Review: Blu & Exile: ‘Below the Heavens’

Posted on by Adeboye Adeoye

Below The Heavens is a phrase that immediately strikes one when they read it. Coincidentally, it is the title of the 2007 debut album of Los Angeles rapper-producer duo Blu & Exile.

Looking back at Hip Hop in the 2000s, we can place most popular rappers into one of two lanes. Flashy and “hardened” MCs like 50 Cent, Cam’Ron, Ja Rule and Diddy embody the spirit of the “Bling Era,” an aesthetic that many today still associate with rappers. On the other hand, more eccentric MCs, like Lupe Fiasco, Kanye West and OutKast led a resurgence in the popularity of “alternative” hip hop. Generally, compared to their bling counterparts, these alternative rappers employed more sung choruses and “conscious” messages.

This album answers the question: what if alternative rappers hailing from Chicago, like Kanye West and Lupe Fiasco, were from Los Angeles instead? As the name suggests, this album skillfully intertwines religious themes with the stories and ideas of an exceptionally talented underground rapper.

Vocal samples are littered by Exile throughout this project, most notably in the opening track, “My World Is…”. Sections of Joni Mitchell’s “Blue” and The Dells‘ “I Can Sing A Rainbow / Love Is Blue” where they sing “blue” are used in the song’s intro, chorus, and as ad-libs. Blu uses the song to introduce himself and begin the religious motif the album is predicated on. He describes himself as “a product of a God-fearing pastor” in the first verse and exclaims “and my mission’s just beginning, call it Genesis” at the start of the third.

On the fifth track, “In Remembrance of Me,” Blue is backed again by a vocal sample. The chorus of The O’Jays‘ “How Time Flies” repeats as Blu examines and contrasts his childhood, high school experience and current life. Lines like “At 18, I headed off in the streets without guidance / Just the eyes of God watching over me” provide insight into the details of his life. In the next verse, he tells us, “My mom thought that I was too young to make this song / Because I’m only 22, but John Barnes has a long path behind him.” Just like Nas, whose work is subtly referenced throughout this album, Blu, or Johnson Barnes III, is an artist releasing insightful and layered work. When you hear this section, it really grounds the album, making his realness and wisdom more evident.

Track eight, “First Things First” is the broke rapper’s version of J. Cole‘s “Work Out.” In this playful song, Blu does his best to throw game while acknowledging his lack of money, something that girls would usually associate with rappers like him. The lines, “Now, don’t get it twisted broke niggas need love too / And underground rappers like to chill at the club too” encapsulate the feel of the song. We aren’t given a peek into his psyche like we were in prior tracks but instead, we get to feel his personality shine as he skillfully rhymes and progresses the narrative of the track.

On “No Greater Love,” Blu continues the narrative of the last track while returning stylistically to what we’ve already heard. “Theme From Love Story” by Smokey Robinson and The Miracles is sampled, so we hear Smokey sing “there is no greater love” throughout the song. The approach is unconventional, but this is a love song nevertheless. Blu exclaims his love for an unnamed woman and explains the title of the song in the refrain. “Yeah nah, ’cause on the real y’all there is no greater love / People try all the time trying to break us up.”

“The World Is… (Below the Heavens),” track 13, is the climax of the album. Exile interpolates a Nas classic, “The World is Yours.” In the first verse, Blu outlines his journey with religion.

I was trained to be a soldier for God
But as soon as I used my own thoughts
I kinda got lost in this smog called reality, where hell is a fallacy
And Heaven is a fantasy created by man, so don’t believe in it
You came in here with nothing then you’re leaving with
Nothing so retreat from this world of deceitfulness
But my people it’s time to rise
Realize there’s a heaven whether you think it’s inside or in the sky
Reach for it before it’s gone eternally
And you stuck here below the heavens for eternity

Blu & Exile, “The World Is… (Below the Heavens)”

Blu explains that he has had problems reconciling his religious upbringing with the harsh reality of life. We are informed by the rest of the album, that Blu is definitely a spiritual man, but now we learn that he isn’t really a religious one. When interviewed by Passion of the Weiss in 2016, in fact, he said “I’m religious without a religion”. In the next verse, Blu talks at length about hell. So often, people describe themselves as “going through hell” or “in hell” but Blu wants us to understand that “heaven” is what we make it. He tells us, “hell is what you choose to call the present,” and in what are likely the most succinctly powerful lines of the album he closes the track, “So you can call it hell but brah… / I can say I’m below the heavens.”

