We, alongside special guests Tracy Hutchings and Julien Neaves, celebrate the 10th anniversary of the brilliant MCU feature “Captain America: The Winter Soldier”, and review the Ville Ventures short web film “Michelle: The Fall”, the Netflix sci-fi series “3 Body Problem”, the found footage horror film “Late Night with the Devil” and the Netflix biopic “Shirley” starring Regina King and Trinidad’s own Michael Cherrie.
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For our special “double feature” celebration of hip hop producer extraordinaire Madlib’s revered collaborative albums, Matthew and special guest Micwise do track-by-track reviews of the Madvillain (Madlib & MF DOOM) record “Madvillainy” and the MadGibbs (Madlib & Freddie Gibbs) record “Piñata”.
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After our much-needed Carnival break, we return to the mic with our discussions on the movie and TV trailers that dropped during and after Super Bowl Sunday, producer/rapper Lil Jon’s first meditation album “Total Meditation”, the Oscar-nominated comedy-drama “American Fiction”, the subversive Biblical comedy-drama “The Book of Clarence” and the highly-anticipated musical biopic “Bob Marley: One Love”, in addition to celebrating the 25th anniversary of the satirical comedy “Office Space”.
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For the first rock / metal review in the history of my Fiverr gig (FINALLY!!), I’ll be sharing my thoughts on “Be My Bloody Valentine”, the debut EP from Newcastle upon Tyne gothic rock / metal band Flowers for Juno. Released on…..you guessed it…..Valentine’s Day, this project is the brainchild of band members Benjó James (vocalist) and Jack Wilson (musician).
The EP’s cover and promotional artwork for its singles “Physical Culture” and “It’s Not My Fault” involve these old portrait photos of female models with a hot pink gradient applied to them. Like the decrepit building at the center of many gothic horror stories, these photos are reminders of the past, a simpler time when relationships weren’t as complex and complicated as they usually are now. And this distinct colour gradient represents Flowers for Juno’s warped, cynical and intriguingly fatalistic perspective on love that is the literal beating heart of this project.
On the subject of gothic horror and decrepit buildings, you can picture Flowers for Juno performing their three songs (yes, I know this is a six-track EP, but more on that in a bit) within the interior of an archaic – haunted, if you will – mansion or castle. There is a ‘performance’ element to this EP, as after the intro “Dead Air” which starts with 23 seconds of…. you guessed it….DEAD AIR and concludes with a Greenwich Time Signal, we’re treated to what sounds like an underground radio broadcast of a Valentine’s Day-themed performance from the band hosted by an unnamed MC.
The band’s ‘set’ begins with the first single “Physical Culture” and I love how the song builds for a few seconds near the end of the MC’s introduction and EXPLODES with a barrage of thunderous guitars and tense synths! Utilizing some creepy vocal inflections and genuinely dark lyrics, Benjó James effectively sets the tone and themes of the EP. He states that our human desire for love and affection will inevitably lead to our demise, citing the current heartbreak he’s experiencing and inability to move on as a major example (“Broken trust fills endless graves / Deep buried by the pain”). The only solution he can come up with is to run away from that innate desire and live out the rest of his days in loneliness guised as emotional safety. And yet he seeks the meaning behind the breakup he’s pining over or at least a confirmation that some sort of reconciliation is possible, as emphasized on the song’s catchy hook.
The past and the present coalesce on the following song “Can’t Help Falling in Love” which, if you know your ballads, is exactly what you think it is. Over a moody instrumental driven by spacey, 80s retro synths, Benjó sings a brief cover of the timeless Elvis Presley song. The minor scale he uses for his vocal delivery and the slight distortion added to his voice add to the already-creepy vibe of the song. In a remarkably cynical way, this cover shows how the sentiment of that song back when it was recorded in 1961 – and to an extent, the EXCELLENT UB40 cover back in 1993 – is practically non-existent in this strange world Flowers for Juno inhabit. A part of me wishes the song could’ve continued on for a bit longer, incorporating the chorus and third verse, but I do admire how crystal clear its sardonic message is throughout its short runtime.
Segueing beautifully from “Can’t Help Falling in Love” is the second single “It’s Not My Fault”, whose soaring opening synth lead and cinematic-sounding combination of guitars and drums create this sense of hope beaming into the life of Benjó at this point on the record. On this track, the desire for love he condemned earlier is enveloping him in this warm light and though he fears the fleeting nature of this sensation, he wants to stay in that light – and in the care of this new romantic partner of his – a bit longer. The only complaint I have about this track is the filter added to Benjó’s vocals on the hook which make them sound a bit indiscernible over the rousing production. But as the EP’s most heartfelt and optimistic song, “It’s Not My Fault” ABSOLUTELY WORKS!
