am used to and know how to do better”. It is also an opportunity to innovate in my career with a focus on opportunities in the digital market “, he explains.

The project Legacy composed of the three music videos, but Hungary says there are more where these came from. “I have many songs recorded and ready to be released, however, every time I stop to listen to them, that breeze comes – one is better than the other, it is difficult to choose. Good thing is coming ”, he warns.

“The next clips will have a mix of incredible feelings and experiences lived in the dressing room with the fans, remarkable moments on the road and at the shows. Above all, with that impression of singing the reality of the favela kids, who dream of getting where I am and, who knows, even further. I have this stop inside me, that my music serves as an inspiration for those who are looking for space. For that, I am grateful to God for this opportunity “, he completes.

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Three questions // Hungary Hip Hop

The clip starts with you playing a syrup piano. In addition to being a composer and producer, do you have any musical training, formal or informal?

In my free time, I dedicate myself to study music and to guitar, keyboard and other instruments. I don't have any musical training focused on instruments, but over these eight years of career I learned many things. I identify with the art of composing. When I go to the stadium, I have in mind the beat, the beat and the melody.

What is your perception of the national hip hop scene and, especially, that of the DF? Have you followed news?

I think that rap and hip-hop in Brazil is going through a very cool phase, a phase of breaking prejudices, of paradigms. All of us in rap suffered a lot, even due to the language we used. Rap was very marginalized. Whether or not, the voice from the periphery. I do not judge who sings this style of rap (protest), but I think there are many good things also, on the periphery, to be talked about. About the Federal District, I am speechless, because my whole dream started here. He was already following and was already a great fan of several regional artists where I live. I think we are going through an incredible phase, and Brazil still has to listen a lot and will meet many artists here in the Federal District. I have been following a lot of news and the evolution of the whole national rap and hip hop scene.

You worked hard to achieve success. But did I expect to get there?

I keep working hard. There are many shows and trips. Success is the consequence of hard and solid work. Yes, I always worked to be successful, but I just want what is mine. Several times, people say that I changed because of success. fact. I really changed, but I changed for the better, each day more human and sincere with myself. It's not what people think about me, it's what I think about me. It defines me. I admire who works, no matter how big the success. But eventually, success comes and you need to seize the opportunity.

Intern under the supervision of Adriana Izel

The post Rapper Hungary lana 'Made in favela', first clip of the Legacy project appeared first on Cryptodictation.

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#Entertainment

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weownthenitenyc · 5 years

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HYTE is coming to Rotterdam for the very first time!

HYTE, the Berlin-based underground festival brand, is heading to the Netherlands for its Rotterdam debut to take over the main stage of “A Day at the Park” at Kralingse Bos on Saturday, September 21st, 2019. It’s a matter of love for the crowd in the Netherlands when it comes to the line-up, which features the best in techno and house. The soundtrack comes courtesy of leader of the techno-elite Chris Liebing, the guarantee for pumping basslines Nicole Moudaber, the house and techno craftsmanship of Nic Fanciulli, the inimitable Chicago charm of Green Velvet as well as Netherlands stalwarts Adin and Wouter S. And there’s one more big headliner on the bill, which is going to be announced in August.

But HYTE is more than just some big names on the line-up: Be prepared for the revered HYTE commitment to light, sound, and show design including the signature laser cage that always creates an incredible environment for likeminded partygoers.

Beacon of the underground HYTE sets another date in its Dutch calendar as it teams up with A Day At The Park, for the launch of a new collaboration that coincides with the festival’s return with an exciting new location. 20,000 partygoers are set to reignite the legacy of A Day At The Park on September, 21st, 2019 at Rotterdam’s Kralingse Bos, a venue carefully chosen to reflect the decade-plus history of the event. Fittingly, HYTE will curate a big stage and ensure that the brand’s first appearance in Rotterdam properly reflects its sterling reputation.

Naturally, the carefully-curated artists of HYTE x A Day At The Park 2019 will be supported by the same sterling production that has earned the underground events series a rock-solid standing in every corner of the globe; whether it’s Miami or Amsterdam, Berlin or Ibiza. Punters can look forward to sound that delivers the crispest highs and the deepest bass in this outdoor Rotterdam setting, alongside the trademark HYTE lighting and visuals. The signature laser cage will be in full effect, and HYTE regulars know to expect quality that is unparalleled.

