raygarraty

[raygarraty]

It was fun as usual

The 2025 Dusted Mid-Year Switch: Part 2

Sharp Pins

Today, we present the second part of the Mid-Year Switch, covering artists from Boldy James and Antt Beatz through the War & Treaty.  We’ll have lists tomorrow.  If you missed yesterday’s post, catch up here. 

Boldy James & Antt Beatz — Hommage (Empire)

Who nominated it? Ray Garraty

Did we review it? Yes, Ray wrote, “Hommage is one of the six albums Boldy James put out in 2025. It’s much better than the rest of them.”

Jennifer Kelly’s take:

Ray’s the expert on Michigan rap, but I was taken with the slow-moving menace of these cuts. James drawls sharp cultural references and lurid crime narratives over his producer’s slurring, back-slipping beats, many of them lush with florid piano runs but bounded, on the low-end, with resounding, pounding bass. James’ delivery is bleary, exhausted, but knotted up with quick bursts of machine gun sprayed imagery (for instance, in “Concrete Connie” “Now I spin a zip of flake for a pair of sneakers/Nigga still running base like I'm Derek Jeter/Pull up something Dilla play with the foreign features/Now a nigga charging $10.08 for a feature.” ). James brings in fellow Detroiters like Baby Money and BandGang Lonnie Bands for guest appearances, the latter turning up in “Met Me” with an unexpected hockey reference (“like a jetski/I sold so much ice they call me Wayne Gretsky”). Oh right, Canada’s right over the bridge, isn’t it?

Damon Locks — List of Demands (International Anthem)

Who nominated it? Bill Meyer

Did we review it? No (but Bill did here)

Jonathan Shaw’s take:

During “Distance,” the second song on List of Demands, Damon Locks intones, “Urban renewal, redlining and block busting / That’s distance / Disinvestment, destabilization, murder and disenfranchisement are the stories, nonfiction.” Locks effectively grounds his array of concerns in material terms, in concrete and embodied phenomena that change space and drive black and brown people out of neighborhoods, out of nations, out of their very lives. That provides a provocative contrast with Locks’ musicianship, which digitally layers and links jazz and soul music, field recordings, voices of ghosts from the archive of sound he has at his disposal. The complexity of the sampling and arrangements can verge on chaos (check out “Everything’s under Control,” an ironical gesture) or a sort of icy tension (“Click” is redolent of it, full of dread). Locks demonstrates a sharp understanding of how to evoke feeling from all the digitized information he assembles, incisively responding to the rage and despair that has flowed through anyone paying attention to how race operates as a discourse of oppression and of community in the US. Is race a material experience, something in the flesh? Is it socio-cultural construction, something in the language and many, many other symbol systems? A political wedge or an identity? List of Demands has no answers, just more imperatives.

Walt McClements — On A Painted Ocean (Western Vinyl)

Who recommended it? Ian Mathers

Did we review it? Yes, Ian wrote, “The album title’s evocation of a massive body of water, captured at one particular moment (taken from “The Rime of the Ancient Mariner”) is played out over its whole length.”

Bill Meyer’s take:

Walt McClements gravitated to the accordion after experiencing a crisis of relevance while performing song-based music. His approach can be summed up with the equation, minimal gestures + maximal effects = tidal drama. McClements’ intention to treat his instrument like a synthesizer steers him towards undulating waves of sound that radiate the sort of shininess I associate with 1970s vintage string synthesizers. The moments when the music feels most understated and ecclesiastical work best for me; those where he induces guest saxophonist Aurora Nealand to wax melodramatic are a bit too corny.

Mess Esque — Jay Marie, Comfort Me (Drag City)

Who picked it? Bryon Hayes

Did we review it? Yes. Tim Clarke wrote, “being unafraid to let things fall apart is part of the band’s charm and allows their most satisfying moments to feel all the more transcendent.”

Patrick Masterson’s take:

For the first time, Helen Franzmann and Mick Turner were able to record as Mess Esque in one room. Following two remote collaborations in 2021’s Dream #12 and eponymous Mess Esque, Franzmann and Turner have given it another go four years later with Jay Marie, Comfort Me. In a way, the removal of that barrier makes this slightly less of an achievement than what was accomplished for the first two albums, but that’s a minor barb reserved for serious nitpickers; ultimately, this is more enjoyable on a whole than its predecessors. I seem to be on the same page as everyone else in agreeing “Take Me to Your Infinite Garden” is the natural single here given its killer riff and fantastical lyrical leaps, but I’m also with Tim’s review in two other ways: First, the real highlight is without a doubt “That Chair,” a lush, bluesy bummer of a song I could’ve kept listening to for double the length; second, “Let Me Know You” is a cabinet curiosity at best and its removal from the tracklist would’ve done no harm to the overall experience. That it’s the shortest track here is just mercy, the comfort of the remaining songs more than enough to mask its inadequacy. Another fulfilling album from an entity that feels like it could keep doing this forever.

Mogwai — The Bad Fire (Rock Action / Temporary Residence)

Who nominated it? Patrick Masterson

Did we review it? Yes, Christian Carey said, “Mogwai continues to expand its palette while still bringing the noise.”

Tim Clarke’s take:

Over the last 20-odd years, Mogwai’s music has meant a great deal to me at various points. When the band first emerged in the late 1990s, while I was at university, I was really taken by their early compilation, Ten Rapid. Then, in 2003, soon after a close friend of mine died in a car accident, Happy Songs for Happy People offered deep solace. Beyond that, The Hawk Is Howling (2008) also hit the spot, and when I saw them live around the time of 2011’s Hardcore Will Never Die, But You Will, they were excellent. Since then, I can’t say much of Mogwai’s output has registered beyond the surface level. On The Bad Fire, the band seems to focus on their methodology of layering instruments and building a mood, patiently shifting upwards through the gears until your hair’s blown back and the density of sound is chewy and widescreen. This approach works pretty well during the first half of the album, when the band hits cruising altitude and keeps on roaring. I’m especially drawn to two of the songs during the album’s central stretch, “Pale Vegan Hip Pain” and “If You Find This World Bad, You Should See Some of the Others,” where the emotional heft of the music feels a bit more weighty. The Bad Fire is cause enough for me to reevaluate Mogwai’s last few releases to see if there’s more there to appreciate.