And just when you think everything’s going to be okay for our lovelorn anti-hero, we get the last two tracks “Have you ever seen a human heart? It looks like a fist, wrapped in blood!” and “Physical Culture (Palazzo’s Monstrosity Coil Remix)”. After the MC closes off Flowers for Juno’s performance at the end of “It’s Not My Fault”, the penultimate track begins with this soothing, almost heavenly instrumental which blankets the same dead air sound effect from the EP’s intro. Here, the band makes a radical switch from gothic rock to experimental and ambient music, beginning with this track’s surreal production and continuing with a repeated couplet, delivered in a forward-reverse-forward manner that should sound familiar to those who remember the classic TV series “Twin Peaks” (if not, look up the “Red Room”). It’s certainly a weird change of pace on the record and one that I imagine will polarize some listeners. But thanks to its purposefully morbid title, I came out of this track with two interpretations. The first is Benjó finally letting go of the past and embracing his desire to be with his new partner. However, there’s a blink-and-you-miss-it sound effect near the end of the track that reveals a dark and DEEPLY unsettling layer hiding in plain sight! And while I won’t reveal what that sound effect is (you’ll just have to vibe out to this track until you hear it), I will say – and this is my second interpretation – that this newfound love, or the lack given or received, leads to Benjó’s downfall on the record.
And this leads to the closing track “Physical Culture (Palazzo’s Monstrosity Coil Remix)” which not only hints at the FATE of Benjó’s character but returns to the EP’s thematic merging of past and present elements. Guest producer Palazzo’s Monstrosity Coil delivers the polar opposite of the ethereal production of “Have you ever seen a human heart? It looks like a fist, wrapped in blood!”, with a bleak, sparse and incredibly unnerving soundscape. Through some masterful mixing, we hear the echoed vocals of “Physical Culture” faintly in the distance, constantly overpowered by the rumbling distortion of Palazzo’s Monstrosity Coil’s instrumental. The ambiguity of this track is BRILLIANT as many interpretations can be pulled from it. Two came to my mind: Benjó is finally in the place where those who gave themselves completely into love, desire and lust ultimately find themselves (call it hell or purgatory) or his desire to be loved has now become a faint memory, a relic of the past, now immortalized in the recording of a Flowers for Juno performance played on an underground radio station every Valentine’s Day.
Despite the few flaws I mentioned, I really enjoyed this EP! In addition to being a highly entertaining showcase of the multi-talented Flowers for Juno, it presents themes and concepts that I imagine will be explored even further in their future discography. For one, I would love to see that radio show/station concept expanded upon as it was such a great foundation for this EP to build itself from. And even though Valentine’s Day 2024 has already ended, that doesn’t mean you can’t dive into this record when the need for dark, twisted musical examinations of love and heartbreak arises. In short, open your heart – literally and/or figuratively – to “Be My Bloody Valentine”.
OVERALL RATING: 7 out of 10
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For the third Super Bowl Sunday Special (recorded, ironically, a week before the actual Super Bowl Sunday event), Matthew, Ricardo and special guests Ashton Menzies and Tracy Hutchings pay tribute to the late, great Carl Weathers, discuss the Netflix doc “The Greatest Night in Pop”, adult animated series “Hazbin Hotel”, action-comedy-drama series “Mr. & Mrs. Smith”, action comedy “Argylle” and Netflix-released animated film “Orion and the Dark”, in addition to celebrating the 10th anniversary of the 2014 animated comedy “The Lego Movie”.
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For my first album review of 2024, I’ll be covering my first album listen of 2024: the newest record from Canadian rap duo Dookie Bros – “Happy Dook Year”! For those who forgot the first two paragraphs of my “Merry Shitmas” review from last December, Dookie Bros consists of rapper/producer/boom-bap torchbearer Shy The BeatYoda and fellow rapper Franchise.
Last year, they dropped three solid (Get it? Dropped…..solid) EPs in the forms of “Manure Music Vols. 1 & 2” and “Merry Shitmas”, the latter of which not only made it to my Top 10 bracket of BEST ALBUMS OF 2023 but stands as a shining example of Christmas-themed rap music done right! And like “Merry Shitmas”, “Happy Dook Year” is a 21-minute record with production handled entirely by Shy, no guest features and its thematic focus centered on a particular occasion. In this case, it’s about….well…..starting off the new year right. As we all should know, it’s always beneficial to go into the new year with some sort of hope, faith and optimism, even if you don’t have a clear idea of everything you’ll be doing in the new year or you’re still hung up on the losses you dealt with the year before.
And that’s the exact vibe Dookie Bros brings to the table, resulting in a project that sounds and feels more mature and focused in tone compared to “Merry Shitmas”. Now that the Christmas season is over and Mariah Carey is cryogenically frozen until November 1st, a new year has started and it’s time for the Dookie Bros to execute their game plan. Franchise and Shy sound so hungry and laser-focused on this album that even their penchant for raunchy humour is dialed back a considerable bit.
