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[oceanbastard]

“Yacht Rocket” - Bana-Nana ft. Byron Singh

A tragedy of loss, denial, crippling addiction, strength in the face of adversity and growth. //// 10/10 //// I don’t even fucking care. I’m biased. This is fucking based. Bana-Nana are a two piece group of musicians from St. Louis, Missouri. Previously the powerhouses behind groups such as Downcast and The Handicaps (iykyk), Drew Anderson (Production/Engineering/Project Direction/Instrumentation) and Brett Barry/Guttersugar (Vocals/Project Direction/Instrumentation/Lyrics) bring something new to the table each and every time they step into the studio. Genre does not define these men; they are Gods of their own universe and none shall tell them otherwise. The tale of Yacht Rocket is a poignant one. We enter to the sounds of joy and celebration, accompanied by methodical, melodic, (we call this “melodical” in the industry) amusingly boat horn-esque synths, setting the stage for what at first glance appears to be a party of a track. However, we’re immediately inundated with Guttersugar’s sorrow via hook: “You left me on my own/The Yacht Rocket’s on Loan/I’m on this boat alone”. This tragic tale is developed before our very eyes as the synths cascade into the next, our martyr crooning “I’m flying deep through space/and I can’t feel my face/I think I lost my face/Yacht Rocket night and day”, filling us in on the drug-addled hole they’ve retreated to without their lover. The lyrics of Yacht Rocket explore many difficult topics, such as fashion, suicidal ideation, allergies, love languages misinterpreted and so many more. Guttersugar deftly weaves these myriad topics into flowing rhymes and catchy melodies, held aloft by Drew’s ethereal, lofty production that knows exactly when to hit the hardest, helping us understand the desperation and delusion of the story’s character through both language and sound - “My emotions keep on droppin’ so I/Bought a boat with a motherfuckin’ rocket engine/50 milli, now I’m flying through the fuckin’ heavens”. To be entirely serious for a second, this track really is a monumental achievement. Not only does it in fact embody much of the sound typically associated with the yacht rock genre as well as tying in their own musical takes, it tells an enticing story that the listener consistently wants more of, while holding an obvious comedic and unserious air about itself. The lyricism, while occasionally silly, still holds its own as being skilled and thoughtful, maintaining the cohesiveness of the story being told while still hitting the occasional curveball right out of the park. And we haven’t even talked about Byron Singh’s guest feature yet. As mentioned, I’m a bit biased on this one. I know these guys. No veil here. But that doesn’t mean I am being any less genuine with my rating or comments. While this track seems meticulously planned, feature and all, the truth is that this might as well be called a loosie - it happened almost entirely off the cuff in the studio. In fact, it’s my understanding Byron and Bana-Nana had not really known one another prior to this track’s recording. Yet, Byron stepped into the booth and delivered the most scathing rebuttal possible from the perspective of Guttersugar’s spurned lover. Byron stands nose to nose with the lyricism delivered before his entry, and makes no bones about making it known. Not only does he seamlessly fall into the narrative, his bars hit like the suckerpunch of a breakup and mercilessly deconstruct the truth of the main character’s delusion and denial. Not to mention, he finished his verse with the sickest fucking burn I’ve ever heard in my life. “I WAS A DIAMOND IN THE ROUGH/BUT YOU TOOK ME FOR GRANTED/NOW YOURE FLYIN ON YOUR TOY/DONT THINK A BOY CAN MAN IT”. I MEAN COME ON BRO!!!!!!!!!!!!!!!!!!! The reality here is, Bana-Nana have created a multi-faceted masterpiece in this track. And they hardly even had to try. The ease with which these men create incredible music is genuinely astounding, and it’s utterly criminal there aren’t more people talking about this, goofy as it is. YACHT ROCKET NIGHT AND DAY!

