BG the Boy Genius, a hip hop artist based in Albany, launched ThePreVisual, a mixtape, on March 30 through Genius Minds. The project consists mostly of his poetic verses matched with already established instrumentals within the hip hop and pop industries. As a prelude to an upcoming album, PreVisual serves as a brightly lit roadside attraction in the path to future works. It’s also simply a strong sample of BG’s writing and vocal abilities.
The mixtape opens up with “PreVisual In Ya Ear,” in which a series of news program introduces the listener to a slew of current issues. Boy Genius rhymes over a soulful, old school beat just to establish a timeline. “You look confused. Have you read the news?,” he asks. This provides an excellent rhetoric for the rest of the album which discusses a lot of modern issues and social situations, such as presidency, politics, trends, financials and interpersonal relationships. “I’m just honest…when I’m making comments,” he says. Honesty is another concept which comes up in the emotional “Let You Down” (originally recorded by NF, David Garcia, and Tommee Profitt).
PreVisual covers a lot of modern musical ground, one track that jumps out of the fray is “Morning in America,” whose cadence mirrors a song of the same title by pop artist Jon Bellion. “We’re out of control, and everyone knows,” BG sings around a song about having children in a chaotic place, while trying to grow up himself at the same time. His lyrics fit the tune of the song better than the original artist, and “Morning” is not the only spot where this is the case.
Another notable song is “Bank Account,” a perpetually annoying, yet strangely catchy number by 21 Savage. “I got 8, 7, 6, 5, 4, 3, 2, 1, none, zero fucks to give,” BG raps, eloquently (possibly accidentally) stating how many people feel about the original track. Regardless, this and all other songs on the tape communicate a clear command of language and poetry.
Overall, PreVisual is a win for BG the Boy Genius as he displays mastery over his field, but does not need to say much for his abilities — they speak for themselves. Part of this is the teamwork that went into the project. Along with his own versions of already popular songs, BG credits both Phoenix, the producer, with production and engineering; as well as Travis Manney who performs on the seventh track, “Trav’s Interlude.” Other producers included Fat Cat and Blanco. If PreVisual is just a prelude to other upcoming projects, BG has set the bar high for his future, and he even leaves the listener with an idea of what to do if he doesn’t meet this bar. “If this album trash, all my fans, you can leave me,” he commands. PreVisual gives a lot, but leaves enough to the imagination for what listeners can expect in the future.
The Weeknd released a six-track EP called My Dear Melancholy, as a surprise in the early morning of Friday, March 30, following up his previous effort, 2016’s Starboy. Earlier that day, The Weeknd had posted a photo of the cover art of the EP with the caption “tonight,” leading fans to correctly speculate that they would hear new material that evening.
My Dear Melancholy, was launched through XO and Republic Records. It’s a direct, dark message that describes the lows that come with ending a relationship. Its synth waves matched with blunted 808 kicks and lo-fi Moog leads create the perfect film noir atmosphere for a dramatic reading of this letter in a high pitch, saccharine croon. The featured vocal style features a redux of influences like Michael Jackson and Prince, and mingles well with contemporaries such as Bruno Mars and 6lack. Much like the cover art, Melancholy is a unique cross between new age R & B; hip hop bass and drum lines with Halloween synth parts and moody melodies.
“Call Out My Name” opens the EP and describes a bad relationship, labeled a “mistake” in the first verse. The narrator, born Abel Tesfaye, 28, denies responsibility for the relationship’s downfall, accusing the former partner of “wasting [his] time.” The theme of time wasting comes up again as the title of the third track, “Wasted Times,” where Tesfaye introduces a second relationship, one that occurred a long time ago. In this track, he compares the two relationships, saying that “she wasn’t even half of you,” as an ode to the one who got away.
Perhaps his downfall is that his lyrics have no repentance. He refuses to see his own faults in the described situation and he attempts to make the subject jealous, while also complaining that she dates other people. Instead of contemplating what he could have done better, he wastes time by both bragging about his wounds and shifting blame throughout the narrative. But his broken heart is consumable. It works. It sells. It’s tearfully, deliciously entertaining.
