Jacob Feinberg

Jacob Feinberg is a student at the University of Georgia, studying marketing and music business, with hopes to find a career in music journalism or artist management. After years of listening to and studying music, Jacob has decided to share his knowledge and opinion through Vinyl Mag. His favorite genre is rap/hip-hop, but you can catch him listening to basically any genre (r&b, jazz, rock, etc.). Jacob has a deep love for music and artistry, and he hopes to apply that by highlighting Athens's rich music scene and all its talented artists.

Show Review: Re:SET Concert Series in Atlanta (Friday Show)

Posted on by Jacob Feinberg

Re:SET is taking the festival experience city to city, with their star-studded, traveling lineup. The concert series was headlined by Steve Lacy, LCD Soundsystem and Boygenius, each supported by equally talented artists. I had never seen any sort of concert like this and think it’s really cool that an expansive concert experience is offered to a larger audience. The overall setting was enjoyable as well, as attendees were able to enjoy festival vibes. Overall, Re:SET is a great, accessible event that I would recommend to any music enjoyer.

I attended the first day of Re:SET’s Atlanta shows, where Steve Lacy, James Blake, Toro y Moi, and Fousheé performed. It was a perfectly crafted lineup, as each artist complimented the next one well, leading to a smooth, cohesive show. Lacy and Fousheé often work together, so their chemistry was apparent, seen similarly with Blake’s and Toro y Moi’s electronic influences. It took place in Atlanta’s Central Park with just one main stage but offered food, drinks, and a local pop-up vintage shop. I had previously been there for Shaky Knees and it’s my favorite outdoor venue in Atlanta, so good choice Re:SET!

Fousheé 

Fousheé kicked the day off with energy, despite coming onto the stage solo. She had such a presence, partly because they used mirrors to create a whole group of Fousheés on stage. The versatile artist started with her new punk-centered sound, introduced in her most recent album softCORE. “Simmer Down”, the empowering opening track, was a highlight, as her vocal ability was perfectly paired with its rough sound. Before her performance, I had never heard a Mariah Carey-esque high note with such aggression. 

She then pivoted, announcing that she fell in love and is entering her softerCORE era. The following songs saw a complete vibe switch, with a slower, acoustic feel, coupled with hopeful, caring lyrics. Her upcoming music will be something any romantic should look out for.

Then, she went right back to her previous energy with an exciting performance of “stupid bitch,” where we got the pleasure of watching her build the melody with a synth board. She sadly had a shorter set, ending it strong with “spend the money”. Although usually joined by Lil Uzi Vert, Fousheé killed it solo and the song served as a fantastic finale to a great set.

Toro y Moi

Joined by his band of keys, DJ and bass, Chaz Bear took to the stage as Toro y Moi. He started as lead singer, with my favorite, “9 – 19 – 17_B_Blackhole_Hihi_V3” (which I would imagine is referenced as just ‘Blackhole’) featuring his classic chill-wave sound.

The set only got better as Bear took to the guitar to lay down some groovy melodies. “Ordinary Pleasure” was such a jam that it got everyone dancing!

A highlight was “The Difference”, a collab with fellow artist Flume. I’m not normally the biggest fan of house music, but this song took it to a very enjoyable next level. Toro y Moi was a pleasure to watch and listen to.

James Blake

I was excited about Blake’s performance as early as the stage set-up when a stagehand wheeled out an old synthesizer and more pianos than one can imagine. He didn’t let me down either, opening with the hypnotic “Life Round Here”, which he vamped up with a cinematic live outro.

A favorite moment from the set was when drummer, Ben Assiter, looped the samples for “CMYK” live on his drum pad, which made the song even more impressive. Another was when he treated us with a beautiful performance of “Hope She’ll Be Happier” by  Bill Withers.

He then reminded us of his achievement within the industry, performing “Mile High” featuring Travis Scott, “Hummingbird” with Metro Boomin, and “Coming Back” featuring SZA, all before finishing with a gorgeous cover of Frank Ocean’s “Godspeed.”

His set was wrapped with a twenty-minute live EDM set, getting the whole crowd loose and ready for Steve Lacy.

Steve Lacy

Lacy gave us the show of a lifetime, playing all his best music, new and old. The stage was transformed for his set, with giant, moving block projectors to add to the visuals. He was accompanied by a full band and a trio of backup singers, matching him in all black.

The set started strong with a dramatized version of “Helmet”, preparing the audience for an exciting night ahead. His stage presence shined, as his casual attitude made the show environment comfortable and even more enjoyable.

Throwbacks like “N Side”, “Backseat” and “When I” hooked any long-term fan, before all attention was turned to Odd Future alumni Tyler the Creator, dancing just in front of the VIP section. It was crazy seeing the crowd compress just to get a look at him!

Two of my favorites, “Playground” and “Infrunami” got sing-a-longs, with the latter getting the whole accapella treatment. They were followed by a beautiful vocal performance of “Some” and a punky take of “4real”, seeing Lacy truly deliver as the night’s headliner.

He paid his respects to The Internet, playing “C u girl”, his first solo song they encouraged him to make, and “Curse”, a fan-favorite of theirs. More worlds collide as Lacy brought Fousheé back out to perform “Sunshine”, a hit off of Lacy’s recent Gemini Rights. Their chemistry shined as they harmonized the final melody of the song.

He closed the set off with “Static”, getting the whole involved as they chanted ‘dump that fucker!’ The whole show came to its climax as Lacy took to mid-stage and performed the final verse just him and his guitar. He wished us a good night and wrapped up a fantastic night.

Re:SET put together a really enjoyable festival experience, highlighted by talented artists, music enjoyers, and good vibes all around. It was my favorite I have attended, short and sweet, with nothing but good music. Keep your ears out; you do not want to miss anything from them in the future.

