NYS Music 2023

Category: Album Reviews

  • Hearing Aide: Mick Fury Releases New Album ‘1981-1996’

    Syracuse-born, Nashville-based artist Mick Fury dropped his latest project earlier this summer titled 1981-1996. In a popular music landscape congested with hollow lyrics, cheap sentiments, and reused sounds, the album stands out for its conceptuality and thematic elements. Focused on the trials and tribulations of millennials across the United States, the album touches on topics and ideas usually avoided by mainstream stars. 

    We’re the most open-minded, hard-working-for-beans, thoughtful generation yet, and we’ve watched the American Dream be snatched away from us like bullies taking a kid’s lunch money

    Mick Fury

    Takeaways

    The album’s Nashville influence is inescapable: from Fury’s country-rock tone, to the up-tempo and twangy guitar patterns, and even to the country references of dirt, whiskey, roads, and rust. Despite 1981-1996’s country leanings, Fury, along with Max McKee (bass, guitar) and Nate Felty (drums, percussion), also incorporates elements of rock, alt-rock, and even post-grunge into the project. While the instrumentation and arrangement on the album is not the centerpiece, the trio do a good job at giving space for Fury’s lyricism to shine.

    With ten songs and a 33-minute runtime, 1981-1996 wastes no time getting into the topic of the project. The album opens with a 42-second recording of sensationalized claims about millennials in the style of a cable news broadcast titled “The Perception.” Angry voices yell out phrases like “snowflakes” and argue that “they want to demand respect that they don’t deserve” or that “they have traded achievement for victimhood”. The track helps tune the listener in for what Fury wants to address in the ensuing songs. 

    Fury begins the music by inspecting his childhood and the innocence of youth with the song “Bright Eyed Dumb Kid.” The tune is reflective in nature and touches on a topic that many listeners can relate to. Its palatable drums and calm country guitar strums make the song an easy listen. Despite the track’s clear focus, its lyrics differ from the harsh and poignant sentiments espoused on “The Perception.” 

    Highlights

    As the album continues, Fury finds his groove with “Can’t Let Go” and “State of the Union.” The former perfectly demonstrates the singer’s smooth and comfortable delivery, helping to lull the listener into a foot-tapping trance. Fury’s lyrics about being lost and stuck without a purpose match perfectly with the songs’ alt-rock rhythm. “State of the Union” on the other hand is a fast paced track filled with attitude and frustration. The song is arguably where Fury is his most critical and thoughtful on the album. The artist highlights many of the flaws in American society with lyrics like, “Go to school for years to get your degree, get out and get a job then hopefully, we’ll get you out of debt and get you out of this town, you’ll be paying that off until you’re in the ground.” 

    “We go looking for hope, some kind of savior, pills, presidents, conspiracies, creators, trying to find the way through the dark but it keeps getting later”

    Mick Fury on “State of the Union”

    “Broken Highway” is most likely Fury’s most ambitious song on 1981-1996. The track features a blend of rock, country, psych-rock, and alt-rock to create a sound that channels the atmosphere of early 2000s radio anthems. The song is ripe with layered production and features some of the best instrumentation on the project. 

    Following up “Broken Highway” is “Burnin’ It Down,” which is a pleasant return to Fury’s country-rock sound. The track showcases the artist’s creativity as Fury plays with the idea of a traditional country song. Positioned as a classic “America-first” hit, the track takes aim at many of the problematic elements associated with the nation. Mick Fury sings, “Everyday there’s another threat, from some enemy I ain’t never met, we got money for missiles and fuck-all for the vets.” The artist goes on to critique the narrow-minded view that many Americans have. He writes “nothing’s wrong and nothing’s right, you ain’t looking past your own life.” 

    mick fury panama

    1981-1996 is conceptually profound and highlights the ingenuity and creativity of Mick Fury. While the album doesn’t reinvent the wheel sonically, Fury sounds right at home on just about all the tracks. The singer’s lyricism and writing is ultimately what drives the project. What the album lacks in nuance and specificity, it makes up for in digestibility and familiarity. In all, the album is a breath of fresh air as it looks to address a topic often untouched by others in the same lane.

