Categories
Band/Artist Profile

Artist of the Week: Saweetie

Now, I know what you are thinking… this isn’t metal. BUT I appreciate all types of music and Saweetie is one of my favorite rappers at the moment. Born as Diamanté Harper on July 2, 1993, from San Francisco, CA. She has a Filipino-Chinese mother and an African-American father. Growing up, Saweetie had connections to artists because of her father and family friends, but she decided to put in the hard work and start from the bottom when working on her music career.

She got her name Saweetie from her grandmother on her father’s side. That is what her grandmother called her and it stuck with her. What I really admire about Saweetie is that she went to San Diego State University and then transferred to the University of Southern California where she studied communications and business. She went to college because she wanted to move down to LA to help kickstart her music career. I think education is really important and I admire her work ethic to juggle school, a couple of jobs, and a music career. She wears tons of hats and as soon as she got a record deal with Warner Bros. Records, she paid off her student debt. I respect that although she wanted to make it big, she went to school. That is something that my family has driven into me throughout my life.

She started posting short raps on her Instagram account in 2016 and the rap that got popular was Icy Grl, where she used the beat of Khia’s My Neck, My Back. She then released a couple of singles and then released her first album in 2018 called High Maintenance. She has also dropped a remix of Icy Grl with Kehlani, has a song with Rich The Kid and G-Eazy called Up Now, and also a song with Kid Ink and Lil Wayne called YUSO. Saweetie just released her EP in March of 2019 called ICY. The most popular song off that record is My Type, which Saweetie raps over the beat of Freek-A-Leek by Pete Pablo.

I think Saweetie is a Queen. Watching her work hard and follow her dreams inspires me to work hard as well. Saweetie should be a role model for women to hustle, be confident, work hard, and own it.

ANTI is the first freestyle of Saweetie that I heard and Icy Grl is by far one of my favorite songs by her.

Have you listened to Saweetie?

Stay Metal,

THE SAW

Categories
Music News and Interviews

The Local Beat: Dogwood Lung

Dogwood Lung is in the studio with DJ Beowvlf! Tune in to hear a live set in addition to some of the band’s other tracks and get an idea of their production process.

The Local Beat: Dogwood Lung

Categories
New Album Review

Album Review: Coach Phillips – Never Is Enough

Best Songs: Chastity Jeans, Lake Michigan Dream, Tailspins, Delta

FCC Violations: Conversation With Pietro

This Seattle-based rock band is everything you’d find in an indie stereotype. From the flannel and the sound, this group seems to tally up the score pertaining to meeting the conventional image of indie rock. That’s not to say the band is bad. Actually, they are quite good.

The backing vocals and guitar tracks help deter me from leaving the Coach Phillips train due to the Pacific Northwest appeal and there’s definitely some stuff on Never Is Enough to hold my attention and keep me satisfied. The male/female vocals and instrumentation are well executed BUT side A is like listening to one dreary song for about 20 minutes. It kind of makes me think they are staying in one key because it seems like the vocal melodies stay in the same progression. But hey, who am I though? I don’t know the first thing about singing and even my shower voice makes my cat meow aggressively while throwing his paw through the curtain in an attempt to save me from whatever is attacking me. (This is not a joke)

Okay, let’s get on to some good stuff. Chastity Jeans is a fun one. I’m not quite sure if it’s an ode to a special girl or not, but the song sounds a lot happier than the rest of side A. It has some sliding riffs, a singalong pre-chorus, and chorus, along with a harmonica section which is tastefully done.

Lake Michigan Dream has an awesome bass track and some surprising guitar licks that sneak up on you. The lyrics “Let’s move back to Michigan/Stay by the lake and “I really want to jump back in/and try not to sink” has haunting appeal, especially with the melodies by Wade Phillips and Jessica Kim. There’s a lot to grasp in terms of cool sections in this one.

Summer In Seattle, the intro track to side B has some peculiar riffs and above the average rhythm section. It’s an instrumental lasting only 1:32 but transitions nicely into the next song Tailspins which has a beachy vibe to it while still incorporating the sound of the band. The guitar parts have a neoclassical feel to them, sliding up and down the neck. I can these two songs are my favorite section of Never Is Enough.

This is the first album that has come my way in a while that I’m happy to put in my library. Minus the contemporary Seattle stereotype, I can’t wait to give this another listen and let it sink in.

-Justin

Categories
New Album Review

Album Review: Palehound – Black Friday

Best Songs: Aaron, Black Friday, Worthy, Killer, Urban Drip

FCC Violations: Bullshit, Stick N Poke

There are some tasty tracks to behold on this laidback release but also some overreaching breaks in the record that seem a bit forced. Fronted by Ellen Kempner, Palehound takes a self-displeasure approach with songs that seem to highlight the singer’s personal experiences with topics like body issues, past relationships, and loss.