HYTE is bringing some of the hottest artists of techno and house to Rotterdam. Get ready for…

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…Chris Liebing

Not only has Chris Liebing led the techno-elite for more than 25 years, but he has also undergone constant creative evolution during that time. With a legacy that stretches back to Frankfurt’s iconic early scene, Liebing’s DJing experience stretches back even further to 1990 when he was playing hip-hop, soul and house in his university hometown of Giessen. A job at Frankfurt’s Eye Q Records, plus a legendary residency at Omen Club, represented his entry into a lifetime of techno. Leading his revered CLR imprint for nearly 20 years and famous for the incredible intensity he brings to his DJ sets, it was his refusal to stand still that saw him depart for the release of an artist album with the iconic Mute Records and to start a close collaboration with the legendary label. “I’ve wanted to do something like ‘Burn Slow’ all my life,” said Liebing. “I vividly remember dancing around at my neighbor’s house in the early ’80s to songs by Depeche Mode and Yazoo. Banging my head in dark basements to the likes of DAF, Laibach and Nitzer Ebb to name but a few.”

…Green Velvet

This Chicago legend has been taking ravers to “La La Land” for nearly as long as rave itself has existed, cultivating his love of house and techno while studying chemical engineering at the University of Illinois. Eventually, it was chemical engineering of the Acid House variety that drew the focus of Green Velvet. Releasing music also as Cajmere with a focus on jackin’ Chicago house, he reserved his Green Velvet alias for music steered down “an industrial lane.” His 1993 record “Preacher Man” was formative, inspired by a sermon from Reverend CL Franklin. “The minute I heard it, I just wanted to record something with it, that powerful vocal,” Green Velvet told Moo Kid. “He even kept roaring the word ‘house’!” In the early 1990s, he launched his Cajual label as well as its sister Relief imprint, and Green Velvet remains as relevant and present as ever as a new generation embraces house music across the US.

…a soon to be announced, special guest One more big headliner will be added to the massive line up of HYTE x A Day At The Park 2019 soon. Expect something big!

…Nicole Moudaber

Nicole Moudaber embodies the international spirit of techno, its ability to cross borders and speak a universal language. Raised in Nigeria of Lebanese descent, she’s lived in New York and thrown parties in Beirut, now situated in her home of London via Ibiza. A onetime protégé of Carl Cox and a regular on techno staples like Adam Beyer’s Drumcode label, Moudaber is also the boss of very own MOOD label and event series. She’s a slave to the pulse of the dancefloor and happily describes herself as a party animal; a lover of fast cars who holds a racing license, regularly hitting speeds of 270kph and upwards; and deeply passionate about activism. Moudaber has worked for years with the Lower East Side Girls Club in New York to mentor disadvantaged young women and most recently launched Eleven, her own campaign to end the practice of female genital mutilation (FGM). “Nobody knows about this subject,” Moudaber told DJ Mag. “I think these girls need a voice, and if I can be a bit of help, then my job is done in this world.” It’s this passion that shines through in Moudaber’s talent for rocking crowds the world over.

…Nic Fanciulli

The beginning of Nic Fanciulli’s journey to becoming one of house and techno’s most prevalent and consistent DJs and producers began in one of the most old-school ways imaginable: he handed a cassette demo to a club owner, in his hometown of Maidstone in the South East of England. “It was the place where everyone was playing – Carl Cox, Sasha and Digweed, Pete Tong,” Fanciulli told Traxsource. “I learned a lot of my craft there. That was my apprenticeship into music.” While he still lives in Maidstone, he now DJs in every corner of the globe, launching his seminal Saved Records imprint alongside his brother Mark Fanciulli that is swiftly approaching its 15th anniversary. He’s a regular for the HYTE celebrated events series, whether it’s a sweaty Amsterdam warehouse or a pristine island off the coast of Vietnam.

