Kushy Stash – Disturbed (Prod. Cash Flow Beats)


Kushy Stash combines Metal with Trap on “Disturbed”, produced by Cash Flow Beats. Kushy has been exploring a bunch of themes from late ’90s and early 2000s Popular rock and it’s interesting to see him take a typical Trap beat and turn it into something completely different. Fans of the band Disturbed will recognized a number of references. Bonus track below.

STREAM/DOWNLOAD: SOJA – Live In Virginia

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We might as well be honest: as (mainly) purveyors of Hip-Hop, we didn’t truly dive into the sounds of Virginia Reggae/Rock band SOJA until after we learned that Alfred The MC (aka Mambo Sauce’s Black Boo) had a dope collaboration with them (we also learned that Mambo Sauce had toured with the band year’s ago).

Having created music since the turn of the century, you can find their catalog (and other cool stuff) via their official website; below, we’ve provided last week’s concert album release SOJA: Live In Virginia, which features the aforementioned Alfred The MC collaboration ‘Promises And Pills’ (via iTunes/Apple Music).

Radiohead – A Moon Shaped Pool (Review)

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Few bands are so uncompromising and unpredictable in music, especially one as sonically defiant as Radiohead. The results only seem to get better as time goes on. It’s impossible to heap more praise on them that hasn’t been heaped, but their legacy as one of the last and greatest rock bands ever, is secure. They have detractors, but are one of music’s most consistent and inventive entities, often rejecting rock’s familiarities and archetypes and going for something much more less safe, more esoteric, and out there, as David Bowie’s Low, during his drug-fueled experimental period in Berlin. This, of course, is not the only influence but one of many that Radiohead can fuse and incorporate into their music without sounding like mere imitations. Then they themselves become influential, and so it goes. There seem to be few things a band like Radiohead could want to achieve at this point. Having long past moved being “that weird band who did Creep.” Few bands claim to be as varied, innovative, and just good. After such a long, feverish successful run of albums, what now? They pull their social media accounts, website and entire online presence a week before they give us A Moon Shaped Pool.

There is certainly beauty to be found in the album, songs emanate through space, the sounds foreign, yet not too distant to alienate, and odd enough to entrance. They can create atmosphere like few do. It’s hard to listen to this album without the crushing weight of expectation. Radiohead have done so well in the past, how could this not be a disappointment? Unless they completely redefine music with every new album, they’re not topping themselves anymore. So with that in mind, Radiohead’s new album goes kind of mellow. The music is…slower. Things are not immediately catchy and hypnotic as they may have been in the past. There are many familiar elements, Nigel Godrich’s outstanding production, Thom Yorke’s signature wail, lush orchestrations, and intricate compositions. All of these add up to a Radiohead album that’s strong, just not as strong as before. It’s not the towering behemoth we might expect but it’s a solid album nonetheless. Minds may not be melted, but the songwriting is still good, the sounds are amazing, and the emotion is there. Radiohead on a bad day is still better than most bands on their best days.

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Compared to 2011’s disappointing The King of Limbs, A Moon Shaped Pool, is a little more frantic, tense but not flailing. It sounds determined if not boring. It’s certainly not their best; it doesn’t reach the ecstatic highs of In Rainbows or that album’s infectiousness. Songs take their time to form and the listener is invited along for the discovery of something more than what one might think. Reverb is heavy throughout, synthesizers emote and glisten, melodies swell. Detractors may not be converted with this album, if anything, they’ll find less to like about the group. Songs like “Daydreaming” sound like the future dystopia of today, and invoke a feeling of discomfort and beauty. There’s another version of live staple “True Love Waits,” slowed down and spaced-out. While haunting, it’s just not as affecting as the live versions.

It’s Radiohead, but it’s just not as compelling as other albums from them. Yorke’s lyrics are still painfully introspective and touching, conveying a distance and sadness with his warble and words. There is still wonder to be found. We’ve come to expect something incredible when what we get might be really great from another band; it’s just mildly impressive in the context of their greater work. Although, the album can be hard to listen to as a whole, as it seems to drone on at times, songs go on without too much resolution, seeming to produce landscapes rather than stitched-out narratives, but maybe there’s more than meets the eye than can be seen in a few days time. This album is probably one to grow on you, but as usual with Radiohead, it requires patience. It’s a strong addition to their works in any case. We’re lucky to have a band like Radiohead in the first place. There’s a lot to discover here, as a new listener or longtime fan, challenging, but worth it. Overall, it’s pretty soft, but pretty good. A Moon Shaped Pool is a strong addition to the catalogue of many great albums released by one of music’s most innovative and enduring acts. Here’s to hoping Radiohead have it in them to produce more music that can surprise and reach people.

Editor’s note- You can stream or buy Radiohead’s new album on Apple Music, Amazon iTunes, Google Play, Tidal, and the band’s album website.

Interpol Live At Echostage Review

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Indie-rock veterans and relentless touring force Interpol put on a magnetic and fierce show a few nights back at Echostage. The crowd consisting of mostly of fans seemingly in their 30s and 20s plus some obvious newcomers was quite enthusiastic in their reception.