  • Hearing Aide: Micky James ‘Loner of the Year’ EP

    On July 21, 2023, NYC by way of Philadelphia artist Micky James released his new EP, Loner of the Year. The album features Micky’s signature sound – a mix of glam and grit, paired with glittery guitars and themes of nostalgia throughout. As indicated by the title, Micky dedicates his five-track EP to the loners.

    “I want people to know that it’s important to embrace all of the things that make each and everyone of us unique,” states Micky in a recent interview with PEOPLE. “It can be frightening sometimes to free our most authentic selves, only by carving our own path can we feel truly liberated.”

    The album opens with “New York Minute,” an upbeat, nostalgic tune, reminiscent of 2000s pop-rock. The catchy, somewhat gritty melody establishes a summertime feel to the album. The song serves as a celebration of misfits and their individuality, all while reminding listeners that life moves fast, so enjoy the dysfunction that comes with being young.

    The album’s title track, “Loner of the Year,” further captures the complicated emotions that come with accepting our authentic selves. Despite the melody’s upbeat feel, the lyrics tell a story of a hopeless sort of loneliness, a narration of difficulties experienced by many. The song’s message, paired with its pop tune, is reminiscent of a coming-of-age movie soundtrack, with an optimistic twist at the end, reminding all of us that life goes on, and such loneliness can pass.

    “James Brown,” the third track on the album, has an edgy, raw feel, but still brings out the nostalgic sound of 2010s pop-rock. In contrast to “Loner of the Year,” “James Brown” shows an embrace of uniqueness rather than disdain.

    Of all the tracks on Loner of the Year, “Girl Talk” best showcases Micky James’ strong vocals. The flirtatious pop anthem compels attention from the listener through a range of James’ well-rounded, broad, captivating vocals. The song’s catchy melody conveys a sense of confidence through lyrics like “keep my name on your lips now honey,” in comparison to the anxiety in “Loner of the Year,” unveiling an emotional journey throughout the album.

    “Losing You” concludes the album with an engaging summer breakup anthem, capturing the complicated emotions associated with it. James conveys the struggle between understanding a relationship must come to an end, all while reminiscing on the good times and memories, making it “never a good time to say goodbye.”

    The album maintains its nostalgic ambiance and consistently upbeat 2000s/2010s pop-rock vibe from start to finish. Whether seeking a track to unpack intricate emotions, or a catchy melody just for summer ambiance, Loner of the Year offers a brief yet enjoyable musical experience.

    About Micky James

    Born and raised in the shadows of Philadelphia and NYC, Micky James developed a passion for music and the theatrical at a young age and aspired to become a performer. His music and personal style embody a sound and aesthetic that is nostalgic for a bygone era in rock-n-roll music, all while conveying a contemporary pop ambition.

    His vocals are reminiscent of notable voices like David Bowie and Julian Casablancas, referencing the uniquely dark, enigmatic, and romantic attributes associated with those artists. While James’ flamboyant fashions are reminiscent of the glamour and swagger of past rock icons, his work is both equal parts style and substance.

    Inspired by the energy of iconic ’60s and ’70s rock bands, he creates a modern, fresh approach to a timeless genre. “I wanted to take pieces of nostalgia and give it a contemporary twist,” he explains, successfully taking his vision and turning it into reality. In July 2020, Micky James released “Kings,” which garnered critical acclaim, with one critic calling it “a defiant uprising of the generationally damned and distinguished, as well as the most authentic rock n roll you’ve heard in years.”

    Listen to Loner of the Year here.

