the blog of Jerry Bolton
Music
General music discussion.
…glitching to fix something
02 years ago
Title: Future Stars And Small Wonders
Artist: Bizzart
Label: Joyful Noise Recordings
Length: 12 Tracks / 32:33
What do you get when you combine bizzare with art? Bizzart, apparently. Future Stars And Small Wonders, the most recent release from Bizzart, is certainly bizzare – whether or not it’s “art” is ultimately up to each listener.
The record comes in a basic package with no indication of who the artist is, or of what the album is called. The liner notes are printed on a single square page, coded in HTML. The distorted, out-of-focus cover image kindly gives a hint at what the sound contents will resemble.
If you load up Future Stars And Small Wonders, Here’s what you’re going to hear: shout-rap vocals that generally favour oblique lyrical abstraction, weird juxtapositions of sound, erratic/glitchy electronics, schizophrenic loops, acoustic guitar/piano, and vocal samples that seem to bear no connection to the songs in which they are placed. Certainly, there’s a lot of effort that’s gone into this, even just to achieve the amount of layering and mashing of sounds (sometimes complimentary, sometimes intentionally dischordant). Song structures are anything but standardized – constantly doubling back on you and breaking conventions that have been set up in the first two minutes of a song only to frusterate or intrigue the listener. The same can be said of the album, which will follow a spazzy electronic indie rap song (“Android Hearts”) with a quiet piano number (“Changing Stars”) – though both of the songs named fit those descriptions in only the most basic sense. The only thing that comes to mind as a basis for comparison is Soul Junk (particularly at Glenn Galaxy’s more rappish and/or contemplative moments).
With all of these things in mind, this is a complicated record to listen to, and that’s probably an intentional move. The most important things to note about Future Stars And Small Wonders, however, is that there doesn’t seem to be a whole lot of substance here to take hold of, much less to reward a listener’s time and effort.
The promotional material for the record calls it “sound-collage hip-hop meets belligerent poetry for robots in love”, I’m more inclined to call it “difficult to enjoy”.
Check out Bizzart if you’re into Soul Junk and other crazy schizophrenic “sound-collage” music, as this will likely be a profitable listen. Otherwise, you’re better off elsewhere.
Two future stars out of five.
Standout Tracks: Android Heart, Future Girls, Wood Is Whyte.
Jerry Bolton – for The Phantom Tollbooth.
June 11th, 2009
…a story about falling in love
23 years ago
Title: it’s all crazy! it’s all false! it’s all a dream! it’s alright
Artist: mewithoutYou
Label: Tooth & Nail Records
Length: 11 Tracks / 44:55
MewithoutYou has always numbered among those bands whose sound is an “acquired taste”. From the start, there has never been a shred of pop-informed accessibility to their work.
Remember back in 2002 when [A->B] Life came out? Remember the first time you heard vocalist Aaron Weiss’ bizarre mix of talking and shouting? Remember being sucked in by the energy of it all – the broken heart of the protagonist, the churn and ferocity of the music to match?
Remember 2004, when Catch For Us The Foxes came out? Remember the intricate bass lines and the swirling crescendos of the guitars? Remember hearing Aaron talk quietly and, in his fumbling but endearing way, sing?
Remember how well all the new instrumentation introduced on 2006′s Brother, Sister seemed to fit? Remember how it added a lot to the depth and variety of their sound?
Remember falling in love with mewithoutYou?
If you’re like me, there are two key things that made it happen.
First, excellent musicianship. I know I’m not the only one who wept on the inside when Dan Pishock left after Catch For Us The Foxes – taking his ridiculously complicated and beautiful bass work with him. I know I’m not the only one who can’t help but dance or at least make spastic body movements when the opening peals of “January 1979″ rise up, carrying with them a wash of joy.
Second, Aaron Weiss. Don’t his lyrics have a way of shining light on such difficult things? Don’t his words get stuck in your head such that you find yourself using them as profound poetic injections in the middle of conversations about God, theology, and life in general? Doesn’t his delivery make you grin?
MewithoutYou’s strengths have always been the music and the man in front – and they have been such great strengths that those who enjoy them might even consider them to be superpowers. Such is the draw that mewithoutYou has upon their fanbase – faithful, passionate, and intensely proud of the intimate and meaningful work that ‘their’ band has given them.
I’m one of them. I first heard the band shortly after the release of their debut, and was happily carried along through second and third releases. Each one has been unique, yet all bear threads of similarity – music and man. I was sucked in first by the lyrics. Long before I grew to love and enjoy Aaron’s unique and, for most people, unlistenable delivery… it was his words that caught me. Consistently insightful, consistently grappling with the difficult yet most important things of life – meaning, existence, God, pain, relationships, and most of all the complicated realities of following Jesus in our present world. The grooves and pulses of the music didn’t hurt, either.
As you know, mewithoutYou has a new album and it comes out very soon. It is called it’s all crazy! it’s all false! it’s all a dream! it’s alright, and for many, just like me, the album’s title will summarize their first response upon hearing it. After some thought, I have a feeling that this kind of initial response actually provides a good framework for understanding this new album, as well as the many differences (and occasional similarities) it has with everything the band has done before.
So, without further ado:
It’s All Crazy!