…Wouter S

Utrecht house-head Wouter S is positioned prominently among the next generation of DJ/producers who are bringing authentically jackin’ sounds to thirsty crowds, with his innate knack for timeless house (with a delicious side of UK garage) really hitting the spot whether it’s an intimate label showcase for his own 44Records imprint or a pumping HYTE warehouse event in Amsterdam. It’s a profile that Wouter has built from grassroots beginnings up over the past decade, cultivated on the side while ensconced in a previous life working in IT and sales. Electronic music is now his primary focus, and this year he’s introduced to the world what he describes as his “newborn baby” in the form of his new Kompai label. You’ll catch him representing the Dutch house massive at HYTE events over the summer.

…ADIN

ADIN is stalwart of the Netherlands’ incredible scene, arriving via a journey that took him from his home country of Bosnia to a Rotterdam record store. Honing his craft in the days when vinyl was king and producing his first tracks in the early noughties, ADIN has kickstarted 2019 with the launch of his new DREEF imprint. His sound is situated between European techno and his love for the more melodic side of the dancefloor. “My Balkan origins added to this love of melodies, as music is a huge part of the culture on that side of the world,” ADIN told Pulse in an interview. Beyond his Balkan roots, he points to his adopted home as the source of his inspiration. “I’m so happy that I’m living in such an amazing country like the Netherlands. We have the healthiest music scene in the world,” he says.

HYTE x A Day At The Park Saturday, 21 Sep. 2019 Kralingse Bos, Langepad 51, 3062 CJ Rotterdam, NL

LINE UP & TIMETABLE 12:00 – 13:30: Wouter S 13:30 – 15:30: Adin 15:30 – 17:00: Nic Fanciulli 17:00 – 18:30: Nicole Moudaber 18:30 – 20:00: Special Guest 20:00 – 21:30: Chris Liebing 21:30 – 23:00: Green Velvet

HYTE ONLINE Website: www.hyte.net Facebook: www.facebook.com/HYTE Twitter: www.twitter.com/HyteOfficial Soundcloud: www.soundcloud.com/hyteofficial Instagram: www.instagram.com/hyteofficial YouTube: www.youtube.com/user/HYTEofficial

HYTE, the Berlin-based underground festival brand, is heading to the Netherlands for its Rotterdam debut to take over the main stage of "A Day at the Park" at Kralingse Bos on Saturday, September 21st, 2019. #IAMHYTE #HYTEROTTERDAM HYTE is coming to Rotterdam for the very first time! HYTE, the Berlin-based underground festival brand, is heading to the Netherlands for its Rotterdam debut to take over the main stage of "A Day at the Park" at Kralingse Bos on Saturday, September 21st, 2019.

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wnmnblog · 6 years

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Donald Trump Declares June African American Music Appreciation Month

Donald Trump Declares June African American Music Appreciation Month. This from the White House at 10:17 AM EST:

African-American Music Appreciation Month, 2018

By the President of the United States of America

A Proclamation

DONALD J. TRUMP via IFTTT https://youtu.be/3FHC37I7KW0

#IFTTT #WordPress

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whiskeyshotsintheparkinglot · 5 years

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I started writing a long tangent about the current musical climate and Hip-Hop/Rap’s complete domination of every aspect of it the moment and blah blah blah. Three paragraphs in I hadn’t even started making the point I intended and the point was this: I hear in Sirens Part II a step toward what I think could be the next evolution of pop-punk. The track already stands out because it has more obvious electronic flourishes and less traditional instruments than any song in their catalog. The first time I heard the opening synths I was a little skeptical about the band using these types of influences so prominently. By the fifth listen I felt like they should have gone even further with it. The reason that Hip-Hop is currently ruling the industry is because despite the lack of lyrically substance with a few notable exceptions, their instrumentals are compelling, complex, catchy and the closest thing to modern day composing outside of Soundtrack Scores that we have today. And it has honestly never occurred to me that there was a space that sound could intersect with pop-punk. And while I don’t think Driveways has completely pulled it off with Sirens II, they gave me a glimpse of what’s possible. The use of snaps and subtle acoustic guitar riff is the perfect structure for the verses before it transitions to the pre-chorus that is kept minimal with more snaps and light percussion. The chorus uses the same synthy riff the song began with. The progression of the second verse is what really caught my ear though. It begins with the still effective snaps and guitar riff before dropping into a beat bed with high hats and twinkly piano riff. It last less than 15 seconds, but in those 15 seconds I hear what could make pop-punk relevant again. I give Driveways major credit for switching things up and experimenting with their music and I really think they are onto something. My only critique is just to go all the fucking way with it. Get rid of the cheesy synth sound and use a grimy distorted bassline that rumbles speakers and when using electronic drums, make that shit slap. Produce those parts like a hip-hop producer would and make them hit hard and smack. Crisp beats coupled with this bands supernatural sense of melody and vocalist’s already unconventional rhyme schemes could be something truly unique.