Re:SET Concert Series in Atlanta—Friday Show Recap

Posted on by Jacob Feinberg

For its inaugural year, Re:SET has an outstanding bill of artists, spanning various genres. Atlanta’s Friday show included talented artists Foushee, Toro y Moi, James Blake and headliner Steve Lacy. If you want a recap of the artists, read below! You can catch this lineup next weekend in Chicago, Columbus, or Nashville!

I have been following Foushee for a while and am impressed by her rise. In 2020, she blew up on TikTok with her song “Deep End”, eventually partnering with British artist Sleepy Hallow for the popular “Deep End Freestyle”. Since then, she hasn’t been afraid to experiment. On her hip-hop journey, she has joined the likes of Pink Siifu and Fly Anakin to lay down impressive verses (“Ls”) and supported rap heavy hitters, like Vince Staples (“TAKE ME HOME”) and Saba (“Make Believe”). Her R&B-focused sound has found her working with other upcoming stars like Ravyn Lenae (“Mercury”) and Steve Lacy (“Sunshine”). On Foushee’s debut album, she took further creative steps. The beautifully chaotic softCORE takes a punk approach (“Simmer Down”), delivering some of her most energetic and gripping music yet. Only featuring the flashy Lil Uzi Vert (“spend the money”), the project makes it apparent that Foushee has a promising future.

Chaz Bear, better known as Toro y Moi, is a very interesting artist. The South Carolina native is known for helping usher in the chillwave genre, characterized by a dreamy retro-pop, lo-fi sound. I originally found him through his features on Blood Orange’s “Dark & Handsome” and Travis Scott’s “Flying High”, both showing off his versatility. After checking out his most popular collaboration “The Difference” with Australian DJ and producer Flume, I was cemented in as a fan. I recommend checking out Toro y Moi’s discography chronologically. It may be tempting as his newer work is more akin to popular modern music, but seeing his sound grow and develop into what it is now makes it all the more valuable. Toro y Moi has such an enjoyable, versatile sound, perfect for studying or dancing, and I can’t wait to see what he does next.

James Blake’s journey through the music industry is one of my favorites. The English artist saw early placements on BBC Radio 1 and got a cosign from Zane Lowe in 2010. Things began to pick up from there as Blake released a collaboration with Bon Iver and found himself in the studio with greats like Kanye West and Justin Vernon (founder of Bon Iver). The release of his second album, Overgrown, continued with momentum, with his first features from Wu-Tang Clan’s RZA and Chance The Rapper. Just a few years later, Blake received a Grammy nomination for best new artist. Since 2016, he has earned credits on Beyonce’s Lemonade, Jay-Z’s 4:44, Kendrick Lamar’s Black Panther: The Album, and Travis Scott’s “Astroworld”  to name a few. Blake’s resume is insane and ever-growing, and his importance in the industry is apparent, working with the biggest artists in the world. I can’t wait to see what Blake puts his hands on next because I know it will be amazing no matter what.

Steve Lacy is an important artist to me because it feels like I have grown with him and his music. He got his start with Odd Future Record’s The Internet, co-producing their third studio album Ego Death and eventually earning a Grammy nomination. Lacy is notorious for producing his early music on his iPhone, and that talent was immediately recognized as he began to get significant placements for artists like Denzel Curry (“If Tomorrow’s Not Here”), Isaiah Rashad (“Silkk da Shocka”), J. Cole (“Foldin Clothes”), Goldlink (“Some Girl”), and Kendrick Lamar (notably producing “Pride” off of the Grammy-winning Damn). His first solo project, Steve Lacy’s Demo, was produced in a similar fashion. After reuniting with The Internet for Hive Mind, he dropped his debut studio album Apollo XXI. With this album, Lacy earned more respect for his solo work, getting his first solo Grammy nomination. He then released The Lo-Fis, a compilation of his early work, and his more recent Gemini Rights. Gemini Rights skyrocketed him into stardom, and he has since found himself as a viral worldwide artist (“Bad Habit”). Steve Lacy’s career has been quickly growing and changing, and I have been fortunate to experience it every step of the way. I am beyond excited to see where his career takes him.

Show Review: Valley

Posted on by Jacob Feinberg

On May 5th, the Toronto-based band, Valley, came to the Buckhead Theater as part of their “Lost In Translation” tour. Preceded by the young, promising artist Aiden Bisset, it was a special night of mesmerizing music.

Bisset was the perfect opener. He engaged well with his audience, likely winning the hearts of most of the girls in the crowd. He had a very diverse sound, playing your typical indie rock with genre-bending twists. A favorite of mine was “I Can’t Be Your Friend,” which featured a loud, psychedelic-style outro. I love seeing younger artists push the boundaries of their music and Bissett did that perfectly. This was even more prominent in his newer songs, offering classic rock-style riffs and messing with vocal effects. It’s easy to see Bissett’s influences, especially in the song “Out Of My League,” which felt like if Nirvana had a ‘High School Musical’ moment. It was as if Bissett was giving his best Troy Bolton impression on top of Cobain-inspired grunge sounds, but, done tastefully.

Meanwhile, Valley wasn’t messing around on their “Lost in Translation Tour,” as I constantly found myself lost in their performance. Music aside, they were a cool group, sporting flashy visuals on vintage televisions. They also utilized a dual piano set-up, and an old corded phone, each perfectly complimenting their sound.

After an attention-grabbing intro, they introduced their new music with Lost in Translation’s cinematic title track. They have a very diverse sound, which includes electronic loops and near-constant instrument switching. Despite this, they were cohesive, both in their sound and as a group. The energy there was infectious and you could tell everyone in the building loved the music, artists and audience included. There is nothing like hearing every voice singing together, as done for fan-favorite “Oh shit… are we in love?”.

