Collectors Corner: clipping. – CLPPNG (Standard CD Release)

by Dustin


Welcome to the newly revamped Collectors Corner. We’re going to be transitioning from speaking about multiple albums at a time, to a more in depth look at unique individual releases. A bit of discussion of some of our personal favorites from our collections. I’m a big fan of creative packaging when it comes to albums. In an era where digital is becoming the norm, an act going the extra mile with design can be the difference maker when it comes to putting out the extra cash for a physical copy. It can be particularly attention grabbing when it’s an unconventional CD release. CD can be a pretty boring piece of media at face value. Standard jewel cases feel incredibly sterile; even digipaks can seem uninspired, regardless of the fact that they tend to be better looking than plastic casing.

Today we will be having a look at one of these extra cool albums, clipping.’s 2014 record CLPPNG. Released on Sub Pop Recordings, catalogue number SP1071, in compact disc format.

The front cover of CLPPNG.

When I ordered my copy of this record, I have very little idea of what to expect. It was around the time I had first started my music collection, and all I knew was that I dug the album. When the parcel came in the mail and I finally got my hands on it I could not have been more pleasantly surprised. Upon opening the tri-fold outer casing, you’re greeted with very creatively edited pictures of all three members of the group in a very pleasing black and white. The print quality is high, leaving all of the artwork looking well defined and clear. The cardboard itself is incredibly thick and has a slick finish. It feels quite durable, and the corners don’t seem to be quite as prone to breaking down as you might expect from a digipak. Overall, I am a fan of CLPPNG’s outer package. It’s not a groundbreaking design by any means, but it’s cleanly put together and tastefully minimalistic. This creates a kind of contrast with clipping.’s noisy and chaotic music that I thought was quite clever.

That aside, there are some internals to discuss as well. The two outer segments of the tri-fold digipak are hollow and have some goodies to look at. One contains the credits booklet, and the other contains the disc itself.

A look at the internals of the packaging.

The credits booklet was a necessary addition, but it is not overly substantial. It contains song names and additional credits that aren’t listed on the digipak tracklist. I would have liked to see a lyric booklet, or possibly some more photos of the group in a style similar to those in the tri-fold; however, the rest of the packaging is relatively minimalistic and this does fit that style. It felt more like a reference sheet, but it still looks really nice; moreover, there are some interesting tidbits as far as minor vocal credits that will appease the super-fan curious about all details of any given song.

The CD is probably the most interesting part of the album packaging in my opinion. The artwork on the disc is just a minor reworking of the album cover, but the real showstopper is how it is stored inside the digipak. Rather than clicking into a plastic holder or just slipping inside the case, the disc is wrapped in a paper dust cover very reminiscent of those you would find in a vinyl release. This protective sleeve even has a bit of a design on it that pairs up nicely with the album artwork. It’s such a small little thing, but it turns a cool tri-fold digipak into something special. Given my own personal preference for vinyl (as well as its resurgence in recent years), it just felt really awesome to open up a CD that takes influence from that style of packaging. Vinyl is expensive, and having a more affordable option such as this offering part of the same tactile experience is fantastic.

As far as sound quality goes, it’s a CD so there aren’t really any surprises. CD doesn’t tend to have the variability in terms of sound quality compared to vinyl pressings, and CLPPNG is no exception to that. It sounds great, but it offers no benefit when compared to the digital version of the album (particularly if you have the album in a 320kbps mp3 or lossless format). This release isn’t a must for audiophiles, and lends itself much more to those who simply love collecting physical music.

Ultimately, the CD version of CLPPNG is well worth buying if you’re a fan of the release. I would have personally preferred the vinyl, but I would be lying if I said this wasn’t unique. The assembly and design of the packaging are both superb, well above the average I would hold against compact disc. Though I do have a few deluxe editions and short run releases from other artists that I like more, this is probably one of my most cherished standard versions of an album in this format that I own. Time and time again I find myself smiling when I open up the digipak to give the record a playthrough. There’s just something about the minor details that make CLPPNG feel like something special. I recommend it fully for the avid music collector.


A History of Definitive Jux

by Dustin


The story of Definitive Jux really starts with Company Flow in the early nineties. The group – consisting of Bigg Jus, Mr. Len, and a very young El-P – was turning the heads of underground labels due to their heavy presence on the WKCR 89.9 radio in New York; however, the group still found it rather difficult to find a home initially. Loud Records opted to sign the now legendary Mobb Deep instead, and Tommy Boy Records didn’t believe the trio had what it takes to make it in the music industry. Despite the rejection, Company Flow pushed on and released the original Funcrusher extended play on the much smaller Official Recordings. During this time the group would also meet Amechi Uzoigwe – a video production assistant at the time – who would ultimately become their manager. The goal was simple: to keep on the independent grind until a record deal could be found on their own terms.

This would eventually happen when the group signed on to underground powerhouse Rawkus Records, and released Funcrusher Plus shortly thereafter in 1997. This album became one of the most influential underground releases of the 1990s, and spawned nearly two years of touring and promotion. Following this, Bigg Jus departed from Company Flow on good terms with the intention of pursuing a solo career. Not long after, the remaining group members’ relationship with Rawkus began to deteriorate rapidly. Feelings of financial mistrust and talent mismanagement soured Company Flow on the label, and El-P would ultimately make the decision to depart. These events effectively dissolved Company Flow. Aside from an instrumental release and a few loose tracks post-Jus, all members would remain active, but as solo artists.

Disillusioned with the music industry due to his experience at Rawkus Records, a disgruntled El-P went on to team up with manager Amechi in order to form a label named Def Jux in 1999. Ultimately, Def Jux sought to provide amenities such as covering the overhead on projects and offering 50% earnings on all record sale royalties to the original musician. Def Jux didn’t want to be shoehorned into any particular sound or facet of hip-hop, they wanted to grant artists the freedom to be genuine to themselves and release music that reflected such. They wanted to thrive with individuals who would normally be relegated to little more than open mic events and college radio stations. No mainstream expectations, no compromising, just raw hip-hop. A tall order, and a massive risk to be sure, but El-P and Amechi were driven by a burning desire to treat musicians with respect.

