New Album Review

Memorrhage’s “Memorrhage” Album Review

ALBUM: “Memorrhage”


LABEL: Big Money Cybergrind

BEST TRACKS: “Memory Leak”, “Exit”, “Brain Wield”

FCC: Some tracks have explicit content.

The rage and passion in Memorrhage’s self-titled release still has its dirty, disastrous cybernetic probes stuck in my brain after listening to it three months ago. The Nü-Metal inspired sounds and highly electronic atmosphere the whole album exudes fits into a niche of metal music I never considered I needed for my ears. 

Memorrhage is just a side project done by prolific metal artist Gary Brents. He has been (and still is) a part of Cara Neir, Gonemage, and has been part of multiple other bands over the years. Brents experimented with a multitude of music genres to achieve the sound of Brents’ “tribute to growing up with nu-metal in the 90s/00s” (As stated on Memorrhage’s Bandcamp bio).

But enough about that. Let’s dive into the album.

“Memory Leak”

Each song on this album tells its own narrative. Each is in their own Sci-Fi cyber-hellscape. To start the album off, “Memory Leak” is telling us about a rogue videogame entity wreaking havoc in the digital world through a data leak. Bizarre, I know, but look (and listen of course) to these lyrics:

“It starts with a flicker and an itch

In my dreams and the corner of my eye

Then it’s all over my skin, it’s scalding

A million voices screaming

And I can’t make them stop

I can see the circuits breaking

It lost its mind to technicolor

Dreams of cloaking schemes”

Lyrics taken from “Memory Leak” by Memorrhage

Memorrhage’s horrid beauty forces itself through your ears and makes you understand the emotion and artistry of pain coming from this odd perspective. The brutal sounds drew me into this track at first and then diving into the strange world building in the lyricism made me go slack-jawed and wide eyed in appreciation of the thought and love poured into “Memory Leak”.


And that doesn’t change throughout the whole album. Each song is filled with love and raw emotion that drives further from your expectations at every turn. In “Exit” the pitter-patter, then builds to explosive vocal screams is so good at exciting me for the ‘boom’ I experience at the beginning of the song every time. Any time I want to feel an explosive force of energy course its way under my skin and into my nerves, I flip on this track and start jittering just at the start. 

“Brain Wield”

So… track eight of this album brings us to a particularly heavy variety of instrument and technical diversity compared to the other tracks on this album. “Brain Wield” is listed as the track with the most guest appearances with a total of nine different artists playing a role in the creation of this track.

From Mr. Rager, a DJ makin’ brain ripping record scratches, to a slew of metal vocals coming from Brent’s connections in the industry, “Brain Wield” seems to be the most technically advanced track and I believe it pays off in a big way. 

Memorrhage combines Nü-Metal, some glitch elements, and one of my favorite 90’s genres: turntablism. “Brain Wield” also has a few spoken narrative elements weaved in to help tell the story of this song too (you can read a synopsis of it on the Bandcamp page that is linked above).

All of these additions to this one track are wonderful tools to aid in storytelling and don’t inhibit listeners from obtaining the emotional wasteland this album continues to shove into our ears. 

The Other “Scraps”:

This isn’t to say the other tracks on this album are lame or don’t have the same pull the previous three do, but the magnetism of the aforementioned tracks are so great that I don’t have enough time and space to dive into what makes each song in this album so sickeningly pleasing to me. 

I’ll instead give quick one-liner description for a few tracks:

Reek” is just that: an offensive odor that doesn’t leave your nose but still leaves you addicted to it.

Finesse” includes high pitched electronic bleeps and heart stopping pauses leaving my adrenaline coming to jolting starts and stops.

Utility” has the classic Nü-Metal choruses mixed with hard record scratches and alluring space opera ballad content.


This whole album is a unique take on the Nü-Metal genre and I think it does a great job of improving and inventing new sounds within the genre that might’ve inhibited it from reaching greater renown in the past. The glitch-techno aspects of this album are huge draws to me as it feels like a ginormous Sci-Fi adventure in a gorier version of a “Blade Runner” type universe (but far more interesting, sorry Philip K. Dick). 