A favorite of mine was “Last Birthday”, an acoustic serenade about unconditional love. It sounded to me like a slightly less depressing Clairo song and I was jamming the whole time. Lead singer Rob Laska let his vocal ability shine here. The pace picked up as they utilized an electronic drumkit, introducing a more upbeat 80s-inspired sound. Songs like “Natural” and “Break For You” stole the show, as everyone began to jump and dance. This seems to be the general sound of their upcoming album, and I am excited to hear what they came up with.

Before closing with the popular “Like 1999,” there was a particularly funny moment, as Valley quickly transitioned to “All Star” by Smash Mouth as a song outro. This sums the show up well because it felt as if they were a smaller band just playing for their friends. Every moment was authentic and real, with jokes and emotions riddled throughout, ultimately giving the show a personal feel. I highly recommend seeing Valley’s invigorating live show if the opportunity ever arises and be sure to check Lost In Translation, coming out June 23rd. 

Show Review: Earthday Everyday 2023

Posted on by Adeboye Adeoye and Jacob Feinberg

On April 22, Afterglo held its second annual Earthday Everyday music festival at Live Wire Athens. It was a busy day in Athens, coinciding with Normaltown Music Festival, Highlight Athens, and Athens Twilight Criterium. Starting at 2 p.m., a multi-genre lineup of artists took to the outside stages, with attention turning to the inside stage at 9 p.m., as the party turned into a late-night rave with the Nightshade Family. We’ve decided to highlight some of our favorite acts from this wonderful day.

We arrived just in time to hear Rhymes with Japan and Selah Samarah. The two very different styles of these acts set the tone for the rest of the festival. Rhymes with Japan was a DJ, drummer, and rapper trio that put together a fun and lively performance, even taking some time to dance with members of the crowd. On the other hand, artist Selah Samarah, sang several original folk songs, backed by guitar, mandolin, endingidi, and cajón,

Commune, shot by Ashley Nguyen. @ashleynguyennn_

Punk band Commune took to the stage after several openers and brought the energy. The moment they began playing I felt the audience inch forward and from that point forward the moshing didn’t stop. They were really engaging with the crowd too, cracking jokes and offering context for some of their songs. One of my favorite moments was when they played their song about property, shouting in unison “Property isn’t real!” (which is pretty punk in my opinion). They also played a new song, “Fallin Down,” which rocked, and announced it would be releasing soon with a new music video. We definitely recommend checking them out and be sure to keep an eye out for their upcoming content!

Cardynal, shot by Ashley Nguyen. @ashleynguyennn_

5:00 p.m. was a hot time-slot because the upper stage saw the talented rapper Cardynal perform. They were a fan favorite, drawing the biggest crowd at that stage. Early in their set, the mood was set, as Cardynal paused their set to jump into the crowd and dance. A favorite song was “Mango,” where their lyricism and personality shined. They weren’t afraid to stray from rap, performing some R&B jams and showing off their vocal ability. The local rap scene is full of talent, and Cardynal is the perfect example. They had a great set!

Convince the Kid, a self-described “four-piece synth-rock band out of Athens” took the 9dk stage at 7:00 p.m. Ranging from spacey synths that make you feel like the world is ending to bass-heavy tracks that carried a lot more weight, the band held the audience attention well. A highlight for me was when frontman Trevor Thrift made use of a smaller drum kit and drum pads as drummer Vic Fisher banged away. Overall, the band had a lot of energy and a good understanding of song structure and tension, often having several members drop out to highlight a single instrument before reintroducing everyone with a bang.

Trvy & The Enemy were next up on the 9dk stage and had by far the most crowd participation of the entire festival. Rock instrumentation with rapping is usually best when performed live, and this was confirmation of that. Rapper Trvy, the recent Vic Chesnutt Songwriter of the Year Award winner, combined infectious energy with technical expertise to captivate the crowd. The performance ebbed and flowed from smooth and introspective to loud and heavy to jazzy and uptempo. “Gotta die a legend” and “Mama couldn’t you tell me where to go / I’m so sick and tired of being alone” were the lyrics that stuck most with us, out of both repetition and poignancy at that moment. Without a doubt, you should check out Trvy’s solo work and his work with The Enemy.

The outside stages wrapped up with Cassie Chantel, who we were impressed by. Before she even began, I was a fan, as she got the crowd hyped with needle drops ranging from Hiatus Kaiyote to Ice Spice. Her energy was infectious and she was a great performer. A favorite moment was when she played her song “Tennis,” causing the crowd to quickly realize why there had been so many rackets on the ground. It was pretty cool seeing everyone waving them in the air with the song’s chorus. She ended her set with a merch giveaway, earning her even more fans, if everyone wasn’t already. 

Izzy, shot by Ashley Nguyen. @ashleynguyennn_

As it turned to night, the crowd turned inside for a rave by Athens’ own Nightshade Family. They had a raised stage with stunning visuals, bringing life to the talented DJ’s music. From 9 p.m. to 1 a.m. Izzy, Karezza, Mystic Grizzly, Chief Kaya, and King Shotta took over, each with their own individual styles and feeling. From flips of popular songs to complicated, electronic buildups, not a single moment failed to impress us.

In the spirit of Earthday, local University of Georgia student Christian Aldama instructed festivalgoers on how to garden, going as far as to distribute ready-to-be-planted seeds to anyone who wanted them. The also event made sure to highlight and venerate Tortuguita, an environmental activist who was killed by police in protest of Cop City, a proposed Atlanta Police Department base that would see serious destruction done to the Weelaunee Forest.

The 2023 Earthday Everyday festival encapsulated some of the many things that make Athens special. Students, locals, and families alike all came out to enjoy music together. Vendors sold handmade rings, confectioneries, CBD- and THC-based products, and more. It was truly a wonderful day of music, cool outifts, and even better people. Thanks again to Afterglo for putting on such a fun festival, and please take the time and check out some great artists!