DRIVEWAYS - Sirens Part II

All I hear is sirens Left alone on the dark Nobody knows who you are Engulfed by the glow of the stars I see the smoke from afar Did I lose control of the car? Is this real life? Is this what a delusion feels like? Am I comatose or awake? Did I take a dose or an 8? Did I see a ghost apparate That provoked me to say? I remember nights that you kept me up for Fell down when you hit the front door Fire in your eyes at the thought of one more And I’m not sure what you hit me up for this time I remember days when we couldn’t head back Burnt slow but the fire spread fast Dilated eyes when your temper gets black I was steadfast All I hear is sirens Screaming out my name Feels like a virus Is streaming through my veins I still see terrors in the night I still need better means to fight What wrong can dead allegiance right? You caused a legacy to die Let me see the light Wish I could see the design at the scene of the crime that you caused Did you have a reason to hide? I can see that your eyes are conveniently blind at the thought The scenery shifts It seems I’m adrift in the ocean that cradled the chaos below Berated by snow, the temperatures low but the notion that you were the trader is cold You hated us both Nothing short of nightmares The sky seems closer right here Nothing short of nightmares The sky seems closer right here

#Driveways #Sirens Part II #Night Terrors #lyrics

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weeklyrapgods-blog · 5 years

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Underground hip hop phenom Rapper Big Pooh has been consistent with giving the hip hop community dope content. In 2003, I remember checking out The Listening album and it was at that point my love for hip hop was rejuvenated! Especially this joint “Whatever You Say”:

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But you can’t mention Little Brother without touching on the hit album The Minstrel Show.

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North Carolina hip-hop artists changed the dynamics of down south hip hop back then. When 9th Wonder, Pooh and Phonte connected as Little Brother, that was an amazing time for hip hop. More artists emerged from the south with a boom bap appeal. The sound of The Justus League, which consist of Edgar Allan Floe, Cesar Comanche, Legacy, Sean Boog, Khrysis, Pooh, Chaundon, Phonte, Median and 9th Wonder was invigorating. That crew actually motivated me to become the hip hop advocate I am today. I felt that rappers like Big Pooh and Justus League needed a platform to showcase their music. After all, mainstream wasn’t doing it for the culture.

Later on, Big Pooh went on his solo venture. He is still the epitome of style and flair when it comes the flow and delivery, and is always on top of his game. His wordplay is witty and engaging. He released a crazy catalogue of music with standouts like Trouble in the Neighborhood, Words Paint Pictures produced by Apollo Brown, Home Sweet Home produced by Nottz, and Everything 4 Sale.

His latest project RPM is definitely in my top albums of the year. The project consists of 12 bangers featuring artists like Chaundon, Akilz Amari, Ab Liva, Focus, Blakk Soul and many more.

We caught up with Rapper Big Pooh for this exclusive interview. I’m grateful for the opportunity to build with an icon who motivated my involvement in pushing the culture forward!We caught up with Rapper Big Pooh for this exclusive interview. I’m grateful for the opportunity to build with an icon who motivated my involvement in pushing the culture forward!

INTERVIEW

Who are your musical influences?

My musical influences float between Nas and early Ice Cube. Marvin Gaye, Prince, EPMD. It’s a little something I tried to borrow from all of them and put it into what I do.

What made you start rapping?

I’ve always been a writer. Actually tried my hand at rapping when I was 12-13 years old. I wasn’t that good. I just used to mimic the artists I liked.

What are your top 5 hip hop albums?

Illmatic – really started me on this journey. Nas was the first person that made me say, “I want to do what he does”

Amerikkkas Most Wanted – the energy that Ice Cube carried throughout that album was impeccable. The story telling was top notch.

ATLiens – I was already an Outkast fan but this album spoke to me more than any other. The beginnings of their eventual GOAT status.