The label released Def Jux Presents in March of 2001 as a sampler of what they had to offer, but their first real success would come in May of the same year with Cannibal Ox’s El-P produced debut album, The Cold Vein. This record is still considered a seminal release to this day, and put Def Jux’s name on the map in the world of hip-hop. They would hit a second home run in September, when Aesop Rock dropped the critically lauded Labor Days. Def Jux would experience a slight hiccup that year in the wake of its initial success, however. Def Jam Recordings sued over the similarities in name. This was eventually settled out of court, and the label officially change to Definitive Jux to avoid any future legal issues. Despite this brief tie up in litigation, 2002 saw the release of El-P’s Fantastic Damage and Mr. Lif’s I Phantom, two records that were met with universal critical acclaim. The label had laid an extremely solid foundation, and was poised for nothing but growth and victory going forward.

Expansion, progression, and success certainly rung true for Definitive Jux through the middle portion of the new millennium, but not without a healthy dose of conflict leading to significant retooling. The relationship between the label and Cannibal Ox (specifically Vast Aire) crumbled, and the enigmatic duo would never release another record through El-P’s outfit. Holes in the Definitive Jux roster would gradually be filled with individuals such as Murs, C-Rayz Walz, and El-P’s longtime friend Camu Tao (of S.A. Smash and rap super collective The Weathermen). The label also signed fellow Weathermen member Cage after his nasty falling out with Eastern Conference owners The High & Mighty. Boasting a newly revitalized talent pool, in addition to retaining Aesop Rock, Mr. Lif, and a few others, Definitive Jux proceeded to go on another absolute tear of record drops. The standouts of which, just to name a few, include: The End of the Beginning, Black Dialogue, Since We Last Spoke, Hell’s Winter, Mo’ Mega, I’ll Sleep When You’re Dead, and None Shall Pass. The label had a firmly established cult following by this point. Renown for being different while also embodying the spirit of hip-hop. Though, the seemingly never ending success story proved shortly to be unsustainable.

As unfortunate as it is, the history of Definitive Jux is not one with much of a happy ending. Near the end of the 2000s things began to unravel rather quickly. The turning point was likely the passing of Camu Tao in 2008. A long time Definitive Jux member and best friend to many, his death shook the label to its core and created tension between certain artists. El-P had also allegedly become somewhat unhappy with the state and development of Definitive Jux. Feeling proud of all the label had accomplished, yet regretful that they had become too homogeneous in sound and created a bit of a splintered audience away from hip-hop itself. Definitive Jux, at times, seemed alienated from the rap community. Cited as being too weird or too niche, many turned their noses up at buying into their offerings. Being that El-P had come up in the east coast hip-hop scene, he began to feel a strange disconnect from his brainchild as if it no longer represented himself or its original ethos. After a run of uninspired releases and reissues (aside from Cage’s excellent 2009 album Depart From Me), El-P finally announced that he would be stepping down as creative director of Definitive Jux and placing the label on permanent hiatus in 2010; moreover, he stated the he would be moving on to focus on his career as a hip-hop artist.

This announcement also revealed that Camu Tao’s posthumous King of Hearts would fittingly be the final release prior to the label closing its doors. A collection of rough song ideas Camu wanted people to hear, touched up and arranged by El-P, King of Hearts released August 17th 2010 in conjunction with Fat Possum Records. Just like that, Definitive Jux’ reign over independent hip-hop had come to a close. A decision which, El-P would note years later, felt like the right one. The label had run its course and ended when it needed to before hurting its legacy. The remaining roster dispersed, with most finding homes on other independent record labels. Of the most notable, El-P moved on to release another solo album before forming Run the Jewels with Outkast affiliate Killer Mike, Aesop Rock would seek refuge on Rhymesayers Entertainment, Cage reconciled with Mighty Mi to rejoin Eastern Conference, and Mr. Lif eventually found his way to Mello Music Group.

Though it may have felt as if it ended just as soon as it started, Definitive Jux remains relevant even in the modern context of hip-hop through its influence. While labels like Bad Boy had attempted to glamorize the sound of New York hip-hop for the masses, Definitive Jux tried to keep it true to its roots while also developing an alternative lane for artists that is still flourishing today. El-P and Amechi also managed to revolutionize the status of independent hip-hop labels. Setting an example of how to break out of the mold set by the major corporations in music by placing the artist before the business whenever possible, while also operating sustainably. Though El-P may have some regret when reflecting back on the label, ultimately he did achieve his goal. What spawned out of frustration toward the music industry, would help set the bar higher for the treatment of underground acts in hip-hop. Between this influence and the amazing music released during its decade long run, it is hard to call Definitive Jux anything but a success in retrospect.

Rajin Rambles: 2017 in Review, and Beyond

by Rajin


Fortunately, we’ve somehow managed to reach the end of 2017. Unfortunately, this means that I’m once again taking it upon myself to do what I hate to see from other people, and give my unsolicited opinion about the rap music that has come out over the course of the past 12 months.

Overall I thought this year offered a great deal of good music. As expected, Redman and Ghostface Killah did not release their oft-delayed sequel albums that I have been looking forward to for the last 2 or 3 years (there’s always next year!). Some disappointing albums were released; Shabazz Palaces released two of the most tragically underwhelming albums this year, Eminem released a seriously flawed and scatterbrained effort made even more unfortunate because it had many of his best songs in a decade and a half, and the Wu-Tang Clan compilation was full of verses completely phoned in by everyone not named Method Man or Redman. However, there were at least 25-30 projects that I enjoyed. That is far more than what I can say about last year; when reflecting on 2016 about a year ago, I struggled to think of even 10 or 15 albums.

While I loved much of what came out this year, I do feel as though there were not as many that blew me away the way Run The Jewels 3, Atrocity Exhibition, or Honor Killed The Samurai did. Brick Body Kids Still Daydream might be the only one that did that for me, but again, there were a lot of great projects released.