When you start up this new album, and the opening carnival-organ notes of “every thought a Thought of You” hit your ears, it should be apparent very quickly that musically, this isn’t the mewithoutYou you’ve become accustomed to. What’s incredible is that this first track is about the closest to their “old sound” that you’ll find here. A couple of lines in, the band’s trademark guitars make their entrance (and, in many ways, take their leave – more on that in a second).
Behind the producer’s desk is none other than Dan Smith, who you might be familiar with from his work with Sufjan Stevens as well as heading up Danielson and all of its variants (Tri-Danielson, Danielson Family, Danielson Famile, etc). His fingerprints are all over the sound that mewithoutYou has adopted here – high falsetto background vocals make numerous appearances, not to mention generous and sprawling instrumentation from such varied sources as tubas, violins, xylophones, squeaky hinges, trumpets, pianos, banjos, and ultimately an entire orchestra. The trademark guitars still bring the heavy from time to time, but such occasions are few and far between – typically only at the climax of certain songs. If they’re present otherwise, they are mixed low and the other instruments take center stage. That said, there’s a lot more acoustic guitar (and bass) than electric, and really, that’s the craziest thing about this new album. Musically, this is really much more of a folk record than the post-hardcore or “artcore” we’re used to hearing from these guys.
Think about the coloured Spider vignettes on Brother, Sister and imagine them expanded to album-length, surrounded with lush accompaniment, and just generally tweaked in all manners of interesting, perhaps even “crazy” ways. That’s really what’s ‘crazy’ about it’s all crazy! it’s all false! it’s all a dream! it’s alright - it represents a huge shift in sound. To think that the direction taken on this new project was hinted at most clearly by the brief and incidental “arachnid interludes” of the preceding album makes it all the more perplexing.
It’s All False!
This album will probably be controversial, but you could have said that about any of their records – remember “Seven Sisters”, when Aaron said “Oh my God – I want to shoot myself just thinking about it!” and followed that up with “You think I don’t mean what I say? Well I mean every word I say!”. It’s not as though mewithoutYou have shied away from tense subject matter before – thoughts of suicide being the most easily recognizable.
The reason this album might be controversial is handily summarized by the title of the last song on the record: “Allah, Allah, Allah.” It’s the content rooted in faith and theology that will be most upsetting and divisive for both long-time fans and new listeners. Sometimes, it will be in a very good way – for instance Aaron’s proclamation on “a Stick, a Carrot and String” of Jesus as “our Lord”, come to replace the sacrificial system with his willing and obedient sacrifice on the Cross. Other times, as in the above example of “Allah…”, the knee-jerk reaction will likely be negative or at least confused. Let’s examine this.
Now, particularly in the West, we associate the word “Allah” with the specific god of Islam. Generally, the result of combining a song title such as “Allah, Allah, Allah” with our Islam-specific association is that we might conclude that mewithoutYou has converted to Islam. Listening through the song likely wouldn’t do much to assuage those fears, either. The problem lies in the association. The word “Allah” is merely the word for “God” in the language of Arabic. Aaron and his brother Michael (who plays guitar for the band) grew up with one of the most interesting religious heritages one might conceive of. They grew up with Sufi parents, their father a convert from Judaism and their mother from Episcopalianism. Sufism, for lack of a more concise description, is like mystical Islam – they believe, contrary to traditional Islamic teaching, that God is personal and personable rather than lofty and removed. For this, and other reasons, Sufism is about as close as any form of Islam gets to many of the most important distinctives of Christianity. It’s not the Truth, but it has elements of truth in it – many of which have inspired Aaron from the very beginning. None of this is a secret to fans of the band, who have likely already spent some time in the past investigating the Sufi poets and writers that Aaron derives much of his inspiration from. That said, this kind of far-from-normal background behind the lyrics creates an interesting and complicated set of juxtapositions for the listener. Begun on their sophomore effort, Aaron continues his pattern of utilizing Arabic primarily for purposes of praise (think back to “My Exit, Unfair”). With these things in mind, I would suggest that his use of “Allah” on the final track is simply that – just using another ‘name’ for God. It’s akin to calling Jesus “Yeshua” or “Haysoos” or perhaps the Arabic “Isa” – which, incidentally, Aaron has already done on Brother, Sister’s “The Dryness and the Rain”.
More than ever before, Aaron draws from his Sufi roots on this album – less from his usual source (the poet Rumi), and more from the “shiek” Bawa Muhaiyaddeen, who seems to be big on writing children’s stories – some of which Aaron retells. With all of this in mind, there’s a lot on the record that might cause some to cry “False!” reactively. However, I am certain that repeated listens (and a good, thorough time checking out the lyrics) will reveal that Aaron has delved into these Sufi proverbs and stories and dug up a lot of actual truth. The numerous places where Sufism parallels Christianity seem to be a treasure trove for interesting, thought-provoking content. Resist the initial urge to call it all “False”.
It’s All a Dream!
Aaron isn’t shouting! At all! Well, he might for a brief second at the beginning of “Bullet To Binary (Pt. 2)”, but that may have more to do with paying homage to the original song than with any desire to revisit old territory.
