Review: The Roots: “Things Fall Apart”

Posted on by Taijahnai Scott

In 1999, Philadelphia based hip-hop group, The Roots, would reach a turning point in their career. They would release their fourth studio album, Things Fall Apart, which would help them achieve mainstream success and solidify them as pioneers in rap culture. Prior to its release the band had amassed quite a following but it never really translated into commercial success that other acts saw. This album showcases their musical abilities with their thought provoking lyricism and genre-spanning beats. The group experimented with hip-hop, jazz and even psychedelic beats. It is considered a classic. 

The album starts off on a powerful note with its first track “Act Won (Things Fall Apart)”. On this track, the group samples an audio from the 1990 Spike Lee film Mo’ Better Blues. The audio is a dialogue between two characters (Bleek Gilliam and Shadow Henderson) discussing the state of Jazz music. Gilliam is complaining to Henderson that Black people never come out to support their own at their shows, however Henderson rebuttals that it is not a race thing, instead that they don’t come because they don’t like what is being played. “The people don’t come because you grandiose motherfuckers don’t play shit that they like. If you played the shit that they liked, then the people would come. Simple as that.” The audio ends with a quote from Harry Allen, best known as the “Media Assassin” from rap group Public Enemy, “Inevitably, hip-hop records are treated as though they are disposable. They are not maximized as product, not to mention as art.” This track seems to be a reflection of the group themselves. They often felt underappreciated and tried to separate themselves from other mainstream artists. They considered themselves “real shit” for people who wanted it, and just like Henderson they didn’t want to sacrifice their creative integrity just to appeal to the masses. Those who liked their music would like it, and not support them solely because they are black.

Track three, “The Next Movement”, which features DJ Jazzy and Jazzyfatnastees, reiterates some of the themes The Roots have already established for themselves. They are not the “norm” nor do they strive to be. They represent ‘the next movement’ as their lyricism helps them stand out “once again it’s the Thought / the Dalai Lama of the mic, the prime minister Thought / this directed to whoever in listenin’ range”. The Roots recognize how pop-like Hip-Hop is becoming and strive to keep it authentic for its core-audiences, but creative enough for a casual listener. 

The standout song on the album “You Got Me”, which features vocals from Erykah Badu and Eve, won The Roots a Grammy for best rap performance in 2000. They explore the topic of love and how although things fall apart, how they vow to remain there for eachother. “If you were worried ’bout where / I been or who I saw or / what club I went to with my homies / baby, don’t worry, you know that you got me,” Badu croons over the chorus. She is reassuring her love interest that he doesn’t have to worry about what she does because “he’s got her”. They spend the next two verses establishing how ‘things happen’ and people will try to get between them, “I seen people caught in love like whirlwinds / Listenin’ to they squads and listenin’ to girlfriends / That’s exactly the point where they whole world ends / Lies come in, that’s where that drama begins.” The chorus comes back and we here Badu once again reassuring her lover. 

Things Fall Apart is an introspective album that captures trials of the world through poetic lyricism. The Roots are able to tackle topics such as love, identity, race and struggle over infectious melodic beats. Production of the album comes from legendary producers like ?uestlove (Questlove), J Dilla and Dj Premier. Through a mix of samples and live music, the band is able to flawlessly create a piece of work that is both creatively experimental and familiar. “Table of Contents (Part 1)” features a messy breakbeat and controlled chaos, showing the group’s dedication to challenging themselves creatively. The Roots were not only able to capture the essence of the 90s but showcase the musical abilities that made them unique. Almost three  decades after its release, their messages still remain relevant today. If you appreciate Hip-Hop as an art then this album is a must-listen. 

Artists Who Shined at AthFest 2023

Posted on by Adeboye Adeoye

From Friday, June 23 to Sunday, June 25, the Athens community came together to enjoy local artists for Athfest 2023. This year commemorated 25 years of the festival and brought together acts of all generations and genres. In celebration of such a fun and successful event, I wanted to highlight some of my favorite artists who I saw this past weekend.

Trvy

Courtesy of Salathiel Saldana

2023 Vic Chesnutt Songwriter of the Year Award Recipient and Athens Hip Hop Titan Trvy took the stage Saturday evening at Livewire. He rapped with the aid of a backing band, collectively known as Trvy & The Enemy. Originally formed for a one-off Tiny Desk-style performance, the band soon realized the chemistry and potential they had, and thus continued to perform and make music together. A self-described mix of trap, psychedelic rock, world music, and funk, this boundary-pushing quartet put out their debut self-titled debut just a few days before AthFest began.