Reasonable Doubt – The bravado, the story telling, the word play, the production. Perfect.

Ready To Die – Biggie was a God MC. His story telling, the way he floated over beats was so melodic, and he ushered in new wave. Biggie’s album was hard lyrically but the production was so polished.

Extra credit: Doggystyle – I have an affinity for West Coast and funk music and it started with this album for me.

How did you become a member of Little Brother?

Little Brother kind of just happened. We all knew and had been working with each other for a year or two prior. We were just recording songs like we normally did and the first time that the combination of myself, Phonte, and 9th happened to do a joint with just us three, it was magical.

Embed from Getty Imageswindow.gie=window.gie||function(c){(gie.q=gie.q||[]).push(c)};gie(function(){gie.widgets.load({id:'jadFrIPXQKJEClSirg5ogQ',sig:'w_Rx_08Xj9yDa34T3Zvfkvy8pbmZMcugncqgnVRnXhw=',w:'594px',h:'395px',items:'53322815',caption: false ,tld:'com',is360: false })});

How did it feel to branch off and go solo?

I was anxious when I first started my solo journey. I only really saw myself as someone that was part of a group. You start having all of these thoughts about failure and not being able to carry the weight by yourself popping up in everything you do. I pushed through the fear believing it would make me stronger.

What was your favorite project to create and why?

My favorite project to record had to be The Listening. There were no expectations. It was just a few guys making music.

Describe your first time going on tour

First time on tour was opening for Hieroglyphics on their Full Circle Tour back in 2003. I was 23 years old and traveling the US for the first time on a rap tour. I had the time of my life. It was part grueling, part educational, all fun!

What was the hip hop climate like in NC when Justus League was thriving compared to now?

The Hip Hop scene was a budding one in NC when we were first forming and moving around. It was lively and active. I wasn’t as involved as Little Brother began traveling the world but it fizzled a little… and started making a comeback with fresh blood. Now NC has talent everywhere you look in the industry.

What are your thoughts on the evolution of hip-hop?

Hip Hop like most things is always evolving. There are things I like and things I don’t but that will always be the case. You can’t control growth.

What do you think of the resurgence of veteran rappers coming back in the game with new music?

I appreciate the resurgence. Older heads like to listen to hip hop that speaks to them just as much as kids and young adults like to listen to music that speaks to their demographic. As long as it’s quality music, I’m all for it.

This year lots of hip hop projects dropped. Are there any in particular that stood out to you?

I can’t keep up. I like to take my time and really sit with projects that I like. I am thankful for getting formally introduced to the Griselda Camp this year. I knew about Conway and Westside Gunn but hadn’t really dove into their catalogue until this year.

Recently Will.I.Am made a bold statement about hip hop. What are your thoughts on his comment?

Will.I.Am has a point. I agree to a certain extent. What he is talking about is corporate driven rap. Rap has been made out to very disposable. Someone can have a big hit in Jan 2019 and then we don’t hear from them again, move on to the next. There is no development, no organic building of stars. It’s a lot of fast food out there. That’s just the way they choose to play it in the big leagues. The indie game it’s something different.

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#TALK2ME: What are your thoughts? Agree, disagree and why? 💭 @iamwill

A post shared by Weekly Rap Gods (@weeklyrapgods) on Dec 3, 2018 at 5:48pm PST

What do you think of these Hip Hop award shows that should reflect the culture?

Once again, corporate driven award shows will never represent like they are supposed to. They aren’t catering to the “culture.” They are catering to sponsors. Watch them to be entertained, not edutained.

After watching The Breakfast Club interview, I had to add this question. Do you think radio stations really have a pulse on authentic hip hop? Do you think everything is about popularity?

Radio stations are definitely in the popularity game. Some of the people there may have a pulse, but we are once again talking about a corporate owned entity. Their job isn’t to nurture the culture, it’s to create ad revenue. What creates ad revenue? Popular artists and headlines.

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Tell us about your recent project. What was the motivation behind it?

RPM was a chance for me to reinsert myself back into the atmosphere as an artist. I had been laying low, managing, but felt inspired to contribute to the creative landscape again. This project is no filler, all substance.