  • Album Review: Nas is Good but Hit-Boy Makes ‘Magic 2’

    Rarely does a rapper of Nas’ stature enhance his legacy with a late career-run. After all, hip hop is spearheaded by the youth and for many a fans, the output of the twilight years only diminish artists overall catalogue. Even so, with the help of Grammy-winning producer Hit-Boy, Nas has carved out his latest run as one of hip hop’s few evolving legacy acts. Since the release of King’s Disease in 2020 the duo have combined for five projects in the last 3 years. And with their latest effort, Magic 2, Hit-Boy quells any final notion of Nas albums not having great beats. Stylistically, the 11-track album sees Nas continue his career victory lap, this time with Hit-Boy bringing the flair.

    Embed from Getty Images

    Magic 2 Review

    In between the King’s Disease album series — where a fourth edition is in the works– Nas and Hit-Boy’s extensive studio time has yielded another series of enthralling album cuts. While Esco remains the pre-eminent figure, this latest effort showcased Hit-Boy’s ability to elevate an already stamped legend and broaden him rhythmically.

    I feed the people ’cause I love the people/ Two series at once, yea let’s run the sequel.

    – Nas, “Office Hours”

    Short and succint, the album contains two features. The first, notably burying the hatchet with former rival 50 Cent on the project’s second track, “Office Hours.” A Queens connection, the duo boast about their respective journeys to the top, impact on the culture while the former rivals big each other and their hometown. The latter sees Nas exchange bars with one of contemporary rap’s hottest stars in 21 Savage on the album’s outro “One Mic, One Gun.” Backed by Hit-Boy’s grandiose horns, 21 Savage delivers a flowingly introspective verse to close out the album as the two rappers do an excellent job of playing off of each other. In this case, 21 serves as the contemporary star awaiting folklore status, while Nas plays the role of timeless legend.


    It’s cool to be mainstream, I rather be timeless that’s if we keeping it P.

    – Nas, “One Mic, One Gun”

    Overall, Magic 2 sees Nas at his most tame lyrically. Rather, prioritizing his varying contemporary flows and cadences while rhyming over a wide variety of beats. Hit-boy harnesses Nas’ toned approach to rap and juxtaposes it with a slew of rhythmic horns (“Ervin Magic Johnson,” “One Mic, One Gun”), keyboards and old school synths (“What This All Really Means,” “Black Magic,” “Pistols on Your Album Cover”). The production is an excellent backdrop to Nas’ story-telling style as throughout the project the veteran MC flips between rehashing old tales and staying current. Although the album lacks many truly standout records, it also does not have any bad ones and is an overall solid project.

    Album’s Best

    I done hooked up with a beast, never stingy with the beats.

    – Nas, “What This All Really Means”

    Hit-Boy steals the show in this latest joint-effort. While fans of Nas will always be up for hearing him rap, the production helped accentuate what was otherwise a mild lyrical output for the Queensbridge native. This isn’t to say that there aren’t moments of magic as the project’s latter half has a few excellent album cuts (“Slow It Down,” “Bookeem Woodbine”). However, the production had a fresh and grand feel as even the boom-bap records sounded current. To his credit, Nas knocked each record out of the park with razor sharp flows and delivery.

    Album’s Worst

    Ultimately, Magic 2 will serve its purpose as a holdover until the release of King’s Disease IV. However, the lack of a standout record is conspicuous when judging the album in its totality. Moreover, along with the contemporary feel of the production and delivery, seemingly came the present-day need for bad punchlines. Markedly, Nas spinkles a slew of these throughout the album which forces you to think, did Nas really say this? Namely, the first bar on the opening track “Abracadabra” is “Durag energy, I’m on a wave, you n-ggas cap.” Then on “Ervin Magic Johnson” he raps, “have you jammed up like what you spread on toast.” Not to mention the “my scrotum is golden” line he spews on what is otherwise a great song in “What This All Really Means.”

  • Hearing Aide: The Hot Sardines ‘C’est La Vie’

    The Hot Sardines, an authentic New York City-based jazz band, released their newest album C’est La Vie on Aug. 4. The album arrived with ten highly complex tracks including covers and reinventions of jazz classics as well as original songs written by Elizabeth Bougerol and Evan Palazzo.