My favorite track off the EP is legend, in which he repeats the mantra “gotta die legend.” Built on top of a speedy bassline, the track feels like it’s about to bubble over at any moment but instead closes out with a heavy instrumental. This part especially reminds me of the climax of an action film, like a shootout through a building or a highway car chase. Trvy, as always, comes with the bars. His first verse contains my favorite lyrics from the song.

It can only go one way
You can only grow from the pain
Least for myself
Pour from my cup till my cup runneth over
And life just gon spill in my lap
Still keep an eye for the circling vultures
Who just wanna know how it fell in my lap

Trvy & The Enemy, legend

Recess Party

Courtesy/ Garrett Cardoso

On the Georgia Theatre Rooftop at 1:00 AM, I saw indie rock band Recess Party perform. Despite the late start time, it was one of the most energetic sets I attended. They performed tracks from their upcoming album Paid In Full and my personal favorite song of theirs, “Change of Pace.” Bassist Sam Smith closed out the night with a rendition of Metric classic “Black Sheep.” In a recent interview, the band members spoke about spending time refining their sound and listed off some of their influences. Genre-wise they, listed sixties & psychedelic rock, singer-songwriter, hardcore, industrial, and nu-metal. They specifically named drummer Ginger Baker, guitarists Jimi Hendrix, Stevie Ray Vaughan, and Chris Buck, and singer-songwriters Elliot Smith and Phoebe Bridgers. Some of their overall band influences are Turnstile, Author & Punisher, Tool, System of a Down, Average White Band, and Radiohead.

When asked about their experience at AthFest, the band responded,

Well, it was our first AthFest, but the stage was familiar and so was the crowd. It feels really special to have people that will stay after your set to talk. We really are playing to our friends and we’re so pleasantly surprised to see that many familiar faces so late at night.

Sam Smith, Recess Party

The band’s performance started just over 24 hours after the release of their latest single, “Hypocrite.” Upbeat and angsty, the song narrates an unfortunate yet inevitable life experience. In my favorite vocal moment of the song, frontman Riley Stillwagon purposefully strains his voice singing about an inevitable life experience. “Hypocrite / Just get over it / One day in your dreams enough’s enough.” Beyond just the singing though, I find myself attracted to a new moment or section of the song on each listen, whether that be the guitar lick at 1:07, the background vocals at 1:51, or the moment when the whole band drops out at 2:37.

Immaterial Possession

Courtesy/ Immaterial Possession

Standing outside of Flicker Theatre & Bar on Friday evening, a friend exalted Immaterial Possession as one of the best two bands in Athens. Their set began at 10PM and was fitting, considering the venue’s homey atmosphere. The band’s eclectic sound was matched by their gothic iconography. Immaterial Possession is beautifully anachronistic. Medieval yet modern, they combine punk-rooted bass, Greek and Spanish musical scales, and more, to bring together a truly unique, yet cohesive sound. Multi-instrumentalist Kiran Fernandes was switching instruments in nearly every song, notably playing the congas, saxophone, clarinet, and keys, guitar, bass, and more. Their sophomore album, Mercy of the Crane Folk, was released early in May of this year.

I reached out to the band about how the performance went. Frontman-bassist Cooper Holmes responded,

The performance went well. It was fun. If it was less chaotic, it would have been nice to dial in some lighting design more. The sound wasn’t perfect, but the energy was good and that’s what mostly matters to me.

Cooper Holmes, Immaterial Possession

My favorite track from their album is the eponymous and eerie “Mercy of the Crane Folk.” In the band’s own words, the song is a “Sisyphean tale of feeding a persuasive ghost that never gets full,” with a music video depicting a “magical ritual gone awry.” Sisyphus is a figure from Greek myth, punished by Hades for cheating death twice. In the same way that he endlessly rolls a bolder up a hill, the surfy bass line continues on and on. It grounds this enchanting track, while a medley of other sounds and instruments is layered on top. Holmes and Madeline Polites, on bass and guitar respectively, share vocal duties. The music video, however, only features Holmes and Fernandes.

Clover County

Courtesy/ Clover County

At 1:40 on Saturday afternoon, singer-songwriter Clover County began her performance at the Wicked Weed Stage. I sadly missed Clover County’s set but was able to get some insight into how it went from the artist herself.