Show Review: Spring Fling Fashion Thing 2

Posted on by Jacob Feinberg

Artist BVY Trubb and organizer Basher Media recently hosted the second annual fashion show at Paloma Park, highlighting Athens performers and designers. Picture Show, MizzPrettyPink, Highness, Hollowbody and Shakti Sound took to the stage as models walked, showing off clothing from fourteen different designers, and it all came together beautifully.

Picture Show

Jim Bass, Ben Weatherly, and Drew Gebhardt, shot by Basher Media. @pictureshowathens

Picture Show was the first to take the stage, opening with a new, shoegaze-inspired song called “The Fool” as models walked behind the band. It was such a cool experience to see different crowds of Athens come together for a common artistic cause. When I was able to take my eyes off the clothing and models, the music was solid too, as Picture Show played fan favorites “Fix” and “Breaks Like Plastic”.

MizzPrettyPink

Shot by Basher Media. @mizzprettypinkmoney

MizzPrettyPink brought the energy. Her rap style and delivery got the whole venue turnt up. The models, dancing along with her, were feeling it too. “FMX” was a favorite, getting great reactions across the audience.

Highness

Shot by Basher Media. @wearehighness

Sadly, we only saw one half of Highness, but Vashti RaBelle nailed her solo performance. She connected really well with the crowd, especially when she played“Rotation”. Many were singing along with the chorus by the end. Her set was solid and wrapped up with the R&B jam “Touch Me”.

Hollowbody

Goodie, shot by Basher Media. @iamhollowbody

Hollowbody consists of rappers BVY Trubb and Goodie alongside punk rock backing, which resulted in a cool, genre-meshed performance. It felt like a bunch of friends jamming on stage, and their energy was infectious.

Shakti Sound

Shot by Basher Media. @shakti_spins

Shakti manned the table all night, and whether live-mixing the bands or DJing between sets, she killed it. Her presence made the entire event go smoothly, especially in the difficult setting of a fashion show, so props to her!

It was an awesome night of art, with a strong multi-genre lineup and many diverse lines of clothing, which I was so happy to experience. I definitely recommend checking out each of these artists, and if you ever get the opportunity, don’t miss the next fashion show!

Show Review: Wim Tapley and The Cannons at 40 Watt

Posted on by Jacob Feinberg

On Tuesday, I spent a lovely night at the 40 Watt with Athens-bred Wim Tapley and the Cannons, alongside Nashville band Jive Talk.

The pre-show was almost as entertaining as the show itself. They invited me to hang out backstage and I was greeted with laughs and good energy. You can tell they really love what they do. After plenty of jokes and stories, the show began.

Jive Talk lived up to their name and truly did jive. The 80s pop-inspired band served as a great opener and got the crowd perfectly amped up. The frontman, Oliver Pierce, was a joy to watch perform, as he captivated every member of the audience. The psychedelic-inspired moments, like a whirly song intro and layered synths throughout, really stood out.

Jive Talk

Then, it was time for Wim and Co. to take the stage. They kicked it off with some crowd favorites, before playing a funky cover of “Tainted Love” by Soft Cell. Their saxophonist, Olin Cordell, shined here and did so even more in the following song, with a sick solo.

Next, they played “Sober,” the title track from their new EP. It felt as if Athens met early 2010s rock, and had a rockin’ baby. I really enjoyed watching bassist Garrett Gray play; he had such a presence on the stage, but I couldn’t help but chuckle because he looks just like Action Bronson-turned-rockstar.

“Hard to Get” was the ultimate crowd-favorite of the night. It was easily their hardest song, which was apparent with all the dancing happening around me. Then, Wim performed the first song he wrote in Athens, “Tree Song,” which was a real highlight for its authenticity. I thought that was an interesting song title (called so because he wrote it under a tree), but it was outdone by their next song, titled “Errands”, which I found even more interesting. The song was tight, and their drummer, Daniel Miller, killed it here.

As the set wound down, they played a popular Wim Tapley song called “The Woodlands”. The whole crowd sang along with Wim, but they were all upstaged by the girl in the back, who got so excited that she decided to wave a stool in the air. He obviously has some dedicated fans. So much so that they called for an encore, which was happily answered with a cover of Briston Maroney’s “Freakin’ out on the Interstate.” If you’d told me Wim wrote that song, I would have believed you. It was a perfect end to the set.

I had a great time watching both of the bands perform. Between Jive Talk’s grooves and Wim Tapley and the Cannons’ jams, it was a fantastic show, and I can’t recommend it enough.

Review: JPEGMAFIA and Danny Brown: “Scaring The Hoes”

Posted on by Jacob Feinberg

On the music side of Twitter, you’ll find one revolving joke: “Don’t put on ‘so-and-so’ or ‘whats-his-name’ at the function, or you’ll scare away the hoes,” and JPEGMAFIA, also known as Peggy, and Danny Brown are often at the butt of the joke. They embodied this with their new project, a collab album titled Scaring the Hoes. Two experimental and ambitious artists came together to make some of the strangest, yet most interesting music I have ever heard, and while I may enjoy it, I would not recommend playing it in front of the “hoes.”

Peggy’s seemingly ever-changing production style keeps you on your toes, with recognizable samples thrown in at every unexpected turn. While his high-profile sample clearances may be a mystery, his sampling itself isn’t; the artist revealed in a recent tweet that he “Made every beat on the album with one machine, The SP 404.” The use of this popular analog sampler, which is significant in hip-hop production, explains the muddiness of the mixes as well as the album’s old-school feel. Danny Brown’s vocals tie the sound together well, offering some of his best lyrical performances in years and hammering down on his unique delivery.

The pair took to the Danny Brown Show podcast to release the opening song and lead single, “Lean Beef Patty,” in late February, before releasing the track a few weeks later on streaming platforms. It introduces listeners to the slightly abrasive yet artistic sound of this album with a hyper-pop flip of P. Diddy’s “I Need a Girl (Part 2),” layered with cinematic synths and punchy lyricism. They revealed in the podcast that the song’s title is a reference to popular fitness influencer leanbeefpatty. As always with Peggy’s and Brown’s work, they don’t stray from touchier topics, and that is clear in this song with lines mentioning the recent social media antics of both Ye and Elon Musk among other things.