Things started out rather casually at Echostage, a venue seemingly in the middle of nowhere with a nice and open space, good stage, great lights and full bars. The aesthetics of the club were quite nice with a friendly staff. The crowd gathered casually as usual, waiting as the minutes stretched by for an hour or so. The doors opened at 7 to an eager but patient crowd. Cosmicide took the stage, opening for Interpol, with seemingly slow and cryptic songs that had some good hooks but seemed to leave the audience lukewarm. The audience jangled along but seemingly more out of politeness than anything. They were friendly and gracious but ultimately rather unmemorable. After another half hour or so after the techs set up and the smoke went up, Interpol took the stage. They looked happy to be there, in this reviewer’s opinion, happier than they seemed at previous shows. Maybe they were reinvigorated with purpose after their new album, maybe after all that touring they found a second wind. Whatever it was they seemed to have an energy that I hadn’t seen from them for some time. The band walked onstage and quickly launched into “Say Hello To The Angels,” an unusual choice to start with, but a great fast song with a stomping backbeat. The crowd cheered uproariously, the band was finally back. The crowd cheered with adulation for most of the set. This was the Interpol of their youth, the band that could deliver gloomy and guarded emotions while still retaining a punk rock sensibility with style to boot. For newcomers, it was a chance to see the formerly-chic and indie darlings still in strong form, better than they have been for some time, sans eccentric and brilliant bassist Carlos D.

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The set consisted of mostly older classics from their previous albums, indie classics Turn On The Bright Lights and it’s follow-up Antics, and something I’d been waiting to see the entire time I’d seen them play live part-sentimental and heavy-bruiser The New.” This song was executed perfectly, soft when it was supposed to be and loud and abrasive when the song lifts and crushes into something darker. They also played a few favorites off of their third effort Our Love To Admire, Of course, they largely covered a few prime tracks off their new album El Pintor. These songs, while very good and very pleasing to some, off an album that wasn’t as great as previous efforts, but hardly their worst (as one fan put it, it was “ok” while their other albums were “fucking great”), fell a little flat by comparison. Ultimately, it was easy to tell which ones were the earlier tracks and which ones were newer, the newer ones just didn’t seem to float and hit with the same beautiful melancholy punch that the older songs did, lacking a bit of the deft touch and scarring old New York that they hailed from and helped define. It should still be said these songs held up to the rotation well.

The band was very energetic, never seeming to mail it in, although with seemingly minimal interaction as their name suggests. They were there to play, and play they did, getting all the parts right at the right times, hitting all the right notes with all the right emphasis as one tight unit. They seemed more appreciative this time around, acknowledging the crowd more and seemingly to genuinely bask in the crowd’s adoring adulation. This was a performance that seemed surprisingly strong from a band at this point in their career. They might not be on top anymore, they may not be in vogue this season or be the fashion trendsetters they used to be, and even though many bands come and go, Interpol proves they can still rock the fucking house.

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Class Actress – More Than You (Video)

Singer Class Actress from NYC releases a video for her single “More Than You.” The opening shots contain some definite Lynchian references, and the video is surprisingly-well shot. The song itself is very catchy and poppy, a stylistic leap from her older stuff as well as being more accessible and club-friendly. The video presents some sex-filled (or implied) debauchery which looks like more fun than it should be, sultry and alluring.

Class Actress – Candy Says (Velvet Underground Cover)

A little old but it had to be posted anyway. NYC artist and sexy singer Class Actress (Elizabeth Harper) released a cover of the Velvet Underground’s “Candy Says,” replacing Lou Reed’s crooning with sultry and angelic vocals. The cover is fairly straightforward in terms of composition but still nails it, hitting the dynamics in the right spots and retaining the original’s dreamlike foundations, though lacking some of it’s grit. Exciting, but in a different sense than the original. It’s completely possible to appreciate on it’s own, a bit like Mazzy Star, dazed and swooning, with a lost and bittersweet guitar solo.

Pity Sex – Wind Up (Video)

A video for the song “Wind Up” by rock fuzz band Pity Sex off their LP Feast of Love off of Run For Cover records. The song is a refreshing sort of throwback to shoegazer bands like My Bloody Valentine or maybe the Jesus and Mary Chain, it thumps and grinds along with dizzying results. The video you’ll just have to see for yourself.

Speedy Ortiz – The Graduates

A mellow but moving song by Speedy Ortiz off their recent release Foil Deer off of the local Carpark Records. “The Graduates” laments past glories and struggles in school that launches into a killer chorus with the lines “I was the best at being second place/ but now I’m just the runner-up”. It’s irresistible in a sad and sentimental way.

Torres – Sprinter

Reminiscent of Tori Amos or St. Vincent, Brooklyn-based Torres released her new single Sprinter on Partisan Records. Here Torres, aka Mackenzie Scott comes off as vulnerable but angsty with some amazing guitars. Things are thrashing and transcendent with a soaring chorus, very 90s, very cool.