Just last year, I was standing outside The 40Watt watching artists perform on the main stage with no expectation for myself to be up there the following year. This year, I found myself overwhelmed with friends and musicians who were ready to help me make AthFest special. My AthFest band consisted of Cannon Rogers, Wim Tapley, and Matt Martin. They’ve all played the fest in the past and made it really easy to feel cool and confident going into things. The most special thing to me was seeing so many familiar faces in the huge crowd on Washington St. I could name them and give you a little bio about most of the amazing locals who help keep this city so magical. I wouldn’t trade my first experience at AthFest for anything and I hope to be back next year to share even more music!

Clover County

Together in matching “Clover County” shirts, the four performed a medley of her own original songs. This performance coincided with the release day of her debut single, “Outlaw.” The aforementioned Matt Martin mixed, mastered, and played on the track. An especially strong vocal performance, the song’s premise is explained in the chorus: “It should be a crime to love him this much / And I’m an outlaw inside my own dreams.” These are words reserved for someone who completes you. Nestled between indie folk and Americana, this is an intimate love poem written about “a desert-driting, whiskey-sipping man with turquoise eyes” who’s walking “through hell and back.” Thematically, I’m reminded of Kacey Musgrave’s “good wife.” This type of pure, fulfilling love makes this song antithetical to a track like “Oh Daddy” by Fleetwood Mac.

Kxng Blanco

Courtesy/ VolumesHipHop

Athens-raised Hip Hop artist Kxng Blanco also performed at Livewire on Saturday evening, taking the stage around 11 PM. This was his first performance following the early June release of his latest album, Baby Hefner. Rapping over both Jersey Club and more Atlanta-style “rage” beats, this set was filled with energy, dancing, and smiles all around. By virtue of his stage presence and crowd engagement, it’s evident that this 2x Athens Hip Hop Award winner is a seasoned performer. Along with singles and features, Kxng Blanco has been putting out at least one full-length album a year since 2018.

Kxng Blanco himself added, “the show is a memory that I won’t forget no time soon. Really felt like God gave me the moment as a ‘keep going, you doing the right thing’ type of ordeal”.
My favorite track from the aforementioned Baby Hefner is “INeed2KnoToo,” a duet with R&B artist Convict Julie. A simple guitar melody, distant background vocals, and some well-placed kicks come together to make this rap ballad. Speaking to a lover, Kxng Blanco asserts, “I need to know what’s on your mind / Do you think bout me when we not together?” The song reminds me of “Playing Games” by Summer Walker and Bryson Tiller along with many other recent male-female Rap-R/B collaborations.

Review: Sarah Kinsley: ‘Ascension’

Posted on by Buket Urgen

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.

Artists to Watch: Wakai

Posted on by Adeboye Adeoye

While scrolling on TikTok in the spring of 2022, I stumbled across the song “Silhouette” by Wakai (feat. MARCO PLUS), which I immediately saved. The witty lyricsism and dynamic flows over smooth, dreamy production inspired me to listen to his album, To a Dark Boy, in its entirety. Wakai’s music is vibrant yet subdued, and listening to him challenges me to look within. In pursuit of more insight on an artist I enjoy so much, Wakai and I had a conversation to discuss his journey and relationship with music.

VM: Can you tell us about yourself? How did you start playing and performing music? Why did you decide to pursue music?

W: I’m Wakai, a visual storyteller from Baton Rouge, Louisiana. 

I received a drum set when I was three years old due to me always doing rhythmic things around the house to the point my parents had to supply me something to harness to my craft. My father introduced me to one of his close friends who happened to be a rapper around the time I was ten and he allowed me to do my first shows at a young age, as well as bringing me to the studio which I am forever grateful for. There’s probably footage of those shows somewhere. 

I felt the need of pursuing music as a real calling from within. I noticed a lot of my classmates from highschool and even some I met while I was briefly in college found themselves at a crossroads at what their real purpose was. For me even if I had no notoriety or appeal I would make music for the essence of healing and the power it gives me when I channel the thoughts of my ancestors and the stories I’ve suppressed throughout my life, music allows me to cleanse.

Are there any artistic influences and/or contemporaries that you’d like to highlight? Any local acts from Baton Rouge/Louisiana?

