ALBUM REVIEW: Terry Blade – Ethos: Son of a Sharecropper

“Ethos: Son of a Sharecropper” is the third album from Chicago-residing singer-songwriter / multi-genre artist Terry Blade and a follow-up to “Neo Queer” (one of my favorite albums of 2022), a project which utilized smooth, chilled-out neo-soul and R&B production to explore themes of identity, love, relationships and heartbreak from a queer perspective. With this new record, Terry takes his explorations with African-American music and history – the latter of which laid the groundwork for his excellent and thought-provoking debut album “American Descendant of Slavery” – to another level.

Over a fairly short but shockingly effective runtime of 31 minutes, Terry steps out of his contemporary soul and R&B comfort zones and embraces the sounds of American roots music (or Americana). Similar to his connections with the African-American and LGBTQIA communities to American slavery on “ADOS”, “Ethos” finds Terry unearthing the musical genres of country and bluegrass to expose the roots of black American music (soul, blues and Southern gospel) hidden underneath.

One of the reasons why we regard certain American folk and rock songs as classics – specifically from the 60s and 70s – is due to their ambiguous songwriting. Look at Don McLean’s “American Pie” and The Eagles’ “Hotel California” for example. Though they were written by the artists with a specific intent and purpose, the ambiguity of their lyrics (to be honest, I STILL don’t know the meaning behind these songs and I guess I’m too lazy to find out) added to their overall longevity. Even if said meanings are easily sought out through your average search engine, fresh, well-intentioned interpretations of these songs are to be expected as their significance grows with each passing decade.

Terry cleverly and consciously incorporates this same poetic, interpretative approach to his songwriting on “Ethos”. I use the term ‘consciously’ because from a thematic perspective, these songs are fairly straightforward and comprehensible. If you’re already familiar with Terry’s work, you will easily pick up on the queer subtext within the album’s nine tracks (there’s an interlude, but more on that on a bit). But I also use the term ‘cleverly’ because the songs presented here aren’t contemporary pastiches of these Americana sub-genres, like an “Old Town Road” from Lil Nas X for example. Lyrically and stylistically, the songs on this album have a vintage flavor to them, to the point that I assumed, upon first listen, that Terry was treating us to a collection of REMAKES!

And speaking of “Old Town Road”, in a similar, albeit grander, vein to Lil Nas X’s re-contextualization of country and western music to show a young, black, gay singer/rapper gaining a foothold in a (let’s be real here) predominately white musical genre, Terry purposefully claims these Americana sub-genres as his own; reminding the listeners of their African-American roots and highlighting the contribution of black and gay artists to American music as a whole, whilst using these musical styles to explore his personal experiences and to a greater extent, the ethos of both African-American and LGBTQIA communities.

The album kicks off with “Come Home”, an expertly-crafted, heartbreak-driven country song that subverts its own material so well, you’d swear – AT FIRST – Terry was channeling the inner thoughts of a male western movie character pining for the affections of his female love interest. Backed by a breezy mix of acoustic guitars, harmonica and percussion, Terry, applying a slight drawl and bluesy timber to his vocals, frames himself as someone who’s had enough of his partner’s emotional disregard towards him, while clinging to the hope of a possible renewal of this fractured relationship (“If the bond is worth saving, darling, you better come home”).  The final line, however, sets up the album’s major theme of loneliness (“I’ll be gone”).

The following track “Won’t Be Around” has the sonic feel of some of Terry’s earlier work, with its primary use of slow, soulful acoustic guitar strums accentuated by supportive piano chords. Terry even pays tribute to legendary singer/songwriter Nina Simone with his “Who you gonna run to?” opening line. Thematically, this track continues the story of “Come Home” where the sadness Terry clearly felt is now replaced with anger towards his former partner. He impressively showcases his vocal range as the song progresses, like on the second half where he hits a high note on the line “Who you gonna plead to?! I don’t have to keep you!” Going back to lyrical ambiguity, this song could also be viewed as a statement on the marginalization of the African-American and LGBTQIA communities by white Americans, as suggested in the final verse (“I won’t be behind you / I won’t be beside you / I’m going to leave you / I won’t even miss you”).

