Category: Music Reviews
EP PREMIERE: A Look At Honeypuppy’s Speculative EP ‘Nymphet’ Track By Track
Athens-based Honeypuppy is set to release its EP Nymphet across all streaming services tomorrow, January 24th, 2024. At Vinyl Mag, I had the opportunity to chat with lead vocalist and guitarist Josie Callahan and bassist Adam Wayton for an early listen to their soaring new record to discuss each track.
The title Nymphet, meaning ‘a sexually attractive girl or young woman’, comes from the EP’s pointed musings on girlhood and youth. Callahan observes “It can be very pretty and sweet but also something that could make you go crazy, just being a girl in general. It’s exhausting.” Equally inspired by Callahan’s time as a preschool teacher, she molds her experiences into meditative lyrics over punky, poppy music.
Vinyl Mag readers can get an exclusive early listen to the EP right here at this link. Read below for a track-by-track breakdown of each song.
Penny Press
“Penny Press”, inspired by the Penny Press/Dell puzzles magazine, was the very first song the band recorded together. The inspiration came to Callahan while she worked on a crossword puzzle, weaving in an old nursery rhyme her grandmother used to sing to her when she was young called “There Was A Girl With A Little Curl” that goes ”When she was good she was very very very good / When she was bad she was horrid”.
Included in the EP, is the demo recording of “Penny Press”, originally recorded for a class project in fall of 2020. The demo features a light surf rock tone, with the final recording shifting into an edgier vibe with harsher guitars and more muted vocals.
Suck Up
For “Suck Up”, Callahan came up with the lyrics “pass me the tape and pass me the glue / I’m gonna stick stick stick myself to you” while doing arts and crafts with her students. It chronicles the familiar feeling of having a crush and assuming the worst—that they don’t return your affections. To her the song sounds like when you “want someone to like you back but in a forced way almost”. Wayton remarks that song heavily drew from punk rock influences. And obviously, nothing says teen angst and trepidation better than punk rock.
Thrum A Thread
“Thrum A Thread” draws heavy inspiration and verbiage from Robert Herrick’s 17th-century poem “Upon Some Woman”. The imagery in the song paints the picture of a woman stitched together like a rag doll. Callahan and Wayton reflect on the technical difficulty of recording this song, which required two separate click tracks with the two versions needing to be stitched together in the studio. Towards the end of the song, the pace picks up for a bridge, eventually slowing back down to the original rhythm with a drawl, singing the final line “Would it kill you to be a little bit meaner to me?”
Nymphet
The title track was the first song Callahan wrote for the record, reflecting on “a situation when someone is infatuated by somebody older.” The song’s tone is overall quite creepy. She says of her six-year-old self “I remember having a crush on one of my dad’s band mates,” reflecting on the humor of the situation now. Her favorite line “You’re a tooth and I’m a fairy” draws upon a very literal image of her coming back from ballet in a fairy costume and seeing her dad’s band in practice.
There’s a stark contrast between the demo recording and the final piece. The demo recording featured at the end of the EP is a raw and unfiltered piece. Callahan decided to put it on the EP, admiring the imperfection of the amateur recording with quirks like the kitchen timer used as a metronome.
Kerosene
In “Kerosene”, Callahan once again turns to a dark subject matter but with an inclination towards humor and unserious whimsy. The song came from a riff Wayton originally wrote for Telemarket, another Athens band he also plays with. He decided to give it to Callahan for the record because “it seemed like a cool fit and I knew we were trying to do another high-energy song.” As a true-crime girlie, Callahan had the idea to write a song about the MacDonald triad, an alleged phenomenon that bed-wetting, animal cruelty, and lighting fires in adolescence are indicative of a potential for violent, serial crimes in the future.
Honeypuppy works alongside Indecent Artistry, a recent Athens upstart and boutique label services provider, to release Nymphet alongside a limited edition run of tapes and a brief southeast tour at the end of January. You can catch them here:
1.24.24 – Athens, GA EP release show @ World Famous w/ Sunset Honor Unit, Neat Freak
1.25.24 – Nashville, TN @ Springwater Lounge w/ Zook, Iven, Fresh Air 4
1.26.24 – Knoxville, TN @ Pilot Light w/ Lucy Abernathy, Jorden Albright
1.27.24 – Chattanooga, TN @ JJ’s Bohemia w/ Sun Bleach, Landis Zehrung, Catherine Campbell
Review: Cam and his Dam Jam Band: ‘The Paradise Experiment’
Athens-based Cam and his Dam Jam Band released their first full-length album, The Paradise Experiment, on January 1st, 2024. On the new record, the group hosts jazzy, groovy coffeehouse tunes that drawl on and on, clocking in at just under 50 minutes with eight songs. The album features the band’s 2023 single “Gypsy Magic Woman”, a psychedelic retro-sounding anthem (with an ill-advised concept), as well as an extended version of “Jet Black Moon”, originally released in 2021.