Fifteen years later, Blu is hailed as a legend of underground rap, and this was the beginning of his ascent. He exhibits so many of the qualities of a great rapper. He teaches but doesn’t preach, he is intellectual but digestible, he has the poise and skill of a star but never sacrifices his bars. As outlined by a 2017 Vice article, the release of this album was botched and Blu’s label went under. Interestingly, that only added to the mythos of the project. With only 3000 CDs originally released, secondhand copies went for hundreds of dollars, a testament to Blu and Exile’s skill, ear for good beats and relatability. Each of these songs is powerful in its own right. Combined with the full and lively production of Exile, Blu’s wit, passion, bars and experience make this album a timeless classic.

Review: Gregory Alan Isakov: ‘This Empty Northern Hemisphere’

Posted on by Haley Gilbert

I think everyone has that one album that really redefines what music means to them and transforms their view of the world and for me, This Empty Northern Hemisphere by Gregory Alan Isakov is that album. When I listen to it, it perplexes me how I could possibly have access to the same 26 letters of the alphabet as its writers who seemed to select the perfect words for each song resulting in one of the most beautiful, tranquil bodies of work I’ve ever heard. 

Starting off the album is “Dandelion Wine,” a song that makes me understand why people say less is more. While the song does not feature a lot of lyrics, it doesn’t take away from the listening experience at all due to how impressive the musical arrangement is and when Isakov’s voice does appear to sing a line or two, it balances it out perfectly. 

Due to his unique lyricism, Isakov is able to paint very vivid pictures of the stories that he is telling with his music. His ability to do this is clear on songs like “Virginia May” and “That Moon Song,” but it especially shines through with “Evelyn.” Featuring compelling lyrics such as “There’s an old folk song on the radio / Sounding thin and dark and haunted,” and “And she can’t stand the sight of this cul-de-sac / Like an old crow, king of the lamp-post,” the song tells the story of a woman working the overnight shift in a convenience store narrated to the tune of a banjo strumming in a way that makes it impossible not to root for her.

My first introduction to Isakov was through the song “Big Black Car” and despite the many ways my life and musical preferences have changed over time, it has always found its way back home into my rotation since that fateful day I heard it in my freshman dorm room four years ago. The song is soft, but powerful nonetheless. Featuring lyrics like “You were a miracle, I was just holdin’ your space,” and “The past, she is haunted, the future is laced,” there is a good reason the song has become such a fixture in my life and dominated my Spotify Wrapped. 

The albums titular track “This Empty Northern Hemisphere” shows off Isakov’s impressive range as a musician, featuring a heavy guitar and powerful vocals that make the song stand out compared to its softer sounding counterparts on the album. While the recorded version of this song is undoubtedly beautiful, as someone who has seen Isakov in concert I wholeheartedly believe that this song should be experienced live as the full band is able to breathe extra life into the already striking number. 

Every time I hear the familiar keys of the piano at the beginning of “Words,” I remember why this album holds such a special place in my heart. With lines like “And I wish I could leave my bones / And my skin / And float over the tired, tired sea / So, that I could see you again,” Isakov reminds listeners what makes him so exceptional as a lyricist with a song that leaves me torn as to whether I want to smile or cry when I listen to it. 

Featuring folk singer Brandi Carlile, “If I Go, I’m Goin” shows just how heartbreakingly beautiful a song can be. With stunning harmonies accompanying gut wrenching lyrics like “And I will go if you ask me to / I will stay if you dare / And if I go, I’m goin crazy / Let my darlin’ take me there,” this song devastates me every time, but I will gladly continue to pay that price. 