Hailing from Boston, this is Palehound’s third release and from my understanding, it covers some of the same topics from prior albums and encompasses a similar sound, if not the same. Interestingly, the band started off as a solo project by Kempner and was not intended to leave the confines of her home, but it quickly transitioned into the live-stage space. This group is talented and you can definitely vibe easily to the songs across the discography. After all, Palehound won the Boston Music Award’s new artist of the year in 2015 during its infancy.

I can definitely see the appeal to Black Friday’s opening track Company, but I can’t quite get on board with it. It’s…what do the kids say today…cringy? Yeah, just a little bit but the instrumentation is pretty awesome. I’m not really a fan of the narration style of it and it deterred me at first until the riffs came in, which made it listenable. The instruments help in the transition to the next song so I can’t really be that mad at it overall.

The next track Aaron was pretty awesome. It reminded me of old Brand New and definitely brought back those 2005 high school memories. The mix of strumming and picking, along with the vocal harmonies blend perfectly together. It’s really just an excellent piece of rock n’ roll and incorporates a garage-type sound.

Kempner does a fantastic job of executing choruses and you start to realize that when the self-titled track Black Friday comes in early on the album. They consistently pull the listener in with a sense of airiness and spacious sounds. There is a purpose to them and they flow with intention but without intrusion.

If not for the abrupt breaks of experimentation involving spoken word poetry, I would be totally on board. I don’t want to seem like I’m hating and I understand that I come across that way but if I get a feeling of awkwardness from an album, it’s going to leave a bad taste in my mouth. With that being said, it’s hard for me to refrain from listing off all the good songs off this record because the number is bountiful.

Definitely, give Black Friday a listen. Though the second half of the album takes a backseat to the first, it has a lot to work with for the avid rock enthusiast. The band has a romantic intrigue about them and as far as I can tell, is very consistent in its endeavors.

-Justin

Categories
DJ Highlights

I’m here to jam, dude.

I have been in the metal scene pretty much my entire life. My parents are metalheads, my brothers and cousins were in metal bands growing up, and when I turned 16, I started going to shows with my friends. Metal music is something that will always be there for me and I will always love going to shows. I am often asked if, as a female, I have had negative experiences at shows. There have been some instances that are frustrating. These unpleasant interactions do not happen at every show, but I do think it is something that I should share with all of you.

When I attend shows, I am there to jam. I want to sing along to my favorite songs, mosh, dance and headbang. I do not want to be questioned about what I am wearing, who I am there with, and I am especially not at a show to be interrogated by some concert-goers to see if I fit their standards of a “true” metalhead.

Here are a few of the encounters I have been a part of, which puzzle and perplex:

“Are you here with your boyfriend?” 

Here are the only two conclusions I can draw based on this statement: Either, this is the best line that he can come up with, or he really thinks that I wouldn’t be here to enjoy the music and the bands on my own.

A club owner talking to a promoter about me, “Are you going to tap that?” 

Oh, where to begin?! First, why would you think that this is an acceptable question while I am standing right there?! Is this some form of passive aggression? Was he projecting? Secondly, it’s not professional. It’s rude, ignorant, and it’s chauvinistic. And finally, the promoter’s response was just as obnoxious, “Not yet.” For me, while there may be people who are impressed with these titles and positions, I am not.  Where I come from, this calls for an ass whoopin’!

“Ladies, don’t wear shorts to a metal show.”  

I went to a death metal show, and my friend was the only girl to crowd surf. After the song, the singer of the band commented on what she was wearing. The guitarists concurred with “Thanks for the show.” One: You will not tell me (or anyone) what we can and cannot wear. Period. Two: I am here to watch you perform, shut up and play. For these particular individuals, when I turn the crank, you dance, monkey!

“What do I get out of this?” 

This is called “Quid Pro Quo,” and it’s Latin for something for something. I wanted to interview a band, and this was their band manager/merch guy’s response.

Groping 

Do I really need to say something about this? This is like a crime of opportunity. Because I’m there, you think it’s okay? Why the objectivity? Is there some kind of sick pleasure? At a show one time, a girl tried to get in front of me (because I was at the barricade). When she couldn’t move me, she enlisted her boyfriend to make me uncomfortable. So, I headbutted him. Why is it okay for your boyfriend to treat a woman like this?

“Are you a groupie?”

This is an (over) generalization. I go to shows to enjoy the music, the performance, and the community, etc. While there are groupies, it doesn’t necessarily follow that all women at shows are groupies (or someone’s girlfriend).

Metal Trivia 

What I mean is, some think that I should have to answer basic questions to prove that I like metal (and not just wearing the merch as some kind of fashion statement). Because someone doesn’t share your opinion on a band, song, or singer, etc., it doesn’t make that one any less of a metalhead. The real question being asked is, “Why are you here?”