Memorrhage’s opening album holds great promise to inspire old and new artists alike to return to old, worn-out genres of metal that could use some new sounds and approaches. I am excited to see where Gary Brents takes this project and to see the impact it might have on future sounds in metal.


Dipping Toes into Raleigh’s Local Scenes

Hello all! I am Ben/ DJ chef. I have done some writing for WKNC’s blog before, but these next few months I am going to be doing something different than my usual variety of articles.

Once a week I will be focusing on an aspect of Raleigh or the surrounding Triangle area’s local artists, bands, and venues. I will be exploring what makes these performances or places a unique staple to this section of the Carolinas.


Last summer I had tons of fun writing a silly article about some of Raleigh’s parks, and since then I wanted to do similar articles by exploring the Triangle’s music scene via its venues, sounds, and smells (of food of course).

I have some specific spaces in mind that I want to get to know better and to share my experience at a few of Raleigh’s staple music venues, like The Pour House, which has been one of my favorite spots to take friends and go see smaller shows in a low-key environment. I witnessed a wonderful country and americana performance by Joshua Hedley and Lauren Morrow. Also, I had my ears shredded to a fine liquid by one of the loudest performances I’ve had the pleasure of being present at with AUGURS at The Pour House in May. 

A few venues I plan to experience in full over the next few weeks are Slims, a little bar and very tight space for the best intimate crowd experiences; Local 506, a Chapel Hill spot that many hardcore (HC) bands perform at; The Pinhook, a Durham venue that I’ve been to once and really enjoyed – it reminded me The Pour House; and of course I will do my best to visit more places I haven’t heard of yet too.

Record Companies:

Another aspect of this series I want to dive into are the local record companies based in the Triangle area. I will see and experience the investments people are making in music that are right here in this area. For example, Sorry State Records is based right here in Raleigh and I’d love to pick up on the pulse of music they encourage, and what kind of sounds they want to blossom.

Local Music:

Of course I want to continue unfolding my love for HC bands around here too because this section of North Carolina has great potential for an even larger audience for these bands and artists. I believe we already have a great foothold in this genre with bands like Fading Signal, Super Reg, and Corrosion of Conformity

But don’t worry, I won’t be focusing solely on HC and metal, but I’ll return to my roots and spread my enjoyment of local artists with some country twang, bubbly pop, or even smooth jazzy styles. 

I really want to show how much Raleigh’s music scene has to offer those who want to explore it. This city and the entire Triangle area is full of a wide variety of folks that help keep the multitude of flavors swirling and shifting to new directions. Hopefully y’all want to adventure forth into this music scene with me.

Concert Review Festival Coverage

Hopscotch ’22 and Cosmic Jazz

Only a few other performances at Hopscotch ‘22 blew me away like the Perfume Genius set, and they were Seun Kuti & Egypt 80 and Makaya McCraven’s cosmic, explosive jazz performances. 

Seun Kuti & Egypt 80

The Friday night of Seun Kuti & Egypt 80’s set had the perfect taste and feeling of a crispy cool Fall beginning, looking back, it was probably due to the rain coming the next day. Their show was an hour before Perfume Genius went on, so I had plenty of time to enjoy my fill of Seun Kuti. 

As I sat with a cheap, soggy, broccoli pizza in my lap at Moore Square, Kuti & Egypt 80 started their show. The first trumpet blast could have knocked me backwards. It shot out of Kuti’s lips, bewitching the crowd into movement. Soon everyone and the stage were swaying in the night breeze as Seun Kuti played “Theory of Goat and Yam”.

I feel as if I lost the next 30 minutes of my life through a magical time warp this band created with their music. Stars were twinkling to drum beats, and even the moon was smiling down on all of us as we experienced some of the most special music I’ve heard in my life. It eventually inspired me to write a short poem before I got up to join the swaying masses in front of the stage:

The band on stage

waved to the moon.

As it smiles downward,

reflecting warmth of the sun

they made


poem by the author.

Then, as their set continued Seun Kuti & Egypt 80 kept layering magnificent tracks and solos on top of each other. They played “African Soldier” and “You Can Run”, which were lovely to experience, especially with Kuti’s vibrant blank and red attire. He jumped and we jumped. He swayed and we swayed. Kuti and the band moved the crowd effortlessly, which created a sense of endless joy.