[oceanbastard]

A Tale of Two Jays - J. Will & Jaaaystaytrue A compelling intersection of experience and burgeoning talent. ////// 7/10

With publicly available music under their name as far back as 2014, J.Will is a seasoned Producer & Engineer with numerous projects under their belt; a portfolio not to be scoffed at. Which is why JaaayStayTrue, an up & coming rapper from San Francisco, couldn’t be in better hands on their early ‘23 EP “A Tale of Two Jays”. The EP opens with “Make Moves,” which captivates the listener with its delay-drenched synths and sharp percussive elements, establishing an immediate grip on them. JaaayStayTrue enters, ethereal and confident, setting the tone for the EP with assertive bars like “Main course, you be lookin like a side - I aint quit, all I ever known is try”. “Tequila Talk,” the EP's standout track, features a guest verse from TGE LACA, a member of JaaayStayTrue's own TRUE GANG. This addition injects a refreshing diversity into the EP's concise, yet consistent fabric, preventing the latter half from falling into a lull or feeling stale. Track three, “The Truth,” presents a complex juxtaposition and has me sitting smack center of the fence. It bursts open with a distorted, warbling vocal sample and a psychedelic percussive backdrop, seamlessly transitioning into JaaayStayTrue's verse. However, the focus shift to the titular vocal sample mid-track disrupts the preceding mesmerizing flow, creating a jarring, somewhat disjointed experience. Despite this, the track demonstrates the Two Jays' prowess in their more dynamic moments. The EP concludes with “Believe Me,” a track that unfolds with a swelling orchestral instrumental, setting the stage for JaaayStayTrue's final, assertive proclamation of his unshakeable self-belief. His charismatic lyricism exudes a magnetic allure, resonating with listeners on an aspirational level or simply in solidarity, happy to see a brother eat. Above all, that unwavering confidence emerges as the defining feature of this EP, underscoring an assertion of my own that confidence, indeed, will always prevail. Don’t sleep on it.

[oceanbastard]

In their latest collaboration, "TERMINAL : TERMINAL," xhef and Filip Neuf have crafted a hip-hop masterpiece that's both deeply personal and artistically ambitious. The album sets the stage with an opening track that conjures visions of a concrete jungle, layered with swelling wind instruments and delicate plinking keys. xhef's flow, reminiscent of billy woods, dives into heavy, personal topics, while halfway through, the beat flips, maintaining its core elements but evolving into something more dynamic, showcasing Filip Neuf’s intricate production skills.

xhef's lyricism throughout the album is poignant and relentless. He weaves braggadocio with introspective musings, delivering lines like "impeccable planner, calculator been jealous since i was abacus" with a deft touch. His ability to pivot from pure confidence to vulnerable introspection is showcased in lines like "if i said im sorry for real, even right when its convenient, would you believe my words? or see that i dont mean it? cause i dont fuckin mean it."

The album's track titles, alternating between ALL CAPS and lowercase, may initially seem puzzling but reveals a thoughtful motif. The capitalized tracks pulse with energy, frustration, and bravado, while the lowercase ones feature xhef's most poignant and honest lyricism. This distinction is subtle yet effective, with the interlude track "EYESOFGOD" standing out as the sole exception.

As previously mentioned, Filip Neuf's production on this album is nothing short of phenomenal. Tracks like "TERMINAL:TERMINAL," "never," "LOST TIME," and "the tree" feature beats that seem tailor-made for xhef’s vocal delivery, enhancing his powerful lyricism sevenfold. The synergy between rapper and producer is palpable, creating an immersive auditory experience.

If I were to nitpick, xhef's flows, while undeniably skilled, can occasionally feel a bit too familiar. However, this consistency is likely what his fans crave and expect from his projects. The closing track, "The Flip Side," is a posse cut that, despite its feeling cluttered and with its chaotic nature, adds to the album's rich texture.

The bars and punchlines on this album repeatedly slug you in the gut - a standout moment for me personally was Brent Bronze’s entrance on "FOR TODAY PEOPLE," announcing, "For today people, i moonlight as the sunlight, young apollo, motherfuckas, can you feel the sun shine?" This track, along with the album's second and closing posse cut, leaves a lasting impression, showcasing prior collaborators & legends the likes of Knowitall, blank thought, Morning Run and many more.