Actually, “breaking new ground” might be the best way to describe the lyrical content of the record… “storytelling” also comes to mind. There is, after all, a truckload of stories on this record – fables and tales and parables, as it were. They range from the apparently light-hearted (“the Fox, the Crow, and the Cookie”) to the biblically-inspired (“the Angel of Death came to David’s room”), to simple and elegant spiritual metaphor (“the King Beetle on a Coconut Estate”), to what can only be described as a Christmas song (“a Stick, a Carrot and String”). The cast is equally as varied, from animals and bugs, to baked goods and the ingredients needed to make them, to vegetables and plants. I’m reminded of Brother, Sister‘s “O Porcupine”, which reminded us that “all creation groans… listen to it!”. This record feels like a response to that admonition. In many ways, these stories could very well be called ‘dreams’. Each one serves to share a moral or a collection of thoughts, touching on subjects like mortality, the mystery of God, and the fleeting and ultimately empty fancies of our sexual appetites. The aforementioned ‘Christmas song’ (“a Stick, a Carrot and String”) is perhaps the best example of the approach Aaron has taken this time around. Shifting the focus from one stanza to another, the story of Christ’s birth and sacrifice are told through the animals that feature in those accounts (ie. the sacrificial lambs, the manger’s horse, the donkey Christ rode into Jerusalem, and of course the titular Snake – our Enemy). The song is powerful, despite its loose pacing and the warbles of the accordion that permeate it. Ultimately, it captures some of the incredible wonder induced by considering Jesus’ willing and obedient sacrifice on the cross. So, in that sense, this is a record full of ‘dreams and visions’ in the form of parables and fables and stories – believe me when I say that the lessons therein are helpful and worthwhile.
It’s Alright.
In the pair of months I’ve had to preview this album, I’ve gone back and forth on myself many times as to whether or not I enjoyed this new direction taken by mewithoutYou. After much reflection, primarily on what I’ve written about above, I trust you can understand that despite the “craziness”, the “falsehood”, and the “dreams”, this record is alright. MewithoutYou has taken some pretty massive steps away from their “sound” (many of them steps towards the folky, experimental sound of guys like Sufjan Stevens, Danielson, and the Psalters). Further, a new and less Aaron-centered lyrical direction and much more listener-friendly vocal style has opened the content up to a much wider audience. As much as I might want to play the snob and say it’s “not as good as old mewithoutYou”… I’m not convinced. For the first time ever, my wife could stand listening for more than 10 seconds. Call me crazy, but in my books that counts for something. MewithoutYou has chosen not to keep making Catch For Us The Foxes, and I believe they’re all the better for it.
So, it’s all crazy! it’s all false! it’s all a dream! it’s alright is crazy, false, dreamy, and ultimately… it’s quite alright in spite of these massive changes. Lyrically, it’s more sedate and thoughtful. Musically, it’s restrained in tone yet expansively layered. This is a worthy addition to the mewithoutYou canon, an unconventional but very enjoyable collection of songs that will alienate many long-time fans, but will create many more new ones.
Remember falling in love with mewithoutYou? I do. It just happened to me all over again.
4.5 Cookies out of 5
For More Info: toothandnail.com | mewithoutyou.com
Standout Tracks: every thought a Thought Of You; the Fox, the Crow, and the Cookie; a Stick, a Carrot and String; the King Beetle on a Coconut Estate; Allah, Allah, Allah.
Jerry Bolton – for The Phantom Tollbooth.
May 15th, 2009
…a tsar, falling from the sky
03 years ago
Title: Falling Tsar
Artist: Falling Tsar
Label: Illect Recordings
Length: 10 Tracks / 33:45
Let’s imagine for a minute you’re tasked with throwing together a shortlist of skilled hip-hop artists for a benefit project. What names would you come up with?
A couple years back, a man by the name of Eric Place passed away. He had a dream of naming a musical endeavor “Falling Tsars”. Turns out, shortly after his passing, his 8-year old son Mason came down with bone cancer. Turns out, Eric Place had a shortlist of skilled hip-hop artist friends, and those friends saw fit to do up a project called “Falling Tsar”, all of the proceeds of which will go directly to Place’s son Mason. Talk about moving in excellent circles.
The names of Eric Place’s friends are Tunnel Rats & Deepspace5 pointman Sev Statik, and Scribbling Idiots’ JustMe, Wonder Brown, and Theory Hazit. Call them Falling Tsar.
Life is love, and love is a choice – a voice for Jesus is what we are.
Just know that we promised, in His name to be honest – not perfection, but direction.
(chorus of “What We Are”)
Think of the Falling Tsar project as Scribbling Idiots, minus Cas Metah, and plus Sev Statik. Make an exception for track 2 (“Table of Content”), which features Cas Metah (HA!). For the rap fans, that should give you a pretty good idea of what you’re getting into here. Production is primarily handled by Theory Hazit (who does up six of the project’s ten tracks), with the rest of the production falling into the hands of other Idiots members. What seals the deal is distribution by Illect Recordings, who seem to be making a habit of putting out the freshest music of late.
On second thought, think of the Falling Tsar project as Illect Recordings does:
We feel like God has given us an opportunity to use hip-hop to really make a difference.
(illect.com/fallingtsar)
First things first, I have to give credit to Eric Plant for coming up with such a sweet name – Falling Tsar. Brings to mind images of Russian monarchs, the rise and fall of the Soviet Union, the Cold War, etc. The project’s subject matter is heady enough to rise to the standard set by its name, as the crew moves through such issues as predatorial women (“Medusa”), deception and false love – with shoutouts to Judas and Cain (“Brotherly Love”), and the weight of representing Jesus faithfully (“What We Are”). It would be vain repetition to praise these emcees for their skill at wordplay – Sev, JustMe, Wonder, and Theory all possess the fire and grey-matter-crunching power to flood these tracks with wisdom, cleverness, and skillfull wordplay. Expect nothing less, because that’s what the project is filled with. Best example offhand? That would be “Argue Believe”, which features a complex piano loop that each emcee caters their rhyme scheme and pitch to match.