Although Tesfaye has possibly the most recognizable face in modern hip hop and pop music, he keeps a relatively low profile in the public eye, rarely giving interviews or confirming information about his personal life. This adds to the air of mystery that is also carried through the image and production of the EP. Melancholy hosts collaborators such as Gesaffelstein, who produced tracks 4 and 5, “Hurt You,” and “I Was Never There.” Other producers, co – producers, and collaborators included Frank Dukes (tracks 1, 2, 3, 4, and 6); Cirkut (track 5); Marz (track 2); and more. Tesfaye handled executive production after multiple tours throughout 2016 and ‘17 following Starboy.
Overall, My Dear Melancholy, keeps the presentation short, sweet, and sad; yet hopefully open-ended like the comma attached to the title. It’s a tragic story, but it gives a lot of insight into its subject in a way many listeners can understand. Atmospheric, smokey production with a few plot twists that work are a great pairing with the emotional lyrics and intense delivery. Although sometimes extra, The Weeknd delivered a solid performance and debuted a message about a darker time in life, and his pain comes across as genuine.
My Dear Melancholy, can be found on all major digital music platforms.
I met the lead singer of The Elementals about a year ago at the winter Battle of the Bands competition at Lovin’ Cup at RIT. I was there supporting my brother, before I even picked up a camera to shoot bands semi-professionally. While I wasn’t there for him, Dari Pryce of The Elementals put on a great show. Dari was in a different band at the time that is no longer together, but he has brought his talent and sound to The Elementals. Dari contacted me after my brother posted the pictures I took of his last show. Dari wanted me to come out and take pictures of his band and I accepted. buta pub
Dari introduced me not only to his new band, but also to Blake Pattengale; (a student at the Eastman School of Music) and the rest of his band; Red Beard Samurai. Blake and company were electric with a sound that was not only lively with fast spitting lyrics and great beats, but also with a funk sound coming from the trumpet and trombone. Red Beard Samurai has a unique sound and creative bars, but also sounds like some famous artists of whom you might have heard. When I listen to Red Beard, his lyrics remind me of rappers such as Little Dicky and some rappers of the ’90s. I also got a feeling that I was listening to the rapper Outasight who published a popular single called “Good Morning.”
Dari and The Elementals was energetic and the crowd was happy to the band. The vibe in the room was very lively as The Elementals rocked the house. Dari’s funky love songs were blasting through the speakers as the crowd enjoyed every minute of it. The amount of passion that was exhibited through Dari’s vocals was palpable. Watching those guys up close, you could tell how much fun they were having. Geraldo the trumpet player was laughing all throughout the set as he enjoyed playing with the band as a guest musician. Even though I knew Geraldo was not an original member of the group, he blended in perfectly with the rest of the guys. The lead guitarist (Zach Cullinton) was rocking through the whole show, eyes closed most of the time as he vibed to the room and the music. The bassist (Zach Cullinton) and drummer (Christos Dembeyiotis) brought veteran talent to the group of young kids and rounded out the band very well. After the group was done, they gathered for a group shot around the pool table. I can’t wait to work with both The Elementals and Red Beard Samurai again. Red Beard will be playing again at Buta Pub on April 20, and The Elementals will be playing at Three Heads Brewery April 19 and at Funk ‘n Waffles on May 12.
Schenectady native, and upcoming local hip hop artist, 3ality, recently sat down with NYS Music for his first ever interview with any kind of publication.
3ality has been blowing up fast on the local hip hop scene since debuting last summer. During the interview, 3ality was asked about performing live for the first time, when his next album will come out, and his first experience hitting the road.
NYS Music: I was at your very first performance back in June at Our Place in Mechanicville. There was a downpour of rain all day. The promoter shows up late, in a pickup truck with all the sound equipment including speakers in the back getting soaked. Besides the obvious butterflies that had to be in your stomach, what was going on through your mind after witnessing this?
3ality: I didn’t know what to expect, I just know I practiced my ass off and was ready to go do what I had to do…Nine months later, I know that my feelings that day are true. It was so unprofessional, so poorly promoted, and to this day, nothing has changed. I have one more date there that is part of an upcoming tour, unless changes are made, I promise that place will never see me again.
