Listening to “Counterfeit” by Fordmastiff is like peering into a dull throbbing memory of incandescent lights, cold city pavement, and merry crowds, and it wound up being one of my favorite albums of last year.
Fordmastiff is a Brazilian artist who seems to be one in an emerging scene of cassette tape based producers coming out of Brazil. This first release of theirs is a strange lo-fi concoction that is far too swirly and hazy to be techno or house, but too thump-y and danceable to be 100% ambient.
The production style on “Counterfeit” is interesting. It sounds grainy and lo-fi, but it doesn’t sacrifice anything to achieve this effect. Each and every moment of this album still sounds full and lively, and the soundscape is incredibly rich.
Perhaps this is Fordmastiff’s cassette tape style shining through. What really makes “Counterfeit” stand out though, is its sense of place.
This is a rare instance of abstract music coming through clearly and tangibly. We often hear ambient music as a set of ideas that can only be objectively described using a musical language; “the piece has this duration,” or “this section has this timbre,” and so on.
We can try to relate it to other abstract concepts, perhaps a mood or a color, but when we start to relate it to the concrete, we are forced to turn to our individual experiences to shape our conclusions.
What got me thinking about Fordmastiff’s vision on this album was an article from Daryl Worthington of “The Quietus” detailing his favorite cassette tape releases of the year. He spells out nearly the exact same conclusion that I had; which was that “Counterfeit” is about trying grasp at strands of memory. Maybe this is just a coincidence. However, I prefer to see this as evidence of Fordmastiff’s ability to gently guide the listener to exactly what he wants us to experience.
I experienced this album while walking under the moon and the sharp city lights. The timing was perfect. I was travelling somewhere, but I was enjoying myself so much just walking around that I took a couple of detours to finish the album. I was transported to another place. It was incredible.
Overall, I give Fordmastiff’s “Counterfeit” a strong ★★★★☆. Great album.
Phoneboy is a three piece indie pop band from New Jersey.
Their discography is toe tapping and inescapably danceable. High energy and radiantly positive, this band provide a youthful optimism to the music world.
With much enthusiasm, Phoneboy is currently on tour and is coming to North Carolina on Tuesday Mar. 28 at Cat’s Cradle Back Room. Tickets are currently being sold for $18. For more show information and tickets, you can visit the Cat’s Cradle website.
Brief History and Successes
Emerging in 2018, this band was an instant internet success. In an interview with The Stute Magazine, band member Ricky Dana recalls the release day of their first single “Acid Girl”,
“I remember looking at my Instagram stories and seeing the whole thing was the color of pink and red because everyone was posting it. It was crazy. Friends from home, people from our fraternity. If we didn’t have that support, it wouldn’t have gone anywhere or gotten that exposure at all,”
“Acid Girl” single cover art by Phoneboy
From their immediate success, they have continued to gain traction. Their 2021 self-titled album “Phoneboy” greatly contributed to their momentum.
Tracks “1987”, “Hey, Kid!” and “Nevermind (feat. Justin Magnaye)” are just three of the many popular songs off the release. It is easy to hear why Phoneboy is such an immediate success– from one listen there is an instant feeling of positivity.
Phoneboy makes music that sounds like candy. It is sweet, stark and begs for another listen. This is especially apparent in track “1987”, it’s incredibly wholesome and bright. From backing guitar, drums and lyrics, this song effortlessly evokes a feeling of a happy summer day.
The positive energy heard throughout their discography will undoubtedly seep onto the stage.
Latest Releases
In their latest singles, “Ferrari” and “Runaway”, they hold onto a childlike, careless energy.
“‘Ferrari’ represents the lack of responsibility we had when we were teenagers, and how much we took that freedom for granted. We hope any kids that are transitioning into adulthood and feel like they’re drowning can listen to this track and feel a little bit less alone.”
In many ways this theme of childhood and freedom connects their entire discography. To be in the moment without impeding responsibilities.