"TERMINAL : TERMINAL" is a must-listen for those who appreciate hip-hop that's emotionally charged and raw. xhef and Filip Neuf have delivered an album that resonates with authenticity and artistic integrity, making it a standout release in the genre. Check that shit out.

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Trio Trip - L1FEL1NE Maddening, indeed, but in mostly the right ways. ///////////////////////////// 7/10 Immediately, listeners are ensnared by a syrupy fusion of ethereal synths and memphis vocals, setting the stage with intoxicating vibes the like of Kill Bill's "LSD." The allure of the minimalist intro is undeniable, drawing the listener into a quick sonic jaunt that promises both ecstasy and peril. The juxtaposition of the initially calm melody with the sudden intrusion of heavy bass and thick drums masterfully shifts the mood, suddenly shrouding the track in a sinister aura. This auditory mirroring of a shift from euphoria to chaos is not only skillfully executed but also thematically resonant with the lyrical exploration of altered states - LSD in particular. L1FE’s flow is a testament to their finesse as always, delivering nearly seamless transitions that maintain the track’s momentum. However, a minor disruption emerges in the line "I got a sweet spot for the score," where a slight adjustment to the delivery and/or cadence could really bring together the overall cohesiveness of the track, as the pause feels somewhat incongruent with the three preceding line’s cadence - something that usually indicates a fourth of the same. The mixing here is certainly a standout feature, with expertly layered vocals and an immaculate weaving of the individual tracks. Each element finds its distinct space, contributing to the dynamic impact that defines the track. The latter half of Trio Trip stumbles into an entrancing haze, featuring layered, pitch-shifted vocals with the meticulously arranged "LSD" samples seamlessly harmonizing with the lead vocal’s tonality. This segment does a wonderful job at underscoring the track's psychedelic themes. Yet, the Achilles' heel lies in the track's brevity. While deliberately leaving the audience yearning for more is a common tactic many musicians use, and to great effect. But in this instance, it feels slightly exasperating. The addition of a second verse, possibly with a complementary outro, could transcend the listener's experience by offering a more gratifying resolution to the soundscapes the listener’s just been taken through. Perhaps, however, it could be interpreted as a metaphor for the fleeting nature of the high or trip, perpetually leaving the audience in pursuit of an unattainable bliss. In the enigmatic realm crafted by Trio Trip, where madness converges with melody, unanswered questions linger and the quest for the perfect trip unfolds. "Trio Trip is Maddening" indeed, a captivating foray into a psychedelic abyss that beckons to each ear it bends.

[oceanbastard]

"By The Skin of Their Teeth" - IDK Young J: A Masterclass in Consistency, Flow and Lyricism ~ 8.5/10

IDK Young J's latest offering, "By The Skin of Their Teeth," is a lyrical tour de force that kicks off with the provocative opener, "Motherland." From the jump, Young J isn't afraid to tackle heavy topics like racial bias and political corruption. Their confidence shines through as they delve into these issues, unapologetically expressing their views.

Throughout the album, Young J maintains a consistent cadence and flow, displaying that aforementioned air of confidence while remaining surprisingly humble. Tracks like "Quelle Tragedie" and the titular "By The Skin Of Their Teeth" reveal a more personal and emotional side to them, reminding us that they're not just a rapper but a person with depth and complexity.

One of the standout features of the album is the exceptional lyricism. Young J drops a barrage of insane bars that demonstrate their prowess as a wordsmith. Lines like "Niggas should call me the arctic, 'cause I’m cold and on top of the world map" showcase their ability to craft clever and memorable verses. The production and engineering on the album are top-notch, providing a professional and polished sound with clear and understandable vocals.

Despite its relatively short duration, "By The Skin of Their Teeth" offers enough variety in beat selection/production to keep things interesting, while still having enough common threads to maintain a cohesive experience. Young J's penchant for incorporating obscure references (such as "Demon flow, saints let me go, like Ralph Hassenhutl", for example)  into their lyrics adds an extra layer of depth for attentive listeners, making their lyricism all the more engaging.