    The co-writes of C’est La Vie founded the lively Hot Sardines back in 2011, getting their start by playing various underground parties in Brooklyn. Since then, they have released six albums in total, all aiming to reinvigorate classic jazz music for the modern-day ear and spread their brand worldwide. With flourishing success taking them away from home time and time again, the band decided to record more music leading Bougerol to more thoroughly explore French influences which quickly took over what is now C’est La Vie.

    The new album is a bilingual project with tracks both in English and French, providing listeners with newly interpreted classics from “Moon River” to “La Vie En Rose” along with various impressive, original compositions. When it came to the track’s production, Bougerol and Palazzo called on collaborators from all over the world ranging from Los Angeles all the way to Beijing. The pair aimed to create a stripped-down sound to help them record nearly one-hundred-year-old songs remotely with modern technology while keeping their original spirit and polish alive. With transient instrumentals and Bougerol’s timeless voice, the album takes listeners on a beautiful musical journey and sets a relaxing tone encapsulating the essence of the motto “C’est La Vie.”

    The album is complete with track after track of slow and smooth jazz numbers supported by strong string and horn instrumentals with Bougerol’s voice slicing through it all. The co-founder’s vocal talent and control can be heard in every song and even takes on the Audrey Hepburn classic “Moon River.” Though the reinvention begins with seemingly risky harmonies presenting themselves as shaky and out of place, when the song picks up with a more classic jazz nightclub vibe and a laid-back tempo, it begins to truly shine. The classic lyrics continue to express the heartbreaking contradictions of relationships, but the musical composition supports the album’s title and overall message, conveying a newer interpretation to not take those heartbreaks so seriously because c’est la vie.

    When it comes to original songs sprinkled throughout, “Adieu L’amour” stands out among the rest with its diverting and more serious sound. From the very start, the song seems to mix with Latin American styles with its faster pace and conga drum-like sound. Where the song continues to divert is in its lyrics, which have outward emotions of spite and blame against the love whose lies “closed the door” possibly going to show that living by the shrug of the shoulder motto of “that’s life” isn’t as easy or as possible as it seems. What brings the track back to the unity of the jazz album is the strength of the band’s playing and Bougerol’s controlled vocals occasionally slipping into French.

    Throughout the album, there are numerous other highlights including a hushed “La Vie en Rose” duet between Bougerol and Bob Parins along with “Meet Me at the Bottom of the Bottle” which ends the album on a fantastic note. C’est La Vie is now available on various platforms along with a touching music video for “Moon River” directed by Greg Mottola.

    On top of their new album, The Hot Sardines have also lined up tour dates for 2023-2024 which began on July 15th and will continue sporadically through April. The band will visit locations all over the United States, Tokyo, and Toronto, including select stages across New York State including a debut at the infamous Carnegie Hall.

    Hot Sardines 2023-2024 Tour

    July 15 Huntington, NY  Chapin Rainbow Stage

    September 12-16 New York, NY  Birdland

    September 23 Morristown, NJ  Morristown Jazz & Blues Festival

    November 10-11 Charlotte, NC  Charlotte Symphony Orchestra

    November 27-30 New York, NY  Joe’s Pub

    December 7 Amherst, MA  Bowker Auditorium

    December 16 Tannersville, NY  Orpheum PAC

    December 19-21 Tokyo, Japan  Blue Note

    January 19 Richardson, TX  Eisemann Center

    January 20 Austin, TX  Parker Jazz Club

    January 21 San Antonio, TX  Jazz, TX

    January 24 Phoenix, AZ  Musical Instrument Museum

    January 25-26 Las Vegas, NV  Myron’s at the Smith Center

    January 27 Kansas City, MO  Folly Theater 

    February 14 Toronto, Canada  Koerner Hall

    April 19 New York, NY  Carnegie Hall

    April 20 Boston, MA  Berklee Performance Center

  • Hearing Aide: Mikaela Davis and Southern Star

    Harpist Mikaela Davis and her band Southern Star, released their first album as a unit this week. The album, simply called Mikaela Davis and Southern Star, is also her first release in five years and her first on label Kill Rock Stars.