Moreish Idols — All in the Game (Speedy Wunderground/PIAS)

Who nominated it? Tim Clarke

Did we review it? Yes, Tim wrote, “On the back of two buzz-building EPs, English quintet Moreish Idols bring sharp songwriting and dynamic band-in-a-room energy to bear on their excellent debut album, All in the Game.”

Christian Carey’s take:

Cornish band Moreish Idols bring a number of different musical styles into play on All in the Game, their debut full length recording. These include psychedelia, post-rock, Brit-pop, and even a splash of laconic speech-song on “Railway.” The title track combines double-tracked lead vocals, falsetto harmonies, undulating rhythm guitar, and post-bop saxophone riffs, including some sheets of sound á la early John Coltrane. On “ACID,” a heady dance and yawping vocals are balanced by heavy rock guitar strums and harmonic minor scales that flirt with being non-Western insertions. One might not be sure on which continent the ardent narrator has dropped a tab, but we know that the result is fervidly unbridled.

The major to minor ying-yang of the chords on “Slouch” are steadily reiterated to dizzying effect. The album closer, “Time’s Wasting,” is a bit shy of two minutes, but its multi-part vocal hook, thrumming bass line, forceful guitar solo, and hazy ambience recall a plethora of past artists. They are blended into a singular concoction, or, as the case may be, tablet.

David Ivan Neil — I Hope Yer OK (Perpetual Doom)

Who picked it? Joshua Moss

Did we review it? Yes. Joshua wrote, “Rising to the occasion, it is the best produced work in his lengthy catalog, boasting the barest studio sheen and a tight, stripped-back honky-stoner band, the A-OK Players, who lend urgency and back-beat movement to DIN’s emotionally zoomed-in half-slurred confessionals.”

Patrick Masterson’s take:

I went into I Hope Yer OK about as blind as one can go. I knew nothing of David Ivan Neil before this; I didn’t recall a shred of Joshua’s (albeit convincingly argued) mid-March review; hell, I didn’t even look at the tracklist before I pressed play. I just figured I’d wheel it and find my own footing before I dug into the details. It took exactly 40 seconds of opener “Drums” to get me wondering how much Silver Jews this David’s listened to, but over the course of the ensuing three-and-a-half minutes (and nine songs including, sure enough, a cover of “K-Hole”), I Hope Yer OK reveals itself to be more than a mere homage to that David. The approachable, nakedly vulnerable lyrics, as sincere as they are sarcastic, offer an arm around the shoulder the way the album title suggests. This is a friend telling you in a darker moment of perpetual doom that yeah, actually, it’s exactly as bad out there as you think — but you wanna hear something funny? And so you laugh through a wicked hangover and the only instance of mandolin you’ve been able to tolerate in 2025 and you joke about jumping in front of city buses for the payout and you swoon to paeans of broken bird dreams and somehow, when it’s all over, you go to bed sober and acutely aware of the noble futility of the human endeavor, willing (if not eager) to wake up and take another crack at it come morning. Aware, alert, alive: This is what music can make us feel at its most potent, no matter the year or condition. Maybe you’ll feel as much, too, after a quick spin of the DIN.

RETIREMENT – ATTENTION ECONOMY (Iron Lung Records)

Who nominated it? Jonathan Shaw

Did we review it? Yes, Jonathan wrote, “It’s unrelenting — the band’s sonic abuse, and the punishment visited on us all by capital’s latest, ever more vicious version of the mode of production.”

Josh Moss’ take

Portland, Oregon hardcore band RETIREMENT (stylization theirs) doesn’t pull even one tiny punch on ATTENTION ECONOMY, their latest tape for Iron Lung Records. This is music explicitly about living in the “zone of interest” to quote the title of a recent film — the queasy surreal discomfort of knowing, being constantly reminded in jarring, discordant ways, that your comfort and joy is paid for in the brutally extracted blood of other innocent people. RETIREMENT’s crusted over musical assault does a good job of keeping your ~attention~, but this blackened, filthy, metal inflected punk is not 100% blitzkrieg. RETIREMENT makes space in these short songs for eerie atmospheric passages, ambience that oozes out from between the cracks of thrashed out riffs and plodding, pit-moving beats. This is music to put a nitrous boost in your indignation at the state and capital. It demands you open your eyes, like Alex at the end of A Clockwork Orange, and look at the prices everyone is paying for western hegemony.

Sharp Pins — Radio DDR (K/Perennial)

Who picked it? Tim Clarke

Did we review it? Yes, Jennifer Kelly described it as “conjuring the bittersweet baroque pop magic of icons like the Hollies, the Byrds and Tom Petty.”

Ian Mathers’ take:

The opening “Every Time I Hear” immediately makes me think ‘Guided by Voices if they were [even?] more interested in sounding like they were actually from the 1960s,' and while that’s a bit reductive for Radio DDR overall, it’s not a bad start. The Dusted review is correct, I think, in calling this “garage pop” as opposed to rock; any distortion or muddiness feels cozy rather than confronting, and not in a bad way (honestly the more balladic material like “Sycophant” makes for some of the best songs here). More upbeat, jangling material like “If I Was Ever Lonely” manages to walk the line of sounding period appropriate without feeling like mere mimicry; there’s some je ne sais quoi that keeps my “wait, is this just from one of the Nuggets compilations that I never listened to?” alarm from going off. It takes a certain self-confidence as a young band to plant yourself so firmly in such an established lineage (and even less specifically throwback-y songs like the raucous “When You Know” still exist in conversation with that lineage, just more with acts between then and now that also pay homage), but Sharp Pins pay it off. For those with divisive feelings about that legacy of 1960s garage pop (in either direction), you can probably apply those directly here.

Sadie Siskin — Sadie Siskin (Friends of the Road)

Who picked it? Joshua Moss

Did we review it? No

Ray Garraty’s take:

A lot of people get into music-making because you don’t need much to get started, maybe a banjo. But you need to learn how to play banjo first, which is not something many of us will be ready to master. The banjo is not the only element of Sadie Siskin’s self-titled tape’s appeal, which sounds as if it were recorded in pre-recording era, like somebody just sneaked in and recorded it anyway to later release it for a wide public (or not so wide). Its free flowing sound streams bring you back into a forgotten past. When Sadie sings (as on “Rolly Trudum” and “Yea! Wheels Turning At High Heaven”), the music moves towards more traditional ground and gets a bit poppish. Nonetheless, it’s a beautifully made tape.