The rhyme schemes throughout the album are a testament to Young J's technical skill. Even when using relatively simple structures, they manage to elevate them to a superior level. Their ability to twist pronunciations to make bars work never feels forced or jarring, either - in fact, it sounds natural in many cases, even when they do things like pronounce “Abe” as in Lincoln, as “ah-bay”. 

While the album has only two features, they are tastefully chosen and complement Young J's style seamlessly. Maxwell B's effortless flow on "Stigmata" and I.R.'s harmonious collaboration on "Cactus Plant Flea Market" add value to the project without overshadowing the artist themselves. Both are talented in their own right, and especially with I.R., play off of one another gracefully.

The album's closing track displays some more of Young J's emotional depth, this time offering a more vulnerable side of the artist after the onslaught of confidence and self-love permeating the record. This emotional openness not only showcases lyrical versatility but also emphasizes Young J’s extraordinary drive and determination. There are always areas to be improved on, and Young J is no exception. However, they are few and far between. Personally, I'd love to see a little more variety among the tracks, but I'm a bit of an eclectic artist myself so it may be bias. It's clear these tracks are intended to sound similar to maintain a cohesive experience as previously mentioned. In the past it could have been argued they relied a bit on features to fill out their work, but this has clearly changed, rendering most criticisms I may have had in the past or now essentially moot. I only truly find myself feeling two things require criticism - Occasionally, there is some muffled or muted pronounciation, which of course may have been an artistic choice, but nonetheless can be very forward and jarring given the vast majority of the time, lyrics are very clearly enunciated. Also, it would behoove J to improve on their hooks - That isn't to say any of the hooks present here are bad, quite the opposite - but they're called hooks for a reason, and sometimes the placement leaves other parts of the song to carry the most weight, or can be obscure in a way that prevents the hook from being memorable for a lot of people.

"In J We Trust" saw significant progress from "Mama Raised A Menace," and "By The Skin Of Their Teeth" takes the bar even higher. The album is a powerful and cohesive record filled with incredible moments and thought-provoking lyricism. It's clear that IDK Young J's consistent improvement in every facet of their music is setting the stage for even greater things in the future. "By The Skin of Their Teeth" is a must-listen for any hip hop enthusiast, a testament to an artist who continues to raise the bar with every release.

[oceanbastard]

Juzo’s DYSTOPIA 02 takes listeners on a unique, cyberpunk-infused journey, offering a mix of tasteful autotune and deliberate vocal manipulation that immerses the audience in its technical soundscapes.

"Emerging from the obscurities of Seattle", Juzo is a 3D Artist, Producer and Vocalist whose career extends back to 2016, although perhaps in relative obscurity. At the start of their career, they envisioned and manifested the world of ANIMACITY, manifesting initially as their project 'AHRS Series', consisting of a run of 4 albums releasing over the course of two years and giving a wide swath of content to introduce their lyrical chops, production technique and vocal talent to the scene. Juzo, however, appears to have begun moving in a different direction with their most recent projects, ANIMA 01 and the subject at hand, DYSTOPIA 02.

The project kicks off with pensive lyricism, which while somewhat conventional and expected for those familiar with Juzo's prior outings, still manages to carry a deep emotional weight and remain relatable in a way that doesn't feel quite as synthetic as you might expect, especially with the heavy cyberpunk imagery and technological dystopian themes. Immaculate production techniques provide depth and clarity, creating a sonic landscape where frequencies ebb and flow seamlessly, creating an entrancing listening experience and further immersing the listener in the world of ANIMACITY.

A major contribution to that immersion is Juzo’s astounding 3D art that accompanies the vast majority of their visuals. In an almost ironic way, people have assumed this art to be produced by AI, but that couldn’t be further from the truth. Juzo is a multi-faceted artist with talent brimming, ready to spill over.