After Seun Kuti & Egypt 80’s performance I was certain I would never see anything comparable to that experience again, but I was very wrong. 

Makaya McCraven

On Saturday, it rained all day. I went through two shirts, shorts and shoes, but the weather didn’t go nearly far enough to stop me from attending most events that day. Makaya McCraven’s set was set up the same way Seun Kuti’s was, it was an hour before headliner, Kim Gordon. 

With a rain soaked field I did not plop in the grass for this performance. I stood and grooved along with a surprisingly large crowd for the weather. From the stage to the sound booth it was lined with jazz and “cultural synthesizer” (as Makaya McCraven calls his music) fans. 

Instead of an opening trumpet blast, I was rocked into a rhythmic wonderland by drum beats. McCraven is a “drummer, producer & beat scientist” as stated by his website, so it only makes sense that he opens with undulating beat patterns and crisp drums. 

I went into McCraven’s performance without knowing a thing and it still had a profound effect on me. With a medley of instruments and McCraven’s drums on fire constantly it was hard for me to split mid set and watch Kim Gordon’s set.

By some miracle or the beautiful beat gods smiling down on me, I caught the last two songs of McCraven’s set after Kim Gordon had finished. They had played for about an hour and a half straight all while having a large crowd and Kim Gordon’s show going concurrently. 

The energy the entire band put into this performance was heartwarming. They shot forth fumbling chaotic noise and made another impression of live music I won’t forget. 

Off on Your Voyage

Both Seun Kuti & Egypt 80 and Makaya McCraven’s shows made Hopscotch extremely memorable for me. I want to experience live music like theirs everytime I see a show now, but I know it won’t happen.

Being able to freely give love through that sound must mean these two groups have reached a cosmic understanding with the universe I can only hope to achieve.

Festival Coverage

Triumphant Hopscotch ’22 Performances

Last week’s Hopscotch 2022 had some big names in indie music, and their performances were electric. Perfume Genius gave us his heart, Kim Gordon shredded my ear drums, Dawn Richard got me groovin’ in new ways and Black Country, New Road had epic sounds exuding from every one of their members. 

Instead of elaborating on any music festival set up or random whatnot, I will jump right into the artist and bands’ performances:

Perfume Genius:

With lots of personal bias, I have to say Perfume Genius’ set was my favorite one I saw at Hopscotch this year. Mike Hadreas slowly and softly destroyed the stage with his magnetic vocals and stage presence. 

Mike Hadreas with arms extended and a a taught microphone cord between them.
Hadreas slings his mic cord across the stage. Photo by Doris Enochs.

Opening with “Your Body Changes Everything”, he immediately captivated the audience not only with smooth, hard hitting beats, but also with his suave, baby-blue, tailored suit and white button down. He constantly switched between old tracks and some of his new, popular releases. 

Hadreas’ rendition of “Jason” and “Normal Song” were melancholic and angelic as his voice drifted down and graced us all. For “Normal Song”, he shooed everyone off stage except Meg Duffy (Hand Habits) who played a saintly guitar and accompanied Hadreas’ with their own backup vocals.

Mike Hadreas bent over with his faced scrunched up belting his songs into a mic.
Hadreas giving an emotional performance. Photo by Doris Enochs.

To finish off the night, Mike Hadreas brought out a light, silky white sheet and played a few of his newer tracks from “Ugly Season”. His sheet was a mask and tool of pure beauty as it covered his face and floated in the air, almost reverberating from the sheer power of the performance.

I have never seen an artist efficiently play some of their best music on stage in my life. There weren’t any hiccups or pauses throughout the show, and Hadreas wore a brilliant blazing smile the entire time. If I could continuously relive that entire performance, I would. 

Black Country, New Road:

I was scared of the Black Country, New Road set. I didn’t know how good the band was going to feel on stage after their initial lead singer left, but my fears were almost immediately dispelled. 

Every single member of this band brought some sort of key talent that helped make the whole band shine like stars. May Kershaw (keys and vocals), Tyler Hyde (bass and vocals), and Charlie Wayne (drums) were outstanding. These members specifically stole the show for me. 