The midtempo, acoustic guitar-based production on “Rigor Mortis” gives this track an instant cinematic feel, as if we’re watching a western movie protagonist head out to a climactic gunfight or – once you dive into the song’s lyrics – returning from said gunfight, wounded and/or dying. The song itself has this ballad-like vibe to it, with Terry sounding almost like a gunslinger despondently delivering a final message centered on pain, regret and impeding death (“I’m alive but I am dead”, “My tears are turning sour / Drowning by the hour”). Conceptually, “Rigor Mortis” presents a haunting look at one’s feelings of persecution, particularly due to systemic oppression, with Terry playing the roles of both outcast and outlaw in this scenario.    

“Rainbow Child”, the longest track on this album, treats us to a melancholy, slightly spacey, instrumental mix of guitars, drums and harmonica which always reminds me of the iconic rock group Pink Floyd every time I hear it (the production on “Wish You Were Here” comes to mind). Continuing the persecution theme of “Rigor Mortis”, this track finds Terry conversing with someone who’s currently going through the same struggles he faced due to race and sexual orientation. Though he doesn’t have all the answers, Terry advises this individual to take pride in their identity and not to conform to society’s ideals to the point of becoming invisible or, as the chorus suggests, colorless. The chorus itself is quite intriguing with its catchy “Hey, little rainbow child / I’ve never seen such a fella, rocking that pink and yellow”. In relation to the LGBTQ flag (pink meaning sex and yellow meaning sunlight), it’s clear the person Terry’s talking to is not only gay but black (Sunlight. Melanin. Get it?). And speaking of Pink Floyd, we get the equivalent of a David Gilmour outro (“Comfortably Numb” comes to mind) with this extended, disenchanted and appropriately bluesy guitar solo near the end.

Up next, we get “Talk About It”, a song centered on unity and support within the LGBTQIA and African-American communities. With its placement right after “Rainbow Child”, you can imagine that titular character finding their tribe at long last and gaining even more pride in their identity and beliefs. Easily the most heartfelt song on the album, it features a serene blues/country musical backdrop and some genuinely passionate (with an underlying sense of vulnerability) vocals from Terry.

Reminiscent of the archive-based interludes on “ADOS”, “Fiddle & Banjo” presents an interview involving an elderly white man commenting on the dwindling amount of fiddle and banjo players in the state he resided in. The poignant country music in the background adds a dramatic aura over this track, and the almost blink-and-you-miss-it mention near the end of the abovementioned African-American origins of roots music works as a highly effective punctuation mark on the album.

The following songs “Wasn’t Mine” and “Grandma’s Kitchen” specifically explores the influence of black gospel music on country and bluegrass music. The former delivers some light-hearted, traditional country-based instrumentation but its lyrical structure is akin to a gospel song and to an extent, spiritual – especially on the hook. Instead of laying one’s burdens by a metaphorical riverside, Terry examines how difficult it is to bear SOMEONE ELSE’s burdens while dealing with yours in an already burden-filled world. However, he doesn’t dismiss the idea of supporting someone in need (“And yet somehow, you get it all done”) and opts to encourage the listener to at least understand the problems of someone in need before judging them.

And then we get what is easily the album’s best song: “Grandma’s Kitchen”. Terry delivers a pure, unadulterated spiritual, complete with plucky banjos, rhythmic body percussion and an absolute EARWORM of a hook! On the surface, this track presents a short, upbeat period piece revolving around the preparation of soul food in a typical African-American household. But underneath that surface, Terry sardonically addresses how the influence of organized religion and ‘old-fashioned’ norms and values within said household can negatively affect a person’s gender identity. The song’s deceptively catchy hook warns that person to adhere to the ‘rules of the house’ or else they’ll be embarrassed, punished and/or ostracized (“Ain’t no running in and out, not while Mama is cooking….You keep running in and out, boy, you’re sure to catch a whooping”). I love how Terry exposes the hypocritical nature of that belief system by pointing out that even his God-fearing grandmother acted secular at times (“A whole lot of swearing and a whole lot of living / And a whole lot of laughing in the black tradition”). The fascinating aspect of this track is the little to no mention of male family members, with the exception of the ‘boy’ who serves as the song’s central figure. Grandma, Mama and Auntie are the only family members mentioned, which can be viewed as both a commentary on the prominent roles of women in African-American households and a subtle hint at the central character’s defining or defined sexuality.

On the penultimate “Jimmy James”, Terry uses another blues/country fusion instrumental (more blues than country in my opinion) to deliver a character portrait – quite possibly an elegy – of an elderly man named Jermaine. The song’s fascinating pre-chorus (“He said he would answer to many names / But said he will never ever go back to being James”) alludes to two things; Jermaine either refuses to go by the surname of a white slave owner or no longer identifies himself as cisgender and/or heterosexual. The song’s lyrics hints at decades of pride and pain experienced by Jermaine and how his life has ultimately affected the way Terry views his own life path, as expressed by his beautifully downcast vocal delivery.