Every time I listen to this album it feels profound; I have heard each song hundreds of times, yet each one feels like a new experience. The songs on this album have been in the background of some of the most significant moments in my life and for that I am so grateful. 

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

Posted on by Jacob Feinberg

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

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

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

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

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

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

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

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

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

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

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

Review: Little Simz: ‘NO THANK YOU’

Posted on by Adeboye Adeoye

Little Simz closed out 2022 with the release of her fifth studio album NO THANK YOU. Announced just one week before its release, the 50-minute album was subsequently accompanied by a ten-minute short film. Simz, an English rapper born to Nigerian parents, is an independent artist who released her first album in 2013. Now, at just 28 years old, she displays the poise, technical ability, and unapologetic honesty of a much more seasoned act. Backed up by choral and orchestral arrangements, she navigates her disillusionment with the music industry and money, her status as a black woman, and the value of self-worth.

The songs on this project are long-winded and introspective as opposed to the hard and punchy tracks that characterize the UK rap scene and much of her earlier work. She battles challenges on all fronts with several refrains on this album referencing her faith in God.

Throughout the whole album, Simz asks a lot of questions. In some cases, these questions are rhetorical and used to brag and in others, they are devices that help drive her narratives. On the first track, “Angel”, she asks “what did I expect from those livin’ the corporate life?” Disillusioned with the payment structure of the music industry, this idea is a recurring source of anger for Simz. “No Merci” is a double entendre; It is both the French translation of the album title and a blunt warning to others of how merciless the industry is. Simz raps “They want you rushin’ life decisions over a three-course meal / Next thing you know, you’re doin’ free tours.” These lines are especially poignant after she canceled her 2022 North American tour just months before the release of this song because of financial infeasibility.

The West African-style drums on “X” combined with the choir, strings, and horns give this track an anthemic feel. “Been beaten on, we been chewed on / But it happened years ago, so we should just move on” is an eerily familiar sentiment that many in the Black diaspora are told by others. As the track progresses though, Simz asserts the strength in her Blackness and her family, specifically mentioning her grandfather whom she was named after. “Simbi”, a shortened version of “Simbiatu”, is a nickname that only her closest family and friends call her. “Broken” is an equally emotional but more somber track. Simz goes between detailing the ways people hide their pain and uplifting those who struggle with mental health and hope. Her second verse ends with a series of positive affirmations to the listener while her third verse ends with “Why is mental health a taboo in the Black community?”.

The aptly named “Heart on Fire” is an outpouring of Simz’s thoughts and emotions. In the lines below, Simz describes how easily money corrupts just by listing a series of wants.

"Do it for the love, nothin' more
Nah, maybe to cop mum a house, but nothin' more
Maybe to sort my cousin out, but nothin' more
Maybe I'll get the new coupe and nothin' more
Fifteen to a hundred shoes, nothin' more
By the time you know it, that list never stop growin'
And you don't know what you even do this for"
Little Simz, “Heart on Fire”

The track, and the album as a whole, are thematically reminiscent of Kendrick Lamar’s To Pimp a Butterfly. In songs like “Wesley’s Theory” and “For Free (Interlude), Kendrick describes how his love of music has waned as the temptations of Lucifer and the music industry have pushed him to be a more material person just as Simz does.

Simz continues her work with producer Inflo, who has credits on every song from all of her last three albums. Similarly, Simz and Cleo Sol extend their long list of collaborations, with the singer-songwriter providing background vocals on most of the tracks.

This album reaffirms Little Simz’s status, not as one of the best female rappers or one of the best in the UK rappers, but as one of the best rappers, period. Sometimes I Might Be Introvert (SIMBI), a contender for the best album of 2021, may not have been surpassed, but this is a worthy addition to an already incredible catalog of music. I feel emboldened by her words and think that the radically different production choices seriously add to the album’s value. This is lyrically dense music, but there is value in playing these songs, whether that be alone and listening through headphones or driving around with friends and bumping up the car speakers.