NYS Music: Yeah I would say after nine months, and several shows, its time to move on from that promoter, but how about the venue itself? Was there something about the venue that you didn’t really care for?
3ality: Besides being in the middle of nowhere, it’s kind of small but it does justice for a local show. If shows were actually promoted, it wouldn’t be so bad. The promoter and even the owner make it hard for people to enjoy themselves. 3ality tomatoes gives it a thumbs down, but I’ve enjoyed all my times there. It was the first place I got to perform my own music. The promoter doesn’t make fliers until the week of the show. Like what? The venue has a 21 and over only policy which dampens ticket sales and no real security.
NYS Music: Interesting. You think they would implement a wristband system and place a black X on the back of the hand like other venues to tell difference between customers under 21.
3ality: Yeah it only makes sense. They sell soda and food there. No reason they cant do 18+.
NYS Music: How did you go about practicing for your first show? You obviously never performed on stage or in front of a crowd.
3ality: I knew a month in advance that I was on the show so I filled my allotted time with my tracks and just did them over and over again until I was confident wit the memorization.
NYS Music: How did you go about memorizing them? Did you just read over and over again what you wrote while sitting on your couch? (Laughs)
3ality: I had some studio recorded stuff, so I have been already listening to myself and singing along. What I mainly did practicing was play the beats and sing over it cause that’s what I will be doing live. You check your lyrics until you get them. Just keep practicing like a spelling test. I worked at a community center which is like a YMCA, and after I was done working, I would go into the auditorium and use the mic set up and practice on stage to an empty room or a friend or two. Our Place didn’t have a stage and I felt like I could’ve put on an even more badass show for my family and friends from work who came to see me.
NYS Music: That’s pretty badass. Nice to see that some family friends and co workers came out a supported you.
NYS Music: Since your first performance, you have played several local shows throughout the Capital District in 2017, some shows in Pennsylvania, and capping the year off on New Year’s Eve in New Hampshire. How did you feel performing for the first time in a room where only the performers knew who you were.
3ality: It felt amazing and right at home. That New Hampshire show was a “Juggalo” show which is the crowd I feel I appeal to most. I’m not shy when it comes to seizing the moment. I’m an outgoing guy when comfortable and have had a lot of experience prior to 3ality performing in front of big crowds.
NYS Music: Experience performing in front of crowds before how?
3ality: Singing in shows in school, karaoke in bars, and doing demonstrations in tae kwon do.
NYS Music: What about IYF Wrestling? (Laughs) I’ve seen on your Facebook page that you used to wrestle on the local independent scene.That had to help with performing in front of a crowd.
3ality: I don’t know. That was a whole different world. I feel like if I could’ve done that, I can do anything so your right cause that definitely had me nervous. (Laughs)
NYS Music: (Laughs) I Bet.
3ality: Yeah hopefully one day I’m big enough to set up a match at WrestleMania.
NYS Music: It is coming to NY/NJ in 2019 so a close to home boy on a close to home show would be pretty cool.
NYS Music: You traveled to New Hampshire and performed your first live set for a New Year’s Eve crowd. What expectations did you have going into the show, compared to how you felt after your performance?
3ality: I think my expectations were exceeded from the point my first song ended and the crowd erupted. I felt like I belonged and the rest of my set was a breeze.
NYS Music: In mid April you and some other local hip hop artists are going to hit the road and open shows for Skero. The tour is going to travel to parts of the U.S. including once again NH, West Virginia, Michigan, Indiana and kicking things off in Ohio. What are you looking to gain from this first time extended touring experience.
3ality: This tour is gonna have the same type of crowd as New Hampshire. I met Skero at that show. I hope I get the chance to expand my fan base, and get people to follow me, want new music, and come out a see me perform again.
NYS Music: You’ve released an EP and CD in the past year. Speaking of new music, can fans expect a new EP on this run?
3ality: I’ve been a little busy…there wont be a new solo EP before summer, but there will definitely be new music before the year is out. One EP, two albums, I cant say yet but everyone is gonna get more familiar with the name 3ality, so I hope everyone is ready. You can check out my debut album on Spotify, iTunes, Google play and other like sites.