Hip hop, to me, seems like it’s kind of in a state of limbo at the moment, and it’s sorting itself out a bit. It doesn’t seem like the genre really knows where it wants to go. Overall, the year felt a bit directionless, just kind of dragging its feet with a lot of the trends that have been present for the last few years. It feels like people are done with them and yet are also afraid to deviate from them as well. I can’t say I’m very thrilled about the whole Soundcloud rap thing – most of these kids sound to me like they’re really half-assing this cloudy trap vibe while glamorizing mental illness. It’s not a good look.

I’m really over the idea of trap-style drums being thrown into every other beat you hear these days. Don’t get me wrong – I enjoy trap music. However, I’m not a fan of what’s been going on with it for a while now. Honestly, most of what is considered trap music really doesn’t seem like it should be considered trap music in the first place. Trap music has gone from actually detailing everyday life in the trap, to basically just rapping over cloudy, moody beats with fast hi-hats behind them. I feel like it’s lost its edge, and it’s becoming very safe and sanitary.

What’s going on with trap actually reminds me of what happened to New York hip hop in the late 90s. Back when Bad Boy and Ruff Ryders gained prominence, most of the grit, dust, and ultimate spirit of the music was lost, as keyboard producers came in with overly clean synths and snares that overtook sampling. Anything that resembled the sound of east coast hip hop before this transition ended up getting relegated to the underground, and it stopped being representative of the New York sound, until now where most people wouldn’t think New York even has a discernible sound at all. Like anything, as the trap sound and style got cleaner, it started losing most of what made it so alluring in the first place. For a long time it’s become progressively more and more watered down, and I feel like this year everything has just been a haze.

Odd as it may sound, 2 Chainz is quite possibly the first rapper to release an album that felt like a proper trap album in years. Pretty Girls Like Trap Music wasn’t an album I was overly fond of, but the entire atmosphere and structure of it felt reminiscent to an early T.I. album. He experimented with the current sounds that rule trap music (and, well, hip hop and even pop as a whole) but actually performed on it in a way that stayed true to the subgenre. Aside from it having a couple of songs I did enjoy, I feel like I’ve got to respect it for that reason.

I hope that hip hop moves on from the current incarnation of trap soon. I spoke earlier this year about how hip hop is in a good place, but I think I need to rephrase. It is in a good place solely because it has proven time and time again that it is not a fad, and because experimentation has crept into it more than it has since the 80s when it first really exploded. However, as far as the prevailing trends go, I think they were necessary but the representative sound needs to move on to something else. Hip hop will lose steam quickly if the majority of what is being consumed continues to devolve. Or maybe the sound will deviate from its southern influence and something else will take its place, like with what happened to New York. All I know is that I’m really kind of tired of it. There’s only so much syrupy music you can hear before you start to feel sick.

Now with all this in mind, I would be remiss if I failed to mention that I do think there’s a growing trend in underground east coast hip hop that I’m really excited about. It seems like this new chamber rap style has been really catching on, especially this year. This style is almost like a progression of the style that we saw with the first wave of the Wu-Tang Clan, where there was a lot of soulful and orchestral samples used in production as well as very descriptive, layered, and colorful lyrics. There are several rappers and producers who deserve credit for pushing the style further, but I think the first person who crafted music in this style that really made people take notice (and please feel free to correct me if I’m wrong) was none other than Roc Marciano.

In 2010, Roc Marciano released his solo debut album Marcberg. On that album, Marci painted laid vividly detailed verses delivered with a quiet and subdued yet overtly arrogant slow flow over a very soulful, stripped down backdrop. It was a style that was unlike anything that was coming out at the time; it was luxurious yet dusty, innovative yet familiar. It was very minimal, with drums oftentimes playing a less prominent role in the production. Two years later, he would refine the style he used on this album and put out what is possibly the most important underground New York rap album of the decade thus far: Reloaded.

Reloaded is the album that has given chamber rap its foothold in the genre. Since the release of that album, you can see underground rappers begin to draw influence from what Marci was doing on that album and push it forward. Around this time, The Alchemist began working with Marci, and from there you can notice a change in his production style, evident on his beats on Sean Price’s Mic Tyson or the Albert Einstein album he did with Prodigy. He started making beats that were more minimal compared to what he was doing beforehand, almost like he was adapting what he did early in his career for Mobb Deep and stripped the style down further.

The music that has been coming out of the Griselda camp since around 2014, when Daringer came into the fold, has also followed a similar tone. Daringer is another producer who creates very minimal beats, oftentimes not adding any drums to the samples and just working with what is there already. Westside Gunn and Conway are some of the more notable rappers who have pushed this style forward, as well. While Roc Marciano innovated it, there weren’t very many rappers toying with it until Westside Gunn’s mixtapes started to drop. It appears to me that the recent explosion of this subgenre really started after Flygod came out.

Since then, in 2016 and especially 2017, there has been music, primarily out of the east coast, that perpetuates this style, aside from Roc Marciano and Griselda. Hus Kingpin, being from Hempstead, Long Island like Roc Marciano, released Cocaine Beach with Big Ghost this year that was essentially a sunny take on Marci’s very cold, wintry tone. Meyhem Lauren and DJ Muggs released Gems From The Equinox, which sounded almost like it bridged the gap between vintage Wu-Tang and the current chamber rap style. VDon and Willie the Kid released a pair of excellent chamber rap EPs this year, both of which offered the subgenre the most innovation on the production side of things that it’s seen since Daringer first molded the Griselda sound. These are all artists who are taking the luxurious vibe of mafiaso rap from the early-to-mid ‘90s, and finally spawning something bigger and worthy, as opposed to the watering down of the style that Bad Boy among others ended up being responsible for.

We also can’t forget Ka. I didn’t include him alongside the rest of these guys because while they all have more of a Raekwon vibe, Ka is more like GZA. He has very stripped back production as well, however, he kind of sounds like he developed his style in a way that is very compatible with Roc Marciano, but definitely separate from it at the same time.