From the opening track “The Dream Team’, Dookie Bros sound determined to establish their names as one of hip hop’s greatest duos. Interestingly, it uses a snippet from an old WWF promo for the tag team The Dream Team – and as a professional wrestling fan myself, I did appreciate that bit of schooling into the awesomeness that was Greg Valentine and Brutus Beefcake. Periodically on the record, we hear snippets of WWF promos with wrestlers either doing hyped-up tough-talk or expressing how fired up they are for starting a new year in their legendary careers. The instrumental for “The Dream Team” features an 80s-inspired electric guitar solo laced with leisured drums, which altogether sounds like a boom-bap reinterpretation of a classic wrestling entrance theme. Shy comes through with some solid punchlines, most of which include pop culture references (points for that “Moonraker” bar, by the way) and Franchise compliments him with an exceptionally written and performed verse.
The heat turns up on the following track “The Real Dookie”. Just to touch on that title for a bit, its hook, like “The Dream Team”, involves a short succession of DJ cuts, but the Notorious B.I.G. sample used in it was always one of those things I never noticed on that specific song (I’m not going to say which one) until hearing it on this track! But anyway, over an upbeat, punchy mix of piano keys and drums, Franchise and Shy SPAZZ THE SHIT OUT, each delivering a VERSE OF THE YEAR CONTENDER!! Yes, you read it first!
Both the vocal chops added to the opening of “Flush ‘Em Down” and the hook provided by Franchise are sure to please many Public Enemy fans as this song cleverly interpolates the 1991 classic “Shut ‘Em Down” – which, in case you didn’t know, has one of the GREATEST Pete Rock remixes attached to it (If you haven’t listened to it, please do. You might need a neck brace after listening to it, however. Don’t say I didn’t warn you)! In this case, Dookie Bros share their heightened frustration over the depths some rappers would stoop to to get their music noticed and appreciated, particularly by adopting a rugged, gun-toting and drug-dealing persona. On his verse in particular, Shy warns these funk-fakers to not approach him at all, whether on wax or in real life.
Sonically, the next track “Dope Shit” is sure to please fans of coke rap, specifically the Daringer-produced songs regularly released from Griselda Records, thanks to its menacing piano chords, clinking percussion in the back of the mix that sounds like a certain something is being mixed in a jar with a spoon (if you know, you know) and a cleverly-chosen Westside Gunn vocal sample. Thankfully, Dookie Bros are self-aware enough NOT to do an actual coke rap song, since they already called out certain rappers for copying and pasting that drug-dealing lifestyle into their rhymes. As the title suggests, they’re simply informing the listener that their lyrics alone are DOPE. However, they’re just as addictive as actual dope because once you hear their 16’s, you’ll most likely come out of this song wishing you got a third verse!
Up next, we get “The Missile Launcher II”, the official sequel to a track that appeared on their debut record “When the Shit Hits The Fan”. Vocally and instrumentally, both tracks exhibit a grimy, Demigodz-esque, lyrical beatdown vibe. Surprisingly enough, this sequel plays like a literal reflection of its predecessor, where Franchise spits his verse first, ta vocal chop is used that’s similar but not the exact one used in the previous “Missile Launcher”, and Shy raps over the mellower instrumental (this is a two-beat song, by the way) while Franchise gets the aggressive one to do his thing. Both songs are fire, but in the case of “The Missile Launcher II”, this feels like a solid entry in what could be a “Missile Launcher” series spanning future Dookie Bros albums.
The album winds down with its lead single “I Luh This Shit” (not luv, mind you…. LUH!) where Dookie Bros express their love for hip hop over a smooth boom-bap instrumental. On his verse, Franchise draws inspiration from classic “I Love hip hop” songs like “I Used to Love H.E.R.” and “Act Too (The Love of my Life)” as he uses a woman he’s attracted to as a metaphor to describe the passion he feels for rap music. Shy takes a more personal approach to this topic by mentioning the sacrifices he’s made for his rap career and how he has no plans on throwing in the towel anytime soon. In short, “I Luh This Shit” is anthemic, inspirational and tailor-made for true hip hop fans like myself!
And with the closing track “The Greatest Story Ever Told”, Dookie Bros deliver what is in my opinion the best SONG on this album and one of their best songs PERIOD! There’s a sense of gracefulness and beauty to Shy’s beat, with its sentimental piano chords and laid-back drums. But it’s the sentiment of the song that stands out the most. Here, Franchise and Shy close their album off strongly with some truly heartfelt bars centered on their continued steps towards rap immortality, writing their own story as they trod on this chosen path of theirs.
Overall, “Happy Dook Year” is yet another solid entry into the already-impressive discography of Dookie Bros! Shy and Franchise’s hunger and drive are palpable throughout this album’s 7-track duration, heightened further by their razor-sharp wordplay and emotionally-driven instrumentals. For me, they certainly kicked off this year on a strong note and here’s hoping theirs is filled with great accomplishments and tons and tons of dookie!
OVERALL RATING: 8 out of 10
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