NYS Music: Since your first live performance, how do you feel you have progressed from that first show, and have you changed anything about the way you approach a live performance?
3ality: Not much. I’ve performed a few different songs, and collaborated with other artists. I’d say I have a lot more energy now.
NYS Music: Thanks for taking the time out and chatting with us here at NYS Music. Last question: What else can we look forward to in the future from 3ality? Any other tours or shows planned?
3ality: Thank You.Not yet. My biggest show to date will be in Stanhope, NJ, on May 13, when I open for Blaze Ya Dead Homie.
New Yorkers can check out 3ality on April 15, at Our Place in Mechanicville, April 17, at Gusa’s in Elmira, and April 25, at The Footlight in Queens.
Bronx rapper A Boogie Wit Da Hoodie has teamed up with emerging music discovery platform Audiomack to remake three of his smash hits with a professional orchestra for the Trap Symphony video series. The latest installment of the series is a rework of chart topper “Drowning,” joining orchestral versions of A Boogie hits “Say A” and “No Promises.”
Joined by a nine-piece orchestra, A Boogie takes center stage as he dives into a classical rendition of his most popular single to date. Playing off the single’s opening piano chords, the Trap Symphony rendition of “Drowning” captures the emotive composition that brings new life to the track through composer John Clearly, who added a additional layers giving the song a richer depth. This particular Trap Symphony emphasizes A Boogie’s artistic versatility as he adapts to a more subdued performance style versus rambunctious performances fans have become accustomed to.
David Ponte, AudiomackCo-Founder and Trap Symphony co-creator said of the series “…the purpose of Trap Symphony is to showcase a vocalist’s talent and emphasize their unique skill set over an unexpected musical backdrop. With the Trap Symphony series, artists prove that they can go toe-to-toe with classically trained musicians and create something that is sonically beautiful and unique.”
Starting in 2015, the Trap Symphony series kicked off with mega-star trio Migos who reimagined their hits “Hannah Montana,” “One Time,” and “Handsome & Wealthy.” Fans of Trap Symphony can view each edition of the project, as well as additional content, via Audiomack’s recently launched platform audiomack.world, which highlights content, artists, and cultural tastemakers.
Local hip hop acts found their beat at Jupiter Hall in Albany, on March 10, sharing the stage with headliner RiFF RAFF. The evening saw multiple acts from the Capital Region of New York bring short, yet effective sets to the futuristic venue tucked inside Lucky Strike at Crossgates Mall.
Interestingly, hardcore metal band Misgiver joined the opening acts with a loud, yet memorable performance. Misgiver’s sound is unexpected at a hip hop show, and certainly memorable and surprising. To their credit, it is certainly difficult to perform as an “outlier” at a show, and with a quick set, they showcased their abilities well.
Along with them, Philly Fine$$e delivered a high strung hip hop set joined by DJ David Acevedo, SwaggyT, and friends. Having streams on songs like “Lonely,” “GUCCI,” and “Like This,” Fine$$e and his fellow performers got the eyes of the crowd in a short amount of time. Their show has entertaining potential, and their music lends itself seamlessly to the club scene and they were received well by the crowd, even in the earlier part of the evening.
Along with Philly Fine$$e, show attendees dove in for Wavy Cunningham & DJ Mercy, a creative duo who mix wide varieties of samples with old school sounds to create a fun, beach-type atmosphere. Their music is a departure from stereotypical thoughts of hip hop being such a serious matter, and in a lot of ways it has the ability to make the listener smile. The two took the stage with huge smiles and vibed with onlookers. They politely commanded their setlist with no pretense, and just played music for enjoyment. People danced, sang along with tracks such as “Mass Appeal,” and stayed open to newer songs such as “1000 Verses.”
The more Wavy and Mercy performed, the larger the crowd got, with audience members even asking for an encore. This energy cleared the path for Clear Mind, who also drew a large following. He released his project, “Swords, Metaphors & Pressure Points,” in November of 2017, which included instrumental production by himself as well as a variety of others.