At the end of the day, no matter what, there’s gonna be great music everywhere no matter what the scene looks like from the outside looking in. My sentiments from last year, about wanting a more industrial influenced sound to become the representative sound of hip hop, still apply because I still feel like it could pose as a sensible point to go from where we are now. I get the sense that there will be a fairly dry period in mainstream hip hop in the next few years before the genre is replaced with another genre as the most popular genre before a new fire is lit under it. Or not. I’m not exactly good at predicting anything. Regardless, I am really excited to see how chamber rap continues to grow, and there’s plenty that I’m looking forward to in the year to come.

Extraordinary Nobodies Top 15 Releases of 2017

by Dustin


Well, it’s that time of year again. The end. You know what that means? Lots and lots of tip lists. Being that we’re a blog, we like to get in on the fun and do a top list every year too. More specifically, I like to do a top list. Rajin isn’t allowed, I make him post his on Twitter. Anyway, this list is not exclusive to hip-hop (even though that’s where most of our writing tends to lie), because there’s just too much good music coming out every year for that to be fair.

It’s also in descending order, so you’re going to have to scroll all the way to the bottom to find my favorite album of the year (or just look at the article photo, it might give you a clue). Thank you all so much for your support again this year! See you in 2018.

15. Godspeed You Black Emperor – Luciferian Towers
While Luciferian Towers may not be Godspeed’s best work, it’s absolutely still a powerhouse in it’s genre. The Canadian post-rock and drone group assembled an album that sounds hellishly disorienting throughout its entirety. Certainly a recommended listen, especially for those who dig the outfit’s previous releases. Of note was the very obvious jazz influence throughout the release. Favourite Track: “Anthem for No State.”

14. Willie the Kid & Vdon – Deutsche Marks
Taking influence from individuals like Roc Marciano, Willie the Kid and producer Vdon put together an excellent chamber rap EP. With ultra-luxurious lyrics, decadent vocals, and heavily revered sample driven production, Deutsche Marks was colder than a Michigan winter. Favourite Track: “Black Sinatra.”

13. Veiny Hands – Veiny Hands
Veiny Hands self-titled EP proved to be truly punk to the core, while also not being afraid to have fun with music. The vocals, instrumentation, and mixing felt to be deliciously throwback to early years of punk rock. It may not have been the most complex release of the year, but it would be difficult to find many others more genuine. It was a true spark plug album, and serves as an AED for the dying spirit on dreary days. There isn’t much else that can be said, really. Favourite Track: “Dirty Sheets.”

12. Roc Marciano – Rosebudd’s Revenge
Roc Marciano is the godfather of the aforementioned new wave of chamber rap, and Rosebudd’s Revenge demonstrated further why he’s had such a huge impact on the underground hip-hop scene. On this record Roc Marci flawlessly made an over the top criminal lifestyle sound as lavish and regal as running a fortune 500 company. The frigid and distinctly New York production provided the perfect ambient backdrop to his stories of debauchery and dealing. Favourite Track: “Marksmen (feat. Ka).”

11. Moor Hound – Green
Indie-folk singer/songwriter Moor Hound dropped Green near the start of 2017 and it held strong throughout to remain one of the best projects released. A warm, intimate, and emotional example of just how human the folk genre can be. It truly felt like a one on one session with Moor Hound – exactly as it should be – and could provide comfort even through the hardest of losses. He delivered an invitation to drop personal walls, by putting his own baggage on display for everyone to commiserate with. Favourite Track: “See You Around.”

10. Uncommon Nasa – Written at Night
Conceptually, Written at Night may have been the most interesting album to come out this past year. Focused on the thoughts and artistic outpouring experienced in the dead of night, this release was a collaborative effort between Nasa and his contemporaries. Perhaps its most interesting quality is the fact that the songs became more wild the later into “the night” the track list progressed. Great concept, great execution, and to top it all off the album sounded extremely New York. A recommended listen, especially for the fan of Def Jux early sounds. Favourite Track: “Written at Night (feat. Billy Woods & Quelle Chris).”

9. Billy Woods – Known Unkowns
Another album that appeals to the tastes of the Definitive Jux fans, Known Unknowns was about as east coast as it gets. When a rap veteran like Billy Woods teams up with a legendary underground producer like Blockhead (y’know, that guy who helped make Aesop Rock what he is today), there are going to be high expectations. This release met every single on, and then some. Woods’ delivery and writing style may take a bit to get used to for some, but it’s worth the effort. Trust. Favourite Track: “Bush League.”

8. Oddisee – The Iceberg
The latest installment in Oddisee’s discography packed no surprises, yet still ended up being one of the most formidable hip-hop releases this year. Chicken soup for the soul of individuals that grew up on acts like A Tribe Called Quest, The Iceberg was an attention grabbing album. Oddisee never strays that far from his comfort zone, but he put a lot of flair into his unique combination of technical prowess and socially charged lyricism. Any lack of variation in Oddisee’s sound was made up for in spades by his sheer talent. An excellent hip-hop record to the core. Favourite Track: “You Grew Up.”

7. Jonwayne – Rap Album Two
Rap Album Two saw Jonwayne take the listener to his most vulnerable places. Over whimsical melancholic throwback production he would spill his guts time after time, leaving nothing on the table. It was an emotionally challenging listening, but one well worth trying; moreover, this was a huge leap in quality from the rough around the edges Rap Album One. It was a treat to witness Jon seizing the potential he had displayed in flashes up to this point. Favourite Track: “Out of Sight.”

6. Quelle Chris – Being You is Great, I Wish I Could Be You More Often
Perhaps the closest to being a true one of a kind oddity on this list, Being You Is Great, I Wish I Could Be You More Often was one of the strangest releases in 2017. An enigmatic carnival of personality, invited the listener on an acid trip through his entire being. Off-kilter vocals tip-toed their way around astonishingly creative production to create a beautifully confusing record; more importantly however, it may be the first release of Quelle’s that felt entirely true to his enormous personality. Which, in all honesty, only served to make this album more incredible. Favourite Track: “Fascinating Grass (feat. Big Tone, Roc Marciano, and 87).”