The second track, “Steppa Pig,” offers the most unique production on the record. The song sparkles, bringing the melody in and out with a crunchy bass-line and hypnotic chimes. Brown starts with an impressive verse, but JPEGMAFIA takes over in the second half, using his off-putting delivery to boast about his artistic originality and overall weirdness.

Next is “SCARING THE HOES” with its first full minute of clapping and horn chops that seem perfectly out of tune, but somehow cohesive. When the drums finally come in, they have an obvious rock influence; it’s something I would love to see more of in Peggy’s production. As the title suggests, this song is abrasive but a nice mission statement for the album as a whole.

The next three songs have the coolest moments of the album production-wise. “Garbage Pale Kids” samples Japanese commercials, including a meat packing commercial from the mid-80s. Paired with complex drums and a sick bass-line, it creates a cool soundscape that lays the road for a great Danny Brown verse. In “Fentanyl Tester”, Peggy drops one of the most recognizable samples on the album, Kelis’ “Milkshake”. The sample, in combination with breakbeat transitions and fantastic lyrical delivery, creates an immersive sound that makes the song one of my favorites on the album. “Burfict!”, likely about one of the dirtiest NFL players ever, feels familiar, drawing comparisons to Peggy’s recent LP. The horn chops are beautiful. The song is lyrically sound with countless references, including one to the elusive underground rapper Mach-Hommy. 

“Dogs cover they face, that bitch Mach-Hommy”

– JPEGMAFIA, Burfict!

Then, it’s the two-parter “Shut Yo Bitch Ass Up / Muddy Waters.” Brown and Peggy are in their element, with their respective halves catering to their individual style.

The sole feature on the album, Redveil, joins in on “Kingdom Heart Key”. As the title suggests, the song is enchanting, with elegant swells and vocals partnered with a lagged, 808-heavy drum loop. Every time the drums come back in I can’t help but get hyped. Redveil’s performance is impressive here; the young artist sticks to his sing-songy harmonies, before coming in hard with hooks and quotable lyrics left and right. I have been following him for the last couple of years, and to see him with such a large feature at 18 years old is inspiring, seeing his hard work pay off.

There are only few ‘bad’ tracks on here, but “Orange Juice Jones” and “Run The Jewels” fall into that category. While the production may be top tier (was a joy to hear “Going back to Cali” by LL Cool J in the latter), the lyrical content and mixing on these two were definitely below the rest.

The album begins to wrap up with the gospel-layered “God Loves You” and the jazz-influenced “Jack Harlow Combo Meal”, which, of course, questions KFC’s decision to use rapper Jack Harlow to sell their chicken. I particularly enjoy Peggy’s vocals on both of these, with his harmonies accenting the songs well.

“Man, I can’t fuck with y’all niggas, y’all let Jack Harlow sell y’all chicken”

– Danny Brown, Jack Harlow Combo Meal

“HOE (Heaven on Earth)”, with its swirly piano stabs and introspective verses, leads well into SCARING THE HOES’ closing track “Where Ya Get Ya Coke From?”. It is one of the most fun songs on the album, where JPEGMAFIA comes in with a catchy verse right after an intro straight out of a 90s game show. Brown brings the energy, exploding with jarring lyrics. He discusses things like the impact of his unconventional delivery, such as yelling and physically distorting his voice, to achieve certain sounds on his mental health, closing the album with perfect weight.

“Should be in the psych ward for what I do with vocal chords”

– Danny Brown, Where Ya Get Ya Coke From?

The album ends abruptly, which is perfect for this strangely wonderful album. JPEGMAFIA and Danny Brown created something amazing. With twists and turns between each sample and verse, this album is a journey I recommend to anyone who is not worried about scaring off the “hoes”. On the Danny Brown Show with Peggy, Brown mentions his worry about Peggy stealing his spotlight, but that’s not the case at all. Both have done nothing but thrive and grow throughout their careers, despite constant pushback due to the abnormality of their sounds—that is exactly what has pushed them both into figureheads for experimental rap. I am excited to see these artists independently grow (both have two solo albums releasing in 2023) as well as the impact that they will have on the next wave of artists (and hopefully we’ll get SCARING THE HOES Vol. 2).

Review: Jordan Ward: ‘FORWARD’

Posted on by Jacob Feinberg

Jordan Ward is an unexpected new favorite of mine. I usually don’t go for the more “pop-y” and energetic side of R&B, but Ward’s sound has captured my attention. His joyful melodies and rhythms, partnered with a wavy ambiance, bring a fresh and inviting feel to his music, making it perfect for relaxing and easy listening. When Ward’s music comes on I can’t help but bob and bounce around no matter the theme, and his new album FORWARD is no different.

I discovered Ward through his collaborations with DMV rapper Joony, a talented upcoming artist making waves in the industry. Joony’s Pretty in Black saw the pair’s first catchy collaboration in “ZOOM ZOOM.” Shortly after, Ward released “IDC (with Joony),” the groovy lead single for his new album. This song perfectly encompasses how well the two mesh, with highlights where Ward provides harmonies over Joony’s melodic verse, which could be appreciated by any music lover around. It is a fun and cohesive song that shows off Ward’s lighter, more lively side.

Before “IDC” appears on FORWARD, Ward introduces the album with the somber “BUSSDOWN”. Here, Ward reminisces on his childhood and worries for the future, ultimately saying that his past is in the past and that he is hopeful for “how all this will pan out.” In the climax of this opener, a voiceover tells him that “that was then, it’s over, you know. You see, baby, they tell you you’re free, but you’re always reminded,” hammering down on the song’s theme: you can’t escape your past but it doesn’t define your future. This song sets the tone for FORWARD, showing Ward’s improved conceptual and lyrical depth that is evident throughout.