Cam and his Dam Jam Band make ambient music, not typical for the post-streaming world, but like their name, it calls back to an earlier era of jam bands and music made to be enjoyed live. Exemplified excellently by the opening track “Backpack of Stone”, this gargantuan track is nearly 10 minutes long. Except for two songs, all tracks on the record are beyond the 5-minute marker. The focus of the record is on evoking emotions using melody, tempo, and a fun array of instruments.
The musical elements are infused with sparse lyrics that tend to tell a story with only a few changes in wording. “Rob a Bank”, a western-style song, is an entertaining take on the outcast character on the run from the law. Parleying between “don’t rob a bank” and “let’s rob a bank”, the track leans on American mythology, familiar to almost everyone. The track ends in a call-and-response fashion, with lead singer Cameron Norton sounding conflicted as a chorus of voices try to dissuade him.
The diversity in the band’s repertoire is apparent, particularly in the second half. “My Potion / Three Hours Later” featuring two songs in one wrestles with these subtleties. The song begins with a rather romantic sound, which feels almost yearning. As we fade into “Three Hours Later”, the mood shifts into a more melancholy tune, with a bass that underlines the comparative emptiness of the track. “Jet Black Moon” drives further into the melancholia with an increased moodiness and lyrics alluding to isolation and loneliness, singing “ain’t nobody there to hear me now”.
The record wraps, appropriately, like a live show. “Carry Her Away” takes place on stage, a moment where Cam looks out into the audience and pines for a lady he spots, ultimately unable to get to her. He sings “Now I’m searching but she’s on the run / I was hoping that she would stay”. “Afterparty”, the shortest track by a large margin at one minute and 21 seconds, has all the oomph and joy of a celebratory post-show after-party.
Unfortunately, the familiar story of the gypsy invoked in “Gypsy Magic Woman” does leave an unsavory taste. The term “gypsy” comes from the mistaken belief that the Romani, also known as the Roma, originated from Egypt. It’s been characterized by decades of cultural references from Esmerelda in The Hunchback of Notre Dame to songs by Shakira, Fleetwood Mac, and Lady Gaga. Often it refers to a provocative woman, a wanderer, a wielder of dark magic, or a cunning thief, sometimes a mix. The history of the Roma is fraught with decades of persecution across Europe and beyond, spanning genocide during World War II to forced sterilizations into this century. The term gypsy is an extension of that persecution and is seen by most as a racial slur. Thus, it’s unfavorable and objectionable for Cam and his Dam Jam Band to lean into the gypsy stereotype with a song and visuals to back it up. Though, without a doubt, a reflection of the lack of knowledge on the subject in the US.
In The Paradise Experiment, Cam and his Dam Jam Band harken us back to when music at will was indispensable to most, with the live local band being a staple in everyone’s soundtrack, giving us the ambient music we would feel so plain without. Skipping over the poorly titled “Gypsy Magic Woman”, you’ll find an otherwise impressive selection of music to groove and jive to. If the point was to create an advertisement to go and see the dam jam band live already, well then I’d say it worked.
Review: Olivia Dean: ‘Messy’
London-based Olivia Dean, 24, released her debut album Messy (EMI Records) in late June. As featured on my Staff Picks list, Messy is a collection of delicate and soft reflections on young adulthood that I was immediately drawn to. Oscillating between unbridled love and joy and melancholy reflections on life, Dean showcases a vulnerable ethos, making the record an ideal companion for musing on one’s own life and inner world.
Recorded over two weeks in her hometown, Dean led the album with her heart, not her mind. Leaning into her own creativity, Dean’s first priority was pleasing herself by making a record that she loved. Her relaxed attitude shines through with music that simply is, rather than pretending to be something it’s not. Messy boasts simple melodic patterns, tight and straight-to-the-point narratives against a backdrop of whimsy keys, jazzy brass ensembles, smooth rhythms, and even a steel pan. Dean’s musical landscape is reminiscent of the United Kingdom’s previously most iconic neo-soul export, Amy Winehouse. In “Dive”, a vibrant portrayal of recklessly falling in love, one finds traces of Winehouse’s “Valerie” and “You Know I’m No Good”.
Messy’s strongest point is Dean’s instinct for self-reflection. In “Ladies Room”, she meditates on a boy who holds her back and how to let that go, via an ode to the unifying experience of drunken exchanges with strangers in the women’s restroom of a bar. On “The Hardest Part”, an earlier single, she ruminates on growing out of a teenage romance. She’s both vulnerable and self-assured, presenting an antidote for the post-break-up blues in song.
On the album’s title track, Dean relinquishes herself from the urge to present as put-together, singing ‘It goes, you can let it / It’s okay to regret it / I’m on your side’. Singing along feels like therapy through repetitive affirmations. In the penultimate, “Everybody’s Crazy”, Dean observes the universality of anxiety and insecurity. As with earlier tracks, simplicity allows her meaning room to breathe.