Jameson Tank at Georgia Theatre

Posted on by Haley Gilbert and Jacob Feinberg

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

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

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

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

The Ocho, photo courtesy of Nicole Allario

The Ocho (Although We Only Counted Seis)

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

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

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

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

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

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

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

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

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

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

Caleb Heiple of The Angelics, photo courtesy of Nicole Allario

The Angelics                                                                                         

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

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

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

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

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

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

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

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

Jameson Tankersley and Bryce Burnette, photo courtesy of Nicole Allario

Jameson Tank

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

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

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

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

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

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

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

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

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

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

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

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

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

Review: Samia: ‘Honey’

Posted on by Buket Urgen

Samia’s introspective new album, Honey, opens with a delusional, searing confession delivered amidst a somber funeral organ. She parallels SZA’s recent hit, “Kill Bill,” and daydreams about killing an ex’s new lover. In recent interviews, she consistently describes her second LP as ‘pathologically confessional.’ True to her word, the album’s lead single and opening track, “Kill Her Freak Out,” feels like the emotional equivalent of a whimper from a wounded animal and it’s not even the most sorrowful track on the record.

In her next song, Samia flips the narrative on its head. In “Charm You,” she no longer cares to bend the truth for her partner. Instead, she’s cloaked in nonchalance, an evolution from her previous LP’s “Limbo Bitch.” In an interview with Atwood Magazine, she stated that each song builds on the next one, which is by no means a new or novel idea for songwriters, but the ability to reference older works and to build cohesive storylines (and to do it well) is an understated talent. Samia’s take on it is refreshing and revealing. Take for example, the three-song run “Pink Ballon,” “Mad At Me” and “Sea Lions,” which tells the story of a friendship gone awry.

“Breathing Song” is the clear standout from the bunch. It lacks the pop appeal of earlier singles like “Honey” and “Mad At Me” and will likely lag behind in streaming numbers. The unsubtle and brutal lyricism makes it hard to hear more than once in a row. It’s a moving and deeply painful account of what can only be interpreted as sexual assault. Perhaps the hardest part to bear is the song’s circular movement. She teeters between accepting her own reality and clinging to her abuser’s version of the story, denying what she knows to be true. There’s no resolution or solace to be found here.

“Breathing Song” was released as a companion to the title track (“Honey”), which tells the same story from a different perspective. The connection is faint and impalpable; it would be missed easily if we hadn’t been explicitly told so. Despite the dulcet tune of the song (pun intended), she describes this as ‘the saddest song [she’s] ever written.‘ Go figure.

But fear not, this story gets a happy ending. The final songs show Samia finding love and romanticizing the mundane (”Nanana”), serve as an ode to her friends (”Amelia”) and beckon forward an age of hope (“Dream Song”). With such a strong and charming second LP, Samia is set to become an indie darling.

Review: boygenius: “$20,” “Emily I’m Sorry,” “True Blue”

Posted on by Haley Gilbert

Oat milk latte drinkers rejoice, supergroup boygenius is officially back. Consisting of members Julien Baker, Phoebe Bridgers and Lucy Dacus, the indie-rock trio announced Wednesday that they will be releasing their long-awaited debut album The Record on March 31 with Interscope Records. In conjunction with the announcement, they released three new songs: “$20,” “Emily I’m Sorry,” and “True Blue.”

Each song was led by a different member, and first up to bat was Baker. With “$20,” boygenius hits the ground running and doesn’t slow down. The song is loud, unapologetic and the lyrics are perfectly guided by Baker who meets up with her bandmates at the end of carefully selected lines to deliver them with the kind of punch that only boygenius can. This song reminds me of “Lazy Eye” by Silversun Pickups, except if it had been written by someone wearing Doc Martens. Ending in a scream that is equal parts loud and cathartic, this song is everything that I could ask for and then some.