Following the emotional and honest “BUSSDOWN,” comes my personal favorite, “FAMJAM4000”. Its wavy, synth style and bouncy drums contrast the song’s darker lyrics, with Ward discussing his broken childhood home and a more recent lost love in two respective verses, with them both coming together in the chorus when Ward says “Can we bring the love back? I know that you’ve been waitin’ so long for it to come home again.” The line works in both situations, asking his dad or his ex-partner to return home, which seems to be a symbol of love for the artist. This song speaks on the importance of family to Ward, and his regret that it is not as together as he would prefer. It was released with a music video giving fans a view into his hometown, St. Louis, and quickly became a favorite.

After a smooth collaboration with Gwenn Bunn on “311,” we get to “White Crocs,” where Ward is joined by fellow St. Louis native, Ryan Trey. The song served as the album’s second single and has a distinct sound compared to the rest of the album, seeing the increasingly popular “plugg” style of production (a subgenre of trap, influenced by popular west coast sounds and sprinkled with heavy 808s) infused with more traditional R&B elements. Trey’s melodies and Ward’s hooks are infectious, making for an addicting song. The song has a cool swagger to it and shows off Ward’s unique sound, setting him apart from any competition.

The album is executively produced by Lido, who also makes an appearance on “PRICETAG/BEVERLY”. He is a close collaborator of Ward’s, working on PLANTAIN KARAOKE!!, a three-track ep of covers dropped on SoundCloud (which may have the sickest cover of SZA’s “Prom” I’ve ever heard). The pair once again shines on FOREWARD.

“DANCE MACHINE” once again proves how well Ward can create such enjoyable, catchy songs, but the following few tracks further cement the depth that he reaches on the album. Ward touches on loneliness in “FLIGHTS,” reluctant violence in “THINK TWICE,” and community conflict in “0495.” He also took a new Frank Ocean-esque vocal approach in this run, which added to the weight of these heavier themes.

Hate the way them drugs took my cousin, oh
Hate the way them drugs took my bro, oh
Last time we talked, he called from behind bars (Yeah)
He would probably say, ‘Boy you took that shit far’
I would probably say, ‘Didn’t you know I was just one call away?’
So I’m ‘a do this for y’all”

– Jordan Ward, FORWARD

The title track “FORWARD” is another highlight of the album, serving as the closing track (aside from the two additional bonus tracks). Here, we see Ward dive back into familial themes, but this time rather his relationships with them through the progression of his career. He mentions the pain of seeing loved ones die from drug overdoses or go to jail when he knows he could have helped, saying “didn’t you know I was just one call away,” ultimately taking that pain as inspiration and claiming that he is doing all it for them. In the second verse, he further analyzes the impact of his success on those around him. Ward wonders if he could have set his differences aside with them and had a more positive impact, despite the difficult circumstances. “FORWARD” wraps up the album and its overarching self-reflective themes perfectly.

Jordan Ward had a lot of pressure on him, finding himself in the spotlight after opening for Smino and JID on their tour and performing at J. Cole’s Dreamville Fest, but the proud St. Louis native absolutely delivered on his debut album. It felt effortless yet still intentional, offering one of the freshest sounds any artist has to offer in the music industry. I really enjoyed Ward’s work here and found myself impressed with his artistic evolution. It seems that he gets better and better with each project, so I will definitely be looking forward to whatever he comes up with next.

Review: Lil Yachty: ‘Let’s Start Here.’

Posted on by Jacob Feinberg

Let me set the scene. It’s an early Friday morning and I am running low on sleep. On my walk to school, I remember that Lil Yachty, SoundCloud legend and an old favorite of mine, has just dropped a new album. I had been looking forward to it and heard whispers about rock influences. After getting past the horrifying, AI-created album cover, I experienced a truly incredible album. BOOM—psychedelic-rock influence. BOOM—next-level production. BOOM—Teezo Touchdown,  Fousheé, Diana Gordon, Justine Sky, and Daniel Ceasar features (all complementing Yachty with fantastic vocals). Let’s Start Here. shocked me in a good way (and woke me up on a slow morning). It opened my eyes and got me excited about the future of hip-hop. Yachty brings it all on his new album: crazy transitions, a great tracklist, and conceptual depth. 

It’s funny hearing his auto-tuned vocals in psychedelic rock, but Yachty finds a way to push the boundaries of genre and create a cool and cohesive sound. We had heard tastes of it before, like on Tame Impala’s Currents b-side remix of “Breathe Deeper,” but I was far more impressed by his sound here. Yachty obviously sought to be more than his SoundCloud/mumble rap image from the past and cement himself as a true, impactful artist, capable of changing modern music. I believe he executed it perfectly.

The first song, “the BLACK seminole.” throws you right into Yachty’s new sound. Produced by Justin Raisen (who is known for his work with experimentalists Yves Tumor and Joji), the nearly seven-minute song introduces Yachty’s new sound with synth swells and laid-back rock instrumentals. When his vocals hit, it feels as if you were sent back 50 years to a Pink Floyd show. With its length, this song gives listeners a perfect opportunity to understand Yachty’s vision, allowing them to better process the rest of the album.

It’s followed by “the ride-,” assisted by the talented Teezo Touchdown. This track is where I thought Lil Yachty’s autotune-flushed vocals shined the most. Paired with the song’s ambiance and electronic melody, it feels as if this was the true purpose of his vocals.

After the groovy “running out of time”, we reach “pRETTY.” It has some silly lines from Yachty, like “let’s go to sunset-city, go to sun-city,” and albeit a fantastic feature from Fousheé, this song is the start of a short lull in the album. In that mix is the interlude “:(failure(:”, which is cool with its instrumental assistance from Mac Demarco and Alex G, but I feel like it does not add much to the album as a whole, as Yachty delivers a spoken word from his perspective on failure.

