Holiday Musical Adventures

During the holidays, I found myself in a very strange place, Portland, Oregon. As a music junkie, of course I was gonna check out the local music scene. There is no better way to get to know a place than to listen to its music and I had to make the most of my mere two nights in the city. The first night I wandered downtown into the Ash Street Saloon.

Ash Street Saloon is a landmark in Portland. Located just around the corner from the famous Voodoo Doughnuts, the dirty rock bar features nightly live music. Locals go here to grab some pub food, a microbrew, and to listen to Portland’s common people become rockstars. December 27th, 2017 was dubbed the Farewell to Indie Rock because unfortunately, Ash Street Saloon will close in 2018.

According to the Portland Mercury, “commercial real estate agents have already begun showing the property to potential new tenants.” The owner has no plans to open a second or similar venue, “which means it’s time to celebrate Ash Street for what it has always been since it first opened its doors on Halloween 1994: a readily accessible venue for live music, specializing in local, loud, and low-cover shows, often spotlighting bands before they break through on the scene.”

I felt like an outsider as bands that had been playing here for years graced the stage one last time. That night featured sets from King Ghidora, J. Graves, Another Neighbor Disappeared, The Hoons, The Bible Belts, Pink Tornado, and Aux.78. There was nothing too special about the venue, but the poorly lit room with overbearing music didn’t try to be anything it wasn’t. It simply was what it was.

Night Two started with a red headed flannel wearing Lyft driver picking me up in a blue Prius, but when in Rome right? We ventured to what is acknowledged as one of the top music venues in Portland, Mississippi Studios. Inside the intimate room attached to Bar Bar, it’s all about the music. Built, owned, run, and for musicians, they provide a comfortable setting for local musicians to showcase a variety of new and innovative music.

The room was absolutely beautiful. The floors are semi-carpeted with rugs. The red painted walls suspend wooden guitars surrounded by angel wings. Purple lights shine down on decorative drums that line the balcony.

The first band was Volcanic Pinnacles. They are only a drummer and a sax player, yet produce sound that is so complex and intriguing besides using such little instrumentation. The perpetual pounding of the drums keep rhythm, while the smooth sax plays with effects pedals looping, distorting, and morphing the sound. Their music is some kind of post jazz psych rock and is fantastic. They stole the show at the beginning of the night.

Long Hallways was the second instrumentalist band of the night. The 5 musicians formed a mini-orchestra with drums, trumpet, synthesizers, a bass, guitar, xylophone, flute, cello, and a euphonium. They play post indie rock and display a comfortable familiarity on stage. Therefore, between songs you can hear them talking with each other. The bass player casually raised a finger to the crowd to indicate “last song”.

The final band was Mercury Tree. A simple 3-piece band that played indie rock with a twist. They had modified a guitar and bass dividing the octave into seventeen notes, five more than the standard twelve used in Western music. The lead singer’s microphone was programmed with heavy effects. Tempo variation within songs and strange titles such as “Hedgehogs are the Emperors of Space” and “Jazz Hands of Doom” added to their uniqueness.

However, as the rollercoaster of a year that was 2017 came to an end, these nights exploring the Portland music scene were exactly what I needed. It helped me unwind after the stresses of the year and reminded me of a few things. Primarily, that the world is constantly changing. Local hideouts are getting shut down and replaced with big businesses. Music is evolving and growing as technology improves. Change can be frightening but can lead to positive transformation. May 2018 bring innovation, personal expression, and new music to help get us through.

King Gizzard and the Lizard Wizard’s Workaholic Ethos

“My body’s overworked
It’s just the same I know
When can my body work
Cold static overload?
My body works, I know
It’s just the same, I know
My only difference
Is robot influence”

 

The chorus off of “Robot Stop” from 2016’s Nonagon Infinity is a prophetic statement for 2017. With the band releasing two new songs off of their fifth album this year on Wednesday, the Melbourne based King Gizzard and the Lizard Wizard is at the tail end of a whirlwind year. Touring across Australia, New Zealand, the U.S (twice) [if you want to see K-UTE’s Jackson Card’s review of their SLC show, check it out here.], and Europe the band has not only focused on tours but recording five different albums and ending the year with a touring music festival across Australia, “Gizzfest.”