Next up is “Emily I’m Sorry,” and while the song mainly features Bridgers’ vocals, Baker and Dacus weave seamlessly in and out and remind listeners what makes boygenius so special. A sharp change of pace from “$20,” the addition of “Emily I’m Sorry” shows the versatility of boygenius; the song is soft but also undeniably striking, every bit as powerful as the song that it follows yet completely different from it. This song makes me want to start a fight with one of my various friends named Emily, solely so I can then send it to them after as an apology. (I personally think that they would respect the commitment to the bit.)

Rounding out the lineup is “True Blue,” a song that has an undeniable Dacus feel. Featuring lyrics like “When you don’t know who you are / You fuck around and find out,” and “You can’t help but become the sun,” this is the type of poignant story about self-discovery, intimate relationships, and the painful complexities of life that Dacus is able to tell so beautifully.

These are songs that deserve to be played at an obnoxiously loud volume; even when the subject matter is heavy, they remain fun to listen to (and there’s something about listening to boygenius that makes me automatically feel cooler every time and for that, my ego would like to thank them). Every song released by boygenius feels like further evidence that too much of a good thing is in fact not a bad thing, but sometimes an even greater thing, and with each release it becomes more apparent that one of the trio’s greatest skills is the ability to play up the strengths of each vocalist individually and then find the perfect moments to bring them together, whether it be in carefully chosen pairs or all three members. After listening to this newly released collection of songs more times than I would like to publicly admit, I have come to the conclusion that they are all so different from each other that I genuinely have no idea what to expect from the rest of the album and I could not be more excited to find out. While we wait, check out “$20,” “Emily I’m Sorry,” and “True Blue” below.

Review: Bad Bad Hats: “It Hurts (Demo)”

Posted on by Haley Gilbert

To celebrate the 10th anniversary of the release of their debut EP It Hurts, Minneapolis-based indie-rock duo Bad Bad Hats will be releasing It Hurts (10th Anniversary edition) at the end of the month. The reissue will consist of remasters of all five songs, as well as the original demos, and will be the first time that fans will have the opportunity to purchase the EP on vinyl.

So far, the band has released two songs from the project: “Super America (Remaster),” and “It Hurts (Demo).” Upon first listening to “It Hurts (Demo),” I was emotionally torn—part of me is extremely grateful this version is now available, and the other part is devastated that it took ten years to have access to it. While both the original master and demo versions feature the same lyrics and melody, each version provides a completely different listening experience and the demo is certainly able to stand on its own. Compared to the original master, the demo stacks up quite nicely; the instruments are softer, the main vocals are sharper and delivered in a way that allows lead vocalist Kerry Alexander the opportunity to show off more of her personality, and the background vocals have been replaced with whistling and a more prominent kazoo that fills a void that I never even knew existed prior to listening to this song (and I would like to formally petition for all songs going forward to include a minimum of two kazoo solos). The song is able to balance the indie-pop formula perfectly; it is simple in a way that is refreshing but not boring, and repetitive in a way that is catchy and fun rather than redundant.

After listening to these two songs, I am eager to hear how the rest of the original demos compare to their remastered counterparts and get a greater glimpse into the evolutionary journey behind each song. It Hurts (10th Anniversary Edition) will be available digitally on January 27, and the vinyl is available for pre-order on their website now. In the meantime, listen to “It Hurts (Demo)” to fill the Bad Bad Hats shaped hole in your soul with a Good Good Song.

Kenny Mason x Vinyl Mag

Posted on by Jacob Feinberg

December 17, 2022 was an important day for upcoming Atlanta rapper Kenny Mason (@kennymason). He ended his first solo tour with his first sold-out show in Atlanta on his 28th birthday. These shows happen annually and he has dubbed the occasion “Pup Day,” which I was fortunate enough to witness at Atlanta’s the Loft. 