Being from the south the first two people to really have a significant impact on me were my childhood years of hearing André 3000 from Outkast and me never forgetting the car ride freshman year when a friend played “Modest” by Isaiah Rashad. It forever changed my life. Of course I can recall where I was the first time I heard “Sherane [a.k.a. Master Splinter’s Daughter]” by Kendrick Lamar, but those two men specifically taught me how to embrace my cadence being from the south and adding the melodic element to it. Nothing is wrong making music that is conversational, and for them I am thankful. My creative hub in Baton Rouge blossomed the most from my collective Col-Der-Sac consisting of members: Ronday, Douno, JoshSimmons, V!lla, and OshaBlueye. Those guys formed a brotherhood within our friendship to lean on each other throughout our creative endeavors. No idea was too big and no thought was too small with those guys. All of them are extremely talented.

What does your creative process look like? Is writing songs something that grounds you?

I tend to love making music in solitude if i’m tracking vocals down at my house, but I really love having jam sessions with different musicians and finding a groove within that and creating a song from it. My new album is an extension of creations I always wanted to externalize but never knew how to get the sonic backdrop to fully encapsulate it.  Music will forever ground you, especially when you have the opportunity of aligning with other souls who may be experiencing the same problems you run across but don’t know how to vocalize the fear or frustration of it.

You’ve said previously that you named your album “To A Dark Boy” because you are a light regardless of how others perceive you. Can you speak more to that?

When you look up Webster’s term for the word ‘Dark’ you see ‘a place or time with little or no light’. That definition struck me as a recurring theme in my life. Not only having a darker complexion but also the amount of rain that happens in my state leaves some seasons visually dark. The word is inescapable. But empowerment came from this to me, I learned the light within myself could carry me through any darkness around me. I personally find a layer of trauma and angst within Louisiana due to the covert and overt racism that bubbles in it. My great grandfathers would have to walk with their head down if someone of white complexion walked on the sidewalk. Hearing these stories sparked a pride in not only my blackness and the freedoms they weren’t able to have, but my eternal gratitude to be every dream they could not achieve, and every hope they once yearned for.

You were on the Texas leg of MAVI’s most recent tour, and his album “Let the Sun Talk” is thematically similar to yours. Do you find yourself being directly influenced by other artists when making music or do you see connections to others after you’re done making a song/project?

I find that my peers are more so friends to me creatively. And being that MAVI is from Charlotte I assume we grew up listening to the same artists our parents played. The connections are inseparable due to the collective consciousness people from the south tend to inherit from each other. I personally draw more inspiration from the artists my parents played when they were my age, than my peers. I do love the music that is coming out from my era though, especially now. I just feel my albums are more so visual storylines that began through my personal upbringing, and not the upbringing of my musical peers.

Do you have specific goals you’d like to reach before the end of the year, whether that be concerning song output, fanbase growth, performances, or something else?

All the above honestly, but at the center of my hopes I want to become a better man. Once I become that I can be the truest form of an artist I can be. I have some shows planned that I’m excited for, and also the planning of my first tour.

Can you tell us anything about upcoming EPs/albums/projects?

I have a new album coming up this summer. It’s my second album and one I’m the most amped about, it took 23 years to make this project and the music reflects that.

What’s your favorite thing about performing?

The look in peoples eyes when you say words that strike a nerve within them. There is no better feeling then being on the same frequency as someone and you become intertwined through the vocal projections.

What song(s) of yours would you recommend a new fan to start off with?

I would say the first 3 songs to hear from me are “Starter Jacket” , “Silhouette” and “Collect Calls”. I think they all show the depth of my style and also sonic components of my life and spiritual journey.

You’ve built an impressive list of collaborators already. Who are some artists, musicians, or producers that you’d like to work with in the near future?

I would love to create with Smino, Erykah Badu, Jordan Ward, and Jean Deaux. And as far as producers Knxwledge, Pharrell, Emil, and Timbaland.

What has been most successful in growing your fanbase? Performances? Social media? Collaborations?

Traveling by far. Nothing beats going across the country and having tangible connections with people that transcend a phone screen.

Check out Wakai‘s most recent single “Frustrated” on all streaming platforms.