    Mikaela Davis and Southern Star

    The band however, is not new, and most of them have been playing together since before her last album, Delivery was released. Joining Davis’ harp is Alex Cote on drums, who has been friends with Davis, and been playing with her in some way or another, since they went to school together just outside Rochester, NY. From nearby Syracuse, Cian McCarthy plays guitar and his brother Shane picks up bass duties. Rounding out the quintet is Kurt Johnson on pedal steel and guitar, originally hailing from Rochester southern outskirts, he has been a fixture in the city’s music scene, along with Davis and Cote for many years.

    Mikaela Davis and Southern Star, the band, is locally-grown, organically-formed, and grade-A quality. Mikaela Davis and Southern Star, the album, is a superb documentation of their unique and diverse sound that will equally satisfy the hunger of the most ardent fans and those that have yet to get a taste.

    It is rare for a harp to front a rock band, rarer still for a harp to intermingle with a pedal steel. Add in a guitar and bass and Southern Star comes in with a whole lot of strings in tow. It works incredibly well, and provides the band with a lot of versatility.

    The set eases into the listeners ears with the beautiful harp melody in opening track “Cinderella.” With Davis’ voice and Johnson’s moaning pedal steel work joining in shortly after, the unique magic embedded inside is immediately apparent. From there each track adds new and interesting elements into the fold until the palette is revealed in full. It explodes into an extended guitar-led workout on album-closing “Leave It Alone,” before petering into ambient spaciness. But the band isn’t quite ready to call it a day and the jam re-emerges for another couple minutes like a classic album hidden track.

    In between, the album jumps through genres effortlessly. Country rock awash in early 70’s psychedelia moves to pop-tinged folk, languid grooves flip over to muscular choogle. Despite it’s diversity it all comes across as a coherent whole, a satisfying full album listen with a rich and timeless-sounding production that should keep this a regular on the turntable or streams for years to come.

    Key tracks: Saturday Morning, Don’t Stop Now, Leave It Alone

  • Hearing Aide: Drew Jacobs ‘Get Your Ha​-​Ha’s Out!’

    Drew Jacobs, a Comedy Musician from Latham released his fifth CD, Get Your Ha-Ha’s Out! Recorded live at The Linda, WAMC’s Performing Arts Studio in Albany, the album is a brilliant mix of witty stand-up and original songs.

    Drew Jacobs

    Drew Jacobs first saw commercial success in 2001 when “Santa Claus is Coming To Rock You” aired on the nationally syndicated Dr. Demento Radio Show. Since then, Jacobs released more albums, including Easy Listening For The Hard of Hearing, I’m Allergic To My Job, and more. His latest release, Get Your Ha-Ha’s Out!, seamlessly blends stand-up comedy and original songs.

    “I write what makes me laugh: relationships, modern society and life as a babyboomer,” Jacobs wrote on his website. He also listed his musical influences, such as The Beatles, Arlo Guthrie, Weird Al Yankovic, and more.

    Get Your Ha-Ha’s Out! is an excellent showcase of Drew Jacob’s talent for both comedy and music. Jacobs managed to produce an album that is both funny and insightful. Moreover, there is something on the album for all listeners to enjoy.

    Listen to Get Your Ha-Ha’s Out! on Bandcamp, Spotify, and Apple Music.

    Key Tracks: I’m Allergic to My Job, Dylan’s Just Screwin’ With You, There’s An App For That

  • Kristian Montgomery & The Winterkill Band Release Layered Fourth Album ‘Lower County Outlaw’

    Kristian Montgomery & The Winterkill Band will be releasing their fourth album in three years. The twelve-track journey titled Lower County Outlaw not only shows the exceptional range and skill of Montgomery as a multi-talented musician but displays an exceptional improvement in production and clarity from his previous records. With an August 5 release date, it will be accompanied by a promotional party at Pauly’s Hotel in Albany.

    Who is Kristian Montgomery?