Dean dedicates the album’s final track, “Carmen”, to her grandma, who immigrated to the UK from Grenada as a part of the Windrush generation. She honors the quintessential immigrant story: the courageous young immigrant, against all odds, starting anew in a foreign land for future generations of one’s kin. Her gratitude for this unrequitable debt is evident when she sings “You transplanted a family tree / And a part of it grew into me”.
The album chronicles the beginning of a new relationship in “Danger”, a standout single with a groovy rhythm. It encapsulates the anxiety of entering a new relationship, which can be particularly daunting after a recent heartbreak. It’s a reflection of Dean’s happy-go-lucky attitude and persistent optimism, which is the common thread in the entire album. Even her sad songs feel hopeful about the future and relish in her evident confidence. It’s not easy to write a record with depth but it’s even harder to make it expectant and reassuring despite being, well, messy. It feels easy to give in to our personal problems amidst the daunting pressures of today’s stressors and troubles with blunt gloominess, but Dean shines by doing the opposite. This is a happy record, deviating from what we’ve been accustomed to in the current pop landscape—simply put, it’s a breath of fresh air.
Meet Bea Porges: Athens’ Jazzy Indie-Pop It-Girl
Indie-pop music has been an Athens staple among its many local bands, but one artist in particular has created her own twist on the genre. Bea Porges has been slowly building a reputation around the city since her transfer from Belmont to the University of Georgia.
As women who dedicate themselves to a good tequila drink, we walked into a nearly empty Normal Bar and each ordered Chupacabra while chatting it up.
Porges exudes an effortless cool girl energy with resilience and passion. Not only is she a Capricorn with an affinity for crying to sad songs in her car, but she also has had quite the journey writing and playing her own songs.
“I’ve always just been really connected to music even when I was little,” said Porges. “Sad songs would play in the car on the radio and I would start crying.”
Her path in music can be traced all the way back to age seven or eight when she went to a friend’s house. This friend pulled out a guitar and proceeded to teach her four chords. It was these four chords that jump-started her career. As soon as she went home, she asked her mom if she could play that old guitar that had been collecting dust in the basement.
From that moment on, Porges dedicated herself to music, teaching herself everything she currently knows from YouTube videos and raw experimentation.
“I’ve been songwriting for over a decade now,” said Porges. “Little angsty love songs about my little sixth-grade boyfriend.”
After playing guitar, she tried her hand at drums when she joined the band in elementary school. This evolved into a love of musical theater in high school, a perfect mixture of all of her creative talents.
Porges decided to attend Belmont in Nashville, where she hoped to really make something out of her accumulated abilities. Here, she realized the Nashville scene was over-saturated with cliquey musicians who all pursued the same sound. This realization was paired with an end to a nasty relationship. The result took much of the joy out of writing and creating music.
Much like Uma Thurman in Kill Bill 2, Porges fled to the mysterious land of Montana during the grips of the COVID-19 pandemic to reflect and write. Getting back to her roots, she wrote her now first song on the EP, “Bliss”.
“I can’t remember anything I was particularly thinking at the time and then a few months down the line I looked back at my life and was like ‘Oh this really fits this situation in my life,’” said Porges.
The song explores the nature of her breakup and centering herself after what all creatives experience: an existential crisis. This was the beginning of her debut EP, Space & Time. One day, right as the vaccines for COVID-19 were being rolled out in May of 2021, an Atlanta-based band, Calico, asked Porges to open for them in her first public debut at one of their Atlanta shows. This was her push to really delve into her music career and find her sound.
Porges transferred to UGA where she began performing live shows. Before she knew it, Porges was in the studio recording her original songs with Calico at Racket Records. Her song, “All Day Long” came out as a single in March 2023 and the full EP came out later this year.
“It’s like songs kind of come to me wherever, whenever and however,” said Porges. “I never write a song the same way twice.”
What makes her songs so personable is the life experiences she has been through. Every experience is a lesson, whether it be negative or positive and that is what gives her music its soul. The resulting soft indie-pop and jazz-fueled sound have been inspired by Faye Webster, Madison Cunningham, and Phoebe Bridgers.
“I write songs that maybe aren’t as jazzy that lean more indie pop but I think my voice lends itself to being a more low-fi, jazzy feel,” said Porges. “Even if I’m not making this jazzy indie music, I don’t think that that quality will ever escape my music; I think it will always stick with me.”
Since she has cemented herself into the Athens music scene, Porges has surrounded herself with some of the few women who also have made names for themselves such as Hotel Fiction and Sam Smith of Recess Party. In a city filled with mostly male musicians, the talent of these women in music cannot be overstated or overlooked. Porges emphasized how important it has been for women to support each other in this realm, far from the cliques of Belmont.
As far as her up-and-coming career, Athens can only expect her unique, witty, and dare I say, charming sound to spread in the coming years and even months. One thing is for sure, there is no end in sight for Bea Porges.