Buy/Stream RPM Here

[iframe allow=”autoplay *; encrypted-media *;” frameborder=”0″ height=”450″ style=”width:100%;max-width:660px;overflow:hidden;background:transparent;” sandbox=”allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation” src=”https://embed.music.apple.com/us/album/rpm/1439845402?app=music”%5D

Can we expect any more music from you?

I’m not sure when I will release any more music. I just like to go when the spirit hits. The itch isn’t always there and I really enjoy the other aspects of the industry that I have begun to explore behind the scenes.

I would like to include a fun question. If you can form a hip hop supergroup, who would you select?

Supergroups are tricky. Coming from a group, I understand the importance of chemistry and everyone doing something different to make the sum greater than the parts. I would like to see a Royce x Phonte x DJ Premier project though.

Thank you Big Pooh for all your contributions to hip hop. I greatly appreciate how genuine and candid you are when speaking on the culture. Your music has been an inspiration to fans worldwide. We look forward to hearing more from you in the upcoming year!

MUSIC

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More Info:

Facebook | Twitter | Instagram

Rapper Big Pooh of Little Brother Is In a League of His Own (Interview) Underground hip hop phenom Rapper Big Pooh has been consistent with giving the hip hop community dope content.

#9th wonder #big pooh #boom bap #hip hop #indie hip hop #interview #justus league #little brother #phonte #rapper big pooh #underground hip hop

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tinymixtapes · 6 years

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Music Review: Roc Marciano - Behold a Dark Horse