    Kristian Montgomery has been a part of the music industry for a while and originally began his career as a metal vocalist, but has turned to country in recent years. Since the switch-up, his success has reached all new heights as his music has received increasing attention all over the world and has even received a nomination for the New England Music Awards and Boston Music Awards.

    The New England based artist doesn’t have a static genre, however, as his music often drifts between rock, soul, and the blues as is evident in his previous three albums The Gravel Church, Prince of Poverty, followed by his latest, A Heaven for Heretics. Montgomery’s first two albums were raw reflections of the dark aspects of his past while A Heaven for Heretics worked to make sure listeners knew they weren’t alone. No matter the music, if it comes from Montgomery, people are sure to experience the countless layers of human emotion, struggle, and isolated country living.

    The band’s new album, Lower County Outlaw, has Andrew Kross on production, a producer who has worked with Grammy winning artists such as John Legend and Alicia Keys. Not only is the album’s production an incredible success with its crystal clear instrumentals and the strength of Montgomery’s vocals, but the story created slaps listeners straight in the ears. Lower County Outlaw is a project of pure heartbreak, rage, and spiteful energy as it tells listeners about a woman who is in every way an outlaw when it comes to Mongomery’s heart.

    Album Review

    For the most part, the album stays close to Montgomery’s usual style of country/rock, at times giving listeners a feel of his metal-head past. Throughout the album, his voice soars as strong as ever with enticing melodies and crazy instrumentals. However, tracks like “Easy To Forget You When I’m Gone” and “The 4th of July” see the artist taking a step back from the spiteful lyrics and in-your-face rock styles seen in other album tracks such as “Somebody’s Baby Mama” and “The Girl With The Gauges In Her Ears.” “Easy To Forget You When I’m Gone” is a forceful reminder that Montgomery is a modern country artist, taking listeners on a slow physical and emotional drive away from constant and painful reminders of the woman he no longer has.

    The final track combines his rage full lyrics with an old upbeat country melody that closes the album with a goodbye that foreshadows a return. During the track, Montgomery mercilessly rips the woman mentioned throughout the twelve tracks apart, similar to the rest of the album, and simultaneously creates hope for himself to stand on saying, “when you’ve got nothing, you’ve got nothing left to lose.” While Lower County Outlaw is well-put together and easily catches listeners attention, the themes seem to cut women down in stereotypical ways in order to build the lyricist up. Although stemming from a place of heartbreak and loss, the message distracts from the music.

    Overall, the album is definitely worth a listen and fans should be excited to hear it live throughout the band’s summer tour stretch and feel free to make it their angry heartbreak album!

  • Album Review: 222 Reasons why Lil Tjay Did Not Disappoint

    Coming off his near-fatal shooting, Bronx crooner Lil Tjay was up against hip hop history. After all, surviving 7 gunshot wounds was reason enough to anticipate the “Calling My Phone” rapper’s next release. However, hip hop’s ever-changing landscape and Tjay’s replicable sound may have done the rapper in when it came to sales. With the news that his first project since his shooting, 222, had garnered just 22K in first-week streaming sales it came with a perception that Tjay’s album was a disappointment, or worse, that he was falling off.

    Lil Tjay album cover
    Lil Tjay’s first project since his near-fatal shooting sold 22k in its first week

    Album Review

    In light, this isn’t to say that 222 is a great album by any means. This latest effort is an inconsistent body of work that showcases many of Tjay’s talents, but also highlights why Lil Uzi Vert’s idiosyncratic effort is the only hip hop album to debut at number 1 on Billboard in 2023. Although with Tjay’s track record and a story to tell, there were high expectations. Nonetheless, some head scratching choices left the project feeling a bit manufactured.

    222 starts strong with “Nightshift” and “June 22nd,” as both records showcased an underrated part of Tjay’s repertoire. Known for his catchy hooks, piercing vocals and crooning melodies, he decides to start the album with two emphatic rap records that have an authentic New York feel. “Nightshift” sees the Bronx native put his stamp on the project and rap game, followed by the witty, story-telling June 22nd, depicting his almost-deadly shooting. It wouldn’t be long before Tjay got vulnerable as the next five songs saw him get into his melodic bag. The reflective “Nobody” and “Scared 2 Be Lonely” are both very good while “2 Grown” featuring The Kid LAROI will probably go diamond on Tik Tok.