“I haven’t gotten everything I could get out of [Athens],” said Porges. “There’s still more here for me I think.”
The Asymptomatics Celebrate New Single ‘Two Possibilities’ With A Live Performance at Flicker Theatre and Bar
Athens has been home to critically acclaimed bands throughout the decades, marking the Classic City as not only home to the University of Georgia and its students but also a booming hub for artists and musicians alike. One such band is the funky, weird but strangely groovy The Asymptomatics.
The Asymptomatics, or “the Asymps” as they are often called, is a band of nine members who have made “chaotic” the name of the game. Since its formation in 2019, the band has garnered a name for itself within the music community of Athens. After the release of three singles, they have now added one more to their list of original music. To celebrate the release of their brand new single, “Two Possibilities”, the Asymptomatics recruited a list of prominent local Athens bands to play at Flicker Theatre and Bar for a night of unforgiving energy and sound.
Walking into Flicker is always a surreal experience, particularly on the evening of a gig. From the outside, bypassers can hear the beat of the featured band while they smoke a cigarette and drink a beer. Walking through the red curtains that lead to the venue portion of the establishment, stationed in the room next to the bar, I could see a sea of people bobbing their heads to the band, Neat Freak, which was followed by Late Notice and finally, Bog Bod. The celebrated feature of the night, The Asymps, performed last. Between bands, members handed out flyers with the single’s cover art designed by Hollis Midriff and they discussed their excitement to play their cleanest-sounding single live for the first time.
The band’s set began as most of its sets do, with the lead singer Max Mahieu relentlessly jumping around the stage with the band, maintaining an aura of chaos that has defined the group’s career, particularly in the past year.
The single itself possesses an eccentric guitar-solo build-up in the outro. Though their MO is full-fledged passion, this song was a pleasant departure as it boasted a more meaningful and slower vibe. “Two Possibilities” explores that little gray area in life by rejecting the idea of black-and-white decisions and outcomes. A simple song to describe how intensely unsimple this life can be, especially when young, as the band members are.
“A lot of times it seems like there’s two possibilities but, you know, in reality, things are a lot deeper than that,” says Mahieu. “It’s not just decisions you make, it’s the decisions of the people around you and the ones you love that affect your life and affect their life.” Mahieu’s family is the inspiration behind the song, which was written by Mahieu and his mom, who is a musician herself.
It’s both happy and sad which is reflected by the musicians as they played with electricity and passion, making the audience feel the underlying irony of “Two Possibilities”. Mastered by Jason NeSmith at Chase Park Transduction, “Two Possibilities” incorporates a classic guitar solo from the lead guitar that amplifies the emotional aspect of the song.
“We wanted to have this big rock section at the end that instrumentally captures the emotion and the vibes of the song that the lyrics start at the beginning,” said Mahieu.
From there, the band immediately transitioned to play their classic, most-noteworthy hit “GTFO! (Gerald the Friendly Orangutan)” which was a lighthearted and silly conclusion to a great show.
Though the chaotic transformation of the Asymptomatics onstage is something that some would deem messy and unorganized, those with an ear for passion would comprehend that this gives the band its personality, hence its rising claim to fame within Athens. A funk outfit of shameless chaos and a force to behold.
“Two Possibilities” is out now on all platforms, with the Asymptomatic’s first full album slated for spring.
Review: Cian Ducrot: ‘Victory’
Cian Ducrot is a tried-and-true practitioner of the singer-songwriter genre. His lyrical approach is refined and polished against the same undertones as his predecessors, which are quite easy to pinpoint as soon as his debut album Victory comes through your headphones. It’s immediately reminiscent of Lewis Capaldi, Dermont Kennedy, and early Ed Sheeran. Of this, Ducrot is well aware. His perspective on comparisons shifting throughout his career from this good to this is bad to this is unavoidable—lo and behold, it is.
It is as much a triumph (pun intended) as it is a familial anthology. Ducrot’s strength on this album is the way he speaks of not just himself but of his people. It’s an early look at a singer-songwriter who isn’t just introspective but deftly extrospective. The title track is a crash course on his childhood as a child of separated parents with an unloving father. He teeters between a humorously deterministic tone (“got a note from my doctor, he said to not even bother / because when you’re messed up as a kid you’ll pass it on to your daughter”) and promising resignation (”learn to live by the glory of knowing it doesn’t hold me and choke me”).
Ducrot has been through a lot, but he “made it”, which is, of course, a vaguely over-optimistic phrase we use that could mean anything from “survived” to “achieved their dreams” to “became famous” as if progress is linear and one-dimensional. By most standards, Ducrot has achieved all of this (and he lets you know that). Hence, his debut album is called Victory. On the conclusive “Heaven”, Ducrot sings “Are we in heaven heaven heaven? / ‘cause I don’t feel pain / I guess that this is heaven, heaven, heaven”, aptly backed by a church choir. Throughout the record, one hears Ducrot’s pain and his redemption. He pays homage to Sheeran, who chose Ducrot as his opener, bragging ”Well, now you’ve got a kid, I’m with Ed on tour / in cities I’ve never been”, which is where Ducrot’s redemption is briefly tied to his newfound success as an artist.