5. Walter Gross – Vestige
While Walter Gross’ name may not ring familiar in the memory banks of the majority, he’s been a staple in the do-it-yourself music community for years and has a massive release history to sift through. Yet, through all these releases, Vestige is the grandest. Existing as a disgustingly tantalizing hybrid between hip-hop, post-punk, and noise, this album was a three headed monster hungry for listener’s eardrums. Favourite Track: “Good Morning.”

4. Algiers – The Underside of Power
The Underside of Power was damn near an indescribable listening experience, yet at the same time it was obnoxiously good. Though it took elements from gospel, hip-hop, industrial, and post-punk it truly was its own thing, and is impossible to peg into a genre. Here’s some things you should know though: the vocals are powerful, the instrumentation is powerful, and the songwriting is powerful. Seeing a trend? Kudos to Algiers. Favourite Track: “Walk Like a Panther.”

3. Milo – who told you to think??!!?!?!?!
While 2015’s so the flies don’t come established milo as an artist with the ability to be great, who told you to think??!!?!?!?! elevated him to being one of the most powerful young forces in the hip-hop realm. With verbose lyrics, dreamy beats, interesting flows, and oodles of emotional awareness, this album had just about everything one could want from a milo release; however, it’s all been elevated beyond anything he had release prior. In fact, some aspects of this album bolstered some folks claims that milo may be the MF DOOM of this generation. Favourite Track: “sorcerer.”

2. IDLES – Brutalism
Somewhere between old-school punk and modern post-punk, IDLES’ debut album Brutalism was born. Joe Talbot proved to be an excellent channel of anger and societal disgust, throwing hard hitting lyrics around like steel chair shots to the head. The absurdity of topics covered was often hammered home by repeating lyrics with various vocal inflections, and it worked splendidly. The instrumentation on Brutalism swung between hyperactive blind rage and anxious droning, bringing some interesting spins on conventional punk rock ideas. The record was relentless and offered listeners zero time to breathe. Suffocating had never been such a pleasure. Favourite track: “Mother.”

1. Open Mike Eagle – Brick Body Kids Still Daydream
The definitive album of 2017. Brick Body Kids Still Daydream was the perfect blend of frustrated, confused, cheeky, confident, and poignant. Open Mike Eagle created a masterpiece of solidarity for individuals tied to project homes; moreover, his attempts to inspire pride in poorer upbringings were heartwarmingly genuine. Bolstered with quick witted social analysis and wondrous production, Brick Body Kids Still Daydream was the well deserved album of the year in 2017. Favourite Track: “Brick Body Complex.”

S. Reidy Discusses Until the Darkness Comes, Mental Health Concerns, and Putting in Work

by Dustin


Not long ago, we were approached by an artist with an album – a regular occurrence as a music blog. Something was different this time though…the music had a different feel to it. It was genuine, unique, and encapsulated the alternative hip-hop vibe without derivation. After a few weeks (or a month, sorry Shawn) of sitting on the album, it became apparent that a review simply would not be enough. When an up and coming musician drops something as fully realized as Until the Darkness Comes, the most important things that can be said will only come from the artist in question. That’s why we’re here today. To discuss a project, among other things, with an emcee following their own vibe and nobody else’s.

Ladies and gentlemen, S. Reidy:

EN: First and foremost, I’d like to invite you to introduce yourself a little bit. A bit of a self-bio for readers who might be unaware of you as a person. Who is S. Reidy?

S. Reidy: S. Reidy is a rapper from Norman, Oklahoma. He likes to blend hip hop, emo, and indie music, and has opened up for acts like The Palmer Squares, Milo, Open Mike Eagle, and even bands like Walter Etc. He’s also remarkably handsome and has held hands with females on many occasions.

EN: Before we jump into discussing your album, I did want to ask something about coming from Oklahoma. It’s not a state really known for its hip-hop scene. When you were growing up and being exposed to music, what sort of rap was it that you were hearing most predominantly?

S. Reidy: When I was in 7th grade that’s when Soulja Boy was popping off, and man I hated it. I was way more into My Chemical Romance and Senses Fail and stuff like that. But around 10th grade Lil Wayne dropped the song 6 foot 7, and that was the game changer [laughs]. That song was so full of jokes, and personality. Subconsciously I think when I started discovering that, I was destined to become a hip hop artist.

But you know, to answer the question, I was just exposed to all the really popular music. Some dumb study was made recently saying “Rap just took over Rock as the most popular music”, but I honestly feel like it’s been that way for almost 10 years. Especially when that’s what a 16 year old boy from Oklahoma was most exposed to.

EN: You were exposed to popular rap, but do you feel like the other genres you were into really helped shape your sound too? You mentioned My Chemical Romance and Senses Fail, and I know guys like Open Mike Eagle consider their outside influences (They Might Be Giants in his case) to be like, equally as important as the rap they grew up on.

S. Reidy: Oh yeah, absolutely. You can definitely hear a similar brand of white kid angst in my music as those bands [laughs]; however, my sound was really shaped by other genres I listened to once I graduated high school and started listening to more wordy and nerdy artists like Neutral Milk Hotel, Sufjan Stevens, Walter Etc., and stuff like that. Oh, and definitely Pedro the Lion too.

EN: With that in mind, do you feel like coming from somewhere without an established hip-hop sound gives you a bit more of a blank canvas when approaching your own music? Because to me it seems as if you’d be pretty removed from influences and pressures to sound a certain way to fit with the scene.

S. Reidy: It definitely was a strange advantage, but honestly I feel like I’d be making this music no matter where I came from. I’ve always been the kind of guy to do something different just for the sake of balancing out what the norm is.

EN: When I was listening to your album I noticed that – but it also felt very natural to you. Some people seem to really force trying to be “different” just for the sake of it. How important is being genuine in music to you?

S. Reidy: Its everything to me. It’s cliche, but when you take time to really mediate on who you are, and what makes you yourself, everything starts to fall in line, because at the end of it all it’s very clear that you’re the only person who can be you. I didn’t mean to turn the interview into an after school special there… but what are you gonna do [laughs]?