We saw that same energy from early in the album return with “WE SAW THE SUN!” The vibrato vocals seen in his hit song, “Poland,” return on one of the best-produced tracks this album has to offer. A couple of songs later comes the stand-out track, “IVE OFFICIALLY LOST THE VISION!!!!” With a comical elevator-music-esque intro, the song hits the listener with harsh noises and screams, before coming in with hard-hitting drums and one of the most energetic and raw sounds on Let’s Start Here. Diana Gordan’s vocals flow perfectly into Yachty screaming the track title in a beautifully climactic moment towards the end of the song. While it may not have much lyrical depth, the overall delivery creates a strong, emotional feeling that I never knew Yachty was capable of. You can absolutely say I was impressed.

Lil Yachty’s trippy music video accompanying the song “sAy sOMETHINg”

The final leg of the album is where it shines brightest. “sHould i B?” sounds like it could be a bonus track from an upcoming Tame Impala album, but its coolest moments come with its ending. The droning guitars meet the theatrics at the beginning of “The Alchemist.,” creating a cinematic transition between two of the better songs on the album.

“REACH THE SUNSHINE.” ends Let’s Start Here. with a bang. Yachty’s and his team’s attention to detail is shown in the progression of this song. The acoustic first minute builds up to an intense, synth-layered melody that puts an exclamation point at the end of the album. To top it off, Daniel Ceasar joins Yachty with haunting harmonies that accent the song perfectly. The somber, piano-lead outro wraps this moody album up smoothly.

To compliment any part of this album without highlighting its collaborators would just be unfair. Yachty obviously did his research. Aside from Raisen, he recruited the likes of Chairlift’s Patrick Wimberly, Unknown Mortal Orchestra’s bassist Jacob Portrait, Magdalena Bay, MGMT’s Benjamin Goldwasser, and Nick Hakim. Whether they were a psych-rock veteran, or a modern producer, each of these artists contributed to Let’s Start Here.’s addictive sound and each should be celebrated.

Lil Yachty successfully created a psychedelic rock album, signaling one of the most interesting and entertaining sonic transitions I have ever seen from an artist. It deserves every ounce of hype it has received and Yachty has absolutely earned his flowers. I genuinely enjoyed it and am excited to see where Yachty takes his sound next.

Jameson Tank at Georgia Theatre

Posted on by Haley Gilbert and Jacob Feinberg

Haley: Going to our first Jameson Tank show, we did not know what to expect. Entering the evening guided only by lots of beer, a dream and the legends passed down by our Vinyl Mag forefathers, our names are Haley and Jacob, and this is our story.

Jake: Let us set the scene for you: two awkward individuals posted up in the corner of the Georgia Theatre, merch table on one side, overcomplicated sound table on the other and overly intimidating band members all around. 

H: I felt like Dorothy when she first arrived in Oz.

J: We got the whole press treatment with access all around: green room, mezzanine and even the extra special artist bathroom with a squatting stool. With full bottles of Jack Daniels all around and a stacked beer fridge at our disposal, our night kicked off. 

The Ocho, photo courtesy of Nicole Allario

The Ocho (Although We Only Counted Seis)

H: The second I heard the first chords of “Ain’t No Sunshine” playing from the Georgia Theatre bathroom, I knew I was in for a great time. When I came back upstairs the lights were dim, the girls were feral and my beer was only slightly warm. This Saturday night marked The Ocho’s first time playing at the iconic Athens venue, but they didn’t appear nervous. In fact, this seemed to fuel them.

J: The Ocho started off with some fantastic covers. As soon as they stepped out, the crowd rushed forward, and I fully expected a mosh pit to their cover of “Ain’t No Sunshine.”

H: They covered “Valerie” (best-known for its Mark Ronson and Amy Winehouse version), which is an impressive feat in general, but even more so considering lead singer Will Pile was battling a cold. I’m not sure if NyQuil does sponsorships, but I’d like to officially nominate him.

J: Before the show, he confessed to us that he had just taken almost every single cold medicine available, making the performance of ol’ NyQuil boy extremely impressive. Also worth noting is Pile’s tambourine skills, which were awesome—I about fell over when he knocked it against his forehead.

H: They graced the audience with a cover of “Sheep” by Mt. Joy, and as a big fan I was thoroughly pleased with this rendition. Later on, when Pile and keyboard player Garrett Seitz switched places on stage, the audience collectively gasped and clutched their pearls. In contrast to the rest of his more casually-dressed bandmates, Seitz was wearing a formal jacket and sunglasses—a power move I greatly respect.

J: When they switched instruments for the final song, it completely blew my mind. The Ocho is certainly a talented bunch (of seis).

H: Amidst the crowd-pleasing covers, they also played four originals. To close out the set, the band played their debut single “Izzy.” While the song’s refrain asks “Izzy is he really stupid enough to let you go?,” the decision to save this song for last was anything but that. The atmosphere in the room was particularly spectacular during this song. The crowd knew every word. It was a special moment for a young band.

J: Everything made sense when an 8 ball was thrown on stage towards the end of their set. I’m hoping they got a resounding yes to the question “Do we rock?.”

H: I’m not sure what question they asked but if it was “Should we cover “Astrovan” by Mt. Joy soon?,” then the answer is yes.

J: I congratulated them as they came off the stage and found myself face to face with one of the funniest moments of the night as The Ocho was celebrating in the stairwell with their videographers. This night was full of talent and tomfoolery.

Caleb Heiple of The Angelics, photo courtesy of Nicole Allario

The Angelics                                                                                         

J: The Angelics gave an electrifying performance. I enjoy their music, but damn, they sound great live. It was funny seeing them come out and take their places because I did not expect anyone to play the instruments they did. We joined them for a nice dinner before and after nearly an hour of contemplation on who played what, I did not nail a single one down. They were a really kind group of guys, I must say.