So yeah. Plan to pick up this record. Expect memorable beats, fine rhymes, punchlines to the face, the Gospel, the freshness, deep bass, crisp hi-hats, and definitely your ten bucks worth. Until you remember it’s a benefit project and all the money just went to a kid with bone cancer. Which makes it worth probably more than ten bucks.
I’ll just be frank: Buy this record. Zero cents from your purchase go to pad the pockets of deserving rap artists, because they’re passing it all on to honour the memory of their friend and give his kid a chance at life.
You know those “buy the album early and get a free (insert random swag and/or threads here)” promotions? Yeah, this one is much better – “buy the album any time and help a kid survive bone cancer”.
Picking up the Falling Tsar project gives you the right to feel like “King For A Day”, right along with track 10.
4 Iron Curtains out of 5.
For More Info:
myspace.com/fallingtsarproject | illect.com/fallingtsar
Standout Tracks: Table of Content, Medusa, What We Are, Argue Believe, King For A Day.
Jerry Bolton – for The Phantom Tollbooth.
May 13th, 2009
…idiots, scribbling rhythms and rhymes
03 years ago
Title: The Have Nots
Artist: Scribbling Idiots
Label: Illect Recordings
Length: 15 Tracks / 55:58
Add Scribbling Idiots to your shortlist of “Supercrews Worth Listening To”, alongside such mainstays as Deepspace5 and the Tunnel Rats.
Their debut, 2008′s The Have Nots on Illect Recordings, is a well-conceived introduction to this posse. Featuring such up-and-coming emcees as JustMe, Wonder Brown, Cas Metah, Mouth Warren, and Theory Hazit as the core of the group – this bunch of “Idiots” brings heaps of talent, imagination, and passion to this record. Others involved, as members of the extended crew, include such folks as MattmaN, MotionPlus, Elias, Ruffian, Kaboose, and Re:Flex. There are also guest appearances by Griffin from the Tunnel Rats, as well as LMNO and Masta Ace.
So what does it sound like? Summarizing the sound of a hip-hop record, especially a quality one, is always a daunting task. The Have Nots features some great instrumentation, and I think the best way to assess it is to talk about some of the common “themes” in the beats. First, plenty of the songs feature really brilliant piano work – seriously. Best of all, with very few exceptions, the loops, piano or otherwise, aren’t just thrown on repeat and walked away from. There’s some great fills, breakdowns, and bridges scattered in the progression of each beat to keep it fresh. The second “theme” to the music, is the presence of soulful, impassioned sung choruses. A lot of the time, you can bank on rap records featuring choruses that number among either the boring or the annoying. Not so on The Have Nots – this stuff gets stuck in your head and you don’t feel guilty for having it there.
Speaking of annoying, the final audio “theme” of the record that must be mentioned is the Idiots’ apparent taste for “Chipmunked” vocal samples – where the sample has been sped up, resulting in the sample sounding like Chip & Dale Rescue Rangers. There’s a few of them on the record, and I’ll be honest – most of them fall flat. There’s at least one exception – the chorus of “Where I’m Going”. Taking that into consideration, I was surprised that Chipmunked vocals can ever sound remotely interesting… after we all grew up and got over Alvin & his buddies. Yet, for the most part, I can’t really “get” why they thought it was a good call. Thankfully, with only a couple of exceptions, these Chipmunked samples don’t really do much damage.
Long story short, the “music” portion of The Have Nots is stellar. Outside of the piano, singing, and Chipmunked stuff, there’s a lot of generous instrumentation slathered on the tracks, which range from some really grimy, grungy sounds to much more poppy, light fare and most places in-between. Expect to hear some good, jazzy acoustic bass (“Publicity Stunt Doubles”), effective harmonica (“Is That You?”), and what seems to be harpsichord (“Residual”), among many others.
So that’s the beats. Let’s talk about the rhymes.
Every emcee in this crew is considered “up-and-coming”. All of them have basically showed up on the scene within the latter part of this decade – at least, showed up enough for a kid from Canada to have heard them on some projects, compilations, and guest spots. Most of them have at least one solo joint out, some a couple more. None have really been around long enough to be considered highly experienced or old-school, per-se. Most likely, the vast majority of those reading this review won’t have heard of any of these guys (except perhaps some of the guests on the record, like Griffin and LMNO).
With that being said, you can’t tell that they’re fresh to the game. Every emcee displays upright skill consistently throughout The Have Nots.
One of my favourite examples is the track “Residual”, in which each verse captures what we might call a ‘moment of clarity and repentance’. I’m not sure if the stories told in the verses are personal or fictional, but they are definitely full of impact. The third verse in particular resonated with me:
My 9 to 5 residual wins with a few more than 40 hours a week
And more responsibility than the power to speak / convicting truth
To your children in the pews, living the proof / of your grace to the sinners and saints
And I give more than I take, plus I bend and I break
And attempt to lift the whole weight of the whole body
Dear Lord, I need some delegates to spot me
I’m on dropped knees,
I know I’ve dropped seeds / in the congregation
So why aren’t they responding?