A band with this kind of ethos is almost unheard of in 2017.KGATLW have proven that they can deal with a heavy workload and deliver quality music, concerts, and collaborations. What started as a seven member garage rock band from Geelong, Victoria in Australia, KGATLW consistently delivers new albums with new sounds, and 2017 was the band proving themselves to the world.

 

Starting with Flying Microtonal Banana in February, the band introduced a western audience to 24 TET tuning (For the non-musically inclined, these are notes in between notes in western music) which is commonly used in Arabic music. Fusing Psych rock, Krautrock, and Turkish folk music, the band created a sound that has not been seen in western popular music since The Beatles. The album had two singles that got considerable airplay in Australia and some U.S stations, “Rattlesnake” and “Billabong Valley”, the latter being a contemporary Bush Ballad that tells the story of Bushranger Dan “Mad Dog” Morgan.

In June the band released Murder of the Universe, an album that told three different stories through the band’s signature psych/kraut/garage sound. The album was even nominated for the ARIA’s (Australia’s RIAA) “Best Hard Rock Album” of 2017. Featuring Leah Senior’s narration for the first two stories on the album, the band resorted to using a text-to-speech application to narrate the final story. The album did not have any songs that got considerable airplay due to the length of each story, however it is the first time since “Eyes Like the Sky” that KGATLW has used spoken word to guide the structure of the album.

In August the band released Sketches of Brunswick East, a collaboration with U.S based jazz fusion group “Mild High Club.” The album mixes some concepts from “Flying Microtonal Banana” with a looser, improvisational feel ushered by Mild High Club’s involvement. This is some of the most improvisational content that the band has put out and their first foray into jazz. Citing Miles Davis’ “Sketches of Spain” as inspiration for the album name and jazz influence, the band delivers a newer sound that has not been heard in their discography. The album’s big single “Countdown” received heavy airplay in Australia. Again the band shows that they can metamorphose their sound and surprise their audience with new concepts they’ve never explored.

In November the band rolled out with Polygondwanaland. An album that is as fun to listen to as it is to pronounce. Building on the themes explored in “I’m In Your Mind Fuzz” and “Nonagon Infinity,” the band produces an album that uses more synthesizer than any of the band’s previous work. The big takeaway from this album however is the band released it entirely for free. The masters and artwork were given to the public for free. The band is stated as saying, “Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes. We do not own this record. You do. Go forth, share, enjoy.” The band again explores a new concept never seen with their work. The fanbase has already began publishing Polygondwanaland among different labels, creating special editions of the album that are unique to each label. KGATLW shows that there’s always something new up their sleeve. If you want to read more about Polygondwanaland, check out our very own Jackson Card’s review of the album here.

What’s going to be on the fifth album? The band released two singles on Wednesday (You can listen to them below), “Beginners Luck” and “All is Known.” Both singles show an amalgamation of their musical work in 2017. With “Beginners Luck” borrowing the softer sound of “Sketches of Brunswick East” and Beginners Luck taking sounds off “Flying Microtonal Banana” and “Murder of the Universe.” Does this mean the band’s fifth album will be the capstone of their work in 2017? If these singles indicate anything, the answer is yes.

 

King Gizzard and the Lizard Wizard has delivered in 2017, they have come of age. Stu Mackenzie is now Kevin Parker’s biggest threat in terms of the Australian rock scene. In the time that Tame Impala has been quiet,KGATLW has come in and taken the crown from them. KGATLW has become the ruler of the late 2010s in the way that Tame Impala was in the early 2010s. The work they’ve done in 2017 has shown that rock is not dead. The show of pure passion for their content shows off with the band’s fanbase, and by giving their fans Polygondwanaland they’ve developed a new brand of marketing that is so brave in a world where music does not make a living.KGATLW is a force to be reckoned with. Time will show that their efforts are not fruitless and their work ethos in 2017 has sealed them as an influential band of the 2010s.

 

 

Album Review: Polygondwanaland by King Gizzard and the Lizard Wizard

One problem that I have with the music industry is how commercialized it has become. Concert prices are going up and band tees are 50 bucks a pop. Meanwhile, record companies are making billions and artists are losing creative control.

Some bands, like King Gizzard and the Lizard Wizard, are combatting this epidemic. The Australian psychedelic rock band released their 12th studio album and 4th this year, Polygondwanaland, on November 17, 2017. The marvel of this record is it is 100 percent free.  On the band’s website, they say this album is “free to download and if you wish, free to make copies.” They have put up a link to the mp3 files and the CD and vinyl masters. King Gizzard says, “we do not own this record. You do. Go forth, share, enjoy.”