    Lil Tjay's album tracklist
    222 is starts strong but tails off in the second half

    Where it Went Wrong?

    However, things take a turn in the album’s second half with what feels like quite a few filler records and questionable decision making. Tjay’s youth might also play a part in this, as no one must have told him that nobody over the age of 14 wants to sing along to a song whose hook is “Bla, Bla, Bla” — although the song isn’t bad as he and Fivio Foreign mesh well. He follows that by leaning too much into his singing on “Someone Who Cares” which made for a hard listen where piercing quickly turned nasally.

    The rest of the album follows this same ebb-and-flow of quality versus content. “Forgot I Was The 1” is a good record, but that’s followed by an out-of-place Jadakiss feature — and it didn’t help that the mixing made the veteran rhymer sound no less than 190 years old. The head scratching decisions continued with a sequel to his Billboard charting return single on “Beat The Odds Pt 2,” featuring a Polo G verse that derailed what was meant to be an emotional comeback record. Ultimately, Tjay finishes the album strong with the honest “Foster Baby” — where he reveals he was adopted — and the contemplative “Grateful.”

    Why Lil Tjay Didn’t dissapoint

    All things considered, what could have have been Lil Tjay’s defining project will end up being more fodder for the microwave music culture. Yet, its hard to see anything the “Pop Out” rapper could have done to generate substantially better numbers. While it may be concerning that he’s now doing half of his what his debut sold only 4 years ago, such is the state of NY hip hop’s commercially. After all, Fivio Foreign assisted by A-list talent mustered 29k first-week sales. In the streaming era, it is much more important to keep a few charting songs and known features than a great project top-to-bottom. It’s what the system rewards.

    While these factors all play a part in why first-week sales shouldn’t matter too much for Tjay, the most obvious hindrance to his growth as an artist is his sonic likeness to A Boogie Wit Da Hoodie. The two Bronx rappers maintain a tense relationship with Tjay usually on the defending end of his music. Regardless, it’s hard to ignore the similarities on the Summer Walker mashup “Stressed” and “Foster Baby” which both sound like carbon copy A Boogie records. But then again, is it right to fault Tjay for sounding like someone who grew up 20 minutes from him?

    Look how many records I done sold, woke up, I feel like a pot of gold. How it happened, I don’t even know, I saw my lane and all I know is go.

    – Lil Tjay, “Nightshift”

    Nonetheless, the mainstream audience hold the true power of sway and right now A Boogie is the preferred New York crooner. With allegations of his own drop-off in quality the “Look Back at It” rapper more than doubled Tjay’s first-week numbers with his last project. All in all, Tjay may have given himself the best advice on “June 22nd” rapping, “the show’s lined up, album’s soundin’ like some crack, so I’m excited for the music comin’ out and for the sack.”

  • Hearing Aide: Michael Ian Cummings ‘Oldest Troubles’

    Michael Ian Cummings, former lead singer and songwriter of SKATERS, released his debut solo EP Oldest Troubles. The indie rock record is made up of five tracks where Cummings reflects on his own past experiences in a skillful way, as the listener is able to feel connected to each of his songs.

    Oldest Troubles comes after Cummings took a six year hiatus from music. When Warner Brothers Records dropped his band SKATERS, Cummings felt disillusioned with the industry. He was left in the common place many musicians find themselves when the band life stops and needed to unplug, reset, and find his inspiration once again. Now, Cummings found that inspiration again. He also described making the album as “cathartic.”

    “This was 100% for me to regain my balance in making and releasing music,” Cummings said in an interview. “And part of that was not doing things I didn’t feel good about in my gut. And whether that was a choice, like re-recording something so it sounds pristine, or keeping the live take, keeping the fucked up guitar that might be out of tune because it just felt better.”