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.

boygenius Headlines Re:SET Concert Series in Atlanta Despite Delays

Posted on by Buket Urgen

Last Sunday was the final leg of the Re:SET concert series in Atlanta, featuring headliner boygenius preceded by Bartees Strange, Dijon and Clairo. Given how summers in the south are prone to sporadic bouts of rain and thunder, the concert series has had to improvise against a string of weather-related events the entire weekend. On Saturday, Re:SET cancelled Bartees Strange’s and Dijon’s sets in New Orleans due to delays brought on by severe weather. On Sunday, Re:SET cancelled LCD Soundsystem’s and Jamie XX’s sets in Dallas, once again, due to inclement weather. Atlanta, fortunately, avoided cancellations during Sunday’s storm, despite setbacks early on.

Re:SET’s Sunday in Atlanta began with a shaky start. Two hours before doors opened, Re:SET announced on its social media that, in order to accommodate expected storms, the times of every act was being pushed up. The doors opened at 2:30 PM instead of 3 PM and Bartees’ performance was moved from 4:15 PM to 2:50 PM.

Attendees who were fortunate enough to be made aware of the change were left scrambling to make it to the show in time (or perhaps unable to do anything due to already having a lengthy commute). Or if, like me, you were unaware of the time change until you had arrived, you likely missed all of Bartees’ set and half of Dijon’s, both of which were cut by 10 minutes anyway. This was a real pity as I was looking forward to seeing the full lineup, like a lot of other “late” attendees.

Unfortunately, this left a bad aftertaste for some attendees, who expected more timely and direct communication. In defense of the show’s organizer’s, last minute changes are unavoidable due to the unpredictable nature of weather. They handled this no worse (and no better) than most other festivals, except for one important distinction: Re:SET needed to do more than a social media announcement. Most attendees received an email after the first set had already began. No one received text messages, which should really be a standard practice.

Despite these last-minute changes, Dijon gave a hearty performance and the audience gave him a lot of love. His set-up was minimalist and relaxed, with band members and Dijon frequently sitting down with their instruments, which didn’t hinder his performance in the slightest. Dijon’s ability to manipulate his voice and make the audience feel the lyrics made the performance a great addition to an impressive Re:SET lineup.

During Dijon’s set, Julien Baker (of boygenius) momentarily appeared in the VIP section of the park. Maybe she wanted to catch the performance as well? Her presence caused a minuscule commotion where a small number of fans noticed her and she quickly disappeared behind the tall black-clothed fences she’d come from.

At the end of his set, Dijon’s artistry really shined through during “Rodeo Clown”. In a moment that stole the gaze of everyone in Central Park, he scream-sang the words “I’d die for you”. (I didn’t capture the moment on film but here’s his performance of “Rodeo Clown” in San Francisco.) In a sudden manner, he threw down the mic and left the stage without the typical formalities.

Right around this time, I noticed that Atlanta’s homegrown indie-darling Faye Webster was also in attendance amidst the corded-off guest list area with some friends.

Next, it was time for bedroom-pop pioneer Clairo, who was born right around the corner in Dunwoody, which she pointed out during her set. Clairo came with a full-band, which included a saxophone-player that I absolutely loved hearing. Clairo herself rotated between playing the piano and a variety of guitars. Her demeanor was ultra-relaxed. She looked comfortable and at ease, happy to be on stage. Other than the few danceable songs she sang, the audience enjoyed her mellow artistry by swaying along to her sweet voice and gorgeous band.

Post-Clairo, everyone was hesitant to leave their spot in the crowd in preparation for the day’s headliner. The energy and anticipation in the audience rose as Clairo’s equipment was removed and replaced with those of boygenius. Everything was set.

Then, confused rumbles began amidst the crowd as crew members placed bags over every equipment and taped it down. The banners on either side of the stage were rolled up. The rescheduled time for boygenius, 6:10 PM, came and went. The audience began to grumble about the current sunny disposition, complaining, rather incorrectly, that if boygenius began at 6:10 PM, as intended, they’d be done before a storm rushed in.

Eventually, all confusion was quelled and replaced by upset at the message now projected on stage in bold red letters: “Severe weather alert. Please evacuate immediately”, followed by the poor man in charge of dispersing the stubborn crowds by repeating the same message over a microphone. The show was postponed until further notice. The crowd, clumsily, chanted “rain or shine, rain or shine”, referring to Re:SET’s stated website policy. But alas, the hourly wage workers of Re:SET are at the mercy of the law which forbids any outdoor event from taking place when lightening is present.