“Ferrari” Music Video by Phoneboy
Although much of their discography has genuine themes and deeper meanings– It’s clear they don’t take themselves too seriously and they have a good time making their music.
They make music to evoke a good time away from the stress and screens of daily life, and they succeed in this goal without any bells or whistles.
“Runaway” Music Video by Phoneboy
This carefree energy is very clear in their newest music videos and cover art. I’m excited to see how the personalities seen in the videos and heard in the music translate to a live stage.
Concluding Thoughts
It goes without saying the Phoneboy concert will have fun, positive energy.
The core purpose of their music is to encourage the listener to be in the moment and live a little more carefree– I am excited to see and hear how they promote this purpose on stage.
Regardless, it will be a great event to get away from attention hording phones and dance the night away. See you at the show.
“Oh, I only listen to real music. You wouldn’t get it. I’m so individualistic and nobody else shares my taste in music.”
At all points in history has there been some form of elitism in music. Often, it is fueled by racism, classism, and other forms of discrimination, especially by the dominant forces in the music industry. However, there has also been a counter-elitism among people who listen to less mainstream artists for the past few decades that has seemed to become more prevalent since the 2000s.
Since I’m centering this discussion around music in the US, which is predominantly English-speaking, I will refrain from discussing music in other languages. It’s cool to see latin music and K-pop becoming popular in the English-speaking US over the past decade, however.
Racism in the Music Industry
Black artists have consistently been the ones to bring innovations to music in the US, from rock to hip-hop to jazz. Even pop music (considering pop as a genre) has its foundations in music created and innovated on by Black artists. As a result, Black artists are often somewhat overrepresented on music charts, and rightfully so.
Famous jazz musician Charles Mingus. Photo Courtesy of Tom Marcello, under Creative Commons.
From 2012 to 2020, they represented 38% of all artists on the Billboard top 200. However, they are consistently overlooked for awards like the Grammys, receiving only 26.7% of nominations over the same period. Much of this discrimination comes from the overwhelming lack of people of color as executives in the music industry: only 4.2% are Black.
Additionally, many of the most notable “snubs” in the Grammys over the past decade or so have been against Black artists. Despite now having the most Grammy wins of any artist, Beyoncé has only one win in the Big Four categories. So, why do programs like the Grammys continue to be so popular, even though discrimination continues to be so prevalent?
I believe there are two predominant reasons: hope for better and ignorance of these issues in the first place. There are many people who likely hold onto the hope that this year will be the year that the music industry reverses course on its racist tendencies. I think there are even more who don’t notice these issues at all–or don’t care–since they aren’t affected.
How Music Bros Shape the Conversation
However, this lack of representation extends beyond institutional practices. Fans of independent music online tend to be white, financially comfortable men. Some of these listeners tend to obsess over classical music, especially the music that has overwhlemingly shaped the contemporary, western understanding of music theory, though that is worthy of its own discussion.
Logo of rateyourmusic.com
Most of the rest of these indie music fans tend to congregate on platforms like Rate Your Music and music-related social media groups. These are the places where I see the most elitism in music among people who hold no actual power over record labels or other parts of the music industry. Here, elitism comes through in the form of gatekeeping of up-and-coming artists as well as discriminatory biases.
On the all-time best album chart on Rate Your Music, Black artists comprise about 25% of the 50 top albums. Again, this percentage is well below the representation of Black artists on the Billboard top 200. More striking, though, is the lack of women and queer artists in these communities. On that same chart, only three of the top 50 albums have female vocalists (where gender is most noticeable), and the first, Björk, is only 31st. There are only three openly queer artists in the top 100 albums, and only two in the top 50.
Why is the Non-Mainstream Music Discussion Like This?
I bring these numbers up, because I think elitism in these types of music circles is largely predicated on the belief that mainstream listeners, especially women, will “ruin” the music. These listeners also tend to have a suspiciously high overlap with “incel” groups. The resulting misogyny (and queerphobia) leads to generally less respect for women and queer artists. Unless these artists are accepted into the “canon” of great artists they are largely neglected. As a side note, no female queer artists or trans artists until Big Thief at no.398.