I couldn’t help but look at the final track “In My House” as the final third of a trilogy of tracks specifically centered on heartbreak, the first two being “Come Home” and “Won’t Be Around”. Here, Terry fully embraces his loneliness and refuses any sort of companionship or support. And given the themes of the record up to this point, it’s painfully clear he’s singing from the perspective of someone who’s been weathered and broken down by society – like Jermaine on the previous track. The marriage between piano and electric guitar on this song is pitch-perfect and the production as a whole gives us the album’s prominent genres of soul, blues and country all on one track. Terry delivers the best performance on this album, BAR NONE, expressing a roller coaster of emotions through some stunningly expressive and slightly theatrical vocals. There’s a BRILLIANT moment near the end of the track where the song references the almost identical runtimes of both “Come Home” and “Won’t Be Around” by fading out from the 2:49 mark.  A couple seconds later, the song resumes but the piano/guitar combo is replaced with these slow, dramatic bass drum kicks. Terry delivers this soulful outro with a blink-and-you-miss-it echo chamber added to his vocals, creating a dark, haunting image of him all alone and completely isolated from the audience he admittedly wanted around to connect with his emotional plight.

Overall, “Ethos: Son of a Sharecropper” is yet another great project in Terry Blade’s startingly impressive discography thus far! It’s also his most adventurous and ambitious project to date, with Terry showing a genuine appreciation for the progenitors of the musical artforms being referenced. Though it’s a far departure from the R&B, neo-soul and hip-hop sounds of “American Descendant of Slavery” and “Neo Queer”, I can still see fans of Terry’s music easily gravitating towards this project. Newbies, however, should definitely seek out those albums, in addition to his “Misery: Mastered for Headphones” and “Unmastered: The Demo Sessions” EPs of course, before diving into this one. From concept to execution, Terry truly outdid himself with “Ethos: Son of a Sharecropper” and I can’t wait to see where his musical journey takes him in the near-future!

OVERALL RATING: 9 out of 10

Now available on Spotify, Apple Music/iTunes, Bandcamp, Amazon Music and Deezer

BBB RADIO S03E02 – Surviving R. Kelly: The Final Chapter, Devotion, Argentina, 1985, House Party (2023), The Last of Us (Episodes 1 & 2)

In this episode of BBB RADIO, Matthew and Ricardo discuss the third and final season of the Lifetime docuseries “Surviving R. Kelly”, the biographical war drama “Devotion”, the Golden Globe winner and now Oscar nominee for Best International Feature Film “Argentina, 1985”, the 2023 version of the 1990 musical comedy “House Party” and the first two episodes of HBO’s video game-to-film adaptation of “The Last of Us”. 

LISTEN TO THE FULL EPISODE HERE

ALBUM REVIEW: C.W. Franz & The Big Bluestems – American Byways

“American Byways” is the latest album from producer, folk-based singer/songwriter and multi-instrumentalist extraordinaire C.W. Franz. For the past three years, I’ve covered a majority of C.W’s work, from his recently-concluded self-titled album series (“III”, “VI” and “VII” are my absolute favorites) to his solo and collaborative records under different pseudonyms like Magnetic Dust Collectors’ “Halley’s Tail” and SpaceCadet-16’s “Important Ephemera”. His creative output remains one of the most impressive I’ve seen from any artist, with project after project effortlessly dropped over a year-long span. So of course, I was excited and a bit concerned in terms of where C.W. was planning to take listeners to on the front end of 2023.

And with “American Byways”, we get what is essentially a return to the contemplative Americana sound that made “C.W. Franz II” a captivating listen. What started off as “trying out the (Texaco Oil) Can-o-Caster” according to the liner notes on the album’s Bandcamp page, evolved into C.W. reaching out to mandolinist and longtime collaborator Rodnell Matos and electric lap steel guitarist Luca Giannotti and forming an unofficial band called C.W. Franz and The Big Bluestems.

For a project centered on traveling by road, it gets to its destination pretty quickly in its near 15-minute duration. But thanks to the undeniable chemistry between artists, which becomes even more amazing when you realize they “weren’t in the same room” during recording, there’s enough musical splendor on this album (Get it? ‘American Splendor’? Kids, ask your parents) to make subsequent listens more satisfying.