However, “Hevean”, above all is an ode to his brother and their camaraderie, as “Step Dad” is an ode to his stepfather, “Mama” is an ode to his mother, and “Blame It On You” is a accusatory letter to, presumably, his biological father. Ducrot’s victory never belongs to solely him. He gracefully gives each family member their own moment on the record, emphasizing their togetherness and how it made them tougher (”You tore us apart, but we ended up stronger”). On “Step Dad”, Ducrot hails his stepfather for raising Ducrot and his family out of the pain and grief into a brighter future. Unsurprisingly, as noted in a press conference, Ducrot is most excited to perform “Mama” and “Step Dad” for the first time during his live tour, highlighting that above all else his family stands at the center of his work and his story.
Ducrot’s classical background is one of the strongest points of this record. He leans heavily into orchestral arrangements and choral ensembles, even releasing a new orchestra & choir version of several songs off his album. The sonic landscape is intricately designed where new pieces to explore emerge in each listen. On “Mama” Ducrot’s layered vocals add depth. On “Endless Nights”, a piano ballad intro transforms to an upbeat pop tune with a cello and piano, hints of Ducrot’s Irish heritage peeking through in the music as he reckons with heartbreak. On “Everyone Who Fall In Love”, where Ducrot considers the baggage previous relationships leave behind, the bass and guitar anchor the track and leave a haunting and aching aftertaste.
In Victory, Ducrot is an open book with a clear vision, which gives the album a more focused feel than his earlier mixtape and EP. His sentimentality sometimes borders on cliché, but his delivery and the overall production lead to a stunning final package. Despite not feeling like a good lyricist, Ducrot has a knack for tugging at heartstrings. Ducrot has even caught the attention of SZA, who tagged him to co-write a track for the (unseen) deluxe version of her highly successful SOS. He will spend the remainder of the year touring around the United States and Europe to support his debut album. Ducrot’s musicality leads to a refreshing take on a genre that can sometimes feel over-saturated. Victory is a deeply personal and intimate account of life, which also makes it a versatile and universal record.
You can listen to Victory here and catch Ducrot on tour here.
Artist to Watch: Quadeca
Rapper, producer, singer-songwriter, and YouTuber Benjamin Lasky, professionally known as Quadeca, has quickly become one of my favorite artists due to his unique come-up story. Quadeca—or as fans call him, Quad—has crafted an enticing album that places you right in between life and death. His third studio album, I Didn’t Mean to Haunt You, changed the way I think about a concept album. It’s written from the perspective of a ghost in the afterlife, viewing his family living without him; the record is a truly emotional experience. I’d dare to say that I have moshed with Quad in between heaven and hell, as I saw him perform on his Quadeca | Quickly, Quickly tour in Purgatory at the Masquerade in Atlanta, Georgia.
"I never thought I would mosh with one of my favorite artists to a Death Grips-like track from an album about being a ghost in the afterlife."
Quad opened up the night with “knots”, accompanied by a full band. When Quad split the crowd in half preparing for the first mosh of the night, everyone chanting “I’m an open book in a closed casket” and “I don’t fade to black I cut to static”. These lines allude to the final minutes of the album being static, representing the fade into the afterlife.
Taking the show from a near-metal experimental hip-hop track into the entrancing “tell me a joke” is far from an easy feat as the track begins with soft ambient sounds. Yet, the booming moments hit just as hard as they did in “knots”. The live drums on this track were especially astonishing. During his set, Quad reminded us that these songs would never sound like this again, with the accompaniment of his live band and our voices meshing together.
Quad teased unreleased tracks with acoustic sets throughout the show. After performing what he said may be his hardest work yet, “born yesterday”, Quad took us back to his first studio album, Voice Memos. With the introspective “Man on My Left Shoulder” and the soul-sampled “These Days”, day-one fans got what they were hoping for.
Naturally, Quadeca performed his critically acclaimed “Sisyphus” off of his second studio album From Me To You. Quadeca’s high-pitched vocals at the beginning of the track pulled at our heartstrings before he started snappily rapping about the tough, never-ending climb of life.
Quadeca encored with his banger single “BEAMIN”. He fell into the crowd and moshed with his die-hard fans—I helped the man himself up off the ground as the night ended. I can easily say this was my favorite show I have attended to date. I never thought I would mosh with one of my favorite artists to a Death Grips-like track from an album about being a ghost in the afterlife.