I got in contact with the opener (and brother) of Kenny Mason, Sam Carlito (@carlitosameze), to discover a more meaningful purpose behind Pup Day. Carlito recounted the story of his son, Sameze, who died in a car crash at the age of three on December 17, 2017. Reflecting on the day, Carlito said, “Kenny don’t celebrate his pup day… [but] since that day we celebrate baby Carlito and his life.” On this day, five years ago, Mason lost his nephew, adding to the emotional significance and gravity of the event. Carlito explained to me the importance of familial connections to Mason and their family, stating that “[Mason’s] dad was there… [and] that was cool to see them connect, making [Carlito] wanna go harder.” Carlito attributed the success of his opening act tonight to inspiration from his family, who are always there, supporting him and pushing him to the next level.

Check out Sam Carlito’s new singles “Crazy” and “Hit-A-Rapper” on streaming services and look out for a feature on Kenny Mason’s upcoming ‘Ruffs 2’

Their passion and cherished relationships were showcased throughout the night culminating in an incredible opening. His openers were an homage to Atlanta’s underground rap scene, almost all of whom had a close background with Mason. It began with an impressive, energetic performance from his brother Carlito, who did not fall short of getting the crowd excited for the special night. He was followed by Mason’s DJ and friend DvDx (@dvdx_) who had a high-spirited performance. He brought out more of Mason’s friends, Vonta Worldwide (@vontarender), the masked MuddyMya (@muddy.mya), and frequent Kenny Mason collaborator, Jelani Imani (@jelaniimani). They were followed by an amazing set from Tony Shhnow (@tonyshhnow), a fairly popular Atlanta rapper, and his manager and DJ, OG Bluetooth (@ogbluetooth). After bringing out associate Northside Mally, he played his hit song “Don’t Look at Numbers” followed by a remix of Steve Lacy’s popular “Bad Habit.” Shhnow had the crowd laughing and dancing with lines like “I wish I knew where to find some weed” and “I got my finger on the trigger it’s a bad habit.”

After a fantastic opening, Kenny Mason finally stepped out. He did it all, from rapping complex bars to singing beautifully after, all whilst rocking with the audience with absolute crowd control. Mason takes inspiration from grunge and punk rock music, as can be heard in many of his overdrive guitar laced melodies, which he capitalized on for his tour. Mason included a live guitarist during his tour, adding a more authentic element to the show. I am hopeful that as he continues to grow, Mason will play with a full live band, further emphasizing his rock influences and drawing in a wider audience.

After playing a few throwback hits from his Angelic Hoodrat series, Kenny Mason brought out frequent collaborator and friend DavidTheTragic (@davidthetragic). They performed one of the singles from his PUP PACK EP, the woozy “Dip!”, followed by a solo performance from DavidTheTragic of one of his hit songs, “DRUGZ.” DavidTheTragic and Mason have been working together for years, so seeing them perform together live was a phenomenal experience.

Mason returned after, playing the most popular songs from his newest mixtape, Ruffs, leading to some of the most energetic moments of the show. The rock influence, alongside Mason’s energy, encouraged wild mosh pits. And when a fan fell, needing to get out of the pit, Mason promptly stopped his performance, got them water, and cleared space for their leave before resuming. After the show, I spoke with attendee Mark Toth, who shared “I was blown away by the care Mason has for his fans. Not only did he emphasize everyone’s safety before the show, he actually stopped the show to make sure one fan was alright. Honestly, I don’t know how he isn’t more famous.” With all the outcry for concert safety over the last year, this move had a positive impact on fans, making them feel safe and comfortable.

The show ended with a brief encore, where Mason pledged “Hit”, one of his most popular songs, to the city of Atlanta and its artists. I discussed this with DJ DvDx, who Mason has been working with since high school. He shared “‘Hit,’ in particular, came out during an uprising in the underground Atlanta music scene. Lots of incredible artists, creatives, and tastemakers were starting to unify in a major way and I believe that song, and really everything Kenny did at that time, were key moments in bringing the city together.”