Steven R. Smith — Triecade (Worstward)

Who nominated it? Bryon Hayes

Did we review it? No

Ian Mathers’ take:

Steven R. Smith (under various monikers) is practically an institution at this point, and one that Dusted has shown plenty of love to over the years. So why is this the first time I’m actually sitting down with one of his records? Sadly, pretty predictable, mundane reasons: too much music in the world to listen to, time is finite and ever passing, his discography is more than a little daunting. I’d just never hit that magic combination of opportunity and motivation on any particular release. Until now! And I’m glad it did, because while I can’t speak to how Triecade compares to the rest of his work, I can say coming to it with very little in the way of expectations I think it’s great. One of the joys of the midyear exchange, then; being “forced” to pay attention in a particular direction and finding the result so richly rewarding. If the credits on Bandcamp didn’t indicate that it’s just Smith himself playing the guitar, bass, drums, and keyboards here I might have thought this was a quartet honed by years of playing live together (and I guess in a sense that’s not inaccurate), so satisfying and seamless is ‘their’ interplay. The whole thing ebbs and flows so smoothly I’m not sure I’ll ever be able to pick out track titles without looking at the player, but who needs to when the whole 36 minutes comes together this well?

The War and Treaty — Plus One (Mercury Nashville)

Who nominated it? Justin Cober-Lake

Did we review it? Yes, Justin said, “With Plus One, they maximize both their personal traits and their broader opportunities for exciting new sounds that still (and happily) sound like where they came from.”

Tim Clarke’s take:

If you like your music bold and brassy, The War and Treaty may be for you. Their super-sized amalgam of country, soul and R’n’B is slickly produced, the performances water-tight and in-your-face. Opener “Love Like Whiskey” is over the top in all respects, and “Skyscraper” had me laughing out loud at the band’s audacious move to squeeze in not one but two key changes. Thankfully, after this opening stretch the band does settle into some less intense country numbers with pedal steel and banjo to allow you to catch your breath. However, at 18 songs and nearly 70 minutes, Plus One is way too much in all respects.

[raygarraty]

Dusted crew writes on fav records of the first half of the year

The Dusted Mid-Year Switch: Part 1

Circuit des Yeux

For the twelfth year in a row, Dusted writers have exchanged favorite records from the year’s first half, trusting friends and colleagues with the albums they love and embarking on new listening adventures (rap! metal! extended pipe drones!) recommended by their peers.

The basic format remains unchanged. Everybody picks two top albums. Jenny writes down the picks on slips of paper and randomly assigns them to other writers. No one gets their own picks, anything they already reviewed for Dusted or more than one pick from any single person. We all then have about a month to digest other people’s favorite music and write a paragraph or two about what we think.

It probably only works because we like each other, and honestly, there have been years when it didn’t work all that well. But still, when it does function as hoped, the Mid-Year Switch is one of the most enjoyable events on the Dusted calendar. This is one of the good years (i.e., we don’t think anyone will quit because of disrespect for their picks).

It is not, however, one of the consensus years. In other years, we’ve coalesced around a single record—most notably Heron Oblivion in the third iteration of the switch in 2016—or at least produced clumps of approval in the 3-4 nominations range. This year only Horsegirl’s Phoentics On and On got three picks, and notably, it was not anyone’s #1 or #2 choice.

Five albums got two picks each, including perennial favorites like Circuit des Yeux, Jerry David DeCicca, the Ex and Natural Information Society, as well as newcomer (and Lifeguard offshoot) Sharp Pins. That leaves 99 albums that got picked by only one person, anarchy, sure, but also, if you like exploring lists, a fuck ton of music to explore. Today, we’re running the first half alphabetically, starting with Sophie Agnel and Joke Lanz and going all the way to Vijay Iyer and Wadada Leo Smith. We’ll have the back end of the alphabet tomorrow and writer’s lists the following day. Enjoy.

Sophie Agnel & Joke Lanz — Ella (Klanggalerie)

Who recommended it? Bill Meyer

Did we review it? No.

Justin Cober-Lake’s take:

Ella might be the most unusual record I've heard this year. Sophie Agnel's a free improvisation pianist and, I think, is often working with a prepared piano. Turntablist Joke Lanz makes up the other half of the duo, meaning no matter how weird Agnel gets, there are always more sound coming to push the music to new places. It's hard to make art much more abstracted than this album. There's no easy point of entry here, the artists mostly eschewing melody and rhythm, but it's possible to get lost in a world that's constantly shifting and surprising.

“Sporadic Bursts of Sympathy” sounds quintessential. Lanz feints at grooves, giving the impression that there's structure to come, but these are just the “bursts.” Agnel likewise offers deep rolls and high plucks, hinting at a fractured piece, as if a song's been deconstructed, only there was no construction there to start with. It's a bold statement, and a challenging listen. “21st Century Humans” closes the album with tension that the pair hesitate to release, although the track does build to a bounce (by their standards). A piano motif gives way to a repeated “good morning” before one final squeak sees us out, as if even approaching linearity inevitably leads to silence.

Anika — Abyss (Sacred Bones)

Who picked it? Jennifer Kelly

Did we review it? Yes. Jennifer Kelly wrote: “It’s one of the best albums so far in 2025.”

Alex Johnson’s take:

The last time I heard Anika was the debut album, a stark but charming mix of minimalist post-punk and skeletal girl-group pop. Contrasting it to sunnier indie contemporaries, Dusted wrote: “its beats are too deliberate to be catchy.” “Deliberate,” I think, as in studied, predictable. Not so on the vastly more powerful Abyss, which is plenty deliberate, but as in purposeful, and catches hold early then never lets go. The basslines are bendy and relentless, the guitars squall and grind and pull out perilous arpeggios, wander but never quite break rank, the drumming is unavoidable, undeniable and airtight with a flourish. The band recorded live and quickly and, in the best way, you can tell. These are dance floor dirges; up tempo laments for modern ruins.

To quote Dusted’s review of this album: “what sets [Anika] apart from many contemporary post-punk front people is that she sings really well.” Exactly. Singing or speaking, often embellished with an echo, she’s just as much orator as lead vocalist. The lyrics, too, are sharp and immediate, narrating said modern ruins. The line “the cars are flying” from “Last Song” doesn’t sound like a technological breakthrough but the result of an explosion. There, Anika seems to be heartbroken by the whole of humanity. You could read “the truth is I don’t really like myself/and the truth is I don’t really like anyone else/and the truth is I’d rather be alone than with you” from “Walk Away” in the same light, or interpersonally. Regardless, it’s the best break-up/kiss-off song I’ve heard this year. The moment a brief, surf-y arc of guitar accompanies Anika’s utterly content “so screw you” is especially satisfying. Start to finish, Abyss is furious, gripping not clenching, a storm stirred up and ridden.