When we thought Quadeca couldn’t get any more mysterious, he took to Twitter (now X) to tease his fans again. Changing his profile picture and banner to a wrinkled piece of blank white paper, Quadeca tweeted: “new era approaching”. Will the paper gradually get filled with sketches of his new concept album ideas? Or is this all to throw us off? Only time will tell.
Review: Logic: ‘College Park’
Maryland-based multi-platinum rapper Logic, AKA Bobby Hall, was not lying when he rapped “Egon’s finest, Peanuts after like I was Linus / Followed by that College Park next, that’s the lineup” on the final track of his previous album Vinyl Days. Sprinkled with various skits, College Park tells the story of the original Rattpack’s (Logic’s close squad and later, the name for his fans) trip to Washington D.C. as Logic prepares to perform a show. With features from the entire Rattpack (and more), College Park brings Logic back to his roots.
The album begins with guitar strumming and psychedelic vocals from Logic on the track “Cruisin’ Through the Universe” featuring RZA of the Wu-Tang Clan. Logic’s vocals get both pitched up and down to indicate that this is a dream of Logic’s as he sleeps on longtime friend Big Lenbo’s couch. Logic wakes up and recalls his dream of being on a song with RZA. Lenny states “You know what would be really crazy? / If you got the whole Clan on a song one day” alluding to Logic’s “Wu Tang Forever” off his album YSIV. This track features every member of the Wu-Tang Clan except the late Ol’ Dirty Bastard. Logic’s producer 6ix is, of course, present throughout the entire album, and he does not let us down.
Next is “Wake Up” featuring Lucy Rose, the first single off College Park. While Rose does not have a chorus on the track as she did on the track “Innermission” off Logic’s sophomore album The Incredible True Story, she helps with the social commentary the track was made to create. Repeating lines “every day I wake up” displays Logic’s previous cyclical life of drugs and violence. Logic raps over punchy drums and a pulsing horn-like lead, stating “Dropped out of school then he picked up a spatula / ‘Cause he never had a good role model just a hood role model” displaying the importance of a proper education and environment to lead you through your adolescence.
The next single “Lightsabers” featuring C Dot Castro has the most grandiose production on the entire project. Elevated by the fun Star Wars-referenced title, Logic and Castro come out with a feel-good anthem. I particularly enjoy the several beat switches on the track. We are greeted with iconic “Logic” ad-lib and brassy trumpets as Logic raps simply “Today’s a good day”. After the first verse, the track introduces some light keys over which Logic lyrically highlights his love for producing. The message of this track is to not be creative not for fame or money, but for the love of the game. The third verse introduces more pulsing horns and vibrating synth leads. Recently released from prison, C Dot Castro, previously known as Shy Grey, finishes off the track rapping about his aspirations to make it in the industry one day. Since then, Castro and Logic have created a rap duo known as halfBREED and recently released their first EP, entitled 3P.
Still sprinkled with skits throughout, Logic does what we know him for best on the next three tracks. “Clone Wars III” exemplifies itself as a classic boom-bap beat produced by PoST and Logic himself. Logic reminds us that he is just one of us, a music and pop-culture nerd. The track “Redpill VII” is one of Logic’s most introspective in a while and is one of my personal favorite beats on the record. Beginning with an enchanting yet mysterious soundscape, Logic raps “the drugs all in they system got ‘em adamant they fine / but in they mind they know they not”. Logic is no stranger to struggling with or advocating for mental health, such as on his platinum-certified suicide prevention track “1-800-273-8255”. The track “Playwright” featuring Andy Hull can be summarized by one line “Logic known for tellin’ stories like a playwright”. The track is fun and light-hearted, nothing serious. Yet, the catchy chorus from Hull keeps me coming back. The track ends with a skit of Rattpack in the car, ready to head to Bobby’s show. Castro brings beat CDs, and then we go into “Gaithersburg Freestyle” feat. C Dot Castro, Big Lenbo, Fat Trel, and ADÉ.
Logic’s energy and delivery on the track keep me coming back to this freestyle. Plus, the seamless transition into the next track, “Insipio”, satisfies me every time. Logic released part of this track on his YouTube channel, featuring fun spinning visuals and agile spitting. Next, we get to the TikTok phenomenon “Self Medication” featuring Seth Macfarlane, Redman, and Statik Selektah. MacFarlane’s Sinatra-esque vocals are stellar. Logic and Redman put you in their shoes with their lyrics. I see why this track became a TikTok favorite.
“Shimmy”, featuring Joey Bada$$, is a tribute to Wu Tang’s late Ol’ Dirty Bastard. The track flies by, clocking in at just over two minutes. We get verses from Logic and Joey about overcoming their need for welfare benefits. 6ix and Soundtrakk lay down repetitive keys over simple hats. The production is straightforward, yet catchy, which is what 6ix does best.