In a similar vein to “C.W. Franz II”, the track titles reference landmarks and items synonymous with American societal progress. The opening track and longest song on the album “Lincoln Highway” is appropriately titled as it was the first transcontinental highway designed in American history. Obviously it takes way more than 5 ½ minutes to get from Point A to Point B, but C.W. and The Big Bluestems use that runtime to deliver a sonic, montage-like visualization of what it must have felt – and most likely, still feels like – to traverse that highway. The strings are lush, the grooves are pleasant and the overall sound is so warm and inviting, you can easily picture yourself on a sunlit trip across that long stretch of road.

Up next, we get “Wagner Shell Dream (Antigo, WI)”, the title of which references the Wagner Shell gas station in Antigo, Wisconsin. On a side note, it’s rather interesting as a Trinidadian to see the Shell brand still prominent in the U.S. and not part of a distribution line-up of the currently-dominant Massy Stores supermarket chain. Anyhoo, C.W. and The Big Bluestems treat us to a dreamy (Luca’s strings in particular help create that feeling) mood piece that, despite its relatively short runtime, embodies the feel of stepping out of your vehicle and soaking up the sunshine, breeze and nature all around you, if only for a couple of minutes. Speaking of short runtimes, we then get the 44-second interlude “Hilltop Waltz (Gambier, OH)”. And while I can’t tell if this is supposed to be C.W.’s interpretation of the Richard Aulozzi accordion composition of the same name (sans the Ohio location, of course), he delivers a whimsical ditty, with rhythmic support from Rodnell, via his button accordion.

Another gas station dream follows in the form of “Texaco Station Dream No. 2 (Hot Springs, AR)”. Thematically, the title is quite clever as it references both the Arkansas city (well known for its hot springs) and Texaco Station No. 1, one of two surviving early gas stations in Paragould, Arkansas. Decades ago, Texaco Station No. 1 was converted to a Hamburger Station fast-food restaurant, and if you’re already familiar with C.W.’s occasional elegies for now-defunct brands and businesses (check out “C.W. Franz III”, “C.W. Franz VI” and ““Important Ephemera” for further insight), then you should have a rough idea of what to expect on this track. Yes, it’s dreamy but C.W.’s strumming sounds a bit more aggressive compared to the previous tracks. He even switches tempo near the song’s closing moments, ‘forcing’ Luca and Rodnell to slow down their playing to stay in tune with him. Overall, it’s as if the memory of this gas station refuses to stay forgotten, even with the thoughts of the pleasures one may find at Hot Springs overpowering it.

The album nears its destination with “Edsel on a Mountain Road”, the first and only track whose title references a vehicle – in this case, the Edsel car. Like the previous track, it’s a reference to a now-defunct brand, and one that only lasted for THREE YEARS! This shocking yet unfortunate fact gives the track an appropriately melancholy undertone and the inclusion of an ambiguous ‘mountain road’ in the title gives it a ghostly, haunting vibe as well. And yet C.W. and The Big Bluestems perform this song as a heartfelt tribute to this well-intentioned yet financially unsuccessful automobile brand that, if fate had allowed it, would’ve existed on many American streets today and not on the mountain road of someone’s memory.

Finally, we get “Route 202 Blues” which, stylistically, feels like a bittersweet, thematic denouement of the thoughts and emotions brought about by the album’s road trips. The music is slightly brighter and optimistic compared to what we heard on the last two tracks, and yet as the title suggests, there’s an air of sadness throughout this song. Not in terms of the destination of this particular trip but the memories of things long past that are passed by so quickly and forgotten even faster on these American byways.

Overall, this was a simple, concise, thematically rich and sonically enjoyable record. Though it’s pretty early into the year, I would love to hear C.W., Rodnell and Luca compose more music together, as their chemistry absolutely shines throughout this project.  And though there’s no telling right now what road C.W. will lead us through in 2023, “American Byways” is still a journey well worth taking.

OVERALL RATING: 7 out of 10

Now available on Bandcamp

ALBUM REVIEW: Steven Gaines – Unknown Therapist of Dantalion

“Unknown Therapist of Dantalion” is the newest album from Oklahoma City rapper Steven Gaines. I first covered his work back in 2020 with his project “Gain the Emcee”, and I was introduced to Steven’s intentionally erratic rhyme schemes, stream-of-consciousness-like wordplay and highly memorable hooks (my mind still goes back to the one for “Binya Binya”). 2021’s “La-Bas (The Damned)” saw him taking a few bold, calculated risks with his music, whether it’s performing alongside rappers both in and out of his creative circle like Bryan MacKK, Goosy, Boo, Nook and Sabelo Cyprian or incorporating French (like the album title) into his songwriting.