Kershaw’s keys and vocal mixture brought an antsy and dramatic flow to the band’s sound that was beautiful and unique. Wayne’s drums were attacked relentlessly, which brought forth an epic beat. And, Hyde’s bass was the background glue that held everyone together perfectly. 

One of my favorite moments during their performance was when Kershaw had a long solo performance, which is still too elegant for me to put into words appropriately. Her soft piano opening led into focused, serene vocals and a chaotic, triumphant closing act with the entire band joining in. 

Dawn Richard:

Dawn Richard in neon yellow clutching the mic stand and singing.
Dawn Richard with backup dancer in the background giving an earth shaking performance. Photo by Doris Enochs.

As you might be able to tell from the above photo, Dawn Richard’s stage presence was unmatched. With her incredible backup vocalists and dancers, she mesmerized the crowd by merely stepping on stage. 

Richard performed a few of her hit songs like “Bussifame” and “Nostalgia”, but her true power came in getting the crowd (including me) to start grooving and warming up to the music. Preceding her set, I noticed a majority of concert goers had locked hips and knees for most sets. Many people only bobbed their heads a teensy bit. 

Then, Dawn Richard took the stage and began to set the night on fire with some delicious vocals, bars and beats. The neon suits and flashing lights were like eye candy, and her funk-inspired, bass-bumping tunes eventually got the crowd all sorts groovin’.

I’d like to think her set was the heat that made Perfume Genius’ set really explode into a wealth of success, so thank you Dawn Richard for that. 

Kim Gordon: 

Kim Gordon’s performance physically rocked my head and made my eardrums ring for hours after she had finished. Unfortunately, going into her performance I had not sampled enough of her work, and I really wish I had done so. 

Gordon’s raspy, sometimes scratchy vocals were intoxicating. Her jumpy and stalky motions used on stage sometimes made for a wonderfully terrifying sight. Honestly, the horrifying sounds and glitchy art she brought to Hopscotch was a sight to behold. 

A lot of those words might make the performance seem unsavory, but I had a blast watching her make her art. Her musical beauty comes from the discord she delivers us. 

Last Ticket:

If you ever have the opportunity to see any of these wonderful people live, I highly recommend doing so. All of their performances had a wonderful uniqueness that made each artist more loved and cherished. 

Of course, I wish I could have gone back in time and appropriately learned all the words for all of these artists’ songs (besides Perfume Genius because I got them on lock already), but I can’t. It doesn’t mean I was unable to enjoy their sets. I thought all of them were perfect for who the artist or band is.

Concert Preview

A Peek at the Hopscotch Menu

Hello and welcome to a preview of my coverage of Hopscotch 2022. The Hopscotch schedule is live on the website and I will be doing my best to watch as many artists as I can this year.

Most of my focus will be on artists and bands that I have covered here in the past like Perfume Genius and Yaya Bey.

Performances To Look Out For:

Some new artists, well new to me, that I am excited to see are Courtney Barnett, Seun Kuti & Egypt 80, MJ Lenderman and Black Haus

Courtney Barnett is an Australian indie rocker who just released a new album, “Things Take Time, Take Time”. She is headlining Thursday night and her calm style reminds me of Big Thief, so it should be a fun time.

Next is Seun Kuti & Egypt 80, a Nigerian band with a focus on the afrobeat and jazz genre. They released an album a few years ago called “Night Dreamer”, which they did all in one take. I’ve only listened to a few songs of theirs so far, but I am itching to see them live. They will blow everyone away with their performance on Friday.

Another promising performance is MJ Lenderman’s, the guitarist of Wednesday, and he has released a solo album this year that has gotten much acclaim, “Boat Songs”. Our very own Eilee reviewed this album a few months ago. Be sure to check it out if you’re interested in seeing him play on Thursday or Friday night. 

The last band I am pumped to witness is Black Haus. This Greensboro, NC band mixes electric indie beats and grooves with wavy and beautiful vocals. I expect Black Haus to get the crowd on their feet and grooving on Saturday at the Pour House. 

Of course I won’t be limiting myself to the above artists, but with so many artists playing I won’t be able to see them all. I hope to find new passion for bands and artists I have yet to listen to.