The song and Mason himself have had a major impact on the city, but also are a product of the environment of Atlanta. He has taken inspiration from his surroundings and, in turn, has been able to make an impact with his music.

Check out DvDx’s new singles “Candid” and “Maria” on streaming services as well as his new mixtape with producer Juberlee (@jupiterjube), “Sensory Overload”

Longtime friend, opener, and House 9 cofounder (a music collective they started), Vonta shared, “[Kenny Mason] represents a new wave of artists that Atlanta is birthing. The kinds of artists that look at the same environment Atlanta has always been but with a new perspective. One that looks at the things around him as well as himself as the art. I also think he represents the innovation of Atlanta’s sound musically.”

Check out Vonta’s latest single “Yola” on streaming services and look out for his upcoming EP

This artistic innovation in sound is what sets Mason apart. Industry greats like Denzel Curry, JID, and Freddie Gibbs have recognized this and have given him a platform to further share his art. This popularity allows Mason to uplift Atlanta and his fellow artists, which will eventually serve as a stepping stone for future artists.

It’s apparent, even with his peers, the shift that Mason has brought, pushing artists to think differently about their environment in Atlanta, their inspiration from the city, and their potential for impact on it. I appreciate his emphasis on music as art, which is something I have seen and appreciate a lot from many newer, more underground artists as well. Kenny Mason is truly an incredible artist, a great performer and a perfect encapsulation of the upcoming, talented underground rap scene in Atlanta.

Missed the show? Check the playlist below for all the highlights:

A collage of Noah Kahan, Beyonce, Rosalia, Kendrick Lamar, and Denzel Curry with a background featuring orange, blue, and purple tones blending together

Year in Review: Our Favorite Albums of 2022—Staff Picks

Posted on by Buket Urgen, Haley Gilbert and Jacob Feinberg

As lifelong music fans, our lives are soundtracked by the records we listen to. Our seasons change with each new album we find and cling to. Our favorite lyrics are often the flashlight’s glimmer that shine during the darkest of our nights. Here, Vinyl Mag’s staff reflects on their favorite albums of the year. How does your list compare to ours?

Jake Feinberg, Staff Writer

  1. JID, The Forever Story
  2. JPEGMAFIA, LP
  3. Smino, Luv 4 Rent
  4. Kendrick Lamar, Mr. Morale & The Big Steppers
  5. Westside Gunn, 10
  6. Fly Anakin, Frank
  7. MAVI, Laughing so Hard, It Hurts
  8. Denzel Curry, Melt My Eyes See Your Future
  9. Pusha T, It’s Almost Dry
  10. Kenny Mason, RUFFS

Looking back, 2022 was a monumental year for how I perceive music. I dodged viral TikTok songs and commercial hits to find amazing new music and a deeper appreciation for the craft. Rap music, especially, was constantly changing and growing, like a rap music renaissance. We saw quality lyricism take a forefront, with albums like Melt My Eyes See Your Future, the Forever Story and Frank. These albums found artful angles within the “fast rap” style, creating complex rhyme schemes and flows, but never once taking away from the artists’ emotional narratives. I saw Denzel Curry at the Tabernacle, and watched him perform “walkin”, one of his deeper and more lyrically dense songs from the album. Nothing is as impressive as seeing an artist perform with such lyricism, especially when done as effortlessly as Curry. Creativity in production found further popularity as well, giving space for experimental albums to emerge like JPEGMAFIA’s LP, MAVI’s Laughing so Hard, it Hurts and Kenny Mason’s RUFFS. Each approached rap from a different creative angle, such as electronic beats, complex drums and flows or rock-influenced melodies. At JPEGMAFIA’s show at Atlanta’s the Masquerade, I was blown away by the artist’s solo presence with just his experimental background instrumentals. I am thankful for 2022’s expansive musical landscape that allowed me to branch into newer areas of music I hadn’t anticipated. Kendrick Lamar and Pusha T finally returned, after a five-year and four-year hiatus respectively. They delivered masterfully crafted albums, reminding us why they are still at the top. This year, 10 was another important album, where Westside Gunn demonstrated the power of curation. Collaborating with signees from Griselda, the record label he founded, Gunn was able to create one of the hardest and most cohesive albums of the year. In 2022, artists took their talents to the next level and excelled at expressing themselves, ultimately bringing together a beautiful year of music.