Again, more often than not, I have a great time at shows. I love seeing/meeting the bands, making new friends, hanging with old friends, and just having a good time. Although there have been some undesirable moments, it does not reflect on the metal experience for me. I will continue to go to shows and jam.

Stay Metal,

THE SAW

Categories
DJ Highlights

My Top 3 Fav Robb Bank$ Songs

If you know me you know I love Robb Bank$. His clever anime references, his unbeatable flow, and his South Florida twang just create the perfect sounds. He has gone from a Tumblr boy to being signed by Rich Gang and he has stayed true to himself and his authenticity the whole time. From Mollyworld to C2 Death of My Teenage, Shaggy’s son has really become an underground superstar. However great I think Robb Bank$ is, many people still sleep on him so without further adieu, I am going to list the top three best Robb Bank$ that you should give a listen (in no particular order).

(1) I Need a 2nd on Mollyworld is definitely an all time fav. It’s just so smooth and provides such an easy listen. The lyrics are both comical and clever and they entice you to vibe with the music whether you know the song or not. Also, the end of the song features an audio clip beginning to explain why Griffith (Robb Bank$ alter ego and main character from the anime Berserk) did nothing wrong which is so cool to me.

(2) Below (ft. Austin Paul). This song is simply amazing. It mixes Austin Pau;’s smooth indie sound with Robb Bank$’s chill almost melodic twang. The song sounds very different from a lot of things I’ve ever heard before and transports you into a whole other dimension when blasting it in your car (In a good way).

(3) Pressure. This song is one of my favorites simply because of how he integrates anime references and remains sounding so hard. At the end of the first verse he raps; “Inside Sasuke, the outside Naruto… chakra flow Orochimaru, Hiraikotsu with the karma, who the f*** want it with Madara.” Though this may sound like a whole other language to some, if you watch Naruto you’ll be able to note that this is one of the hardest lines ever.

Disclaimer: These songs require parental advisory. Sorry kids :/

Lul Bulma

Categories
Weekly Charts

Chainsaw Charts 6/28

# Artist Record Label
1 CARNIFEX “No Light Shall Save Us” [Single] Nuclear Blast
2 UPON A BURNING BODY Southern Hostility Seek & Strike
3 TERAMAZE Are We Soldiers Mascot
4 BRAND OF SACRIFICE “Fortress” [Single] Unique Leader
5 SHADOW OF INTENT “Barren and Breathless Macrocosm” [Single] Self-Released
6 DEAR DESOLATE “Beg and Plead” [Single] Self-Released
7 UNDER SUBSIDENCE Endings Self-Released
8 BURY TOMORROW Black Flame Sony
9 DESPYRE Rise Up Pavement
10 SEEKING SOLACE Seeking Solace Self-Released

Categories
Weekly Charts

Afterhours Charts 6/27

image

# Artist Record Label

1 HURLEE Beating For You [EP] Apparel
2 KEDR LIVANSKIY Your Need 2MR
3 CHANNEL TRES Channel Tres [EP] GODMODE
4 A BEACON SCHOOL Cola Grind Select/House Arrest
5 DEVATA DAUN Pye Luis [EP] Pytch
6 TORO Y MOI Outer Peace Carpark
7 KAYTRANADA Nothin Like U/Chances [EP] RCA
8 DORIAN CONCEPT The Nature Of Imitation Brainfeeder
9 18 CARAT AFFAIR Spent Passions 2 Self-Released
10 SAMPS, THE Breakfast Gloriette

Categories
Miscellaneous

Hip Hop Influence in Fashion

It’s fashion month and for the first time ever, streetwear is dominating the runways. Even age-old brands like Louis Vuitton have come out with cargo pants and two-piece sets. Simultaneously, Hip-Hop has reigned supreme in the American and global music industries. 

The top charts are no longer a place for Taylor’s Swift’s latest and greatest and even country music has turned urban. Is this all just a coincidence? I think not. Because of  the global society that we live in, when Hip-Hop became prevalent in American pop culture in the 2010s, it became prevalent everywhere.

Drake was the first to really kick off this phenomenon. When his album Nothing Was the Same came out in 2013, even the most suburban kids were blasting it in their cars. Following his claim to fame, more urban artist began to get a taste of his same limelight. Artist like, Migos, DJ Khaled, and Kendrick Lamar began to repeatedly make number one hits and from there, it was history.

With Hip-Hop came the culture. Baggy pants, oversized tees, and pockets started trending not to shortly after. Creative director of the luxury brand Moschino, Jeremy Scott, has even sported grills at a public fashion event.

So essentially, Hip-Hop has taken over. But how long will this trend last? I am urged to go on about trends come and go in pop culture so the influence won’t last too long. However, Hip-Hop is not only a global trend, but it has furthermore begun to dominate in two of the worlds most important and influential industries.  So who knows, maybe Hip-Hop will reign supreme indefinitely, only time will tell.