Also, if you don’t have the money to attend the festival itself be sure to check out Hopscotch Day parties happening all around Raleigh.

Classic Album Review

Biting into “Orange” by Fishmans

A fresh citrus fruit has an addicting taste, not unlike the sound of Fishmans’ lead singer in their album “Orange.” Fishmans uses the keyboard among Shinji Sato’s vocals, bass and guitar to create a beautiful dreamy reggae sound that brings in the clouds to block the oppressive sunlight of reality.

Their fourth studio album, “Orange”, is my favorite to return to. It has all of the reggae sounds like steel drums and beats that I love, which is combined with Shinji Sato’s iconic vocals. “Orange” was released in 1994 under Media Remoras.

For Fishmans, they had much trouble with the comings and goings of band members, producers and record companies. On the album, Shinji Sato does the vocals and plays acoustic guitar with Yuzuru Kashiwabara (bass, chorus), Kin-Ichi Motegi (drums, percussion, chorus) and Hakase-Sun (keyboards, chorus). A guest electric guitarist, Sugar Yoshinaga, also appears in various tracks throughout the album. 

Peeling Open “Orange”

“Kibun” basically starts off the album, and it does so with a pop, reggae and electric fervor. The vocal repetitions bring constant joy to my ears. Shinji’s voice and lyrics are elegant as they bounce up and down smooth as butter. 

In “My Life”, simple lyricism brings simple and pure joy. Fishmans creates a pop tune that exudes exuberance. The keyboard steps us into life and beauty with the beginning of the track and sweeps us into a journey filled with the sound of people living.

“My Life” music video by Fishmans. YouTube video posted by ponycanyon.

As one of my favorite songs of all time, “Melody” stands out on this album. It jumps right into the action of music and all the joy it brings. Epic percussion backs up an electric guitar that shreds perfect little rhythms. 

The track flows and pierces me quickly. I’d be surprised to hear from anyone that this song didn’t even make them tap their toes to the beat. 

A slower track on a fast paced album tends to stand out or drift into the background. I think “Kaerimichi” found its place by blending in the rushed and jumpy first half of “Orange” with the other dreamier half of the album. 

One Last Bite

After diving back into this album to write about it, I already cannot stop myself from listening to it again and again. Fishmans’ sound is intoxicating to my ears. If the last song I ever got to listen to in my life was a Fishmans track, my ears and soul could be at rest with that. 

“Orange” is so fresh even at 28 years of age. If you’ve never taken the time to listen to Fishmans at all, or if you’ve only listened to their later albums, I cannot encourage you enough to peel open “Orange” and taste its addictive sweetness.

Classic Album Review

A Lil’ Love for Broadcast’s “Work and Non Work”

If you’re looking for a compilation of tunes to mix with the rain, then Broadcast’s “Work and Non Work” is the perfect selection for you. Released on June 9, 1997 under Warp Records, this is the first LP Broadcast released in their career.

Broadcast is made up of Trish Keenan, the vocalist, Roj Stevens, the keyboardist, James Cargill, the bassist, Tim Felton, the guitarist and Steve Perkins, the drummer. Keenan passed away in 2011, but Broadcast’s numerous recordings are still being released posthumously. 

To Work or Not to Work

To start out, “The Book Lovers” teleports you into a dusty and musty infinite row of books. Covers and spines all cracked and dry from years without love and attention. Keenan’s wispy vocals fade in and out above the perfect synthesis of strings and keys that escalate into a comforting presence.

As a book lover myself, this track is one of my all time favorites. I love the ethereal and calm presence it exudes into my ears. When the song feels just about over, the beat returns to take us away into the night and ends the song perfectly. 

In “Living Room”, Stevens’ keys mix again with the guitar of Cargill, which creates electric trills of beauty. Before we even approach Keenan’s beautiful vocals in this track, the instrumentals all take over the beginning section.

I find this track to be almost danceable and relaxing enough to be perfect for a rainy evening. 

The last song I want to explore is “We’ve Got Time”. This spacey and timeless track is infused with the essence of a UFO. It flies around and around bringing mystery and sleek beauty to the indietronica genre.

