Harlem’s Kavyy has been on the SGH radar since he and I started premiering visuals two years ago. It’s been fantastic watching his star on the steady rise. This morning Kav’s back with “KGE Flow”, a preview off his next project #KavyyGottaEat dropping September 1st.
Co-directed by Kavyy and Mr. Davis, the clip is straight business. No flashing lights. No rented cars. No borrowed jewels. Just Kav hitting you over the head with bar after bar. Be sure and follow him @paperkav on Twitter and @ kavyy on Instagram for updates and info on his latest releases. Enjoy.
Springfield, Missouri’s Dirt Nap is the fucking perfect way to end summer; scuzzy fun garage rock gassed up on cheap beer and a knack for taking the piss outta themselves. With Labor Day fast approaching you might wonder…what sort of soundtrack should I put together for grilling hot dogs and huffing American Spirits while guzzling PBR in a vintage band tee? Dirt Nap, you idiots.
The self-proclaimed river punks found a perfect home on Rough Beast Records, a label looking to keep garage alive, one sweaty DIY release at a time. Midwest surf punk is the ultimate oxymoron, and Dirt Nap play it for all it’s worth. Imagine The Soft Pack minus the San Diego shine, or FIDLAR with less cocaine.
Check out the Rough Beast roster at http://roughbeastrecords.com/artists/. Be on the lookout for Dirt Nap’s sophomore release, Oh, Just A Few Boys Horsin’ Around, on September 11th, 2014. Their new single “Tar Pit” is streaming below.
Albany, NY- My home town has lots to offer. Plenty of wings. More than enough decent microbrew pubs. A shit load of hard working men and women. And Giant Gorilla Dog Thing….the best goddamn rap group you’ve never heard of.
Dezmatic and Dood Computer shryhme better than your favorite YouTube sensation, and 518 producer Absolute handles the bulk of the production on the duo’s latest effort Horse, which sounds like a perfect homogenization of the wittiest motherfuckers found any place up or down the east coast. This particular beat comes straight from the mind of Nottz, and the clip features some of the worst mini-golf sculptures of all time.
Call me a homer. Tell me it’s local pride. I’ll tell you you’re full of shit and press play. Happy Monday y’all.
Brooklyn visual artist Jason Shaltz is tapping into the essence of DIY music with a new series called SHALTZ SHOT ME. He’s pointing the camera at hip-hop in its purest form. Recent installments drop Memphis’s Lil Wyte and Harlem’s SWAGTOOF into the fisheye spotlight. The results are a phenomenal combination of candid truth and genuine creativity.
Watch as Shaltz captures Lil Wyte in his natural Beale Street element, and TOOF BOYS Ouija and Choirboy as they mob through Harlem with pool ball socks in tow. The beauty in this project is the projection itself. You’re seeing real time artists speaking from the chest. Shaltz’s knack for seamless editing and his eye for the cleanest shot make the clips worth repeating.
Check out his work at http://www.jasonshaltz.com. Follow the guilty parties on Twitter @jshaltz, @swagtoof, and @lil_wyte_. Enjoy.
Joyce Manor revived pop-punk by being themselves. New Found Glory and Blink 182 have become relics; founders of a style plagued by Hot Topic graphic tees and Warped Tour sunburns. Thankfully, Joyce Manor play with their hearts on display while wielding a sharper-edged weapon, armed with far more than breakup angst and fart jokes.
Never Hungover Again is the 3rd full length from Joyce Manor, and their most “grown up” record to date. They play fast and passionate like fellow new-school heroes The Menzingers, and like their counterparts keep it entirely real while burying us in their fantasy land. If “Catalina Fight Song” and “The Jerk” don’t make you simultaneously head nod and smirk, you’re old and jaded. Never Hungover Again might be the most focused 25 minutes you hear all year.
The Gaslight Anthem
Change has always been hit and miss for big name bands. Radiohead reinvented themselves by recording the sounds of a hard drive crashing. The Clash made a rambling snoozer of a triple album plagued by wild world music ambitions. No band aims to remake specific records in their catalog, so The Gaslight Anthem had serious decisions to make while crafting their fifth full-length. Unfortunately, they chose to polish up their Jersey punk and came up triumphantly short on Get Hurt.
Get Hurt isn’t necessarily a bad effort, it’s just painfully formulaic rock and roll best suited for the 30 second lead ups to commercials during March Madness. The hooks swell where they’re supposed to, and the glistening guitars are hushed and muted where the heartfelt laments should be heard. It seems singer Brian Fallon desperately wants to pull away from the Springsteen comparisons, and by doing so he may have forgotten why a new generation of rock fans fell in love with his band.
The record opens with a Soundgarden/STP hybird “Stay Vicious”, which sounds tailor made for a Guitar Hero challenge. It rambles from there, tossing out occasional gems like “1,000 Years’, and “Rollin’ and Tumblin'”; blatant testaments to what this band does best. They shine when keeping the tempo and pulse soaring, and crash and burn when mucking it up with the ultra sappy “Red Violins” and the completely forgettable album closing “Have Mercy”.
Take it or leave it, Get Hurt is supposed to be the sound of a band stretching its legs. Too bad it plays more like a band running in place.
Stalley can rap, and ball. I don’t mean throwing stacks of singles in the air…I mean hoop. He played big conference ball before taking it to the booth to follow his dream. This new single puts him back in business with Rashad, the man behind the magnificent sounds of his most in-depth project, Lincoln Way Nights.
I don’t know when the album is dropping. I don’t know if he’ll change your life. I don’t know if you’ll respect the wordplay. All I know is this one is fun to spin. So play it twice, and happy Monday night.