H: The Angelics had a unique sound that reminded me of early 2000’s pop-rock, except if the singers of those bands respected women. At one point, lead singer Caleb Heiple’s glasses fell off while he was performing and he gained extra powers—think Clark Kent becoming Superman. From that moment on, he seemed to let go completely.

J: They gave us a taste of their upcoming EP Mom’s House, and it was really solid music. They had the entire crowd dancing to songs they had never heard before, which is a really impressive feat. They also played a song that won’t be included on the upcoming, which was not cool because it ROCKED. I remember just looking at Haley and exchanging a sad look of agreement, then us taking big gulps of our respective beers.

H: I’m honestly kind of mad at them for it because it was just that good of a song (the beer helped me numb the pain). I am open to forgiving them if they release it soon.

J:  The most impressive part of their set was when they brought out violinist Julia Nyunt and trumpeter Ramon Zamudio. Their combination was beautiful. Nyunt absolutely shredded on her violin. Every set of eyes in the venue was on her when she played.

H: I’m not sure if it was due to their name or their RedBull sponsorship, but the band seemed to earn their wings Saturday night. Prior to this show the band had never played the Georgia Theatre, but I am willing to bet that they will return. As a whole, their set was fantastic and I am really looking forward to that EP.

J: They rocked so hard. Not a smidge of nerves or fear could be seen before the show. Their set was seamless, every cover was well-received and you could tell The Angelics had true fans in the crowd when they played their originals.

Note from Haley: This last part is for Kirby Smart and Todd Monken only so if that’s not you, you can skip ahead: you need to draft bass player Jason Angelich, because I am confident he can play football as well as he plays the bass. (This man is 6’8, we confirmed with him after the set.) When they threw out free t-shirts, his side of the stage had an unfair advantage.

Jameson Tankersley and Bryce Burnette, photo courtesy of Nicole Allario

Jameson Tank

H: The intro to their set felt like a fight song and I was immediately ready to go to battle with them (and I don’t think it was just because of the alcohol). During their set, I came to two realizations: if you told me that Billie Joe Armstrong and Tom DeLonge personally manufactured Jameson Tankersley’s voice in a lab and gifted it to him The Little Mermaid style to keep pop-punk alive I would believe you; and with how high he jumped on stage, track and field would be a suitable alternative career path for him if this music thing doesn’t work out. If he had asked an audience member to co-sign a lease or join a pyramid scheme they would have agreed—that is the kind of effect he had over the crowd.

J: Each member had their own distinct style. Their bassist, Javier Solorzano, was closest to me, and wow, what a man. He looks like your traditional metal guy if he had just rolled out of bed and thrown on whatever was closest. Edgy hair, funky shirt, and … slides? The guitarist, Bryce Burnette, was another story. He had on a sick jacket and an even sicker scarf covering the entire jacket (I nominate him for the coolest outfit of the night). And I’ll be honest, I was pretty jealous of his hair; he must have at least 4 steps to his hair routine.

Then there was Jameson Tankersley, the epitome of a rockstar, with his long, blonde hair and striking white shoes. The second you lay eyes on him, it’s hard not to think “damn, that guy is meant to be on that stage.” Lastly, their drummer, Connor Ankerich, wrapped it up perfectly, with just a good ol’ black tee. They hit about every demographic of style we have here in Athens.

Jameson had a sleek guitar with “FUCK YES” written in black tape on the back, and it perfectly summed up his energy. The bassist had a really cool 5 string bass, accented with a cute little scarf wrapped around its head (to compliment the guitarist’s scarf), the drummer had a bold Jameson Tank logo on a flashy red drum set, and the guitarist had a stark white guitar (to again compliment his scarf), all tying together to form one of the sickest setups I’ve ever seen. Looking like that, I knew I was in for a hell of a show.

H: Early into the set, the band covered the 2008 party staple “Don’t Trust Me” by 3OH!3 and the audience screamed the lyrics “You tell your boyfriend (boyfriend), if he says he’s got beef / That I’m a vegetarian and I ain’t fucking scared of him” with such a fervor that PETA would’ve been proud; the only thing that would have made that moment better is if the crowd began throwing Beyond Burgers at Tankersley.

J: And a hell of a show it was. Tankersley has a stage presence like no other, rocking with the crowd and jumping high as hell (his signature move). I quickly came to understand why Jameson Tank was such a household name around Athens—I could literally feel the love from the crowd. Fans sung every word and the girls were screaming like Harry Styles was in the building.

H: Halfway through the set, bassist Solorzano took over lead vocals to play an original heavy metal song. Even though I understood none of the words, I throughly enjoyed it. (For context, imagine someone performing a song in a deep, guttural growl). After the song, he jokingly said “Ouch,” and I would like to thank him for his sacrifice.

J: It was a stand-out moment. His aforementioned metal look shone through. His screaming vocals stunned every person in the crowd. That guy is extremely talented.

H: Later in the set, he harmonized on a fairly high-pitched song which showed that he really can do it all (including having excellent hair, a reoccurring theme tonight).

The crowd response did not waver as the band went back and forth between timeless covers (“Smells Like Teen Spirit”) and heavy-hitting originals (“Too Hot to Hold,” “Fight Fair”), a testament to their talent. They played a cover of “When You Were Young” by The Killers that single handedly healed my trauma from a freshman year situationship because now I have a different memory to associate the song with. So thank you Mr. Tank & Co!

At some point, I watched as guitar player Bryce Burnette chased whiskey with a RedBull on stage and I am now both slightly afraid of and in deep awe of him.

J: At the end of the show, all the performers joined Jameson Tank for one final song, and it was a special moment. I couldn’t help but chuckle when there were three people all smashing down on the keys as the show came to a close. It looked like every single one of them had a blast that night. 

H: While Tank might be in their name, the band sure as hell didn’t.