Don’t they want to follow their calling?
How can they come every Sunday morning and still not desire being godly?
God, I’m crawling, on the verge of falling-
Too distraught as a pastor to be a proper father.
This job robs me of quality time with my personal harvest,
‘Cuz I’m always at the church’s office
Where my neglected wife often calls me
Wondering if I’ll be home late for dinner again
And with all the “I’m sorry, Darlings”,
I know she’s gotta be sick of it.
There’s gotta be a different predicament You can put me in.
But until then, enter in.
Revive with me with love
Your biggest gift.
Drive me with love
Your biggest gift.
(from “Residual”)
The song also features one of the most soulful and stick-in-your-head, worshipful choruses on the disc:
This life that I live every day for the weekend and the payday, maybe
I live my life in the darkness, shine bright and hope that you’re watchin’
‘Cuz I started livin’ the moment I was forgiven,
and I’m living for You in everything I do.
(chorus of “Residual”)
That’s just one example of the care and heart that the Idiots have loaded this record with. The overall tone of the record is positive, or at very least encouraging. Scribbling Idiots don’t shy away from being transparent about who they are, what they’ve been through (good and bad), or who their Boss is.
Yeah, I’m from America
But you can call it the Divided States of Mass Hysteria
And no, I’m not a pastor or a politician,
But rather a genuine Christian on a mission to follow wisdom
And no, I don’t have to ask Oprah where to call to get it
My heavenly Lord is bigger than earth-worms care to give Him credit.
Yeah, that’s the church included
Let’s forget the war and explore the holy water that’s been diluted.
And no, that’s not a metaphor,
Meant to settle scores or divide denominations
I nightly cry to God for patience
To understand this wasteland where I’ve been sanctioned
Yeah, the pacing back and forth is placing pains in my side
But until the day that I die,
I’ll fight to keep this plank out my eye
So focus is daily applied
‘Cuz the final hours are near
Yeah, that’s right
I’m taking firepower out of the choir and back to the battlefield
(from “Where I’m Going”)
From lighthearted reflection (“Start Livin’”) to paying homage to their wives (“Easily A Muse”), the lyrical content in The Have Nots is well-conceived and presented effectively. The best way to summarize my impressions of the Scribbling Idiots’ skills in rhyme is just to say that “if The Have Nots is their debut, we have the makings of a rap dynasty up in this piece”. Sound good?
Here’s the bottom line:
Choruses, soulful. Raps, meaningful. Beats, an “earful”.
Results? Wonderful.
Scribbling Idiots’ debut? Make sure it isn’t something you “Have Not”.
4 Scribbles out of 5.
For More Info:
scribblingidiots.com | http://www.illect.com
Standout Tracks: That’s Life, Where I’m Going, Is That You?, Publicity Stunt Doubles, Residual, Told You So.
Jerry Bolton – for The Phantom Tollbooth.
May 7th, 2009
…from the outside
0Current Tunage: Deepspace5 – From The Outside
DS5 is definitely on top of their game, the game, and any game you can think of – pure win.
“From The Outside” from Deepspace5.
Yeah, that’s right. New DS5 sounds. Be sure to check “The Future Ain’t What It Used To Be” when it drops (whenever that is!).
Got a half-finished post on Hebrews 2&3 due soon. Keep ‘em peeled.
…is another man’s treasure
13 years ago
Title: One Man’s Trash
Artist: JustMe
Label: Illect Recordings
Length: 15 Tracks / 54:10
I’m the antithesis of those who want they bling
And flaunt they things, but I ain’t impressed
By ya transportation and your augmented breast.
I’m in a vest, like Safir in Iraq
Packin’ a MAC-10 while under attack.
But I ain’t all that, I’m a snivellin’ brat
A white male in America that likes to rap.
Slap me with your stereotype, I can take it
I’m like a bad actor, man, I can’t fake it.
(from “The Song”)
I thought I had no idea who JustMe was, but a quick spot of research online revealed that not only do I know who he is, I’m also a big fan of his previous work. Allow me to explain. Back in the early days of this decade, when mp3.com was the hotspot for all internet music goodness and everyone was still using WinAmp, a Christian hip-hop crew called The SolSeekers took their song “Audience of One” to the top of the site’s rap charts. Their song beat out mainstream acts like Slikk the Shocker, Master P, Snoop Dogg, and Q-Tip from A Tribe Called Quest for cumulative listens and downloads for a duration of multiple weeks. The group went on to release a string of great tracks on mp3.com, an album entitled People Watching in 2000, and appear on Sackcloth Fashion’s somewhat infamous double-compilation record Fashion Expo in 2001. One of the emcees in SolSeekers went by the name Sage.
Sometime around the release of their 2003 EP Halfway There, Sage and The SolSeekers combined forces with another well-known and respected group, Future Shock (who released The Art of Xenos shortly thereafter). For a short time, Sage was even a member of West Coast supercrew the Tunnel Rats. During the mid-2000′s, Sage and his crews were all over the place on compilations and mixtapes, appearing on the records of friends and fellow artists, and just generally making a lot of good noise.