Polygondwanaland is a made-up word referencing multiple different things. Gondwana was 1 of 2 supercontinents that formed Pangea. It consisted of Antarctica, South America, Africa, Australia, the Arabian Peninsula and the Indian subcontinent. Polygon might reference their album Nonagon Infinity which pictures a polygon with 9 sides. Many of their albums exist inside the same interconnected universe and reference each other. Polygondwanaland uses polyrhythms, uncommon time signatures, and takes you on a journey to a mysterious land.

“Crumbling Castle” is the 10-minute opener. Several of their other albums, including I’m in Your Mind Fuzz (2014) and Murder of the Universe (2017), depict castles in the artwork. Descending guitar and vocals alternate between playing in unison and stagnated with complex polyrhythms. Guitar and flute solos take you up and away as they begin to enter the new world of Polygondwanaland. The lyrics are dark and gloomy. Stu Mackenzie sings, “we wait for our death… our extinction.” This is a heavy epic opening that sets the tone for the rest of the album.

“Polygondwanaland” begins with groovy drums and bass. They talk about climate change and how it will create a new world. They sing, “Snow melts… it will get hot.” Perhaps polygondwanaland is the new world that will be formed after the climate settles down. Mackenzie hopefully sings, “we’re gonna get there.”

Each song transitions seamlessly between one another. They tell a single story and build off each other. Spoken words by Leah Senior narrate the story and propel the album forward. Synth interludes give the impression of time traveling. Relentless drums drive us into “Deserted Dunes Welcome Weary Feet” where we learn that polygondwanaland is full of dinosaurs.

A theme of this album is gods and devils and the battle between good and evil. “Loyalty” is about a god whose people revolt against him. He chooses to make an example and show his wrath until he gets his loyalty. “Horology” takes you “to the ninth circle of hell”. They sing about a demon creature the walks across the land with death.

The last 3 songs touch on the theme of tetrachromacy, which is having 4 distinct cone cells in the eye. This condition is seen in many birds, fish, and other animals. Humans only have 3, which is why we see 3 primary colors. Millennia ago, all mammals were tetrachromats but it has been genetically phased out over time.

“Tetrachromacy” introduces this idea of a fourth color that humans have ever seen. They become curious about this color and “lust to see the invisible”. “Searching…” is the mysterious transition. Mackenzie sings, “Doctor please… I want to see the world differently.” The surgery is successful. They can now see “The Fourth Color” and it has granted them god-like powers. They can “see through walls… your terror… [and] the future.”

King Gizzard and the Lizard Wizard has delivered another stellar album with Polygondwanaland. The use of strange rhythms and time signatures creates a unique sound and music that is anything but boring. The albums complexity and connectedness transports you into a new world as all good psychedelic albums should. Free music is a futuristic idea and one that I can get behind. King Gizzard has promised another album this year, so all we can do is eagerly await as they explore new musical ideas.

What’s on My Playlist #4

For most college students, the workload at school ramps up around now. As Thanksgiving is the time of year people give thanks, I want to take the opportunity to give thanks to the music that keeps me going during these busy times.

“Arisen My Senses” by Björk

Björk’s newest album Utopia just came out and oh boy, one track in and it’s already a doozy. Gone is the gloom her beautiful album Vulnicura inhabited, replaced by an air of euphoria and ecstasy. Readily as ever, she wraps her voice around sweeping arrangements of synth and harp, recalling her previous work on the spectacular Vespertine. I’ll be reviewing the album in full soon, so stay tuned, but I can definitely say Utopia is off to a fantastic start.

“Dum Surfer” by King Krule

I mentioned this song in my article on records you can find at Graywhale; needless to say, it’s a spectacular take off King Krule’s new album The Ooz. If Archy’s distinct vocals or the layers of atmospheric effects don’t immediately pull you in, the saxophone definitely will. It’s the kind of tune that’s immediately catchy but has enough layers to keep your interest long past first listen.

“List of People (To Try And Forget About)” by Tame Impala

Speaking of music I’m grateful for, Tame Impala released a collection of b-sides and remixes that pleasantly surprised me. “List of People” in particular boasts the best qualities of band’s last release Currents plus some; it sports the same brilliant production and killer drumlines from Currents in addition to one of Kevin Parker’s best vocal melodies. The song has time to breath too, with a tasteful, understated ending that assures I won’t forget about this song anytime soon.

