Flow State

The Manipulation EP finds itself caught in between heavy influences of hip-hop, while finding balance of new age music with 40s and 50s jazz, lounge, swing and blues. Not every note is pretty, but hopefully the listener will come to appreciate the difference between, "Pretty" and, "Beautiful" as the album progresses. 

LOrange.bandcamp.com

No Friend of Mine

my sea, my weakness

JingleJangle

Though built thousands of years apart, the Great Pyramid of Giza in Egypt, Machu Picchu in Peru, the Moai heads of Easter Island, and several other ancient sites are all in alignment.  The song “Apex” looks into this mysterious connection.

Words by Toki Wright
Music by Big Cats
Flute by Nelson Devereaux 
Keys and cello by Eric Mayson
Mixed by Eric Blomquist at River Rock Studios
Recorded by Spencer Wirth-Davis

www.tokiwrightandbigcats.com
twitter.com/mrwrighttc
twitter.com/bigcatsbeats
facebook.com/tokiwright
facebook.com/bigcatsbeats

Apex

This is about a year and a half old. Just a random jam made when Donnie was at the crib. We originally named it North Korea because of some news headline at the time. Played it for a ton of A-list and underground artists and they all loved it but everyone kept telling us to put it out as an instrumental because they loved it as is. It is the first single off of a new Blended Babies instrumental album thats finished that we are releasing in 2015. Due to recent headlines we felt the world needed this. Fuck censorship of any kind. Freedom of expression is essential to keeping our culture and society honest. Let the audience decide whats worth watching and listening to. #TEAMAMERICA

North Korea Feat. Donnie Trumpet

Taken from the Majouré Album 

Buy: http://smarturl.it/ParraForCuvaMajoure



Itunes 

Devi (feat. Nieve)

from the Banglatown EP, available now.

Direct: http://passalacqua.bandcamp.com
iTunes: apple.co/1IInIc1
Spotify: spoti.fi/1aZIaHx

shouts to http://soundcloud.com/hip-hop for the love.
https://soundcloud.com/hip-hop/passalacqua-at-the-party

produced by https://soundcloud.com/thesoundsofdrb

At The Party

THANK YOU ALL FOR 1,000 FOLLOWERS. FUCKING... RESPECT! BEYOND EXCITED. 

Flamingosis wanted to remaster one of our favorite tracks together. I <3 him. #BCFAEAEAEAE. 

To my new listeners & crowmies... This is something Flami & I did like a year ago. To my day ones & oldies.. I promise I got yall with new shit soon... Either way, enjoy what I have out now & be on the peep for my next mixtape or single drop... #DrugConnoisseur

Oh.. & you know.. show your mom this song.. & other people.. thanks.

Syrup (Prod. Flamingosis) [REMASTERED] - DeadCrow

Produced by J.Arthur
Bass by Matthew Skillz
Guitar by Cooper Thomas
--
Mixed/Mastered by Chris "Classick" Innumerable
Additional Mixing by Epidemic
Classick Studios - Chicago, IL
--
Art Direction & Design by Dan Kanvis
Photography by Jassieuo

 Buy

Watch My Feet

the golden flock-01

#newmusicalert #44 #88 #22 #77 #33 #NEWMUSICALERT #44 #38 #28 #8 #44 #88 #22 #77 #33

Blended Babies - Leaky Faucet

SoulChef - Instrumentals After Dark Available Now:
Spotify: http://goo.gl/LvoLod
iTunes: http://goo.gl/7PpLfk


Voyage

Emiljo A.C. - Summer 19

No one confronts the abyss better than Chris Orrick. The Michigan ex-factory worker formerly known as Red Pill has spent the last half-decade documenting industrial decay, familial pain, and struggles with addiction better than almost anyone inhabiting this poisoned soil. It’s somewhere between Charles Bukowski and Michael Moore, or maybe Atmosphere if he couldn’t ignore the arsenic in the air. 

As Orrick tells it, “Portraits,” his latest album for Mello Music Group is a return to form. 

“I tried to strip everything down to what I think I'm best at: simple, concise portraits of who I am,” Orrick says. “Whether that be finding myself through self-portraits, portraits of everyday workers, portraits of the current political moment or portraits of myself told through the eyes of people I encounter daily.” 

From the corroded arteries of the blue-collar heartland, Orrick emerges as one of the most incisive and savage critics of Trump’s America. If the American dream is dead, he unflinchingly lays the blame on avaricious corporations, crude demagogues, and structural racism. There’s nothing polemical about it: just warm-hearted, sad-eyed, gin-flooded depictions of a life where there are few right answers but a litany of wrong ones. 

The Michigan native is an acerbic poet, but too unpretentious and sarcastic to ever call himself that. In his love letter to his long-time girlfriend (“Lazy Buddies”), Orrick fantasizes about the pair decamping to a town an hour outside of Paris, where they can blissfully split a bottle of cheap wine. Then he mocks himself for being a little corny. But that’s part of its charm—through his ruthless honesty, we can see ourselves as we actually are—prone to idle delusions, indolence, and self-obsessed. 

“Portraits can often be overlooked, but there are so many details in the face that tell innumerable stories about what the person portrayed might have been feeling or going through,” Orrick continues. “I'm trying to find those details, within myself and within America today." 

On “Anywhere Instead,” he grouses about how most days he doesn’t want to leave his bed until noon, staring at his phone, wishing for imminent death. It’s a nothing matters, gallows humor that anoints him a laureate of existential dread. He captures the terror of the void, the ambiguity of not knowing where or when your next direct deposit will hit. He’s wise enough to understand how little he understands, allergic to cheap irony or forced symbolism. As he points out on stories, “not every story has a meaning, not every moment has a reason, sometimes you just let the music play and tell you what to say.” 

It’s obvious how loudly the music speaks to Orrick, who is rarely short of opinions or serrated observation. The somber piano-based melancholy and rugged drums of “Portraits” thump via a gifted arsenal of producers including Nolan the Ninja, L’Orange, Exile, Apollo Brown, and Onra. Only two guest rappers appear, Fashawn and Orrick’s partner in Ugly Heroes, Verbal Kent. Orrick carries the rest of the weight and you sense the Atlas burden he shoulders. 

But for the all the poignant complaints, there’s a soulful profundity at the core of the album. It goes further than stress over bills, nicotine and liquor compulsions, and a search for deeper revelation. If you can hear a song like “Mom” without slightly crumbling, you might be iron-born. It’s a eulogy for Orrick’s late mother, dead at 45 without seeing her children grow up, without the opportunity to take pride in her son’s ability to realize his dream—however flawed it can occasionally seem. It’s here where you sense the power of these Portraits. They capture the pain that too many of us feel, that manifests itself in so many distinct ways. For a little while, we understand the raw f&cked up complexity of what it means to be a human being in a lunatic world. The portrait is personal, but it’s all of us too. 
credits

Blended Babies - Leaky Faucet

Blended Babies

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