There tends to be a lot of talk among these types of music listeners, especially over the past few years, about how Tiktok and other platforms are “ruining” music. When a song by an artist commonly accepted amongst these listeners as a “great” goes viral, they lament about how they can’t enjoy the music anymore. These listeners think that their interpretation of good music is the best interpretation, and any attempt to break the gatekeeping of these artists is a tragedy.
Likewise, these listeners often disdain music that gets especially popular for similar reasons. Artists like Taylor Swift, Harry Styles, or Bad Bunny have been seen as “trashy pop” only liked by teenage girls and people who don’t really “get” music like these white men in their mid-20s.
It’s okay to not like popular artists because you don’t vibe with their sound or genre. As for myself, I don’t typically listen to any of the three artists I just listed, but I still enjoy Swift’s music. I listen to a lot of Beyonce or The Weeknd. That doesn’t mean I don’t also love music by lesser known artists.
Closing Thoughts
WKNC is a radio station that prides itself on playing music by less popular artists, especially those whose voices are often left out of discussions of what “the best” music is. I hope that this mindset is able to spread farther than the idea that men (especially white, cisgender, heterosexual men) overwhlemingly make better music. And this should extend to what the music industry chooses to become popular as well.
Wombo is a psychedelic and indie rock band from Louisville Kentucky.
The trio, Sydney Chadwick, Cameron Lowe and Joel Taylor, take inspiration from rural and agricultural landscapes of their hometown. Their music is liminal, mystic and fluid.
Vocals by Sydney Chadwick are understated and mellow, bringing a relaxed continuity to all of their releases.
Fairy Rust & Selected Demos
Their newest release, “Fairy Rust & Selected Demos” focuses on a theme of escapism– from rural landscapes to distant fairy tales. There is a fantastic balance of mundane and unreal in this release both in theme and execution.
The explorative nature of their discography is really enjoyable to experience. They have some really solid rock tracks but actively dip into unknown genres with success.
“Jazz Wombo” is one of my favorites off the release. It’s classy, mellow and zesty. It holds to the escapism theme through a clear shift in technique compared to the rest of the album.
A great staple of the album is track “Backflip.” The backbone is a rhythmic guitar line– smoothly building to a whimsical vocals and bass line.
There are lots of tracks that play with the element of layering and time. “Backflip” is very successful bringing different techniques and themes seen throughout the album together.
There are so many gems in this release. When listening to past work it amplifies the strength of “Fairy Rust”.
“Staring at Trees” cover art by Wombo
Staring at Trees
In their debut album “Staring at Trees”, it has a much bolder application of Sydney Chadwick’s vocals. With this boldness there is corresponding heavier guitar and drum lines.
“Hex” is a joy to listen to after hearing the vocal work in “Fairy Rust & Selected Demos”. The adaptation in sound from 2017 to 2023 is quite astonishing. I find both approaches to be pleasant, but create quite the juxtaposition.
“Staring at Trees” has a fond place in my heart. It’s rustic, unapologetic and contradicts the lightness in their most recent releases.
However, one aspect I really love about their current sound is it’s understated, simple and humble tone.
In an interview with Melted Magazine, Sydney Chadwick elaborated on her simplistic approach in the latest album,
“I really enjoy songs from childhood and fairy tales, the melodies, there’s something so simple about them but so impactful. I really like when something can be so simple and seem like somebody didn’t really try… there’s something touching and simple about it. I really like to approach melodies in that way”.
“Staring at Trees” in contrast does not have this simple quality. The album sounds a little bit like they are throwing paint at the wall and seeing what works. There is nothing wrong with exploration and boldness– but it held insecurity in their sound.
Seeing the evolution of Wombo through their releases is fulfilling, fun and highly enjoyable.