“Paradise II” was the third and final single from College Park. Featuring Norah Jones, we get melodic and swelling vocals in between Logic’s raps. Bobby drops some nerd and music references before Norah closes out the track, singing “Take me into paradise / Gotta keep our heads tonight / Even if it makes a fight / Take me into paradise”. This track is of course a sequel to the original “Paradise” off of Logic’s second studio album. Paradise II is a fun track, but I enjoy the first far more. This one ultimately feels like a filler.
Despite being a Logic fanboy, I must admit that things get a bit rough at this point in the album for me. Out of the next three tracks, the only one I really come back to is “Village Slum”, mostly due to the instrumental similar to Madlib’s “Road of the Lonely Ones”. “Come on Down” featuring Jordan Harris sounds a bit like a gym banger without any lyrical depth. We all know what the track “Highlife” is about, so I won’t waste anyone’s time explaining it here.
Here we are, in the concluding few tracks of the album. Said to be the title track by fans, “38.9897 °N, 76.9378 °W” featuring C Dot Castro and Big Lenbo feels like another filler track. Nothing interesting is lyrically presented, but 6ix kills it with the simple yet catchy production once again. In the album’s story, Logic has now arrived at his show in D.C., accompanied by DJ Boss Player. Logic is nervous, but hype for the show. Then, we are introduced to the track “Ayo” featuring Bun B and Lil Keke. This is probably the most absurd turn in the project for me. I believe Logic could have placed another boom-bap-heavy freestyle-type track here, yet he just raps the word “ayo” over and over. I enjoyed the features, but again, nothing innovative here.
Last but not least, “Lightyear” is the track I had been waiting for on this entire record. Produced by 6ix, PoST, Kal Banx, and Logic himself, the track contains several iconic beat switches and insanely enjoyable lyricism. Some of my favorite lyrics on the track are “Why you think I went pop? So my family could eat / But now that the fridge is full, it’s just a pen and this beat” and “I’m God-level, here to locust I’m so pissed like a P.O. / Rollie gold like C3PO, and I’m busting off like R2 / That’s COD-level”. We get introspective bars, alongside Call of Duty and Star Wars references—it’s purely awesome. Logic rapping over Kendrick Lamar’s “Rigamortus” came as a surprise to the entire Rattpack, and I could not wipe the smile off my face when I heard it.
“Lightyear” is interrupted by a skit, where the squad goes their separate ways and the only ones left are Logic and Big Lenbo. Lenbo tells Logic he’s going to make it big in the game someday, but Logic is hesitant. He states he wants to sing and play guitar, not putting himself into one box. Here, Logic shows us who he really is, singing “Now I’m here, Lightyears from where I was before”. Die-hard Rattpack members like me were shedding tears at this moment, proud of who Logic has become and what he will do in the future. While known for his snappy raps and witty punchlines, it only took a “Lightyear” for fans and the industry alike to respect and love Sir Robert Bryson Hall II.
Review: Recess Party: ‘Paid In Full’
Recess Party is the brainchild of four current and former University of Georgia students. Blending a wide range of indie, rock, and metal influences, the quartet has now released their debut album, Paid In Full, to the world. Keeping the energy always present at their live performances, this moody project is cohesive while still ensuring that every band member is spotlighted. Upon inquiry, bassist Sam Smith disclosed that “the whole album outside of ‘Foot’ is pretty much [frontman] Riley [Stillwagon]’s perspective and experiences.
The first track, “Foot”, begins with some light strumming and the lyrics “Give me all of you; there’s not much to see / Cause I’ll take everything, when everything’s meant for me” before the rest of the band comes in. Riley asserts that openness and vulnerability are nothing of significance and that a future with an unnamed subject of desire could be destiny. This is one of the strongest performances of instrumentation on the record. Drummer Meghan Stewart and lead guitarist Christian Pullen are especially vibrant with the last minute of the song being purely instrumental. Consistently building up to its peak, the song reaches its emotional and lyrical climax in the last verse:
Don’t you speak for yourself if you’re self-diagnosing?
Recess Party, Foot
Well, I promise I’ve got noth.ing worthy of solving
And I finished it once, aren’t my sins worth absolving?
Well, I know you well
Track three, “Different Bodies / Lights”, is brimming with energy. The raspy nature of Riley’s voice lends itself well to conveying a strong sense of distress. Speaking over the drums in the song, Meghan explains, “The constant busyness/motion of the groove is intended to create a feeling of barely restrained chaos within the song.” Lyrically, the relationship we are hearing about is toxic and incompatible. “Why can’t you spit it out; you wonder why I’ve grown so thin? / Can we just sound this out? Won’t you bless me with your wounds again?” These aren’t the words of someone whose relationship is uplifting them but rather someone who’s been left “suffocating” with “bloodshot eyes”.
“Happy Accidents” continues the through line of love hurting, and placing it fourth on the tracklist was a great decision. As we come to understand more about the nature of the relationship in question, Riley starts coming to terms with his own reality. He cries out to this woman in the chorus, “Unstable / Pick and choose again / Until you / You’re bound by emptiness.” The vocals are breathier and the track is more stripped back as the band builds up to the chorus. The almost three-minute instrumental outro is cinematic with excellent dynamics. The whole band, and most notably Christian, is really shredding here, so having heard it performed live several times, I can confidently say this is one of my favorites.