    His attitude paid off. While it may have been more for Cummings himself in how he recorded the EP, it also made the record better as a whole. In songs like “Contemporary Me,” the listener can feel more of his emotions because of how raw it sounds.

    The title track, “Oldest Troubles,” reflects the melancholic feeling Cummings may have felt when writing and recording the song. The strings in the background only add to the beauty of the song, making it the most replay-able track on the record.

    Listen to the Oldest Troubles on Bandcamp, Spotify, or Apple Music.

    Key Tracks: Contemporary Me, Oldest Troubles, Suburban Crackhouse Beats

  • Hearing Aide: “Don’t Feed the Pigeons” by YL Nourishes the Youth

    In order to drive oneself to new heights – you must obsess. Moderately, everything arrives in due time. The contextual irony cloaked within the bubbling progression shown by lowkey Nas of my generation amounts to Don’t Feed the Pigeons. One to cause contemplation, it truly remains an honor and a privilege to witness YL’s progression. 

    Carrier Pigeon v. Passenger Pigeon

    Heretofore, any endeavor relies upon its core components. The way that YL of the RRR Music Group drops content tends to resonate. Indubitably, he facilitates his functions with multiple cryptic previews and properly timed balance of project releases. Again, core components derive from learning all facets of music – production, promotion, precision. Intellectually appealing aesthetics and scenarios never hurt either.

    Aside: As a thorough interviewer and journalist – I pay attention to my surroundings. Twice a week, time is spent at the Empire State Plaza displays and interesting walks of life. Ironically, many public moments with her occur in the opposite manner – as if surrounding glances hold absolutely no weight. Yet it goes to show how incredibly poignant Upstate NY foliage genuflects the rhythmic nature of existence. 

    Additionally, the simplistic nature of mathematical musical lens’ lends generously beneficial outcomes. Simply done, YL provides ample time to build up hype revolving around upcoming releases. “Illusions” proved worthwhile with staying power as a skit and small verse sample hit airwaves last October.  Clearly, this album serves reminiscent of previous intellectually calculated releases with thematic imagery via intros/skits/outros too. 

    Full-Length Follow Up

    Artistically, one of the first, Pigeon singles to drop made its way onto timelines one month before RRR dropped their project titled after their music group. 

    Wholeheartedly, the most ideal characteristic about thee Triple R timing propels any life joy. One thing is for sure – two for certain – any listener cannot hear their collections and resist the urge to feel. The feeling elicited by some of these smooth synchronous samples creeps up on a meticulous listener and hits ‘em where it counts.

    Contextually, many of YL’s albums released within just the right era to help me navigate dark times. The songs have carried cruises for extended views and such. Alas, nobody needs to brave this world or music industry alone – big shouts to Waqas.Ghani [RRR Orchestrator] Also loved was a Roper Williams reunion – the top rope from whence the producer duo struck!

    Among the highlights of Don’t Feed the Pigeons: YL lets the beat speak on Nothing’s Changed ft. Ankhlejohn, YL says: “Gettin poppin on some present day fame – kind of strange how you hate but stuck in the same place,” and Beat says: “Guess nothing’s changed”

    ‘Tis impossible to undermine the magnitude of giving space to three man weave with the beat speak.

    “Can’t dwell on what it once was – you finally getting bread that’s wassup.” – YL consistently taps in and touches upon thematic lines. He simply rearranges placements and tests out pockets where words, phrases and lingo might interact more beneficially.

    Seemingly, his concept of $20 has escalated to $100 on this project – listen closely. 

    “$100 dollars on the floor Y’s it seem like a test?”

    –Yoke, YL

    Huge Takeaway: “Letting go of the past put my future in better perspective – boutta make feature films lifestyle well-directed.” –Dry

    Don’t Feed the Pigeons from YL incorporates fascinating elements as a robust full length follow up to RRR the Album.

    Key Tracks: I Promise, Yoke, Illusions [each produced by Roper Williams]