Which is why I found it interesting that throughout DYSTOPIA02, Juzo’s voice is withheld almost entirely behind autotune. But, here and there, in the backing vocals you can hear a clearly natural voice beam through, and at times the pitch correction is completely unnecessary, sounding almost entirely natural - and I’m certain it IS natural. In their initial releases during the 'AHRS Series', Juzo spends a large portion of the runtime on those records showing off impressive raps and crooning, poignant singing - something which seems to have been discarded entirely for DYSTOPIA 02. While it almost certainly is an artistic choice to employ the pitch correction as a way to express the cold, robotic, cyberpunk dystopian future world Juzo inhabits, I would be very excited to hear Juzo explore their natural voice once more with the wisdom and experience they have gained over the course of their musical career.. There is clear talent and potential waiting to be capitalized on.

Track 4, “ZONE”, marks a turning point in the EP as Juzo’s lyrics begin to flourish, revealing the artist's raw emotions in a far more defined manner than in the preceding tracks. Lines such as ‘Trynna cope, D[eus].E[x].M[achina]., Gotta Hope’ or ‘ANIMACITY down in my lows’ add layers of depth and symbolism, especially with Juzo’s referring to their 2021 project, ANIMA 01, as an evolution of their former self - a rebirth, if you will.

Juzo’s delivery, however - while consistently strong - becomes somewhat predictable by the time the end of the EP rolls around. Perhaps an unfortunate consequence of the liberal use of pitch correction, but nonetheless, a noticeable same-yness pervades the duration of the EP with the exception of “Monster” with shxrda’s feature, which is also rendered with pitch correction. Yet, in spite of it, shxrda’s voice also manages to shine through the engineering just as Juzo’s does, offering a more enticing front end. Seeing more diverse features such as on their prior effort, ANIMA 01, would almost certainly benefit the overall listening experience.

All in all, DYSTOPIA 02 is replete with moments of vocal brilliance and emotional depth, and while the autotune's frequent presence may raise eyebrows for some, it's an artistic choice that lingers in the listener's psyche, furthering that immersion into the vast and mysterious world of ANIMACITY. This cybernetic odyssey, while not without its imperfections, stands as an enigmatic addition to the current landscape, daring to push the envelope in a new and immersive way.

[oceanbastard]

LONG TIME NO SEE MOTHAFUCKAS WE BACK moody, brooding and ethereal, HedgeLocked's debut EP showcases an electrically diverse instrumental lineup. While delivery remains largely the same throughout, save for the pounding-then-relenting SEETHELIGHT, HedgeLocked's layered, pensive vocals remain enticing enough for the duration of the EP to keep the listener engaged. A welcome addition on APPLECIDERVINEGAR is Rocatoxx' feature - The power-duo compliment one another greatly (as is also on display in their recent single, Roadtrip). The EP signs off with the poignant From me, To You; Lamenting the loss of a friend, means notwithstanding. Can't say I didn't relate. Overall, as a debut EP, Agoraphobia is an impressive and eclectic jaunt through a soundscape that tastes of Cobain if Cobain was a hip-hop artist. While there is always work to be done, Agoraphobia stands out as something teeming with the artist's potential. Would highly recommend giving it a go

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fuckin' primo. bill boutta be back in it

I’M BACK

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🔥🔥🔥

[oceanbastard]

Had the pleasure of being there for the announcement/livestream of this wonderful collection of B-Sides from ya boi Rav ft. guest/mate/baby momma @traplordjinzo. Check it out.  Additionally, for those interested, Rav now has A VERY LIMITED RUN of Beneath The Toxic Jungle CDs available for preorder here: https://exordiummusic.bandcamp.com/album/beneath-the-toxic-jungle Support the ol’ ravioli boi y’all, he puts in the work. not to mention he’s gonna need some cash to support his bastard child w/Bill.

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the collabo of the century

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Rest in power Ziggy baby.

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It would be better if I never existed. I should just die too.

Then why are you here?

Is it okay to be here?

- 沈黙 -

TRILL SHIT

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“So, as I bare all my teeth I will ask of you please to just leave.”

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this track goes the fuck in.

KILL BILL- RPG [FEAT. RAV] PRODUCED BY mndsgn. VISUALS BY thehistorychannel

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When I look at you Oh, I don’t know what’s real