Like a somber funeral march, the audience slowly (and not-quite-surely) left central park. Everyone headed to the nearest dining or shopping establishment that could provide shelter, which was I’m sure, a rather ridiculous scene to the workers of various establishments in the center of Atlanta. A very specific brand of young adults crowding in.

Fortunately, the delay lasted only slightly over an hour. At 8:00 PM, Re:SET announced that the doors were back open and boygenius would play at 9:00 PM. For those unfamiliar with such festival procedures, who made the untimely decision to go home early, believing the early evacuation to be a complete cancellation, some were unable to come back. But those who stuck it out were rewarded with a dazzling boygenius performance, who miraculously squeezed in their entire concert setlist, albeit aided by the fact they began their set earlier than announced….

For the lucky returners, boygenius gave a performance filled with their usual shenanigans, like Phoebe and Lucy wrestling each other on stage and a lot of cozy snuggling. Their setlist contained the entirety of boygenius’ discography (one full-length album and an early ep). In an on-brand maneuver, boygenius paused the show to speak out against “Cop City” and have the audience yell “fuck cops” at full volume. Given that each artist is known for their solo pursuits as well, the show was rounded out well with an acoustic performance of an emotional song from artist as the encore.

Overall, Re:SET gave a glimpse of a different kind of music event. This was their inaugural year and I am excited and hopeful to see Re:SET return in the following years to come.

What is the Re:SET concert series?

What Re:SET is trying to do is a novel idea in the music industry so let’s dive further into it here:

The Re:SET Concert Series is meant to take place across three cities with shows happening simultaneously in each city on Friday, Saturday, and Sunday with a rotating array of artists. For example, boygenius headlined with Re:SET in Dallas on Friday, New Orleans on Saturday, and Atlanta on Sunday; Steve Lacy performed in Atlanta first, then in Dallas, and finally in New Orleans.

Much like a festival, the concerts are performed outdoors with a variety of local vendors, too-expensive water bottles and (of course) porta potties. The event lasts for most of the day, under the brutal summer sun. One may buy tickets to one day of the event, or the whole weekend at a discounted price.

Unlike a festival, there is only one concert place taking place at any given time and the acts travel in their pre-determined groups to three different cities each weekend. I do wonder if the format will stick.

Review: Nuclear Tourism: ‘Nuclear Tourism’

Posted on by Haley Gilbert

Athens, Georgia band Nuclear Tourism’s self-titled sophomore album serves as a reminder of how much fun music can be in its rawest form, especially if that form involves a couple surf-rock anthems.

The album opener, “Feels Alright,” perfectly sets the tone with a song that highlights the strengths of each member without taking itself too seriously. The spirit and skill of the band is on full display in substance inspired songs like cannabis carol “Mary”, a loving tribute to marijuana, and “Half Drunk”, both of which feature rapid changes in tempo that redefine the songs halfway through.

Below the beer soaked surface level, the songs offer a different kind of substance. Beginning with a sample from 1967 film The Graduate, “Dad Brains” perfectly describes the feeling of rejecting the things you don’t want to do while still figuring out what it is you do want; the song is about doing the things that bring you pleasure, even if that means doing nothing at all, and doing your damnedest not to turn into the authority figures around you. Rather than denying the confusion about the future that many experience in their youth, this song embraces and capitalizes off of it. With “No Never!”, a song about refusing to compromise your identity, Nuclear Tourism delivers with a combination of deep-fried sounding instrumentals and growly sing-shouting that results in something even more fun to listen to than its counterparts on the album, which is not an easy task. With these songs, the band is able to offer criticisms in a way that is easy for listeners to digest without coming across as pretentious.

Standout “Cut Your Hair” captures the feeling of being enamored with someone and the comforting fact that despite not knowing what you want to do, you know who you want to do it with. Between the screams scattered throughout the song and the spoken lyrics and heavy guitar at the end, “Sick of it” is the kind of song that needs to be experienced live, bonus points if it’s in the pit cradling a beer.

With Nuclear Tourism, the band experiments with different genres, concepts and sounds and the result is something filled with the good old fashion dye-your-hair, smoke-your-weed, question-your-authority-figures garage-rock sound thatNuclear Tourism does so well.

Check the album out on the platform of your choice and go see Nuclear Tourism live this summer to get the full experience (which may or may not include someone having their head shaved on stage).