EN: So, when someone gets a chance to listen to Until the Darkness Comes, there’s no playing. It’s just an honest to goodness part of Shawn Reidy being put on display?

S. Reidy: Oh yes. It might not be exactly who I am as person at this very moment, but it’s all feelings, stories and emotions I’ve dealt with the past 2 years or so.

EN: Almost like reflecting on a diary?

S. Reidy: Man… I’ve never thought of it that way, but that is exactly what it is. Someone on YouTube reviewed my album and called it musical meandering, which I though was also super accurate [laughs].

EN: Did you set out with the intention of having the record be an open book about yourself, and experiences, or is that what comes naturally to you when writing lyrics?

S. Reidy: You’re nailing all of these questions right on the head [laughs]. I absolutely do, and that goes into what I was saying earlier about how if you can truly sit down and block out all the worlds expectations of you, and just be yourself, you’ll never have a problem trying to be unique.

EN: Is there a particular aspect of the album that you’re most proud of as an artist?

S. Reidy: Oh dude, by far what I’m most proud of is the distinct sound I was able to come up with on this record. All my other projects sound so scattered as far as a cohesive sound goes. This project is my first that really feels like an album.

EN: Do you feel that being hands on with all stages of the album allowed you to achieve that cohesion? Was that the reason you sought to be the driving force behind all stages of its development, from production to lyrics?

S. Reidy: Oh for sure. I recommend it to everyone. Don’t wait for other people and influences to come and change your sound up. Listen to everything, and engulf yourself in it. Find identity in the music you listen to, and don’t just listen to one or two genres. If you love music, then love music, you know? And then you don’t have to rely on a producer or another musician to help you craft a sound. At least that’s what’s worked for me [laughs].

Just also make sure you get hella opinions from your friends and family, because you don’t wanna get too inside yourself either. Find a happy medium. That’s what I’d recommend.

EN: I’m curious about what your construction process was like for this album. Did you approach creating beats with topical ideas already in mind, or did you produce first, and then figure out what would fit?

S. Reidy: Most of these songs I wrote the best first, and based it on a feeling. After the beat was done I wrote all the lyrics to the song in like 10 minutes or so just to get my rawest response I could from the track, and I would clean it up from there. I’ve been writing songs that way for awhile now.

Guess I kind of just gave away my secret recipe [laughs].

EN: Now, obviously we can’t tell people how to enjoy art – but would you encourage people to approach your album as a full listen rather than just picking and choosing songs to play?

S. Reidy: I don’t know if I would encourage people to, but if you like digging into albums there is more than enough here to really sink your teeth into. If you just wanna hear my popular songs you can do that too though [laughs]. But you’re not gonna get the most out of the album that way.

EN: Popular songs aside, what’s your top three songs off the album, and why?

S. Reidy: Woah, jeez that’s hard…I’m sure this answer would change in thirty minutes too [laughs]. For now though, I wanna say: “Galavanting” because of visceral production and the cool lyrics, “Blackout” just because I feel like it’s uplifting without being corny, and probably “Nobody Nose” because of the guitar and the sweet hook.

EN: Is there a particular lyric you’re most fond of on this record? One that maybe stands out to you as some of your best work.

S. Reidy: That’s also so remarkably hard…when I think about it long enough, I think maybe the line “bagged eyes screaming in your pillows till they drip/ Till you find one day you weren’t crazy to begin with.” I think if you had to describe the album in one line it would be that one.

EN: It’s lyrics like that which made it feel to me like you had a lot to say, particularly in the realm of mental health. We spoke about it a bit beforehand, but just how much does it mean to you to be able to speak freely and candidly about those issues?

S. Reidy: You know I was thinking the other day about how almost every song on the album is about mental health one way or another. Depression is something I had to deal with for two years a couple of years ago. As best as I can I like to open up discussions on mental health and try to help people work out whatever they’re going through, as artfully and carefully as I can.

EN: When including mental health as a topic artistically, do you feel it important to actively attempt to not sound as if you’re glamorizing the “tortured artist” mindset?

I ask because having gone through depression myself, some of the music this newer generation of artists produces can be scary. Like, depression has almost become a brand. But then I see artists like you who approach it more candidly (as mentioned), and I wonder if that’s a conscious effort.

S. Reidy: It’s not conscious as much as it is just a reflection of my reality that depression is really ugly. It’s dark, deep, and numbing, at least it was for me.

As far as acts on the other end tend to sway, I never want to be a person to tell someone how to live their life. This zeitgeist of Instagram depression, is worrisome in the sense that if I had seen more of this stuff when I was depressed, I would have felt very belittled. It’s also dangerous because when people who genuinely are depressed might find some hollow fulfillment in stepping into the more glamorous side of depression, and the lines start to blur between what’s real, and what’s the act you’re putting on.
Once again, I’m not trying to tell anyone how to deal with their depression, everyone does differently. But artist and fans need to start approaching these things with a different attitude, because we’re seeing the repercussions of not taking depression seriously right before our eyes.

EN: I think the Lil Peep death in general exposed that blurred line between reality and act, that you just mentioned. People close to him are saying he was “performing like people in the WWE,” and that it was a character. But at the same time, you would have to be suffering from something mentally to be abusing drugs and thinking it’s okay to put on a depression act. The glitz and glamour that a lot of people put behind it, I think, distracts from taking it seriously. Which is a shame because a lot of people are losing their battles with these issues. And even someone like Eyedea who was very blunt about his mental state and addiction issues ended up succumbing to it.

How do you think musicians as a collective can approach things different to help mental illness be taken more seriously?

S. Reidy: That’s a really really good question, and I don’t believe that there is one answer to it.

I think the best catch all solution you’ll find here, is to make music honest to yourself. Don’t compromise hard to digest topics for music that’s easy to listen to. And do what artists are put on this earth to do. Be vulnerable.

And as listeners we need to actively pay attention to the struggle of these artists and open up discussions on how we can put all of ourselves in a better situation.