But with “Unknown Therapist of Dantalion”, Steven raises his creative standards a few notches higher, resulting in arguably his most challenging and forward-thinking project so far. Like “Gain the Emcee” and to an extent “La-Bas”, Steven takes the MF DOOM (RIP) route and adopts a new personality, the Unknown Therapist. “So let it be known”, says Steven in the liner notes available on his Bandcamp page, “that I am an Unknown Philosopher, and silence is my nature. The therapist only represents my life, and Dantalion my witness as he does not specialize in music”.

The Googler in me, of course, sought out the name ‘Dantalion’ and discovered the following: “The Demon Dantalion is a Fallen Angel and 71^st of the 72 spirits of Solomon. He appears in the form of a man with many faces of men and women, carrying a book in his hand. He knows human thoughts and can change them at will. He makes people fall in love and can show visions of people anywhere to others. He teaches all arts and sciences. He governs 36 Legions of Demons”. Going into this record for the first time with that info in mind, I will admit (and I imagine it’ll be the same for other listeners) that was a LOT to take in! However, with the more listens I gave it, the more I picked up on a concept of sorts interwoven into the album’s ten tracks and relatively short runtime. Of course, I could be wrong in my interpretation but then again, art….and this is indeed ART…. is designed to be interpreted anyway!

On the ominous album opener “A Beautiful Hop”, we’re introduced to the character of the Unknown Therapist. He both worships and represents Dantalion, the “Grand Architect of the Universe”, who in turn confides in him. Being a fallen angel and assuming the faces of many men and women, Dantalion has seen his fair share of darkness, misery and despair in the world through his varying human personas. A female personality of his, played by the album’s sole vocalist, sums this up by singing “This is hell on Earth” in the song’s closing moments. Client confidentiality isn’t completely thrown out the window as on this track and throughout the album, the Therapist relates his own experiences and observations to what Dantalion has already seen and learned during his time on Earth.

And while “A Beautiful Hop” is an effective way to begin the album’s proceedings, I felt that the interlude “Avage Ayer Dantalion On Ca” brings them to a screeching halt. For an almost 3 1/2-minute song centered on what is essentially a mantra, with a rather intriguing beat that reminded me a lot of early Three 6 Mafia production, this easily could’ve played for half that runtime.

Thankfully, the album picks up speed with the following track “Back 2 The Chamber” which old-school boom-bap heads like myself will enjoy thanks to its head nod-inducing production. And while fellow rapper/engineer Bryan MacKK shines on his verse with punchline after punchline, Steven ultimately makes the song his own, staying in character while delivering a slew of quirky, esoteric bars. He even alludes to the fact that he either deserved to be on Earth or in hell itself (“My hands are very dirty… bloody / Oh, did I mention? I belong below!”)

After we hear this vocal snippet from a boxer who describes how his fear dissipates with every step he takes toward to the ring, we’re treated to a bouncy, murky instrumental which Steven uses to get on some entertainingly braggy shit on the next track – and one of the album’s best songs – “Boston to Bangkok”. In addition to bragging about his exploits around the world, he also mentions R. Kelly’s references to his now-exposed abusive relationships with teenage girls in his songs (Michael Jackson’s “You Are Not Alone” comes to mind) and even Ye’s (formerly known as Kanye West) controversial “White Lives Matter” T-shirt from last year (“Kanye talking reckless, Yes, y’all lives do matter / Especially in the trap, y’all lives do matter”).

Afterwards, we get a trifecta of tracks featuring the brothers three: Goosy, Nook and Boo. “Dancing Devils (Friend)” finds Goosy teaming up with Steven for a hi-hat-driven strip club anthem. And while that may seem out of place for an album already tackling social, metaphysical and spiritual themes, in a strange way, it works in terms of developing the Therapist’s character even further. On his verse, Goosy adopts this half-drunk, half-high, all-horny mindset as he hilariously tries to hook up with a random stripper (“I just want to be your FRIEND and not your MAN”, “I’m a cowboy, HOWDY HOWDY / You know I got that WOODY WOOD”). Steven’s verse, which I personally felt could’ve ran on a bit longer since Goosy takes up a majority of the track’s duration, is remarkably clever, as he switches from the therapist role to that of the client. But instead of an office, he’s clearly in this VIP room getting a lap dance, and while I won’t ruin how he ‘reacts’ to this moment, I will say his interpolation of the iconic hook for DJ DMD’s “25 Lighters” is a true album highlight!