It turns out, sometime in the last few years, Sage changed his name to JustMe, went solo, and helped to start up a new supercrew, Scribbling Idiots. So, confusing as it may be, I’ve shared this brief history lesson for a reason – JustMe isn’t a new face in hip-hop, he’s just a cat with a new name and a new crew, still churning out the rhymes we all recall so fondly from his days as Sage. If you’re skeptical, check out that decade-old SolSeekers track “Audience of One” for a real good time.
Fast forward. I last heard Justme on his combo EP with Sintax.the.Terrific, Merciless, and if you’ve read the review you’ll recall that I was duly impressed with where he’s at in his craft now. His interaction with Sintax on that EP gelled nicely and really helped to make it one of the more memorable rap EP’s in recent memory, both in terms of sound and content. As you can imagine, I was intrigued as to what his solo record One Man’s Trash would offer, as it was released by Illect around the same time in 2006 as Merciless and Sintax’s Curb Appeal.
I just realized that it doesn’t do me any good
to be a mad rapper, you can find those in any hood.
Besides, man, if it were to happen to me,
They could be laughing at me,
I just happen to be
The one that’s rapping for free,
Gettin’ a bachelor’s degree,
I got a family to feed and I’ll be damned if I be
The dad that got selfish and ran with his dream
But man, I’m not helpless; the Lamb’s on my team
And I’m glad that I’ve seen all the madness it brings
When these cats do they thing and the crowds all scream
I can only pray that we planted a seed
Your dreams are only shallow if you quit ‘cuz of greed.
(from “Shallow Dreams”)
With that as background, here are my thoughts on One Man’s Trash. Musically, the whole record has a really jazzy, bluesy, 70′s feel to it. The beats are noteworthy for their generous use of lush horns, strings, keys, and some old synths that sound like they were pulled straight out of an old cop-show theme. There’s also a good, restrained feel to the beats – they haven’t pumped the sound so full of sound that it gets in the way of the raps, and it’s seldom that samples comes off annoying or over-used in their songs. One exception would be the gritty, off-tune warble of the guitar in “Just Playin’” – which is one of the weaker tracks on the album, a brief ditty where JustMe sarcastically beats up on deadbeat gamers that choose their Playstations and Xboxes over family or… well… life. There’s nothing wrong with the concept, or the need to lampoon such folk, but the execution comes off a little weak and the game references waver between too cliche (GTA2, Madden), too old (Pacman), and too obscure (Crash Bandicoot) to really qualify as ‘hardcore deadbeat gamer trash’, even if this record is from 2006.
I wouldn’t cite “Just Playin’” as a stereotypical track from the record, though. There’s actually a lot of meaningful content to be found – some touching, some heavy. The record starts with “The Song”, a great manifesto track that sums JustMe’s approach to rap nicely – something that is, in many ways, also summed up in his assumed name. He’s “just me”, just who he was created to be. This attitude of humility pervades the record, particularly “Latenight Lullaby”, which really brings the Family Man vibe, as JustMe raps to his newborn son – musing on the hard work of his wife, the mysteries of growing up, and the value of relying on God for strength amidst the long sleepless nights. His aforementioned son is sampled for the track, crying during the first verse and progressively calming and happy by the end of the track. Initially this is grating (crying babies tend to be), but once you understand the progression that takes place during the track, it actually adds to the emotional impact of the song considerably to hear the son “responding” to the father’s words and singing. Speaking of singing, One Man’s Trash has great, smooth choruses, usually sung by JustMe himself. If there’s one thing to say about the choruses, it’s that he has a great ear for them – I’ve caught myself with them stuck in my head numerous time. If there’s a dud, it’s “Shallow Dreams” – an otherwise great, chill kind of song that is really only held back by the chorus, which comes across a bit too languid and, perhaps, just below JustMe’s ideal singing range.
Another standout track is “Louder Days”, marked by some beautiful saxophone sampling that really takes it over the top. The second verse really stuck to me:
Life is a series of obstacles, so many resources as your follicles
It’s a jungle out there, but not tropical
And I feel it’s my duty to stop the bull.
There’s no topical solution for these optical illusions
Some packin’ chips, stackin’ grips, losin’
‘Cuz of the lifestyle that they’re choosin’.
Yet they, still swing to knock while I deliver
And while they missing, I stand here and shiver -
Exercising my gift from the Giver,
Instead of despising my ship up the river.
(from “Louder Days”)
JustMe is a talented cat, no doubt. His Southern California pedigree in breaking, producing, and particularly emceeing over the last decade-plus really comes through on One Man’s Trash. The guests he chose to accompany him on the record (fellow Scribbling Idiots like Cas Metah, Mouth Warren, and Theory Hazit, as well as underground mainstays like Pigeon John and newcomer MotionPlus) all come on point and add nicely to the tracks they are featured on. Nowhere is this more clear than on “Just Raps”, which features the entirety of the Future Shock and Scribbling Idiots crews, in all their rap monstrosity – absolutely one of the record’s highlights.
Overall, this is a great hip-hop record – there’s plenty of memorable beats, noteworthy rhymes, and enough cerebral content to keep you ponderin’ long after the record stops. The production is tight, as is arguably the case on all of the records that Illect Recordings has ever pounded out of their camp. If One Man’s Trash has a weakness, it’s that the qualities it possesses don’t always synchronize – as in the earlier example of “Shallow Dreams”, where the otherwise great song is held back by its weak chorus. Of course, this is the area where subjectivity reigns – where I find a beat weak, others really dig. Where I find a chorus to be excellent and praiseworthy, others may find it to be a dud, and so on.