Roc Marciano Behold a Dark Horse [Marci Enterprises; 2018] Rating: 5/5 I. Influence Roc Marciano’s direct influence can be heard in the works of each of the following artists, all of whom have at some point achieved commercial success and/or critical acclaim greater than or comparable to Roc’s, with music sonically indebted to his: Ka, Evidence, Mach Hommy, Westside Gunn, Conway, Daringer, Earl Sweatshirt, and more. To be fair, many other artists have achieved commercial sales and/or critical attention lesser than, if not approaching, Roc’s, with music sonically indebted to his: Hus “Wavo” Kingpin, SmooVth, Rosati, Giallo Point, SageInfinite, Shozae, Grandmilly, Tha God Fahim, Willie the Kid, Fly Anakin, Jalal Salaam, and countless others whose names appear in our SoundCloud feeds daily. And then, of course, you say, “Well, what about all those artists who influenced or inspired Roc Marciano and to whom his music is sonically indebted?” For argument’s sake, let’s look at the big ones: Rakim and Prodigy. Yes, you could make a strong case that both were more influential MCs. However — and here’s the ah-ha — neither of them is as renowned for his production prowess as Marciano is. And though they both certainly contributed to important beats throughout their respective careers, neither artist has demonstrated the ability to consistently hold down entire, or even close to entire, solo albums as Marciano has continued to do since making his official solo debut with 2010’s Marcberg. So, it can certainly be argued that to find a workable basis of comparison for what Roc Marciano has been doing in and for hip-hop over the course of the past decade, one can only look to other nearly-decade-long or longer runs by influential MCs/producers, such as Kanye West, Madlib, Dilla, DOOM, El-P, RZA, Q-Tip, Pete Rock, Large Professor, Dr. Dre, DJ Quik, Erick Sermon, Too Short, Pimp C, Schoolly D, and Kool Keith. And until a name from the first paragraph begins to approach Roc Marciano in terms of consistency and influence as both an MC and a producer, then perhaps as long as we’re comparing apples to apples, Marciano’s work is better considered in line with the names directly above. Furthermore, since few if any of the catalogs of these greats are without blemish, and since most all of them are more widely influential as either an MC or a producer, and not equally so in both regards as Roc is, well, I guess when it comes to his still-gaining influence and legacy, all one can really say is… Behold a Dark Horse. II. Control Marciano manager Jazz recently confirmed that the cover and title of Roc Marciano’s latest were directly influenced by the conspiracy literature classic Behold a Pale Horse by Milton William Cooper. The phrase comes from the King James Bible, which in the Armageddon myth of Revelation 6:8 reads, “And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.” Much like the KJB, Behold a Pale Horse contains mad batshit. There’s the secret government’s population control white paper, Silent Weapons for Quiet Wars, which Cooper sourced to a used word processor purchased at a garage sale. There’s the entire Protocols of the Elders of Zion, which Cooper introduces by advising readers to substitute the word “Illuminati” for the word “Jew” throughout. Cooper also spent a sizable portion of the book aping on UFO sightings and cover-ups, only to later in life refute all alien conspiracies, claiming that they were the single biggest false flag operation of all time. And yet, also like the KJB, there are some jewels in there, pearls of practical wisdom that Cooper takes time to reveal while digging the tome’s labyrinthine warrens. The one that comes to mind — and I’m paraphrasing here, as my copy of the book disappeared about a decade ago under mysterious circumstances — is this: It doesn’t matter if you believe in this grand conspiracy theory or any of its many facets, because even if only one man in power does, then countless people are doomed. Before dismissing this as a cop-out, consider how many politicians and CEOs wear their messianic complex like a badge of honor. Consider also that Cooper’s main point here may have been to draw readers’ attention to the nature and potential of control; that those who hold it can mold and manipulate and improve and wreck the lives of others at their whim, that those who do not are already closer to intangible numbers in a ledger than they are free and actualized human beings. Some who are familiar with Roc Marciano’s work, or the sex trade, might recognize in the above revelation parallels to the relationships between pimps, prostitutes, and johns. As a square, I’m not going to pretend to know anything about that life. I can’t assume that a pimp is powerful and a prostitute powerless, nor can I judge the john or anyone else involved in these necessarily transactional relations. I can only intimate that, as is the case with everything, there are degrees of control and power-sharing. And it’s these degrees, these increments of measure, that make all the difference in the world. It’s these degrees that separate needed questioning of authority from snowballing conspiracy theories, and Bill Cooper from Alex Jones from Ron Paul from Donald Trump. It’s these degrees that revise the literature misnomered history. III. Ends Sometime after Marcberg or Reloaded — I’m not sure exactly when, and I damn sure can’t find the interview anymore — when asked about where he wanted to take his music in the future, Roc Marciano said he wanted to sing. The irony here is that while Roc’s success since Marcberg has generally been tied to a renewed interest in 1990s boom-bap, he’s continued to flirt with the idea that his style shares as much in common with that of shiny-suit era Puffy, a pop sound long considered anathema by many hip-hop traditionalists. And yet, over a long enough timeline, all irony fades. If Puff came out today, he’d be considered boom-bap. Where it once felt novel to hear Roc slip a falsetto ad lib in between lines about singing Rick James tunes in the shower, he now confidently croons hooks throughout a whole album, slipping back into patently smooth murder verses and increasingly melodic cadences without missing a step. One gets the impression listening to Behold a Dark Horse that this project represents the realization of a goal years in the making. Yes, the Busta Rhymes and Q-Tip collaborations lend themselves to this idea, but it’s more than that. Between Rosebudd’s Revenge/RR2 — The Bitter Dose and Behold a Dark Horse, there’s a development that feels rooted in the same evolution that might have occurred between UN Or U Out and Marcberg/Reloaded. It’s as if Roc had been reaching for this sound, planning his way here all along. Perhaps he’d already arrived at the destination, but knew he needed to wait to bring us along for the ride, that we had to see more of the so-called past before we could glimpse the future’s brightness through our foggy present. On “Diamond Cutter,” Marciano raps, “Fuck who next up/ Rosebudd did its numbers, we doing chest bumps.” Consider the road here. After releasing The Pimpire Strikes Back and Marci Beaucoup on Man Bites Dog in 2013, Roc spent the next four years racking up paid guest features before returning with his first truly independent album, Rosebudd’s Revenge, released on his own Marci Enterprises LLC in 2017. Earlier in 2018, he brought us RR2 — The Bitter Dose, also on Marci Enterprises. The two albums presented Roc Marciano at his most romantic and murderous, peppering anecdotes about beachy lovemaking nearly as far and wide as his foes’ body parts. There was more singing than we were used to hearing from him, but the beats were also darker than ever, driven in part by the cold synths of Arch Druids Animoss and Doc C. On Behold a Dark Horse, though, there’s no need for peppering. Seasoned to perfection, the album documents Roc Marciano cementing his legacy as an MC, producer, and influence in control of his ends — that is, not only of his money, but of his destiny. Behold a Dark Horse. http://j.mp/2CxnB72

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