EN: Do you think that the vulnerability could also inspire others to open up to their family and friends about issues they’re experiencing? Given that even underground musicians can be huge role models to their fan base. Especially to younger teens and kids.

S. Reidy: One can only hope man… I just do what I can to the best of my ability and hope that it’s enough. Hopefully our best really is good enough when it comes down to it.

EN: Sort of touching on something topical right now, what are your thoughts on the idea (presented by DJBooth originally) that underground hip-hop is dead due to the accessibility of artists online?

S. Reidy: [Laughs]. Oh that thing huh? You know I don’t have much of an opinion about it honestly. I think I understand what they think they were saying, but if you think there’s no difference between an artist like Drake and WIKI I think your opinions are a little misguided.

But I mean, I can’t change that writers definition of mainstream and underground. It is what it is.

EN: Do you ever worry about a music writer stumbling upon your music and misconstruing things you say? Media coverage can be big, but I imagine it could be frustrating if something was read into entirely incorrectly.

S. Reidy: That’s happened to me before in a super minor way. But honestly I’m not that worried about that kind of stuff, I know in my heart that I’m a good person and if anyone every tries to challenge that based on something I’ve said or did, I have no problem confronting that.

It’s a weird hobby folks have now, attempt to twist things any which way just to ruin someone. It’s pretty lame to be honest. It’s almost of a matter of when they’re gonna come for you rather than if. But I’m 100% prepared for that kind of thing, because once again, I know my intentions, and I never mean any form of harm on anyone or anything.

EN: So you try to be genuine not only in your music and candidness with difficult subjects (such as mental illness), but also in your approach to tour music career?

S. Reidy: I mean, I don’t see any better way of approaching it. I truly believe if you’re a good person, you have nothing to hide. And if people try to chastise you for the life you’re living, just continue being the best person you can be, and the universe always has a way of paying you back.

EN: Does it ever get intimidating opening for more established acts than yourself? I imagine it’s an amazing opportunity, but if I was in that position I would be terrified.

S. Reidy: [Laughs]. Honestly, performing is the easy part. The hard part is being backstage with these artists and acting like I don’t want to take a million pictures, ask them about all their albums, and see if they wanna do a mixtape together. I’m a music dork just as much as I am an artist, so the scary part when performing with these acts is attempting to not look like a dingus in front of my heroes…

EN: Do you ever get the opportunity to soak up any wisdom from them during the process though?

S. Reidy: I mean… I started writing this album after me and milo had an hour long conversation in my garage [laughs]. I wish I could record all the conversation I’ve had with these other artists, because when I talk to them I’m always thinking “these are the words of a person with the mindset it takes to get where they are.”

EN: Do you find that these established guys have a different outlook on things than your average indie emcee who hasn’t quite figured themselves out yet? As in, I guess I mean… Do they speak about things differently?

S. Reidy: I don’t think it’s a different outlook, I think it’s just knowledge.

What I’m learning more about the people I look up to the closer I get to them, is the fact that these are people who have made a thousands of mistakes. But mistakes don’t discourage them, and they’re super happy to make them, because all that means is that they know exactly how not to do what they’re wanting to do. The confidence in yourself to remember what it was that got you where you are. That’s the kind of wisdom I’m working towards.

EN: Say a young artist approached you tomorrow, and they were extremely frustrated with their own music due to making mistakes and not hitting the mark they’ve set for themselves – what sort of advice would you pass on to them?

S. Reidy: [Laughs]… Dude unfortunately I’m terrible at motivational speeches.

My whole thing is, do you love music? Can you not picture your life without creating? Then you don’t need motivation from me. I hate when people tell me they want to make music but they never feel inspired. Like, dude, you’re never inspired? Nothing inspires you? You need to either broaden your horizons, or just admit that music isn’t what you’re supposed to do. I know that sounds harsh [laughs], but being an artist is work, if you aren’t willing to clock in to your job, then quit. You know?

EN: Plus like…do you even think inspiration is necessary to get started in art? For me anyway, in my music production side project, there are times when I’m totally not inspired, but I can still sit any play around with things and try something new. Then when I’m feeling it emotionally, I can really sit down and apply those things. There’s something to be said for just messing around and learning too, don’t you agree?

S. Reidy: Or just listening to different guitar tones for an hour and seeing which one you like more, or trying ever single drum groove you can think of that might compliment the melody of the song. Studio time and creative space isn’t always fireworks and magic, and I think that’s a big misconception among new artists.

EN: Do you think they only see end results from their favorite artists and maybe assume that just happens, without considering all the foundations that are laid first?

S. Reidy: That’s absolutely the problem, or people are just to caught up in wanting to be rockstars that’s they don’t understand that 80% of it isn’t even fun. Not that work isn’t fun, but you have to love it.

EN: Word. I think that’s a valuable lesson that everyone making music needs to learn eventually. So, I do gotta ask, what’s next for you now that you’ve released this album? What steps do you take to keep advancing your music career?

S. Reidy: I’m gonna just keep recording music, videos, do tour, interviews, tweet Anthony Fantano 43 times a day to review my album, and do the DIY thing with it man.

An Open Letter to DJ Booth & DJ Z: Underground Hip-Hop is Not Dead

by Dustin


On November 27th, 2017, DJ Booth pronounced underground hip-hop dead. DJ Z regretfully informed us that due to the ease of accessing new artists – due in part to streaming services becoming dominant methods of music consumption – that “the underground is the new mainstream.” Of course, he supported this statement with many examples including (and entirely limited to) the fact that Xavier Wulf has a couple tens of thousands of followers on a few social and music media platforms. This article, for lack of a better description, misconstrued the entire of the underground. Below is an open letter that I have written to the publication and author. They may never read it, but these are things that need to be said.