I think the principle remains though – it’s difficult to get your verses, your choruses, and your beats to all come together in a “symphony of awesome”. Sometimes, JustMe succeeds on One Man’s Trash, and that makes it worth the price of admission. For some, they’ll find more trash than treasure, but some of what you’ll find here is undeniably fresh. The record has been out for a couple years now so there’s no way you’d pay more than 10 bucks for it, so my recommendation is to check it.
3.5 treasure chests out of 5.
Trivia: “Low Budget”, which features RUSH, Cas Metah, and MotionPlus, has a great guitar sample that is immediately recognizable from Phonetic Composition’s song “PC Tools” from the classic record of the same name.
Standout Tracks: Favorite Rapper, Low Budget, To The Toppers, Let Go (Dream Sequence), Louder Days, Just Raps.
Jerry Bolton – for The Phantom Tollbooth.
April 7th, 2009
…memories of dark days
03 years ago
Title: Surrounded By Lights
Artist: Jesse Sprinkle
Label: Blind Records
Length: 12 Tracks / 44:35
Gorgeous, stripped-down acoustics coupled with careful harmonies typify this offering from Jesse Sprinkle.
Jesse was a founding member of the legendary 90′s Christian rock band Poor Old Lu, and is a former member of Morella’s Forest, Demon Hunter, Dead Poetic, A Cold Vein, and Burning Daylight. Unless I am mistaken, in all of these cases, he served as the drummer. Such is not the case on Blind Records’ 2008 release Surrounded By Lights, which, if you include Jesse’s time calling himself “The World Inside”, is approximately his 12th solo recording. On this, as with all aforementioned solo projects, Jesse basically handles everything – drums certainly, but also guitars, vocals, and generally any other instrumentation you hear. Despite releasing such a litany of material over the last decade, as well as arduous touring with Demon Hunter for a period, very few are familiar with his solo work, which is characterized by harmonies – at times soaring, at times subdued – and beautiful and simple acoustic guitar work laced nicely with other orchestration.
Jesse categorizes this record as “dark pop”, and it’s a fitting moniker. The overall tone of the disc is shaded, and the mood is decidedly quiet and suspended in thought and contemplation. It comes through in the downtempo pacing as well as the lyrics, such as this example from midway through the disc:
There comes a moment when you have to touch
All the hurt you hold so dear
Then an echo bounces off the blood
And it asks you to follow near
I could not protect it
I could not discern
Between the lines of fabrication’s words
Jesus never told me
How to love and learn
In a time like now,
Between the Ice and Earth
(from “Between the Ice and Earth”)
This isn’t the sort of record that sticks in your head, as a rule. It is, however, the sort of record that has a distinguishable “sound” that is very attractive to have backing up specific moods. If you’re feeling subdued and mournful, melancholy, or perhaps apprehensive and anxious for a future to come… Sprinkle provides the soundtrack.
This guilt within
Isn’t what I’ve been
In the August light
It’s paperthin
But we don’t begin
Until we really die
And the answer’s become
Erased
We’ll dance in the sun
For days
In the moonlight above
Forgave,
And one day You’ll ask me to come.
(from “Lights of June”)
Jesse has a great falsetto – a rare thing amongst singer/songwriters of late (two others that come to mind immediately are The Rocket Summer’s Bryce Avary and Pedro the Lion’s David Bazan), and, even better, has a great ear for harmonies – another rarity. Both are put to extensive use on Surrounded By Lights.
If I was forced to draw comparisons, I’d say that Jesse sounds like his brother Aaron Sprinkle (also known to release poppy acoustic guitar records) might if he were prone to slave over his records as much as he slaves over his production work for Tooth & Nail. Which is to say, Jesse has layered Surrounded By Lights with enough complexity to give it depth, without sacrificing the sublimity that is “a man and his guitar”. Those with a penchant for the sort of things you frequently hear strummed and hummed at coffeehouses and small pubs will find plenty to wash themselves in here.
Other than the transcendent pacing and “feel” of the music, the decidedly “dark” part of the “dark pop” found on Surrounded By Lights is the lyrics. Jesse doesn’t deal in happy, optimistic generalizations here – there is an urgency and a stirring evidence of hard-wrought labour in the words. Consider the previous examples quoted as well as this:
Sleepwalking to destinations dim
She’s responding with nothing but a grin:
Your religion is frail
Blurred visions and rusty nails
The womb of grace unshown
No…
Keys dropping and games evolved to wars
There’s no stopping, as ceilings become floors
Your correction has failed
Steel buildings and casket sales
Remind me who I was
Fold me over, lighting…
Fill the ocean, crying…
Will we go down, fighting
With the worst years yet to come?
(from “Steel Buildings And Caskets)
Lyrically, there’s a lot to ingest. Jesse makes no attempt to mask his expansive grasp on the English language – and it shows on every track with plenty of excellent and complicated constructions to work your head through. There’s a lot of spiritual content as well, much of which is difficult to make heads and tails of because some of it is presented as quotation from a character in a song, whereas other parts are Jesse himself speaking. The general tone of it seems to be neutral – questioning and curious, not necessarily attacking or defending. The best thing to compare it to would be the Biblical book of Ecclesiastes, which is quoted in the liner notes:
Light is sweet,
And it pleases the eye to see the sun.