Nuclear Tourism’s upcoming shows:

6/17 Masquerade (ATL)

6/23 AthFest

7/7 Georgia Theatre (unplugged set)

7/27 Slopfest (unplugged set)

8/11 Royal American (CHAS) (unplugged)

Review: Khamari: ‘A Brief Nirvana’

Posted on by Adeboye Adeoye

Up-and-coming R&B singer Khamari released his debut album, A Brief Nirvana, on May 26, 2023. The album is littered with recognizable samples, interpolations, and strikingly personal lyrics. His voice and strong songwriting are reminiscent of a Channel Orange-era Frank Ocean. He has writing credits on every track and production credits on all but the last, making this a distinctly personal album. Prominent (soul) samples, bittersweet lyrics, and heavy personal experiences are common threads that bring everything together but above all this is a journey into Khamari’s experience with growth and isolation.

Built on top of a sample of Bill Withers‘ classic track, “Use Me”, the opening track “Wax Poetic” is oxymoronic. The title phrase is often used to describe writing that is excessively verbose and flowery. Khamari, however, flips this notion on its head. He sings, “Wish that I could wax poetic / Paint a Picasso with these words like Kendrick.” He also interpolates the chorus from “Sixteen” by Rick Ross and André 3000 where André sings “Sixteen ain’t enough”. 16 bars is the standard length of a rap verse. By invoking André and Kendrick in this way, two of Hip Hop’s greatest and most wordy lyricists, he is telling the listener that he has a lot to say on this record and we need to be ready to hear him.

The third track, “Drifting”, uses a sample that rap fans may recognize from “New Day” by Kanye West and Jay-Z. That sample is “Feeling Good” by the legendary Nina Simone. On that song, she joyfully sings about finding freedom while on Khamari’s track, he sings about escapism, substance, and addiction. The album title is actually mentioned in the chorus: “Visions of a brief nirvana / Smoking way more than I should / Couple sips had more than I would.” Inspired by the monotony of peak COVID times, “Visions of a brief nirvana” describes Khamari finding happiness and letting go of his self-destructive behaviors. The sample, a poignant but soft string section, a simple drum beat, and a prominent piano come together to create a beautiful instrumental. This song evokes feelings of longing and fragility, but most importantly it is hopeful.

“A Sacred Place”, is the fifth and saddest track on the album. Speaking on a failing relationship, Khamari starts the song with, “What if I can’t make a believer out of you / What if it’s easier to change my point of view?” His worries have turned into resignation and bargaining. He asks himself if letting go of this love is worth letting go of his own opinions and way of being. The lyrics “How fickle a mental state / Set fire to a sacred place” encapsulate the song as a whole. This relationship wasn’t built on solid ground, but it was still special and sacred, and coming to terms with this just isn’t an easy process. Concerning both structure and instrumentation, this is a simple song, making use of two distinct short verses, strings, and a piano. The simplicity concerning the instrumentation and structure of the song is juxtaposed by the layered nature of its lyrics. All things considered, this track reminds me of Faye Webster songs like “Hurts Me Too” and “I Know You”.

The seventh track, “Changing Yourself (Gil’s Interlude)” is a ten-second sample of poet, spoken word performer, and Hip Hop progenitor Gil-Scott Heron.

Of course you want to change yourself for the better
You want to make yourself
A better father
A better son
A better brother
You need the help of those that you’re trying to improve for

Gil Scott-Heron, Changing Yourself (Gil’s Interlude)

This short segment helps tie together the album narratively. As he subtly discusses in the third track, Khamari is in pursuit of bettering himself. This sample asserts that Khamari needs to seek the help of more than just himself to improve.

Continuing with his streak of prominent sample usage, the eighth and tenth tracks each sample songs that have been sampled more than 50 times. “Right My Wrongs” samples “Didn’t I” by Darondo and “On My Way” samples Al Green‘s “Love and Happiness.”

“These Four Walls”, track nine, is a song expressly about isolation. Khamari also recorded A COLORS SHOW version that was released just over a week after the album. In Khamari’s own words, “It kind of has undertones of ‘Diamonds From Sierra Leone’ by Kanye West, where I’m making peace with what I have, and I’m happy because at least I know this is guaranteed.” The song’s chorus ends with “I’ve got these four walls / Even when you don’t call.” Despite struggling after having moved to Los Angeles, he is able to find solace in the things that he does have, like the four walls that he calls home. Sonically, Khamari goes higher up his register and softly stacks vocal harmonies, creating one of my favorite refrains on the whole project.