Artificial Go — Musical Chairs (Feel It!)

Who Picked it? Alex Johnson

Did we review it? Yes, Alex wrote that like its namesake, Musical Chairs is “a party event, still precarious, still requiring a sense of balance, but played in a whirling, laughing scramble.”

Bryon Hayes’ take:

I was surprised yet delighted to hear new music from Artificial Go so soon after their debut Hopscotch Fever. As Alex described in his review, the band has grown quite a bit in the intervening months. Musical Chairs moves beyond snappy post-punk to explore thicker guitar textures, poppier song structures, and a broader vocal palette. Earworms like “Circles,” “The World is My Runway” and “Hallelujah” really showcase this sense of progression, yet they retain the band’s signature whimsical charm, which is refreshing. Album closer “Sky Burial” spins off in an entirely new direction, embracing dub-like echo effects. It was good strategy by Artificial Go to save such a digression until the end; we’ll be thirsty for more of it when album number three rolls around.

Barker — Stochastic Drift (Smalltown Supersound)

Who recommended it? Patrick Masterson

Did we review it? Yes. Andrew Forell wrote, “Within his template of minimal techno, Barker adds billowing ambient passages and intricate drum programming that unfold with the depth of dub and the logic of jazz."

Justin Cober-Lake's take:

Sam Barker does something extremely impressive on this album: he makes a craft out of formalizing ostensibly chaotic movement. There's some jazz influence here, and the sense of an underlying order comes through at times, but the movement of each of these pieces is all Barker. The rhythms start tight and subtly change, altering each track, but without ever jarring; it's truly drift and not madness. Just as the songs move, the album gradually shifts, but always in a way that feels organic and sensible. Barker has elements of jazz, techno, minimalism, ambient, and more, but it never feels like a mishmash or an exercise in juxtaposition. The album's whole progression has a focused fluidity (if such a phrase makes sense). The song can have slow atmospheric passages, but when it winds up in a complex rhythmic stretch, it feels like a natural, if unanticipated, result. That's the genius of the album, and Barker makes it sound so easy, as if it could happen by chance.

Blood Monolith — The Calling of Fire (Profound Lore)

Who nominated it? Jonathan Shaw

Did we review it? Yes, Jonathan wrote “Your reviewer is moderately tempted simply to repeat ‘this rules’ a few hundred times, in place of attempting to describe or understand the music on The Calling of Fire, Blood Monolith’s debut LP. While repeating the clause (foaming at the mouth, clenching fists, roiling in a dank cellar…) would constitute a review of sorts, it’s likely not what folks show up to Dusted to read. Too bad.”

Ray Garraty’s take:

This does rule, no way to deny it. While Blood Monolith has an eye on the past, the band never just simply indulges in Death or Siege or any other grindcore-ish Mastodon worship from the 1990s. Its music corrupts your ears but is not corrupted by the modernizing tendencies which have soured a lot of metal music lately. It never pats you on the back, reassuring you in your soft cushion taste in metal. It just slaps you in the face and gives a nice blow to your skull. Maybe that is why The Calling of Fire angered some metal fans who were asking for… melody? Well, not everything is supposed to be melodic. This isn’t.  

Raven Chacon — Voiceless Mass (New World)

Who picked it? Christian Carey

Did we review it? No

Alex Johnson’s take:

“Voiceless Mass” opens with a chime, followed by a rumble. It’s almost but not quite overwhelming; it swaddles and carries the listener in. For music largely structured around sustained notes, nothing really lingers. The effect for me was of a slideshow of landscapes: each scene displaying then giving way, echoing but not replicating what came before. “Biyán” demands attention in a different way. Grand swaths of terrain swapped for ground-level observation of organisms. Squeaky-door horns and hard-to-place but charismatic scribbles of playing dominate the movements but are tempered (and given emphasis) by the transitional calm of a high violin or a fade to near-silence. Like the chime from “Voiceless Mass,” timpani is a catalyst, signaling another sliding, chirping crescendo or a cue for the squiggling, scraping strings to exit stage left.

Voiceless Mass isn’t quite voiceless. If the title track is a mass due to elemental power, “Owl Song,” the only piece with discernible vocals, is a mass as in teeming. There are chants and short shrieks. A wobbling yet lucid soprano is paired with a burst of jazz drumming. A piano is struck. New voices jump in, up and down the scale, before tagging in an instrument of similar timbre. Strings are plucked, bows grind, vocal notes are, at times, more gnawed than sung. There are whistles and gunshots of timpani. “Owl Song” sounds less like a musical ensemble than a bustling cast of character actors. It completes the album’s journey from the monuments of “Voiceless Mass” and bristling fauna of “Biyán” to the chaotic joys and strains of humanity.

Brighde Chaimbeul — Sunwise (tak:til)

Who nominated it? Ian Mathers

Did we review it? Yes, Ian wrote, “Even more so than on the excellent Carry Them with Us there’s a powerfully ceremonial feeling to this set of songs, aided by the even more minimal instrumental lineup and that frosty, imposing first side.”

Jennifer Kelly’s take:

Brighde Chaimbeul is a master of the Scottish smallpipes, a hand-held wind instrument related to the (somewhat larger and better known) bagpipes. It’s a traditional instrument backed by centuries of lore and practice and Chaimbeul has all that under her belt (she’s won folk piping contests), plus a restless experimental bent that has led her to collaborate with Colin Stetson, Caroline Polachek and others. Sunwise bends archaic resonances towards the shape-shifting forms of modern improvisatory drone. The opener, “Dùsgadh/Waking,” is more or less unadulterated tone, one sustained note that flickers and vibrates uninterrupted for just over nine minutes. If you go with it, which takes some meditative intent, it becomes a portal to stillness, a link to reverberations both within and outside this particular music. It stops you dead, in other words. “A' Chailleach” continues in that vein, but with a bit more frolic in it; to the long murmuring laments, she adds a bit of melodic flourish, which builds and finally culminates in some lovely highland evocative singing. Sunwise is a family enterprise. Chaimbeul’s dad closes “Duan” with some stirring (but inscrutable) Gaelic spoken verse, while her brother Eòsaph sings with her on the closing “The Rain is Wine and the Stones Are Cheese,” the lightest-hearted and most dance-able of these tracks. Music from the stone age might easily turn constraining, especially for younger, female artists, but Chaimbeul is too much of a free spirit for that. She frees it without disrespecting it and uses its forms for her own 21st century ends.