Haley Gilbert, Staff Writer

  1. Noah Kahan, Stick Season
  2. Lizzie McAlpine, Five Seconds Flat
  3. Gang of Youths, angel in realtime
  4. Mt. Joy, Orange Blood
  5. Caamp, Lavender Days
  6. Conan Gray, Superache
  7. Maggie Rogers, Surrender
  8. The Lumineers, BRIGHTSIDE
  9. Matt Maeson, Never Had to Leave
  10. COIN, Uncanny Valley

For me, 2022 was a very transformative year; I know that’s a cliché, but there’s a reason it’s said so often. During times when everything around me is changing and filled with uncertainty, I often cling to music to keep myself grounded. Thankfully, there were plenty of great options to choose from this year. The albums on my list were the soundtrack to the calamity that this year bred. The year started out on a lighter note, with The Lumineers new album Brightside delicately guiding me through the joys and turbulences associated with one’s early twenties. For the days when I just wanted to be angry and not feel guilty about it, Conan Gray’s Superache gave me an outlet to express those frustrations while sing-shouting along to songs like “Jigsaw” and “Memories,” much to the dismay of my neighbors in my thin-walled apartment building. During the more confusing times, I have found support and solace in the words of Lizzy McAlpine, listening to Five Seconds Flat as if it was advice given to me by one of my best friends. After spending a good portion of my year listening to Caamp’s Lavender Days, I learned that it is a great album to fill the empty space with, but I can also just as easily get swept up into it. As the Hannukah season was approaching, I found myself listening to the self-titled Jewish Ed Sheeran himself, Noah Kahan, and gladly spent all eight days unwrapping the gifts he gave the world with his album Stick Season. For all the short days, long nights, and moments in between, the albums on this list carefully and purposefully filled those gaps with glimpses of heartbreak, happiness, and immense awe at what these artists were able to convey with their music. As the year is coming to an end, so is a chapter of my life, and I am grateful it had such talented narrators. 

Buket Urgen, Editor-in-chief

  1. Beyonce, Renaissance
  2. Taylor Swift, Midnights
  3. MUNA, MUNA
  4. Kendrick Lamar, Mr. Morale & The Big Steppers
  5. Charli XCX, CRASH
  6. Lucius, Second Nature
  7. Rina Sawayama, Hold the Girl
  8. Angel Olsen, Big Time
  9. Little Simz, No Thank You
  10. ROSALIA, MOTOMAMI

My 2022 played out in two acts. Act one—I rounded out my final college semester culminating with graduation. As I went through the motions of preparing for post-grad life, leaving no stone unturned as this incredible chapter came to a sudden, cathartic but ultimately somewhat anticlimactic ending, I was comforted by wildly fun and equally cathartic tunes (CRASH, Second Nature).  Act two—post graduation calm followed by me moving abroad. Everything from the scenery to the supporting roles shifted into new territory, which is nothing if not nostalgic. Music became an easy, necessary escape when I couldn’t find the words to communicate in my new everyday language. Naturally, I relied on new music by old favorites (Midnights, MUNA, Hold the Girl). Although, Midnights was a controversial one for me. It features some of Swift’s strongest work (‘Would’ve Could’ve Should’ve,’ ‘You’re on Your Own Kid’) and some of her worst (Vigilante Shit) and also her most average. But alas, her chokehold on my Spotify Wrapped (and me) persists. On a final note, Beyonce’s Renaissance was the strongest album of the year. In the year of house music revival, Beyonce (and her many collaborators) created the perfect one that kept me dancing all summer long. My only complaint is that it wasn’t released sooner.