Up next, we get “Hard” where Nook, Boo and Steven…. you guessed it….. go hard over a spacey, dramatic and altogether DOPE instrumental. The chemistry between the three are felt on this track, from the gruffly, catchy AF hook to Steven’s blunt, replay-worthy verse (I absolutely FUCK with his “All your base belong to us / I said it first……’96” bar at the end, by the way)!

The energy from the previous tracks tapers off on the song “Love (Beast Mob)”. Steven utilizes the track’s hypnotic, bass-heavy production to deliver a short but incredibly dense verse chock-full of nuggets of wisdom. Goosy’s verse starts off strong, but I felt the mastering on the auto-tuned second half needed a bit more refinement. The song itself concludes with Steven asking “Remember the flowers?” which I interpreted as both a motif and an indication of the next step of the Therapist’s growth on the album.

On the flip side of my criticism of “Avage Ayer Dantalion On Ca”, “Skeletor Stance”, the shortest track on the record, would’ve greatly benefited from a longer runtime. Unfortunately, its 1 ¼ minute duration isn’t enough for Steven’s rapidly-delivered thoughts and ideas to fully stick, even over its delightfully moody, slow-paced trap beat. But the next track, “Steven Bangs”, improves on the time-sensitive missteps of “Skeletor Stance” with a jazzy, woodwind-supported instrumental (undoubtedly one of the best beats on this album) and a much clearer theme. In this case, he shares his thoughts on the physical, mental and spiritual burdens brought about by urban violence and gang warfare. On the post-hook, he returns to the flower motif by stating “But remember the flowers, please do”).

And this leads to the final track “The Flower Truck” which, despite the album’s apocalyptic beginning, ends its proceedings on a surprisingly bright and optimistic note. For the final time, he incorporates the flower motif, but in this instance, he uses the image of a flower truck and its driver to help visualize his newfound purpose in life: bring some sort of positive change to the world. Yes, the world still sucks but that doesn’t mean he should add more hopelessness to it. And while he may not have multiple faces or lives, he has his own – in addition to his music which he can use to bring about that change. Silence is still a part of him, but in relation to the ills and contradictions around him, he now has a reason to use his voice to address them.

As a whole, “Unknown Therapist of Dantalion” is yet another solid record from Steven Gaines. Those knowledgeable of Steven’s previous work will acclimatize to the album’s lyrics, themes and overall aesthetic faster than first-time listeners. And though its messages may seem indiscernible even after a few listens, the album’s complex, multi-layered subject matter, consistently atmospheric production and concise runtime are sure to make subsequent listens more rewarding. If you’ve been rocking with Steven Gaines up to this point, or if you’re a fan of provocative abstract or underground hip hop, “Unknown Therapist of Dantalion” is well worth the listen.

OVERALL RATING: 8 out of 10

Now available on Bandcamp, Audiomack, Soundcloud, ReverbNation and YouTube

ALBUM REVIEW: SV – My Corrhiza

My introduction to the sounds of Boston producer and co-founder of St. Louis-based music label Jim’s Pool Room Sean ‘SV’ Veligor came in the form of his re-released 2015 beat tape “The Reminisce Beat Tape”. From there, I was exposed to his fellow musical collaborators: St. Louis rapper Gage who teamed up with SV on the superb, ambitious, sci-fi based “Moonbase: SVG” concept album trilogy, producer/rapper Capo who ‘co-starred’ in that trilogy, and singer-songwriter Antonia Marquee who blessed each of these albums with some truly gorgeous vocals and memorable hooks.  

Months after the conclusion of that trilogy with its third release “Escape from Moonbase” (my top favorite of the three and one of my favorite albums of 2021), SV dropped the delightfully laid-back single “Focus” which introduced me to St. Louis rapper Jia Davis.  And thanks to his newest record “My Corrhiza”, I was able to re-acquaint myself with SV and his abovementioned creative peers and acquaint myself with a few new shining stars in the music world.