Clear Mind’s own unique voice is not lost in the wide variety of sounds used in both his live set and his album. His lyrics cover a multitude of modern subjects, including parenthood, love, personal struggles, and more. As many people can relate to these topics, he continued the energy and grew the audience even more. Few artists have the bravery to perform a song acapella — without musical accompaniment — but Clear Mind did, and his seamless infusion of this into his set won him a great deal of respect amongst those unfamiliar with his music.
He, Wavy Cunningham, and DJ Mercy, all set a tone with their common charismatic approach to the stage — their futures as performers, locally and beyond, carry promise. Likewise, DJ duo, The Dropouts, consisting of Eric Whin and David Acevedo, played music from multiple popular artists such as Post Malone, but infused their own mixes and synth parts, just continuing to excite the crowd with their mastery of modern sounds. Their lightshow and visuals, as well as excited persona added to the mix and certainly won the crowd over.
But as the cliche goes, all good things must come to an end. Although it is typically expected that the headliners would have more experience and production value, this did not appear to be the case for RiFF RAFF or 2 Stoned. Their respective shows got stolen by all the opening acts. Although both performed with some professional proficiency, neither went above “ just getting the job done.”
Since RiFF RAFF and 2 Stoned are both portrayed in media as flamboyant and defiant, one would have thought their sets would have both been more exciting, but this was not the case. Perhaps this may be seen as a rush to judgment by an unfamiliar viewer, but one would think a performer would want to be as interesting or more, than his backing tracks, lightshow, clothes, and hairstyle, but sadly this was not the case. Overall, the headlining part of the show could have been missed in favor of the energetic opening acts.
In 2015, Atlanta-based rap trio Migos, performed a show at the Washington Avenue Armory in Albany when all hell broke loose during their performance. Since then, no live music has been performed in the building due to the incident in which six concertgoers were stabbed.
Armory operators, the Albany Basketball and Sports Corporation, have filed suit against Migos, charging that the trio incited a riot by telling fans “to fight,” “give them hell,” and “kick ass.” Court documents also reveal that the group blew off a paid fan meet-and-greet, by showing up late smelling like marijuana and alcohol.
The lawsuit filed in Albany’s supreme court stated, “Rather than attempting to dissuade the crowd from fighting, Migos and/or their agents, servants and employees were heard encouraging, cheering and inciting the patrons to fight. As a result of the defendants’ actions, a brawl erupted and numerous patrons were injured.”
The Armory’s business has suffered since the event. The Times Union reports that the Armory seeks an unspecified amount of money for “property, personal, breach of contract, economic, loss of income, and loss of business and further damages to be determined.” Armory spokesman, Joe Bonilla, made the following statement:
The significant, unfortunate actions by Migos … have led to considerable business disruption to the Washington Avenue Armory and its parent, the Albany Basketball and Sports Corporation.The unwarranted negative media attention and subsequent government actions against the Armory stemming from the event has placed an undue burden upon the Armory’s operations and its ability to attract programming. Therefore, on the eve of the three-year anniversary of that fateful concert, the Armory is taking this important action to remedy the losses incurred from and arising from that event.
Sharome Ross of Albany, a concertgoer who attended the event, sued the band and the Armory after he was injured during the show. Ross, who suffered severe injuries to his face, shoulder and eyes said the venue’s operators should have known that the trio had a bad reputation for attracting a belligerent fan base, and would likely be late which presents a danger to fans in attendance.
Balkan Bump, the newest project from trumpet player, producer and ethnomusicologist Will Magid, Gramatik and Brooklyn-born Talib Kweli have combined forces on the debut track “Aymo.” Balkan Bump debuted at Gramatik’s NYE show at Terminal 5 this past December and will be joining Gramatik on the road during his Spring 2018 Re:Coil tour.
Musically, Balkan Bump is a fusion of live instruments, world influences and lush electronic production. The debut EP demonstrates his experience as an instrumentalist and arranger, fusing energetic Balkan brass with heavy electronic production and hip-hop/trap influences. This thrilling blend of live brass and electronic production carries over to Balkan Bump’s live show, and can be found joining Gramatik as he unveils his horn-infused live set to a North American audience in Spring 2018 for the Re:Coil Tour starting in February 2018.