Circuit des Yeux — Halo on the Inside (Matador)

Who Picked it? Jennifer Kelly

Did we review it? Yes, Christian wrote, "Fohr’s songwriting is as strong as ever and her singing voice is singular."

Bryon’s take:

In his Dusted review of -io, Tim Clarke found the album "couches existential terror within ritualistic performance and orchestral musicality, and is often a challenging listen." If you replace "orchestral musicality" with "chilly EBM," he could be describing Halo on the Inside rather aptly. Haley Fohr has travelled deeper into the darkness with this record, wrapping her powerful voice in thick synthetic harmonies torn from the dust of Stranger Things’ parallel world. The music is icy and sinister, but elegant and rhythmic. The melodies and textures tangle with the vast expanse of Fohr’s signature croon to evoke imagery consistent with nocturnal activity. She’s constructed a frigid funk that is at home both on the dance floor and in a good set of headphones. I can imagine Helena Hauff spinning these songs in an abandoned power plant or a sweaty, black-walled basement. I can also see Halo on the Inside as the perfect soundtrack to a midnight stroll. It’s new territory for Fohr stylistically, but this album retains enough of her signature spirit to fit snugly within her overall body of work.

Ezale — Town Taxes (Foreal Foreal)

Who nominated it? Ray Garraty

Did we review it? Nope

Jonathan Shaw’s take:

Town Taxes flashes by in 22 minutes of rump-shaking, sunny sounds, lightened even more by Ezale’s slightly nasal, upper-register voice. There’s a winning charm to the record’s sonic textures, which gravitate more toward radio-friendly Earth, Wind, & Fire or late-1970s Gap Band than harder funk or the grit of neo-soul. Those bright surfaces belie some of the more interesting thematics Ezale engages; the release’s high point (sorry…) may be “Ironic,” which suggests the complicated feelings that lurk just under the music’s incessant search for pleasures. It’s a good song. For sure, among the persistent, prevailing concerns of hip hop, Town Taxes is a lot more interested in getting smoked up and chasing girls than it is in stacking cash or flashing gats. But by the time you get to closing track “Make Her Gig,” it’s clear just how much of the ostensibly good time comes at the expense of women (or, inevitably, in the parlance of Town Taxes, “bitches”): Ezale croons, “I bet you I can make her do what I tell her to / I bet you I can make her gig without her wig / Hangin with me instead of watchin her kids.” And it’s there from the jump, as on opening track “Hang Wit Them,” when he happily chirps, “Ain’ no tellin what the bitch’d do / I was all on her face like barbecue.” Swell. It feels like punching down. Seems like there must be other ways to elevate the self, or to get higher.

Hectorine — Arrow of Love (Take a Turn)

Who nominated it? Alex Johnson

Did we review it? Yes, Alex called the album, “ornate without being baroque and whimsical without affectation. This is precise and dramatic, yet conjured and dreamy music, delivered with devotion.”

Christian Carey’s take:

Sarah Gagnon is the creative songwriter and vocalist behind Hectorine, and explores a dark Sumerian myth on Arrow of Love, her third full length recording. It is the story of Inanna, an ancient Sumerian warrior goddess who goes to hell and back (literally) in a tale of fratricide, demons, human sacrifice, and a final (sort of) redemption. Gagnon channeled the depths of this dark tale, in part, to exorcise recent losses in her own life, both of a job and a relationship.

Arrow of Love juxtaposes lyrics as desolate as Inanna’s story and her own grief, with music that is (self-described) soft rock that is artful in approach. The overall result is eloquent in its restraint, with co-producer Geoff Saba providing multiple instruments to create a bed of sound, as well as several adroit saxophone solos, to accompany Gagnon’s expressive alto voice. The title tune is an example of the fetching results, with a synth solo appearing prominently and a cocoon of backing vocals from Betsy Gran and Joel Robinow. Ancient Sumerian soft rock? Sure.  

Jenny Hval — Iris Silver Mist (4AD records)

Who nominated it? Tim Clarke

Did we review it? Yes, Tim wrote, “Jenny Hval brings acute intelligence and a conceptual bent to all of her work, infusing her art-pop with depth and intricacy.”

Josh Moss’ take:

Iris Silver Mist, the latest record from Norwegian singer/songwriter Jenny Hval, is centered around her ethereal, ice-clear voice, but the production styles pull from across decades and genres to create a modern, experiential take on art pop. The sounds of the Pure Moods compilation blend with the experimentalism of Björk, early ought’s indie-dance-pop moves meet the hermetic melodicism of Kate Bush. Spoken word elements throughout seem to emphasize the album’s themes of sensory and tactile experience — one that sticks out describes the physical movement of a sound being recorded, and ends with “Happy Birthday,” nearly shouted. Sound being recorded and played back; in other words conceived and born. The album is named after a rare perfume scent and is at least in part inspired by the collision of a budding music career with the grim realities of the COVID pandemic. This could be seen as the loss of one sense, which can force a being to lean harder on another to interact with reality — but in this case Jenny Hval’s quarantine-era obsession with scent led her back around to music, resulting in Iris Silver Mist.

Vijay Iyer & Wadada Leo Smith — Defiant Life (ECM)

Who picked it? Justin Cober-Lake

Did we review it? No

Bill Meyer’s take:

Dusted may not have reviewed this record, but I covered it for the Wire a few months ago. Then and now, I am taken by the music’s grave dignity, which is very much in tune with the tragedy of our time and aware of its sturdy links to the crimes of earlier ones. Now well into his 80s, trumpeter Wadada Leo Smith sounds unreasonably great on a horn not known for its kindness to age. Vijay Iyer makes spacious, sympathetic frameworks for Smith from rumbling piano and muted electric keyboard textures; I can't think of a better setting in which to hear him. The only way in which this record has dimmed since I heard it is that, having attended one of the duo’s concerts, I know that they’re even more compelling in person.

[raygarraty]

this kicks

[raygarraty]

wrote on the new Boldy (not the newest one tough, you can't keep up with him)

Boldy James X Antt Beatz — Hommage (EMPIRE)

Hommage is one of the six albums Boldy James put out in 2025. It’s much better than the rest of them.