The concept of this record is quite intriguing. According to the liner notes presented on its official Bandcamp page, “mycorrhiza are fungi that have a symbiotic relationship with the roots of plants. They are the intertwining veins that help plants and trees communicate with each other”. SV compares this symbiosis to the connection amongst humans via communication. “As a producer”, SV says, “you can only take your music so far without the energy, talent, skills and determination of other like-minded souls”. And simply put, that’s what “My Corrhiza” is about: a group of talented, like-minded singer-songwriters showcasing their craft over a series of musical backdrops, with SV playing the role of both creator and curator.  

With every listen I give this album, my mind kept returning to its cover: an original painting from SV’s late great uncle inherited by him from his late grandmother. Going back to SV’s role of creator, I can imagine him consciously inspired by it to do this album. The beats themselves – moody, breezy and oftentimes spacey – sound like sonic interpretations of the possible emotions drawn from that painting.  But I can also imagine his guest performers sub-consciously adapting those emotions, from pleasant and relaxed to melancholy and reflective, into their songs.

On the album opener and single “How Did It Feel”, European singer Ariana Celaeno delivers these haunting yet heavenly vocals as she queries from an old flame the reasoning behind his bitter departure from her life. The pain and regret she feels on this track are on full display and amplified by SV’s mix of tense, dramatic piano keys, airy synth passages and rudimentary, mid-tempo drum patterns. We then get the abovementioned “Focus” which I already covered. I will say it fits PERFECTLY in “My Corrhiza”, working as both a display of the harmonious collaborations between artists (in this case, Jia Davis and Antonia Marquee) and the ebb and flow of genres and moods throughout this album.

Up next is the single “Touch Ground”, the first of two solo tracks and six songs overall to feature singer/rapper Alyssa Jane, who is arguably THE standout performer on this record. On this track alone, she showcases her highly impressive singing and rapping skills, each in roughly half of the track’s admittedly short runtime (in retrospect, it would’ve benefited from another verse) whilst highlighting a sense of vulnerability and relatability that permeate throughout her output on “My Corrhiza”.

Speaking of vulnerability, we then get the collaborative single “Without You” which pairs Alyssa with Jim’s Pool Room’s resident wordsmith Capo. SV treats us to a spacey, nocturnal beat which both artists put to good use as they discuss their involvement, or lack thereof, in this fractured, complicated relationship. Alyssa finds Capo dishonest and emotionally cold towards her, which she expresses beautifully on the hook. And as expected, Capo is fed up of her emotional distance towards him, accusing her of acting out when it’s clear he’s the root of their misfortune. He also comes through with some of the album’s most memorable bars (“I don’t think you get it…. yes it’s quite unlikely / You’ve been tripping real bad, A-C-I-D / You don’t think I know you don’t fucking like me / Front row talking shit at Nick like Spike Lee”).

The following track, and one of the album’s best songs, “Looking Behind Me” pairs Alyssa with rapper Motionplus. And as a first-time listener to Motionplus, I was THOROUGHLY impressed by his songwriting and wordplay! Over SV’s downtempo, piano-driven instrumental, he touches on all-too-relatable themes of unfulfillment and regret in pursuing one’s passion, with Alyssa sharing her perspective on moving forward toward her dreams, even with the occasional urge to look back at her past failures and losses. And yes, he also drops some of the album’s most memorable bars (“Sometimes, I’m just speechless, I feel alone / Trying to touch these hearts through these words but I’m feeling stoned / Taking for granted, but it’s granite and it’s hard and cold / Almost 50 on this planet and I’m scarred and old”).

We then get some much-needed respite from the wears and tears of the last three tracks with two songs featuring Antonia Marquee. The first is “The Outsiders” which, on paper, is essentially a reunion of the primary cast of the “Moonbase” album trilogy. SV’s instrumental is an absolute earworm, with its sparkly keys and upbeat vibe throughout. And though the song’s prominent theme of reflection on one’s life path is a fairly serious one, Gage and Capo bring tons of wit and wisdom to their respective verses (Capo’s brutally honest word of wisdom in the middle of his verse is a true highlight) and Antonia’s hook is one of the album’s most catchy and memorable. And on the hazy, piano-led soundscape of “What Can I Do”, the first of her two solo tracks on the record, Antonia delivers an affectionate, well-composed and well-performed song centered on her failed attempts at getting a potential, emotionally reserved love interest to open up to her.