Keenan’s vocals are especially lovely, and make the dreamy tunes spring to life through hope, futurism and wonder. 

Fading out of the Job

This entire compilation is wonderful. The tracks I didn’t mention above deserve the same amount of love. There really isn’t anything on the LP that I won’t be able to enjoy.

For me, Broadcast is a band that constantly blows me away with their techniques and synchronicity with each other. 

I can tell the whole band loved music and exploring the depths of their emotions together, and it is really unfortunate that Keenan has already passed away. I am just happy that we get to explore Broadcast’s music at all.


Dive into “The Life Aquatic with Steve Zissou”

Exploring the seas terrifies me. The endless blue waves that roll and span out into infinity leave too much space on the horizon. And underneath all that water, are an unknown quantity of mysterious and dangerous creatures coming in the strangest shapes and sizes. Maybe some of that fear is why Wes Anderson’s “The Life Aquatic with Steve Zissou” is such an appealing film to me.

“The Life Aquatic” is Wes Anderson’s fourth feature-length release. Bill Murray is the lead actor, and Owen Wilson and Cate Blanchett are two of the numerous supporting actors in this film.

Also in this movie is Seu Jorge, a Brazilian artist, who covers popular David Bowie songs throughout the film. His acoustic covers are homely and create a beautiful soundtrack for key moments in the film. 

Free Dive into “The Life Aquatic” with Chef

To start out, this movie is a classically designed Wes Anderson film, so pastel colors and a strong sense of symmetry are evident in each frame of the film. Anderson’s directorial style is so perfect for the script and story that take place. 

Take a look at this scene that describes the boat Steve Zissou and his crew live on:

Another great aspect of this movie is the use of puppets and CGI. The fictional sea creatures that Zissou and his team meet and encounter are gorgeous and colorful. In the opening scenes of the film there is a beautiful rainbow colored seahorse that encapsulates the audience’s attention and imagination. 

In terms of characters and character development, Steve Zissou and crew all become better people by the end of the movie. Zissou is a manipulative, womanizing control freak, but his softer sides prove that he deserves and can actually feel love. 

My singular favorite artistic contribution to “The Life Aquatic” are Seu Jorge’s covers. He translates and rewrites David Bowie covers like “Life On Mars?”, “Oh You Pretty Things” and “Ziggy Stardust”.

The tracks are all acoustic and create a beautiful ambiance on the screen (and off the screen if you listen to the tracks at home). Here’s a look at some clips of Jorge himself playing in a few scenes:

Surfacing Thoughts

I love this film. Everything from the music to the cinematography creates a beautiful, perfect planet where everyone loves nature and respects it. Maybe that’s one of the takeaways from this film, but I also love the characters. 

For being an a**hole, Zissou really does love people in his own way. It’s nice to see how terrible people can be and understand that even they need some type of love in their life.

Classic Album Review

MF Doom’s King Geedorah Takes over the Musical Universe

MF DOOM is the epitome of lyrical legend, genius and bard extraordinaire. His side projects differ little from his wacky bars that fall under his most well known moniker, and “Take Me To Your Leader” is the best album of DOOM’s if you need to fill a science fiction fix. 

This album takes many of its samples from kaiju (large monsters like Godzilla and King Ghidorah) films. Many of the samples originate from the American remakes and English dialogue kaiju films. 

The voice lines are corny and fit his beats perfectly. Loud screams from a woman in distress match up perfectly with our supervillain’s most powerful bars to date. 

Contact with the Kaiju

Not only does this album have hard hitting lines, but the sweet melodies of softer R&B styled beats emanate from tracks like “I Wonder”. 

In this track DOOM (King Geedorah) is backed up by Hassan Chop and it explores all the missed moments and mistakes both rappers have made. It’s a bit melancholy for a DOOM track, especially on a wacky album such as this. 

In “Krazy World” it’s another slow burning song without DOOM as the main featured artist. The artist on vocals is credited as Gigan, which is a cyborg kaiju from space.

The verses in this track zoom through space at light speed. Before you know it the song is over and you’ve experienced 5 minutes of music in what feels like 30 seconds. 