“If She Wants Me” by Belle and Sebastian

Understatement also happens to be a particularly appealing quality of Belle and Sebastian. Rather than dipping in and out of understated passages, however, the band sits in them. The resulting music feels deeply intimate, like stepping into a room with the band itself. Despite this, “If She Wants Me” is a big song for Belle and Sebastian, touting an organ and a majestic accompaniment by violins, creating a song both grand and charming.

“Extrasolar” by Baths

After reading a fascinating article about Baths on Kotaku, I decided to give his newest album Romaplasm a listen. While the whole album is an enjoyable listen, “Extrasolar” immediately caught my attention. Pianos chime and strings stir in the back of the mix, building into beautiful crescendos. Atop the instrumentation, Will Wiesenfeld creates beautiful harmonies with his vocals. “Come what may, we’re on our way” he sings over the chorus, a fitting mantra for getting through the end of the semester.

The Magic Of Music: Sam Lachow

Sam Lachow is a producer, songwriter, rapper, videographer, director, and editor of video and music.

Raised in both Seattle and New York City he’s been making videos since elementary school, and as a seventh-grader began a group called Shankbone. Sam began directing and producing music videos with Shankbone and went on to create videos for various other artists.

 

Then in 2011, Sam released his debut project as a solo artist, “Brand New Bike”. Produced entirely by Sam, the album utilized many live instruments from musicians based in Seattle and New York. The next year Sam released 2 EP’s and produced/directed dozens of music videos from the projects on his YouTube channel, which now has over 7 million views.

I had an amazing chance to attend his show with Rittz when they rolled through the Complex on November 9th to talk about his successes within his music. Check out the interview below!

First off, how are you doing? 

I’m doing so good, man! We just had a really great show at the Complex. The crowd was amazing – it was fun!

Glad to hear that! Do you like Salt Lake City?

I actually really do! I don’t like the weird laws, but it’s a beautiful place. The crowd’s always turnt up.

What inspired you to get into the rap game?

It started out as a complete hobby! In 6th grade, I started a band called Shankbone – it was me and two other Jewish kids because a shank bone is a Jewish dish! Then people started really liking it and that’s when I realized I was good at it. So I just kept doing it and then I went to college in New York, and at the same time, I knew I wanted to make music for a living.

When you got into rapping, were there any musical instruments that inspired you to do what you do now? 

I’m a drummer! I love live music so in my beats, I try to incorporate live music. But I’m not really good at any instrument, so I hire people that are really good at them and I tell them what I want. I was lucky to go to a high school where there was a great jazz band, so I know a bunch of incredible musicians.

Growing up, which artists did you look up to? 

For rappers, I’m a big flow man – lyrics are great, of course, but I’m into the flow. For example, you can’t write a good drum solo. I would say I look up to Notorious B.I.G. and Andre 3000! I also love Devin the Dude, who’s not as known, but his beats inspire me a lot.

Touring with Rittz, how does it feel? How did you gain the opportunity to join this tour? 

It’s not the most entertaining story, but we found out Rittz was going on tour and he doesn’t have a big following up in the Pacific Northwest, but my following up there is big. So we struck a deal with him that if I went on the tour, we would bring a shit ton of people out to the Pacific Northwest shows. Meanwhile, he has a huge following down here, and we had never met, we just talked online! But we decided to do it! He’s a cool dude though! He’s been in the game for a long time and he’s got amazing stories. I’ve been learning a lot from this tour!

Out of all the songs you produced, which one would you say is your favorite and why?

I go by what I still tolerate and listen to because I’ve heard my songs so many times. I love “Dreams of Gold” though because it’s just really good! I remember making it by a collaborative effort and it was a good time in my life!

If you were to give an aspiring rapper a piece of advice, what would you say to them? 

Make sure that it’s a complete passion! It can’t be something you’re doing because you want to become a famous rapper because that’s one in a billion. You have to do it because you love doing it. I would do it even if I wasn’t making a living for it. It would be something I would do all the time. Don’t think about making a bunch of money because fans can tell if you are making real music or if you’re just trying to be a “rapper”.

What was the most recent TV show that you binge-watched?

Curb Your Enthusiasm! It’s my favorite show! People compare me to Larry David a lot because random shit will annoy me. My dad reminds me of, Larry David!