Just this year Bojack has had five single producer albums (not all of them were recorded in 2025), and they are all solid names: V Don, Chuck Strangers, Real Bad Man, Richgains and Antt Beatz. Lately, among the fans and critics, the prevailing view was that a single producer work is a priori better than a mixed producers one. The arguments for this view have been quite shaky and involved a lot of mystified points: “chemistry,” “working as one soul,”,“feeling the same wave,” “magic” etc. It is possible that all this was true for once in a decade works where an MC and a producer lived in the studio for half a year and even their tooth brushes were in sync. But when an MC goes on a tour with half a dozen of producers in a year, there is no magic, just commerce.

This is not all to say that Boldy James’ tapes with Real Bad Man or Richgains are garbage. Even spreading himself too thin, Boldy never delivers unlistenable material. But these past CDs fail because they are single producer albums. The production is too conservative, and the beats don’t differ much and they run smoothly running into each other, which makes a whole tape one long ass track.

Given how different beats on Hommage are and how there is no single style of production, the songs on this CD were recorded during a long period. They were created on different occasions and have different vibes. As a result, Hommage is a stack of good songs with no mystifying ‘theme’ behind them. And that is why it works. Apart from that, Antt brings Helluva on, one of the most visionary producers in Michigan, and they both create modern Michigan style beats which make Boldy work harder. “Super Mario” is probably the best song Bojack wrote in three years. It is fun, it is fast and it doesn’t even sound like the usual Boldy:

I hid a half brick in a box of cereal Fiend shootin' in his foot on the barrio So skinny, can hula-hoop through a Cheerio.

Another song which stands out is “Met Me” with Boldy’s “nephew” Lonnie Bands. They both play with ice metaphors:

Lonnie: I sold so much ice, they call me Lonnie Gretzsky

Bojack:I sell ice in the winter, I sold fire in hell So much white on Virginia, I can retire my scale

We need less chemistry and more music that pushes artists out of their comfort zones.

Ray Garraty

[raygarraty]

wrote on the new Rio

Rio Da Yung OG — RIO FREE (Something Happen) (Boyz Ent \ EMPIRE)

After almost four years in prison Rio Da Yung OG is back, and his new tape RIO FREE (Something Happen) has two sides (literally and metaphorically) to it. He hasn’t lost talent during the hiatus, but he also hasn’t made any progress.

Recorded post-prison in a matter of days, RIO FREE doesn’t have any prison vibes to it and doesn’t quite fit the post-prison blueprint. Apart from the lines “It's been a long time comin', it was quick, though \ Sixty months in the feds, it wasn't shit, though” and a couple of other mentions of penitentiary, the album doesn’t have the usual prison tales, descriptions of hard life behind the bars or even ponderings why he got there in the first place. Rio is back with the same energy as if he just forgot his car keys and left the studio only for a couple of minutes. Honestly, Rio circa 2025 is not much different from Rio circa 2020.

The tape has a rushed feeling (despite that, obviously, Something Happen took longer to record), and Rio admits on one his tracks that the whole mixtape was “made in 15 minutes.” It is quite understandable that the idea was not to cook it too much but to get new music recorded as soon as possible to bring a new dose of Rio to rap fiends who have been suffering from his absence.

A few weeks after the initial release of RIO FREE, the Flint MC added a b-side to his tape called Something Happen. It bulked up the whole thing up to 20 songs and 56 minutes. And the newer tracks quite match the initial ones: the same producers, the same punchlines, the same nonsense Rio is famous for.

Only bearing in mind these extenuating circumstances we should judge RIO FREE (Something Happen). It’s 50+ minutes of good ol’ Rio, with a couple of duds, one great song (“RIO FREE”) and the rest on that level Rio never falls under. He freestyled his ass off, and put all these rough drafts on the album, the thing he used to do long before his sentence. It can (and will) backfire in the long run, as for now these rough freestyles only hang on Rio’s charisma and his master skills to cannibalize his own lines over and over. A lot of it will be buried forever in that freestyle dump because only songs as a form will remain.

But now let’s just salute Rio. Maybe something will happen.

Ray Garraty

[raygarraty]

wrote on the new Marci

Dust Volume 11, Number 1

Jessica Pavone

Look at us embarking on another year. So much in flux, so much anxiety, and yet the flood of music continues, album after album after album (even though the album is dead, it’s doing okay). So let’s get on with it, listening and thinking and writing about the ones that catch our fantasy, and you all out there can get on with listening and reading about it and, for a lot of you, making it, too.

This time around we scratch the usual itches for death metal and improvised jazz, electronic experiments and hip hop mainstays. We’re happy to be here, and hope to continue—bear with us for another year, won’t you? Contributors included Jonathan Shaw, Bill Meyer, Jennifer Kelly and Ray Garraty.

Blazing Tomb — Singles from the Tomb (Creator-Destructor)

Twelve minutes of thrashy OSDM, Singles from the Tomb is a rollicking good time — if you’re looking for heavy riffage, up tempo grooves and volume that presses its knuckles right into your forehead. Nuthin’ fancy but hugely engaging, if a little presumptuous given the industry’s sense for the single. Used to be that labels bet on songs, as money makers and as marketing tools. But the idea of the single depended on a lot of context: the rest of the record from which the single was selected; the network of broadcast signals and stations, which wove together a system in which the idea of the “hit single” was measurable. The industry is in a very different configuration now. Does Blazing Tomb care about that history, and death metal’s tenuous position in it? Did a death metal band ever have anything like a hit single? Are these even the right questions to ask? The Richmond-based band provides “Tortured Minds” as a sort of response. It’s a banger, in heavy rotation in your humble reviewer’s digital playlist. It’s meaty and moldy enough to saturate the mp3 with something like the presence of the tomb. The single might be dead, but these songs lift the lid on the crypt.

Jonathan Shaw

The Brunt — Near Mint Minus (Aerophonic)

The name of this album might imply a vinyl quality rating, but this album will never rest in a crate-digger’s hands, since it’s only available as a download. Like so many 21st century manifestations, it requires you to either kvetch in vain about things taken away by time (in this case, the album’s essential thing-ness) or count your blessings. The latter option is easier on one’s blood pressure and not that hard to do, since this Chicago-based free music quartet’s debut is a rewarding listen. There’s the alternately jousting and supportive interaction of saxophonists Dave Rempis and Gerrit Hatcher, who share a determination to make heavy lifting an act of grace. But equally rewarding is the rhythm team of double bassist Kent Kessler, who has been an essential member of the Chicago scene since the days when Hal Russell helmed the NRG Ensemble, and drummer Bill Harris, whose maxi-informed drumming firmly situates the action in the anything’s possible musical milieu.