Lockjaw” is the shortest track on the album with a run time of 1 minute and 3 seconds. I like this track for its lyrical content. I love how DOOM (and Trunks in this track) are able to master these insane rhyme schemes to create blistering verses and gorgeous melodies. 

Here’s a few lines from “Lockjaw” as an example:

“Then I form blazing sword and cut your mic cords

And kill them garbage rhymes only your friends get hyped for

Blitz your whole team, them n—– need to come clean

So I give ’em an acid wash like old school Levi jeans”

Quoted from MF DOOM and Trunks’ lyricism on “Lockjaw”.

The rapper, Trunks, is credited with the lyrics and vocals on this song and 16 lines in a flash. The couplet slant rhyme scheme makes up the entire track and provides a sense of instability and rush to the track. 

I cannot talk about this album without mentioning one of my favorite featured MF DOOM artists of all time, Mr. Fantastik. In “Anti-Matter” DOOM and Fantastik rhyme off one another in a call and response type song. 

The calls of Ghidorah are sampled in the background, and Fantastik’s warm, deep voice steeps my ears in a nice bath of fresh bars. DOOM and Fantastik have a wonderful synchronization in this track, and their ability to vibe with each other is heartwarming because of their rhythmic connections. 

Sending You Back into Space

MF DOOM’s deep knowledge of kaiju films and musical understanding in this entire album is so interesting to me. Taking and reusing art to create more art is gorgeous, and I love the way DOOM is able to take and give back so much love to the world through his art. 

People could write literary theses about DOOM’s lyricism in context with the 80’s and 90’s cultures. Also, the impact MF DOOM has had on the world’s music culture is next level.

For a guy that made beautiful beats in an under the radar way, he influenced millions of artists to become better musicians and cultural connoisseurs.

Classic Album Review

All Dogs Disappear after “Kicking Every Day”

Kicking Every Day” was one of the first vinyl purchases I made, and it was met with some weird looks and comments by my friends. Six years later, I don’t regret my decision to buy this album. No, it’s not the perfect indie rock album, but the charm it imprinted on me is more important than its musical significance. 

All Dogs is an Ohio band formed in 2012 who have not lasted long in the laborious music industry. After releasing “Kicking Every Day”, the band has not released a single track since then.

Their Twitter page hasn’t had any activity for 5 years, so I am assuming they’ve faded and dispersed on their own paths unfortunately. 

The band’s vocalist, Maryn Jones, initially formed the band with bassist, Amanda Bartley. The duo self-released a split with another local Ohio band, slouch.

A few more years passed and the band added two more members, Jesse Withers, a drummer, and Nick Harris, another guitarist, to the lineup. All this background info is provided by this small biography on Allmusic.

With their fourth member added, the band began to record “Kicking Every Day” on Salinas Records out of Detroit, MI, and they released the album August 28, 2015. 

Tracks and Thoughts

Thankfully, All Dogs gets right to business with “Black Hole” being the first track of the album. I am sure if I didn’t enjoy this song, I wouldn’t enjoy this album as much as I do.

“Black Hole” grinds and winds us into oblivion and the perspective of this band. It roots our thoughts for the rest of the album to Jones’ vocals and Withers’ quiet explosions on the drums. 

Another stand out track on this release is “That Kind of Girl”. It has the most classically rooted guitar riffs and pop-punk sound on the album.

By being short and sweet, this song gets to the core of the band’s talent, which are their vocals and guitar. No extra time is spent on unnecessary rhythms and intros. 

Beautiful blooming buds take time and warmth to capture the eyes of artists. In “The Garden” Jones’ lower-quality vocals combine with scratchy acoustic guitar to create somber beauty in a dew-y paradise. This song has a slow burning beauty that I find to be encapsulating. 

Concluding Musings

I can’t chop up the rest of this album to filler because some songs reach out differently to people that have unique perspectives compared to my own. 

I find much of the rest of this album repetitive in terms of sound and content. “Skin” and “How Long” aren’t the most stand out tracks, yet they still have the band’s core sound flowing through them. 

Overall, All Dogs don’t stand out compared to Pavement, Modest Mouse or any other seminal indie classic, but their strong roots and sounds make them enjoyable even if they don’t sit in the center of attention.