“Aymo” was a collaboration from Gramatik’s Re:Coil Part I EP, originally written by Will Magid and Talib Kweli, who met while playing alongside Pretty Lights on The Conan O’Brien show. Gramatik loved it so much he wanted to put his own spin on it and now his independent label Lowtemp will also provide a home for Will’s first EP under the Balkan Bump moniker, due out in early March. In December, Will released the first single from the upcoming EP, “Irfan.”
Re:Coil Tour Dates
Feb. 21 – Dallas, TX – House of Blues
Feb. 22 – Austin, TX – Emo’s
Feb. 24 – New Orleans, LA – Joy Theatre
Feb. 26 – Tuscaloosa, AL – Druid City
Feb. 27 – Chattanooga, TN – TBD
March 1 – Nashville, TN – Marathon Music Works
March 2 – Atlanta, GA – Tabernacle
March 3 – Knoxville, TN – The International
April 12 – Philadelphia, PA – The Fillmore
April 13 – Richmond, VA – The National
April 14 – Asheville, NC – Orange Peel
April 15 – Charleston, SC – Music Farm
April 18 – Columbia, SC – Music Farm
April 19 – Wilmington, NC – Greenfield Lake Amphitheatre
April 20 – Washington, DC – Echostage
April 21 – Boston, MA – House of Blues
April 22 – Portland, ME – State Theatre April 24 – Syracuse, NY – The Westcott Theater
April 26 – Toronto, ON – Danforth Music Hall
The music festival hosted by the Disco Biscuits takes place once again on Montage Mountain on Thursday, July 12 to Saturday, July 14, in Scranton, Pa.
Marc Brownstein, Biscuits bassist posted on Facebook: “Back to the mountain with an amazing lineup!!”
It will be the festival’s fourth consecutive year at Montage Mountain — which includes a waterpark and camping grounds for festivalgoers.
The Disco Biscuits headline the three-day event, and the festival continues to book the biggest names in EDM and jamtronica.
Headbangers and bassheads can rejoice there will be no shortage of bass at this year’s event.
Bisco staples such as Bassnectar, Tipper, Lotus and STS9 return to headline once again. Excision and Illenium will also headline along with Bonobo, which will include a live band.
More bands included are: 12th Planet; Anna Lunde; Big Wild; Boogie T; Buku; Desert Dwellers; DJ Jazzy Jeff; The Floozies (ft. the Terminus Horns); The Funk Hunters; G Jones; Ghostface Killah; Jai Wolf; Lettuce; Liquid Stranger; Mija (back to back) Billy Kenny; Oliver Tree; Papadosio; Quinn XCII; Space Jesus X2 (including a special downtempo set); Snails; Sunsquabi; Tauk; Zion I x Lespecial.
Also making the trip to Montage Mountain will be: Agent Zero; Bass Physics; Bluetech; Cofresi; Ducky; Flamingosis; Giant Panda Guerilla Dub Squad; The Hip Abduction; Horizon Wireless; Kidswaste; Kung Fu; Let’s Danza!; Magic Beans; Naughty Professor; Orchard Lounge; Probcause; Space Bacon; Squinto; Yheti and Zeke Beats.
For more information and tickets for Camp Bisco 16, visit campbisco.com
Brooklyn-based beatmaker and hip-hop instrumentalist Birocratic has released his latest single “Extra Fresh” along with a tongue-in-cheek infomercial music video.
Birocratic, real name Brandon Rowan, initially rose to fame as a student at NYU’s Clive Davis Institute, where his dorm room beat-tape releases Beets and Leftovers became YouTube sensations, and most recently has made official remixes for GRiZ. On “Extra Fresh,” Birocratic pays homage to 80s and 90s house, funk, and hip hop, with familiar synth melodies and deep bass lines.
Birocratic will tour this summer throughout North America.
“Call Out My Name” opens the EP and describes a bad relationship, labeled a “mistake” in the first verse. The narrator, born Abel Tesfaye, 28, denies responsibility for the relationship’s downfall, accusing the former partner of “wasting [his] time.” The theme of time wasting comes up again as the title of the third track, “Wasted Times,” where Tesfaye introduces a second relationship, one that occurred a long time ago. In this track, he compares the two relationships, saying that “she wasn’t even half of you,” as an ode to the one who got away. 