Bill Meyer

Faithxtractor — Loathing & the Noose (Redefining Darkness)

An appealing set of gonzo death metal tunes, this curiously titled LP (what’s with the ampersand? wouldn’t a simple “and” do the trick?) from Faithxtractor flirts with melodeath and blackened textures. But mostly it slashes and growls with abandon, packing more riffs in per tune than most other outfits manage across whole albums. Ash Thomas, who plays almost all the instruments and gamely gurgles and howls, is in particularly fine form, soloing with demented energy and having a palpably grand time tearing sound into meaty gobbets. The pleasure is infectious, an entertaining counterpoint to the bummed-out vibe of many of the tracks’ titles: “Noose of Being,” “Ethos Moribund,” “Flooded Tombs” and so on. For a band that sees so much hopeless darkness, they sure are having fun.

Jonathan Shaw

T. Gowdy — Trill Scan (Constellation)

The Canadian experimental artist T. Gowdy got his musical start with the American Boys Choir in Princeton, and his love of medieval and choral music comes through in this 11 track meditation on alchemy. Trill Scan melds twitchy, hyper modern electronic elements with haunting flights of sung melody. “Strewn” conjures the mystery of monk chant in ancient abbeys, then interjects a blippy, synthetic motif. In “Novus Lumen,” vocals murmur and sigh, as altered guitar patterns circle and repeat. Some of these songs are pure skitter and glitch, as in the hammering, percussive “Flit” or the architectures of polyrhythms that define “Arislei Bone.” But the two “Anonymous” cuts, IV and V, juxtapose ethereal, god-scented plainsong with the antic play of synth beats, a kind of alchemy all its own.

Jennifer Kelly

The Loft — Everything Changes Everything Stays the Same (Tapete)

Pete Astor’s the Loft was part of Creation Records’ roster in the 1980s, and he’s also recorded as the Weather Prophets and the Wisdom of Harry. He’d been mostly out of sight until the dawn of the current decade, however, when he released the marvelous Time on Earth (“applies the sounds of romantic, rain-on-windows, C86 pop to late middle-aged subject matter and by doing so achieves an unlikely grace,” said Dusted). Two years later, Tall Stories and New Religions reinterpreted songs from Astor’s multi-decade catalogue, and it, too, was very fine. Cut to 2024 and The Loft has reformed, returning with 10 jolts of clever bittersweet-ness, power pop but ruminative about it and touched with a certain amount of sadness. Boisterous, 1960s fuzz garage leaning “Dr. Clarke” is the single; it could pass for a long-lost cut from the Minus Five. But I like the yearning ones the best. Gorgeous, elegiac “Greensward Days” abuts on the Clientele’s wistful patch of baroque pop, while the languid “Killer” gestures gracefully at bands like the Blue Nile. An unexpected new chapter for a life in pop.

Jennifer Kelly

Roc Marciano / The Alchemist – The Skeleton Key (Pimpire Records)

Released in December, The Skeleton Key was meant to make a lot of EOTYs. But it didn’t happen and not because it was too late. The Skeleton Key is probably the least memorable of Roc Marciano’s tapes. None of it works as songs, and apart from a few lines and a couple of phrases nothing sticks in mind even after a dozen of listens. Marci stopped working on his music as he used to, and instead of songs we get this underbaked poetry, sadly, over even more underbaked production by The Alchemist. Marci and Al the Chemist get too comfy with each other here, and the result is a dud.

Ray Garraty

Jessica Pavone — What Happens Has Become Now (Relative Pitch)

What Happens Has Become Now is Jessica Pavone’s fifth album of solo viola music, and it shares several characteristics with its predecessors. It’s short (most of Pavone’s solo albums hover around the half-hour mark) and its pieces prioritize certain musical elements — long tones, physical vibration, repetition — which are arranged with enough freedom to satisfy both an improviser’s impulse to push past the known and a composer’s desire for organization and control. Two of the album’s four tracks are acoustic, and each is a finds a way to make you hear how wood feels and sense vibrations in your own palms and torso. A third piece for viola and pedals is straight-up noise that induces a different sensation; via sound alone it induces the feeling of being in a black and white movie, on a train, putting your head out the window and getting a blast of dry sand and dust in your face. And on a fourth Pavone also swaps her own instrument for an invented one, Ken Butler’s Sword viola, which yields distant pitches that seethe and sputter.

Bill Meyer

Silvan Schmid / Tom Wheatley / Eddie Prévost—The Wandering One: High Laver Levitations Volume 2 (Matchless)

Given the predominantly analytic tone of improviser, author and drummer Eddie Prévost’s writing, High Laver Levitations imparts an intention that one might more readily to William Parker — that the power of the music will defy gravity. But if you listen, you are likely to concede that the claim is not mere hubris. Prévost’s light touch and acute responsiveness results in music that at some points is lighter than air, but it also generates an energy combustible enough to bring about some updrafts. Joining him in the All Hallows Church in High Laver, Essex are Swiss trumpeter Sylvan Schmid and English bassist Tom Wheatley. The former’s smudges and smears give the music body and the latter’s near-subliminal rumbles a sparse but sturdy mobile structure. The recording, by noted soundtrack producer Daniel Blumberg, nicely captures the church’s clear but generous acoustic. Lift off achieved!

Bill Meyer

Vazesh — Tapestry (Earshift)

Vazesh is trio from Sydney, Australia. Hamed Sadeghi plays tar, a Persian stringed instrument whose quick decay makes it sound a lot like a banjo. Jeremy Rose plays bass clarinet and saxophones (in this setting mainly soprano). And Lloyd Swanton, best known outside of Australia as one-third of the Necks, plays double bass. Like the Necks, they improvise collectively, but there the similarities end. Sadeghi’s melodic sense is steeped in Persian traditions, and Rose takes his cues from Sadeghi. Swanton’s contributions are more overtly contrapuntal in the Necks, particularly during the passages where he plays arco. Despite the album being divided into 14 tracks, it’s one continuous performance, whose evolving, narrative quality lives up to the album’s title. During the best moments, the trio combines exploratory impulses with a capacity to project an array of emotions. The one caveat is that when Rose waxes melodic on saxophone, there’s a little too much sugar and butter in his tone.