To DJ Z and anyone from DJ Booth,

I’m going to start by explaining to you what “underground” actually is, since you seem to have a gross misunderstanding of the term. It is not a sub-genre label like “trap” or “conscious hip-hop” as you stated in your article. In fact, the artists that make up the underground span a wide variety of styles in the realm of hip-hop; I would be so bold as to say that every single corner of hip-hop has underground artists. You know why? Because an underground artist is simply an artist that exists outside of the mainstream consciousness in music. Claiming that somebody is now in the mainstream because they’ve got a hundred thousand followers on Twitter is absolutely ludicrous. They’re doing quite well in the context of underground music, but they’re nowhere near the mainstream in terms of popularity. No amount of accessibility to music changes that fact.

Let’s look at a bit of a hypothetical situation to make this point more clear. If you went out and took a survey of the general population, most will know of artists like Eminem, Jay-Z, Drake, Future, Lil Wayne, and Kendrick Lamar regardless of whether or not they actually listen to their music. These artists have firmly rooted themselves in the mainstream consciousness. Now, go out and ask the general population who Xavier Wulf is, and I think you’ll be shocked to find out that barely anybody has a clue. In fact, at the time of writing this article, Xavier Wulf does not even have a page on Wikipedia. Yet, you’re calling him mainstream and using him as proof that underground hip-hop is dead? How does one make that jump logically? That’s not a shot at him either, he’s got a large cult following, but he’s absolutely still an underground artist in the scope of hip-hop and music as a whole. You would have to be brain dead to claim otherwise.

Do you want to know why Xavier Wulf – and seemingly the entire hip-hop community – was upset at the claim that underground music doesn’t exist anymore? Because you are discrediting the insane amount of work he, and other musicians of similar stature, put into their careers in order to even have a career in the first place. It’s not easy to make it in music, and writing as if the internet has made it a cakewalk is of the utmost disrespect. Artists like him, Open Mike Eagle, Busdriver, Billy Woods, Uncommon Nasa, clipping., Fatt Father, Aesop Rock, and hundreds of others don’t have well established careers because the internet made them mainstream. They have impressive careers because they work their asses off in the underground to maintain their place; moreover, you’ve also spat in the faces of thousands of dedicated artists who haven’t even established their footing within the underground yet. But by all means, tell a rapper like MCrv, or label owner like Michael at FilthyBroke Recordings that the underground is the new mainstream. They will turn around and laugh directly at you, because it is very nearly the dumbest statement you could make.

The underground is alive, and it’s thriving. Publications like ourselves and many others being allowed to exist and work with so many beautiful artists globally is a testament to this. Stop disrespecting the genre that you eat off of for attention with sensationalized articles with zero supporting evidence. You are letting down hip-hop, and music journalism. The underground community will still be thriving in every single genre of music long after your publication, and mine, are nothing but a fading memory in the distance. You’re not an artist, DJ Z, maybe stop making claims about the world that they exist in, and start taking the time to listen to what they have to say about “the underground.” You might learn something if you open your ears and shut your mouth, just for a second.

Extraordinary Nobodies

Think Piece: The Wasted Potential of Yelawolf

by Dustin


Around the time of “Pop the Trunk”, Yelawolf was capturing the imagination of myself and many other hip-hop fans with his unique spin on southern hip-hop. He took the familiar and stretched it out into an ultra-hype angry sound distinctly of his own. Prior to his arrival on Shady Records/Interscope Records, it felt as if he had the potential to be the next star out of the south. Unfortunately for his career, this never ended up being the case. Between poor decisions politically (specifically defending the Confederate Flag with a clear misunderstanding of what it represents), and things going sideways with his sound, Yelawolf eventually petered out and was nothing more than a quick blip on the radar in hip-hop. Thinking about this began to raise some questions for me. Most prominently: is Yelawolf one of the biggest modern cases of wasted potential in rap?

Flash back with me for a moment to the moment Yelawolf first signed with Shady Records in 2011. At this point he had The Arena Rap EP and Trunk Muszik (plus 0-60) under his belt. Very unique sounding projects that were distinctly southern, yet had a spark of untamed craziness which to me felt quite refreshing. His Shady Records debut, Radioactive, was admittedly disappointing but still had moments which showed flashes of the potential he had as an artist. He found his footing again with a series of collaborative extended plays, and really pushed himself to the next level on Trunk Muzik Returns. Trunk Muzik Returns was, to me, an incredible project. It was spacey, southern, energetic, introspective, and wild in all the right ways. After this project dropped, if felt like Yelawolf was on his way to becoming something truly special. He had nailed down a unique sound and most fans were extremely excited, including myself.

Unfortunately, this would prove to be somewhat of a peak rather than his first step to creating something bigger.

Marking the fall from grace was Love Story. Don’t get me wrong, Love Story was actually a really solid album. It had plenty of cool ideas and unique sounding songs, but it also felt like the point that the magic started to fade. Yelawolf began to lose his energy on the rap tracks and focus more on trying to combine country and rap together. Though it was, at times, executed extremely well on Love Story, to me it lead him down a path that would ultimately kill his appeal. While the wild-boy renegade rapper motif felt super fresh and natural, his new sound quickly became forced and uninteresting. Yelawolf no longer had a factor that made him stand out. This becomes painfully obvious on Trial by Fire, which does include a lot more rap-focused tracks; however, the country fusion just sounds so played out, and the excitement isn’t there anymore. He sounds tired, and the songs are tiring to sit through in every aspect from vocals to production. It’s dull, which is unfortunate for an emcee that had been lauded for his abundance of energy just a handful of years prior.

With that reflection out of the way, I think I also need to say that it’s cool if you like the direction Yelawolf has taken. Music is a subjective experience, and I realize that. To me though, as an individual who was a big fan I can’t help but shake the feeling that Yelawolf is wasted potential. He had a sound that took everything lovable about southern hip-hop, and jacked it up on meth to create something so brilliantly unique. He was slaying features, his songs were impossible not to get amped up to, and it so much felt like he was primed to become something amazing. To see him step back and abandon those dirty-south roots to pursue something more rooted in lifeless country based production is disappointing. He’s definitely not the worst artist out there, but it feels like he’s little more than a slightly better Kid Rock. In terms of his trajectory of development, that’s kind of a major bust of an outcome to me