“Dreamsickle” Single cover art by Wombo
Dreamsickle
Their most popular track, “Dreamsickle” is a great taste of the lyrical style of Wombo.
“And if you could see inside my mind there’s nothing there But the images from the night give me no words Looking back on when I thought I was a bird I was looking at the ground to find a worm”
The writing through their releases is strong and surreal.
The dreamlike qualities of their music in both lyrics and sound make their entire discography extremely digestible.
Wombo simply makes great music to decompress to while holding interest. Both dreamlike and bold– this band has a lot of creative power and potential.
ALBUM: “Melt My Eyez See Your Future” by Denzel Curry
RELEASE YEAR: 2022
LABEL: PH and Loma Vista Recordings
RATING: 8/10
BEST TRACKS: “The Ills,” “Chrome Hearts” and “Walkin”
FCC: Explicit language
In this recent album, Denzel Curry swaps out his signature sound for some self-introspection. He comes to terms with the struggles he has had and poetically lays it out for the audience to be a part of. Fans are used to his hype lyrics, bass-boosted beats, and hard-hitting quick flow; but this album offers something different.
This fifth studio album comes after projects full of bangers like “Ta13oo” and “Zuu”. However, what Curry wanted to present with this album was something other than catchy songs and ragers. His pivot allows for more intimate and reflective music as he explores both his worldview and his view of himself.
The album opens up with “Melt Session #1” which is a slower, self-analyzing introductory ballad. The track, with a piano feature and production from Rober Glasper, provides a soothing yet somewhat haunting sound. These instrumentals pair well with the lyrics, as Curry is discussing more serious topics and wrongs from his past.
Dealt with thoughts of suicide, women I’ve objectified/ Couldn’t see it through my eyes so for that, I apologize/ I’m just hypnotized, working hard to empathize
Lyrics from “Melt Session #1” by Denzel Curry
The song seamlessly flows into the second track “Walkin” by carrying the same angelic background vocals and lyrical refrain. “Walkin” works through some of the personal difficulties Curry has faced while explaining how he interacts with the world around him as obstacles are thrown his way. He raps,
I just gotta stay focused/ I just gotta keep walkin
Lyrics from “Walkin” by Denzel Curry
This was the first track dropped from the album and features production from Kal Banx at Top Dawg Entertainment. Curry’s vocals begin with a slow progression and then switch to double-time with the build-up of a classic trap beat. Despite sticking with a familiar beat and flow in this song, he takes an unrushed pace.
The next notable track on the album, “Troubles,” details his problems with substance abuse and his ability to prioritize what matters. He confesses how he would easily blow his money on drugs, but he would not spend it on what he loves or needs.
I just lost my house to the drought/ Now I’m stayin’ on my mama couch/ Told me get a job or to bounce/ Never paid a bill, I cop a ounce
Lyrics from “Troubles” by Denzel Curry
The song, produced by Kenny Beats and DJ Khalil, also features the iconic and catchy autotuned vocals of T-Pain. The lyrics of the track are juxtaposed with its sound, which is a fun and bassy beat with a pop chorus. The extended edition of the album also has a “Cold Blooded Soul Version” of “Troubles” which brings in energetic percussion and brass. I would definitely say I prefer the live instrumentals in this version to the production in the regular track.
My favorite song on the album, also only on the extended “Cold Blooded Soul Version,” is “Chrome Hearts.” This song takes Curry’s flow and lays it over a light jazz-rap beat. Produced by Aaron Bow, Thurdi and Ashton McCreight, the track also features vocals in the hook from Zacari. Curry poetically raps about an internal conflict regarding the fairness of success as he compares himself to the less fortunate.