The album finishes out with “Requiem.” A requiem is a piece of music written in remembrance of someone or something. Over the course of the album, Khamari has learned about himself and grown accordingly. “Not guaranteed a second chance / Thank God I’m waking up / Please don’t play my requiem.” Still struggling to “escape ephemeral darkness,” he hasn’t finished growing yet. His pain is fading and he feels himself coming back to life, so he exclaims that he isn’t ready to die, to have his story finished, to fade away. He doesn’t want to “play his requiem” because there is more for him to do and more for him to be remembered by. Again, he uses his upper register, in what I feel is the most beautiful song on this record. It feels cinematic. He has awoken and come to terms with his isolation. And with this renewed spirit, he feels free in the fact that he has the rest of his story to write.

Review: CLEAR 2: SOFT LIFE EP

Posted on by Taijahnai Scott

Fans and R&B aficionados can finally rejoice: Grammy-nominated artist Summer Walker has finally released her long-awaited CLEAR 2: SOFT LIFE EP. This nine-track project is a follow up to her CLEAR EP which was released before her debut album Over It. It features verses from J.Cole and Childish Gambino and includes production from Solange and Steve Lacy.

This sultry EP explores the topic of a “soft life”, a term popularized through social media trends, although originally coined by Nigerian women. A “soft life”, at its core, refers to a way of life that focuses on prioritizing oneself and “being audacious enough to believe you deserve better”. Walker’s natural vocals and acoustics provided the perfect harmony and helped set the vibe of the EP. Per usual, she displays raw emotions speaking from deeply personal experiences following previous highly publicized relationships. Her lyricism is a true testament to her artistry. 

The R&B songstress starts the EP strong with a Cole feature in “To Summer, From Cole – Audio Hug”. Summer’s vocals are in the back singing “call me if you need some love”. J.Cole uses this track as an opportunity to sing her praises and give her the flowers she deserves for all she’s accomplished. He reassures her that, despite all obstacles, she has prevailed and should take time to bask in the moment, soaking everything up. He congratulates her on her babies (she recently welcomed twins into the world) and praises her for being able to juggle her ever-growing career, touring, and expanding family. Cole gives her this verse as a digital reminder to keep pushing and to reach out if she ever needs anything. You can sense his appreciation for her craft. It is a very intimate and beautiful track.

In the second song, “Hardlife”, she expresses how her life is actually the opposite of what she desires. The men in her life have caused her much pain and strife, although they claim they want her to have a soft life, “what have you asked of me, you say you want me soft but give me a hard life”, Walker exclaims. As stated earlier, Summer has been very open about her relationships and being a single mother. She longs for a relationship with no pain and a man to lead like she observes in other cultures. At the end you hear her stating “me and my women who like me… me and all my Black queens when will we get what we need?” 

The second track is followed up nicely with “How Does It Feel.” She uses this track to question her previous romantic partners about the decisions they made regarding her love. Walker often feels like an option in their lives instead of a priority. She asks them how it will feel in the end, when they have finally and truly lost her. 

The next three songs (“Mind Yo Mouth”, “Pull Up” and “New Type”) examine the kind of men she attracts, mostly of the type who lack ambition and emotional intelligence. (“Wanna be with me then you gon’ get up off your bottom / Wanna lay with me then you gon’ be a real man.”) She closes the thought out with “New Type” proclaiming, as the title states, that she has a new type. She will no longer succumb to the antics of men she feels are not worthy of her time. There are men blowing up her phone but she’s not answering anymore. Here, she reflects on some of the stuff she had to deal with, “Swear ‘fore God I never wanna see another / Arguing on the phone with your ugly baby mother / Sleeping on the couch of the house of your mother / You can’t live with me so won’t you try and find another?” 

The EP closes out with “Agayu’s Revelation”. Walker spends about four minutes speaking and reflecting on her relationships. She talks about her spiritual journey and how her experiences have helped shape her. She believed she was making the men around her crumble, until she got great advice from a spiritual guide, “stop working with people who are made of glass, if you feel you are made of steel”. The revelation is made that maybe she is not as bad as she thought but that she spent too much time engaged with men who were not ready to be in a relationship and give her what she needs.

Truthfully, this EP exceeded my expectations and I’m looking forward to her next album.