Part of me wonders if the title of the following track (“The Tree”) relates to the album cover. Probably not, but still, I wonder. Anyway, Gage gets his opportunity to rap alongside Alyssa Jane, and like “Without You”, we get another complex, relationship-on-the-rocks scenario. Here, Gage wants another shot at this broken relationship, but Alyssa makes it clear he has to work on himself first. Both artists get their moments to shine over SV’s downbeat, hi-hat driven production, from Gage’s impeccable flows to Alyssa’s startling high notes during the chorus.

Antonia Marquee gets another shot at love on the following track “Long Enough” which features this irresistibly smooth and sensual instrumental that you may easily find yourself getting lost into. The dramatic pianos on the beat were a nice touch, as it adds a sense of urgency towards the old friend / years-long love interest Antonia wants to get serious with in this song. And on the subject of urgency, the excellent “Dopeness Right There” finds Alyssa Jane, who absolutely SNAPS on SV’s moody banger of a beat (I love the melodramatic bit of soul music that opens the song and rhythmic vocalizing peppered throughout it), spitting bars like her life depended on it! And judging by the numerous shots fired at her haters and detractors, she approaches this song with the intent of proving them wrong and showing her worthiness of blessing the mic.

I find myself conflicted on the penultimate track “Slippin on Selzah”. While it’s easily the most upbeat song on the record with its feel-good bars from Capo and Gage centered on their favorite cocktails and drinks, the undeniably bouncy, G-funk-inspired beat designed for cruising down the street in your ’64 and the simplistic, catchy AF hook, it does feel thematically out of place compared to the emotional rollercoaster of tracks preceding it. But it does make for an odd yet surprisingly satisfactory pairing with the album closer “Chill n Vibe”, headlined by Alyssa Jane and featuring a fantastic solo from guest saxophonist Kevon Scott. If “Slippin on Selzah” is the fun, sunny song to listen to as you go about your day, “Chill n Vibe” is the laid-back, dusk-set song to listen to on your way home, thanks to SV’s hypnotic production and Alyssa’s stunning vocals.

Bookending the album are two bonus tracks: a mid-tempo, smooth jazz-based remix of electropop singer MNDR’s “Feed Me Diamonds” and a slow-paced, alternative R&B remix of indie pop duo Tegan and Sara’s “I Was a Fool”. Prior to hearing these remixes, I wasn’t familiar with the original versions or the artists who composed them. And while the songs themselves are great (especially the former, which I can see why it’s recognized as a LGBTQ anthem), I really appreciate how SV added his own sonic flavor to these songs. I could be wrong, but I suspect these remixes are older tracks from SV’s catalogue, given the near-decade span of time between the release of “My Corrhiza” and the releases of MNDR and Tegan and Sara’s hit singles. But it’s clear that they served as inspiration for this record, as they emphasize SV’s ear for beautiful female voices and his adulation for them through his instrumentation.

As a whole, “My Corrhiza” is a solid project from SV. The symbiosis between producer and artist is certainly felt here, thanks to SV’s versatile selection of beats and a mostly consistent series of lyrical mood setters. But ultimately, this album succeeds at shedding light on a number of talented singers and rappers (and producer, of course), all of whom are well-deserving of great attention. I do hope we get another compilation album from SV and the fine folks at Jim’s Pool Room in the near-future, but for now, if you’re looking for a nice blend of moody, chilled-out hip hop, R&B and pop, by all means, give this project a listen!

OVERALL RATING: 8 out of 10

FAV TRACKS: How Did It Feel, Focus, Without You, Looking Behind Me, The Outsiders, What Can I Do, The Tree, Dopeness Right There, Chill n Vibe

LEAST FAV TRACK: Slippin on Selzah

Now available on Bandcamp

BBB RADIO S03E01 – The Witcher: Blood Origin, Bleach: Thousand-Year Blood War (Part 1), Kaleidoscope, Moonage Daydream, Whitney Houston: I Wanna Dance with Somebody, Babylon, M3GAN

In the Season 3 premiere of BBB RADIO, Matthew and Ricardo review Netflix’s “The Witcher” prequel miniseries “Blood Origin”, the first part of the “Bleach” revival series “Thousand-Year Blood War”, the Netflix-released heist drama “Kaleidoscope”, the David Bowie-themed documentary “Moonage Daydream”, the musical biopic “Whitney Houston: I Wanna Dance with Somebody”, Damien Chazelle’s epic period comedy-drama “Babylon” and the sci-fi horror film “M3GAN”. 

LISTEN TO THE FULL EPISODE HERE