Lul Bulma

Categories
Classic Album Review

ALBUM REVIEW: FLIPPER- Album- Generic Flipper

ALBUM REVIEW: FLIPPER- Album- Generic Flipper

BEST TRACKS: Ever, Life is Cheap, Sex Bomb

It was on a 1983 Bay Area public access television performance that Flipper’s Will Shatter told his increasingly frustrated interviewer that Flipper wasn’t a punk band.  Now, this could simply be relegated to the band being characteristically difficult; after all, they had spent the last hour in their shaved heads and ratty jeans screaming through a comically overdriven bass.  They may have not literally been the Ramones, but sonically and rhetorically, Flipper fit well within the emerging West-Coast scene among Bay Area contemporaries like the Dead Kennedys or the Units and LA bands like X, Germs, and Black Flag.  But Shatter’s prescription can’t fully be dismissed as a punk insistence on outsiderdom. Flipper was different. The core of punk rock insisted on a visceral release of frustration, a direct line from a performing band to its audience and, on a larger scale, the entire surrounding society they were so disillusioned with.  With an insistence on such caustic expulsions, simplicity is required. Any ornamentation would impede the central thesis behind the music’s very insistence, and therefore, punk’s simplicity is indirect. Flipper, however, made this simplicity the main tenant of their musical philosophy. Rather than a necessity placed to prevent collapse under the weight of anger, they distilled and subverted music itself into their own warped, inflamed expression.  Flipper wasn’t a punk band, it was a deconstruction band.

Flipper was born out of 1979’s San Francisco to parents Ricky Williams, Ted Falconi, Steve DePace and Will Shatter. Falconi, a Vietnam vet, distinguished himself as a guitar player through his insanely distorted, mid-heavy, disgustingly compressed tone while Shatter’s bass was almost equally as overdriven while relishing in the uncomfortably trebly territory.  Williams was replaced by Bruce Loose before the band could record anything, and both Loose and Shatter switched between bass and vocal duties. After releasing a handful of singles (most notably Sex Bomb, an eight-minute sludge of Shatter screaming “She’s my sexy bomb, yeah” over and over) Flipper came out with their debut full length, Generic Flipper, on San Fran’s Subterranean Records in 1982.  It was slow; it was sardonic; it was annoying. Today, it remains Flipper’s most recognizable and fully representative work, melding Black Sabbath’s distorted doom into the Sex Pistol’s irreverence and debauchery. Caught in between the two distinct phases of punk which respectively emphasized excess and self-discipline, Flipper existed as a band without a country. The band took no issue with excessive drug use (Shatter died in 1987 of a heroin overdose), yet didn’t romanticize their self-destruction.   They were a crusty group playing crusty music that made even the crustiest fans squeamish and irritable.

In a time where punk was getting faster, angrier, more confrontational, Flipper insisted on slowing down and laughing at the crushing weight of the world rather than trying to move it by force.  In Generic Flipper’s opening track, “Ever”, Bruce Loose belts out mind-numbingly basic, yet frighteningly resigned lyrics such as “Ever live a life that’s real/Full of zest, but no appeal, Ever want to cry so much/ You want to die”.  The bass and guitar are both distorted to oblivion, melting into one syrupy entity and trudging the song along at a tempo that is frustratingly slow.  Do-wop claps are placed behind the horribly mixed drum kit, all culminating in a song mocking every single person who has ever expressed any sort of happiness at any point in their lives.  And the rest of the album continues in this exact same vein. Shatter and Loose take turns being obnoxiously sarcastic, yet it’s hard to believe that the defeat that they so adamantly preach isn’t at least a partially lived-experience. “Life is Cheap” begins with a doom metal riff played with Falconi’s ridiculously cheap sounding tone, and the drums (which sound like they were recorded by a teenager in a laundry room) begin about 15 seconds in to lock the 4-minute long song in a seemingly unending groove.  And Sex Bomb makes another appearance. The eight-minute fart of a song features Shatter screaming at the top of his lungs while his typical sludge infested backing is supplemented by a saxophone of all things. It’s as if Flipper dressed up like the Rolling Stones only to pull down their pants and shit directly on the stage.

By the early 80s, punk was getting faster, angrier, more macho, obsessed with self-discipline and abrasively bettering the world.  But Flipper was decidedly not that. As the Black Flag’s sped up to explore the capabilities of what punk could mean, Flipper insisted on slowing it down, making it increasingly unpleasant and wholly nihilistic.  They were hated and probably rightfully so. However, whether intentional or not, Flipper was responsible for generations of noise and sludge expressions which defined American post-punk alternativism. Generic Flipper was a brutally simple collection of noise paired with often juvenile pessimism. It can kind of be looked at like the piece of modern art that’s just a white canvas.  You could have done it, but you didn’t.

-Cliff Jenkins