However many years a man may live,
Let him enjoy them all.
But let him remember the days of darkness,
For they will be many.
Everything to come is meaningless.
Ecclesiastes 11:7-8 (NIV)
The recurring theme of the album is in it’s title: we are Surrounded By Lights, even amidst the memory of our “days of darkness”. This album appears to be just such a memoir – memories of dark days in Jesse’s life, captured, redeemed, and shared, hopefully, with those who will listen.
The bottom line is that this is a darkly atmospheric, beautifully organic, harmonious, soaring, haunting collection of songs. Play it on those early mornings when you scrape yourself out of bed, those late nights when you’re chained to the keyboard to polish off that last assignment, or those times when the world makes so little sense you just need to retreat from it. Highly recommended listening.
4 lightrays out of 5.
Standout Tracks:Better Places, Between The Ice And Earth, Lights Of June, Wait Or Want, Steel Buildings And Caskets, The Legend Of Saint Agnes.
Jerry Bolton – for The Phantom Tollbooth.
April 6th, 2009
…identity crisis
0Current Tunage: Thrice – Identity Crisis
read below for lyrics:
This song has been meaningful to me of late. It’s old Thrice, from their album of the same name as the song. Enjoy.
Thrice – Identity Crisis
Image marred by self-infliction
Private wars on my soul waged
Heart is scarred by dual volitions
Juxtaposed and both engaged
Kindle flame, a test of faith
Help me see it through
I put all my trust in you
Refine hate and love
Fall afresh on me
End this crisis of
Identity
Draw this darkness out like poison
Stab, retrieve, again decline
Help me drive the dagger deeper
Trace with me explicit line
Take this blade, a test of faith,
And strike me deep and true
I put all my trust in you
Refine hate and love
Fall afresh on me
End this crisis of
Identity
This is my voice, all shadows stayed
This is my heart, upon the altar laid
Please take all else away,
Hear my cry, I beg, I plead, I pray
I’ll walk into the flame,
A calculated risk to further bless your name
So strike me deep and true,
And in your strength I will live and die, both unto you
…all the neighborhood watched the fire burn
3Current Tunage: mewithoutYou – C-Minor
One of my favourite mwY songs – in no small part due to the lush horn section.
Some lyrics from the fourth and soon-coming mewithoutYou record have surfaced. Here’s one song, which I’ve already taken a shining to. Note that they’re rough because they’re leaked and based on someone’s transcription (which means there’s definitely been some mis-heard words).
“a Stick, a Carrot & String” by mewithoutYou
The Horse’s hay beneath his head
Our Lord was born to a manger bed
Then all whose wells run dry,
Could drink of His supply
To keep him warm, the Sheep drew near,
So grateful for his coming here:
You come… with verses of grace,
Come to take my place?
The Donkey whispered in his ear:
Child, in thirty-some-odd years,
You’ll ride someone who looks like me (untriumphantly)
While the Cardinals warbled a joyful song:
He’ll make right what man made wrong!
Bringing low the hills that the valley might be filled!
Then, Child
Asked the Birds,
Well, aren’t they lovely words we sing?
The tiny Baby lay there
Without saying anything.
At a distance stood a mangy Goat
With crooked teeth and a masked coat,
Weary eyes and worn, chipped & twisted horns
Thinking:
Maybe I’ll make friends some day
With the Cows in the pews and the Rambouillets
But for now I’ll keep away -
I’ve got nothing smart to say
…but there’s a sign on the barn in the Cabbagetown:
WHEN THE RAIN PICKS UP
AND THE SUN GOES DOWN,
SINNER, COME INSIDE!
WITH NO MONEY, COME AND BUY
NO CLEVER TALK NOR GIFT TO BRING
REQUIRES OUR LOWLY, LOVELY KING
COME, ALL EMPTY-HANDED
YOU DON’T NEED ANYTHING ELSE
The night was cool and clear as glass
With a sneaking Snake in the garden grass
Deep cried out to Deep,
The Disciples, fast asleep
The snake peeked up when he heard You ask:
If You’re willing that this cup might pass
I could find my way back home,
Maybe have a family all my own… but
Does not the Father guide the Son?
Not my will but Yours be done!
What else here to do?
What else here but You?
And the Snake who’d held the world,
A stick, a carrot and a string
Was crushed beneath the Foot of
Your not wanting
Anything
…the messenger
1Current Tunage: Thrice – The Messenger (Live @ The House of Blues)
Lyrics follow.
Mark me with fear and trembling; send someone else instead.
I know my world is ending; I can’t repay my debt.
How can I carry such a heavy burden?
How can I move when I am paralyzed?
I see a fire behind a heavy curtain.
I lean in closer and I close my eyes.
Kiss the coals; breathe in smoke, and I say,
“HERE I AM, SEND ME.”
It lifts my soul; I’m free and so unafraid.
“HERE I AM, SEND ME.”
Mark me with fire and send me among the living dead.
They cannot comprehend me; I watch the sickness spread.
How can they hear me when their hearts are hardened?
How can they see me when they close their eyes?
Still they can tell that I’m an easy target;
A wooden saw is quite a way to die.
Kiss the coals; breathe in smoke, and I say,
“HERE I AM, SEND ME.”
It lifts my soul; I’m free and so unafraid.
“HERE I AM, SEND ME.”
-Thrice, “The Messenger”