A main man, bay man, payin’ for some Ray-Bans/ That cost more than your rent while others struggle to get a cent/ In a sense, I ain’t shit because there’s many people starvin’/ Tombstones of a selfish man, these words are carved in
Lyrics from “Chrome Hearts” by Denzel Curry
The last memorable song on the album, “The Ills,” was produced by Dot Da Genius & Noah Goldstein. In this track, Curry wraps up the album with some piano, deep soul-searching, and self-proclaiming. He reflects on his music as a mode of self-expression and a way of processing his past. He also presents ideas about finding his true purpose and bettering himself. As he is attempting to explain himself now, he acknowledges he does not have it all figured out and still faces struggles. This by far is the most well-written song on the album and the lyrics are executed beautifully through his smooth and gentle flow. My favorite verse in the track follows:
I could be ferocious in my times of feelin’ feeble/ Sick of life’s ills, it could be short for illegal/ Common sense, a victim to sensory deprivation/ The mediator met with it all is in meditation/ Lord invited me to stay idly on his left side/ So I can right my wrongs in these songs to live and let die
Lyrics from “The Ills” by Denzel Curry
While some songs fall short on this album, like “Zatoichi,” I still think Denzel succeeded at challenging his own status quo. The album demonstrates the growth he has gone through, not only as an artist but as a person. As someone who has been a fan since 2015, and is very familiar with the “old Denzel,” I confidently believe that this is one of his best, if not his best, project so far. He works with new instrumentals, strong features, and vulnerable lyrics, all of which make this album stand out.
Avantdale Bowling Club’s self-titled debut album is a wonderfully produced jazz project led by New Zealand rapper Tom Scott. The band’s name refers to Scott’s hometown of Avondale, New Zealand. Much of this album “was creatively fueled by a stint living in Melbourne” where Scott seemed to mature some from his previous projects.
“Water Medley”
Photo courtesy of Pedro Szekely, under Creative Commons
“Avantdale Bowling Club” can best be described as a leisurely stroll through struggle. With an average song length of 6.5 minutes, each track meanders around looking for a place to settle. Each track feels loose and free to evolve as it pleases. That effect gets amplified by Tom Scott’s rapping, which disregards the need for a consistent beat on tracks like “Pocket Lint”.
Instead, Scott’s vocals often float through the instrumentals, not trying to find a sound to anchor to. The jazz melody plays as if Scott weren’t even there, resulting in a lively, yet mellow sound to contrast Scott’s melancholic voice.
This flow is contrasted somewhat through tracks like “Water Medley”, which is a nine minute collection of multiple smaller songs centered around water. Here, jazz is combined with heavy hip-hop beats to create a more original sound. This influence helps reinforce Scott’s primary objective with this album, which is to tell the story of his life’s misfortunes and struggles.
Poverty is a Fiend
“Avantdale Bowling Club” is a tale of the trappings of living paycheck to paycheck with a child while coping with alcohol and drugs. This sentiment comes through incredibly clear on “Pocket Lint”, which is essentially Scott ranting about not having enough money to live. However, he never feels like he’s repeating himself because of how well he pieces together different issues that come from low-income in the city.
The price of the life, the price of death The price of gas, the price of meth, the side effect of stress
Lyrics from “Pocket Lint” by Avantdale Bowling Club
Scott’s rap flow is what really brings the album together, though. Probably the best example of his talents comes in the last verse, where you can’t help but bob your head along to his lyrics. Likewise, “F(r)iends” is where emotion comes through most, making it the most intriguing of any track. The song is a remembrance of both the good and bad times Scott had with one of his friends through drugs before he committed suicide. The emotional weight of this track encourages Scott to put on his best performance as a result.
Concluding Thoughts
Unfortunately, not all of the album is as memorable as the tracks discussed here. The back half of the album lacks direction, as if Scott only had a couple different things he was able to discuss in his music that lasted four or five songs. “Quincy’s March” is more hopeful than other tracks, but lacks any distinctive sound from the rest of the album.
“Tea Break” seems like an instrumental track that Scott originally meant to rap over, but simply lacked the material to turn into a full song.I still have the best songs on “Avantdale Bowling Club” on repeat often, but I rarely come back for the rest of the album for these reasons.