Track five, “Second Time” is the first to make use of an acoustic guitar. Here, Riley expresses ire towards his lover while still recognizing how much he doesn’t want to let go of what they have.
I don’t owe you; you don’t know my name
Recess Party, Second Time
But our breaths are held in compromised exchange
I don’t owe you; you don’t know her name
Can you take a second look and maybe
However, the words of this chorus soon change in both perspective and emotion.
You don’t owe me; please just say my name
Recess Party, Second Time
While I’m gasping at each breach under your waves
You don’t owe me; you don’t feel the same
Just take a second look and maybe
Yearning to be heard and for his feelings to be reciprocated, he begs to just be recognized; just maybe, his subject of desire will reconsider. The band stated that this song was originally named “Emo Song”, which would have been a clearly fitting title. There is a universal message in the song: unreciprocated love can push us to do things we’d be afraid of saying out loud.
The title track, “Paid In Full,” released as the album’s last single, is the best-written song on the album. The lead guitar and drum parts are rife with tension. Sam’s back-and-forth vocals with Riley on this track are essential. The lyrics “Are you sick? Know I tried / Paid in full. Empty tithe / Won’t you write this record ‘bout me now?” give us a firm answer as to what the song and album title means. Pining for love has left Riley with nothing but fatigue. Having given his full effort, or “paid it in full,” as a religious person offering tithes would, one might expect something in return. Sadly, that isn’t the case here.
Track eight, “Hypocrite,” was the first single the band released for this album, and you can read my review of it and their AthFest performance here.
“Range of Motions” closes out the album strongly. Vocally, it’s my favorite performance on the record, and bassist Sam really gets her opportunity to shine here. Understanding why things aren’t meant to be doesn’t usually stop us from pursuing those we desire, and that’s the story here too. With the context of all the previous songs, the lyrics “I swear I blocked your image out / In patterned, cyclic thinking / Now you’ve gone / I’ve gone” stick out the most. A greater understanding of his situation is the cause of great internal strife for Riley, and though he recognizes that fact, he can’t escape it.
The true highlight of this album for me, though, is the drumming. If the meaning of the song was unclear to me, I could focus on the drums and the meaning would become clearer. Likewise, Christian is almost always playing something that captivates me while Sam’s timing and chemistry with her bandmates make me envious. The album structure delivers a complete story, so I have to commend the band on the choices made regarding sequencing. These songs may well be a disconnected string of interactions with women, or they could be a collection of experiences between two people as I understood them to be. Regardless, they’re relatable, layered, and emblematic of the idea that love hurts.
Review: Sarah Kinsley: ‘Ascension’
Ascension is the latest EP from rising star Sarah Kinsley. Kinsley first rose to prominence with her viral hit “The King”, which introduced audiences to her talented musicianship, soulful voice and melancholic aura. Kinsley, 22, is young but her self-written songs showcase the craftsmanship of a well-seasoned artist, which is somewhat of a rarity amongst the current class of rising stars, who (on average) prefer to focus on marketability rather than artistry.
Kinsley, who produces her own songs, creates an alluring sonic landscape on Ascension with her knack for finding chaos and beauty in the mundane. On TikTok, she shares bits of her process which show her using a glass bottle on her guitar and hitting random object in her apartment as pieces to her songs. She says what enthralls her the most is “sounds that are individually really bizarre” and how “their essence amongst the collective creates a sonic environment that is so captivating.”
Ascension opens up with “Oh No Darling!”, which is a song Kinsley coins as “sarcastic” and “mean” but also “silly”. She grapples with age, growing up and being stuck in the past. Kinsley creates an endless melody, subverting expectations of classic pop. It’s hard to predict where the song is going, without an arc and a natural conclusion, the listener expects more.
The second track, “Black Horse”, tackles the dichotomy of sanity versus insanity. The pre-chorus builds with layers upon layers of vocals, giving a rich texture to the song, which Kinsley points to as one of her proudest moments on the record.
On the title-track, Kinsley leans into her classically trained roots, incorporating strings into her execution. Oft deemed “too emotional”, Kinsley was chastised for being unwilling to conform to the rigidity of classical music, but now she embraces it. She adorns her songs with classical elements, such as strings in the background, which give her indie pop a timeless quality.
As an early single, “Lovegod” is a standout song on the EP with biting lyrics like “singing holy praises to an indifferent god”. It’s snarky, clever and dreamy. A wistful anthem for the lonely. She packages it all off with “Sliver of Time”, where you can hear uncanny hints of Mitski and Lana Del Rey, both of whom she often draws comparisons to in the comments section of her videos. Regardless, Kinsley remains a wholly original and gifted writer/producer.