Give Sam Lachow some love and follow him on all his social outlets!

Facebook

Twitter

Soundcloud

YouTube

What’s On My Playlist? #3

There are certain songs that you can never get enough of. We listen to them over and over till we have every minor detail memorized. These are a couple of my favorite songs that I have been listening to recently.

“I Need A Forest Fire” by James Blake, Bon Iver

“I Need A Forest Fire” was released in May of last year on James Blake’s album The Colour in Anything. Blake teams up with Justin Vernon of Bon Iver on this heart-wrencher. Their similar music styles yet distinct voices mix perfectly providing an interesting texture. A loop-pedal, electric drums, and a synth are all these musicians need as they plead for a forest fire, a restart.

“Tap Water Drinking” by Lewis Del Mar

Lewis Del Mar is an experimental rock duo from NYC. They combine simple, often single note, acoustic guitar melodies with heavy distortion, electronic beats, and Danny Miller’s spoken word style lyrics. “Tap Water Drinking” is about a sexual relationship between two people. The song starts off innocent and simple but soon grows darker, heavier, and more distorted. This symbolizes how relationships sometimes get out of hand and become destructive.

“Rattlesnake” by King Gizzard and the Lizard Wizard

“Rattlesnake” is the psychedelic rock band’s 8-minute opening song to their album Flying Microtonal Banana. This song and album use modded guitars as they explore the world of microtonal tuning. “Rattlesnake” takes you into the desert where the familiar rattle is lurking around every corner. Don’t get lost because the serpent is always there waiting to strike.

“Carin at the Liquor Store” by The National

Released earlier this year, “Carin at the Liquor Store” is another National song that hits you deep down. The namesake of the song is lead singer Matt Berninger‘s wife, Carin. An elegant piano melody accompanies Berninger singing in his unmistakable baritone, “blame it on me.” By the time the guitar solo comes you’re already in tears. What more can you ask for from music?

“Oceans” by Seafret

It’s been said that all you need is a guitar, 3 chords, and the truth. This indie-folk duo from the U.K. doesn’t use much more than that on their 2016 track “Oceans”. Sounds of crashing waves and dripping water fill the background. Vocalist Jack Sedman sings, “I want you… but it feels like there’s oceans between you and me.” This song tells us that love is complicated and sometimes it doesn’t work how we imagine.

“Dissolve” by Private Island

The indie-rock band from Southern California delivers wonders on this jam. A fantastic guitar melody reals you in, and the passionate vocals seal the deal. The lyrics tell the story of an ending relationship. They sing, “take me back now,” and “when they say your name, they can watch me, watch them, watch me dissolve.”

“Sun in Your Eyes” by Grizzly Bear

“Sun in Your Eyes” is the last song on the psychedelic folk album Shields (2012). The song slowly builds 3 different times with subtle repetition and slight variance. Each time it gets bigger and better. The lyrics, “I’m never coming back”, are repeated multiple times. By the end of the song, you’ll be asking yourself if you can ever go back to who you were before it began.

 

Songs Against the Election

Odes To The 2016 Election

Here we are, folks. A year after the election and there is still an orange fruitcake sitting in the oval office – and I’m not talking about Great-Aunt Becky’s less than enjoyable holiday pastry.

I apologise to any Great-Aunt Beckys that may exist, it isn’t your baking, it’s the idea of what you’re baking. Let’s face it, fruitcake has lost whatever appeal it might have once had.

Much like stale fruitcake that has gone out of style, Donald Trump is also out of style – as if he ever was in style. He’s a misogynist, racist, and bigot. However, there are somehow still people who think that is the type of person who should be running our country. “Land of the Free” – yeah, okay… But hey! At least we’re not in World War III yet.

For quite a while after the race was called, this playlist is all I would listen to, particularly the first two songs. I listened to those A LOT. Very loudly. While driving around public places such as grocery store parking lots and outside of churches. You do what you have to do to let people know you hate a certain too tan, bleach blond, senile grump. It might have been annoying, but so is his fan club.