Bill Meyer

[raygarraty]

My EOTY

Words With No Ends: Ray Garraty’s Year End

Icewear Vezzo

It’s getting harder, year after year, to sift through the hip hop mud to find something even remotely resembling a gem. The problem is not that rappers nowadays have nothing to say. Ninety percent of all artists in any genre have nothing to say. It’s that to even say nothing and sell it for something requires artistry. And artistry is the last thing hip hop artists care about. With easy availability of any platforms and dirt cheap studios and whatnot, anybody who says something on the mic thinks of himself\herself as an artist. After losing enough time sifting through dozens of the new so called geniuses who can’t even rhyme I found myself returning more and more to the artists I discovered in the past and who continue to put out solid music and are always reliable. None of them (Vezzo, Z-Ro, Boldy, Rio, the late Ka, Cash Kidd and half a dozen of others) had a breakthrough album in 2024, yet they carry artistry on their sleeves proudly.

The other thing you notice is the decline of the comical. First the political went AWOL in hip hop (the latest Ice Cube is a sad example of it), now the last scraps of the humorous and the comical have been erased. Yes, our times don’t command for the humorous but when they did? It’s laughable how rap became so serious (or faux-funny in a dumb way). I am still trying to stick with the artists who haven’t lost their sense of humor but it’s harder with every year.

And yet, this shitty year (for hip hop and for all of us) ends on a beautiful note. After almost four years, Rio Da Yung Og walked out of prison, free. It gives me hope. Welcome back.

Top songs

Icewear Vezzo – "Momma Mil"

Z-Ro — "We OK"

Philthy Rich — "Written in Stone"

Boldy James — "Super Mario"

Rio Da Yung Og — "Rio Free"

Ka — "Such Devotion"

[raygarraty]

this cold

[raygarraty]

wrote on the new Ice Cube

Ice Cube — Man Down (Lench Mob)

Nobody’s denying the service Ice Cube did to hip hop culture but the new effort by the L.A. legend feels hollowed out, tired and patchy.

In the late 1980s and early 1990s Cube did political rap like nobody else. His greatness was easy to explain. His critique of modern society was concrete. Police brutality, racism, social injustice, ghettoization: all of it felt real, and that is why it resonated. Ice Cube went left wing as far as possible for a black poet in white America.

Concreteness is what is lacking in Man Down. Cube voices out a few of the grievances here and there, yet they are so abstract you wouldn’t know who they are aimed at. He is suddenly so shy to name all the deficiencies of our society in his lyrics, he acts like a little boy, wiggling and waggling, embarrassed to ask where a bathroom is.

He went so far to the right, he could mumble in an interview a few harsh words at major labels which pushed out political rap and wanted only hip hop for the dance floor and hip hop about riches, yet on his new CD he puts a dance floor track “Especially You” and a song with the telling title “Let’s Get Money Together.” He’s even toned down the cussing on most of his songs (a thing he would never do in the 1980s) to get more radio play. Is that the same Ice Cube who was never afraid to speak out the truth with the most appropriate words?

The song “Talkin' Bout These Rappers” provides the most striking example of Ice Cube’s degradation. He says: “Talkin' 'bout these rappers on the internet \ Google up these nuts, bitch, I been a vet \ I don't give a fuck what's on the internet.” Unfortunately, he does. Otherwise he wouldn’t act like a little girl himself with the lyrics like:

Look at that girl livin' frugal Use her noodle, learn to Google Fuck your cat and your poodle And your science 'cause it's pseudo.

An artist who three decades ago spoke out for bigger truth and against deep injustices now dedicates a song to teenagers who thrash him on X. And that seems to him like the cruelest injustice in the world.

Sadly, the title Man Down is literally about Ice Cube himself. We lost him as an artist.

Ray Garraty

[raygarraty]

Finally, Peezy is in top form

[raygarraty]

a collab I've been waiting for

[raygarraty]

It's lame but I like this new Ice Cube

[raygarraty]

Y'all remember B Will? This song still gives me the creeps

[raygarraty]

Boldy sounds so good on a Helluva beat

[raygarraty]

wrote on the new Ka. It's good. Ka is cussing again!

Ka — The Thief Next to Jesus (self-released)

The Thief Next to Jesus is a return to form for the Brownsville’s firefighter/MC after a few misses.

Ka’s music has always been low key, but his last double album Languish Arts / Woeful Studies (2022) was so low key it went under radars. He caught heat for his drumless beats. He was castigated as too elitist and too far from modern trends. He pursued an unusual business model, selling music only from his website (the hell with the streaming platforms). Still, he has never been a cult priest pandering only to his followers.

As with his all previous CDs, The Thief Next to Jesus is heavy on the Bible references but it is as far from Christian rap as possible. Poets have long used Bible references, even if few of them lived Christian lives. What makes The Thief Next to Jesus so bold (despite that the production here is still low key) is how Ka mixes together two recurring themes in his lyrics.

He sums up the first one on his song “Such Devotion”:

When you're broke crushing coke don't take much coaxing Cooking the raw is a foot in the door, tryna bust it open

His verdict is “How they dealing? Killing us always been the true agenda.” Turning to a life of crime is the easiest way out but also the only one if you’re stuck with “guns and drugs” already in the 1980s Ice Cube warned us of.

Is this the only way of life you’re supposed to write music about? Ka disagrees (and this is his second theme). That social justice rap is dead is evident to everybody, except for those who’s never known it existed in the first place. “What started as empowerment, I'm feeling now it's past that”, Ka sadly admits on “Bread, Wine, Body, Blood.” Those who were making social justice rap in the early 1990s had different lives. Some are now making millions, like Ice Cube, from the people they hated; some ended up on the streets, panhandling. Now, Ka angrily spits, all rap is “it's pussy this, ass that, all that shit's trash rap.” Bewildered, he asks: “You sure you selling me melody, you keep telling me your ass fat?”

It is self-evident that there is a sickness spreading around in rap music, yet nobody, except Ka, even asks questions like that. He demands answers but nobody will reply: “FBI and Klan killed your leaders, when y'all gone pay 'em back?”

At his best here, Ka is like angry Jesus trying to drive out all the peddlers rappers in the temple. Sadly, he’s preaching to the wrong crowd. They won’t understand.

Ray Garraty

[raygarraty]

love this new DZ track

[raygarraty]

some serious chemistry here