Odes to the 2016 Election

FDT by YG

FDT – Pt. 2 by YG

I Want Something More by Bad Religion

Fight The Power by Public Enemy

Testify by Rage Against The Machine

The Resist Stance by Bad Religion

Sunday Bloody Sunday by U2

Strange Fruit by Billie Holiday

Gimme Some Truth by John Lennon

What’s Going On by Marvin Gaye

Respect by Aretha Franklin

Rise Above by Black Flag

(I Can’t Get No) Satisfaction by The Rolling Stones

F*ck You by Lily Allen

The Empire Strikes First by Bad Religion

Another Brick In The Wall – Pt. 2 by Pink Floyd

Killing In The Name by Rage Against The Machine

World War III by Bad Religion

Black Barbies by Nicki Minaj

Another Bag Of Bricks by Flogging Molly

Requiem For Dissent by Bad Religion

It’s The End Of The World As We Know It (And I Feel Fine) by R.E.M.

Of Ballots and Barricades by Ramshackle Glory

Bonus Songs:

BagBak by Vince Staples

Protest Song by Broken Social Scene

The Revolution Will Not Be Televised by Gil Scott-Heron

Behold! A short list of all the songs I thought were fitting for the election of an Oompa Loopma from the Upside Down. Clearly, more songs along this theme exist in the world, but I found these to sum pretty much everything up. There are punk songs, rap songs, pop songs, slow songs, fast songs, well known songs, and a couple of songs that are more obscure. Some of these are songs to dance to, fight to, and maybe even cry to.

More than anything, all of these songs should inspire you to think and get mad. Apathy is not going to cut it in this day and age. While you sit by, people are going to get killed, lose health coverage, be deported, and continue to be discriminated against. Even if you cannot make it out to events (such as protests and rallies) or will not be safe at one, there are small things you can do; supporting resistance movements, sharing news of atrocities, and most importantly voting in your local election. Making a large difference is extremely difficult to do on your own as one person. However, the little things do add up and the only way left to go is forward. #WeWontGoBack

If you feel like following this playlist, head on over to my Spotify page and feel free to browse.

If you would like to learn more about how to get involved with on campus activism, like and follow the University of Utah’s Students for a Democratic Society Facebook page.

The thoughts expressed in this piece do not necessarily reflect those of K-UTE Radio itself.

Graywhale Finds #2

I often find when I go to Graywhale Entertainment looking for one album, I end up finding something entirely different. This fact stayed true upon my last visit, and I found a number of exciting albums both new and old.

1) The Ooz by King Krule

Among my first finds was King Krule’s new hit The Ooz, an appropriately titled album given the music on here; the tracks are drenched in atmosphere, weaving around jazz-inspired riffs and Archy’s mesmerizing voice. The resulting music both soothes and bites, distinguishing it from a lot of more recent releases. With unforgettable tracks like “Dum Surfer”, it’s set to be one of my favorite albums of the year.

 

2) Masseduction by St. Vincent

I also found a couple copies of the deluxe edition of St. Vincent’s new album Masseduction. It may not be my favorite release by the artist, but there are plenty of stellar tracks. “Pills” in particular comes to mind; it shows off Annie Clark’s mastery of the guitar, and its use of saxophone is a joy rather than an irritant, out-of-place gimmick. The deluxe edition comes in yellow vinyl, which could also be considered a gimmick, but I have a soft spot for colored vinyl.

 

3) Another Green World by Brian Eno

Among the newer releases were a number of reissues, including this treasure by Brian Eno. Another Green World is Brian Eno at his best (outside his collaborations); sitting halfway between his voice-led music and his instrumental projects, it’s a collection of zany, ingenious pop tunes. Distinct, wobbly synths and guitars played with mallets are just a few testaments to Eno’s creativity on here. It’s also a testament to his immaculate attention to detail, a good quality to find in any record.

 

4) No Shape by Perfume Genius

Upon recommendation by a friend, I checked out this album earlier this year and I couldn’t be gladder. As of yet, no album has quite topped this release for me. Perfume Genius honed his craft on this album, delivering a velvety, pop sound in tandem with an emotional, intimate vocal performance. It’s the kind of album you want to listen to beginning to end, which makes it a perfect vinyl purchase.

 

5) Atrocity Exhibition by Danny Brown

If you haven’t seen the video for “Ain’t it Funny”, you need to make some time to watch it right now. First of all, Jonah Hill directs it. Secondly, the music is divine; it’s a macabre, unrelenting powerhouse of a track and only a taste of what the album has to offer. Haunting soundscapes and immaculate rhythm and pacing are the name of the game on Atrocity Exhibition. Pick up this album and I guarantee you’ll have its raucous, claustrophobic beats stuck in your head.