Wenger

Simmering with static storms and electric beats, Charli XCX’s newest quarantine-recorded album how i’m feeling now cries out to every dance floor that now stands empty. Charli always wants to “go real hard,” creating heavy, electronic tunes for her fans to go hard alongside her. The album, which dropped at midnight on May 15, proves that now, even as bars close and venue doors shut, Charli will continue to curate the soundtrack to our stay-at-home dance parties.

An artist whose songs are best played loud—bass bass booming, lights flashing—Charli XCX presents an album that listeners across the world will receive in the quiet of their homes. It is exactly the current worldwide isolation that proves Charli’s commitment to making music that drives us to move regardless of where we are, who we are with, and whether or not the world feels like it’s falling apart.

With past collaborators like SOPHIE, Lizzo, Christine and the Queens, HAIM, Brooke Candy, and many more, Charli’s previous records are a testament to her passion for participatory production. That’s what makes Charli’s new album so unique. Though she did not produce the album completely alone (using fan feedback and long distance collabs), Charli’s homegrown project pushed her to make music without her many teammates beside her.

Though the songs come together almost as a love letter to her boyfriend, who is quarantined with her, they are also indelibly a love letter to her fans. Songs like “detonate,” synth charged “visions,” and her speaker-blowing “anthems,” embody pure adrenaline-pumped Charli. The album takes everything listeners loved from her 2019 album, Charli, and her 2017 album, Pop 2, boils it down, amps it up, and delivers Charli at her best—and at a time when we need it most.

This hyperpop masterpiece made in the heart of a pandemic is also evidence of what can be created in the age of digital music. Charli is a musician of the internet, and her songs flood with robotic and synthetic noise that harkens to a new era of sound. Now: stay in, log on, plug in your headphones, and salute to Charli XCX as she marches into the next age of pop.

-written for ASLUT (check out aslutzine.com)

https://aslutzine.com/2020/05/20/charli-knows-how-youre-feeling-now/

Fans of Dorian Electra’s ‘musical genius’ are giving thanks for their latest release. The new single, “Give Great Thanks,” is a masochist’s dream backed by what sounds like a warped harpsichord and industrial bass. As usual, Dorian Electra—a performance artist as much as a musician—released a music video to accompany their twisted bop.

The grainy video features Electra thanking their unnamed master for choking them and putting them in a cage. “I’m a lifeless hole for you,” Electra sings in their signature auto-tuned vocals, “Thank you for my punishment...thank you, you’re so generous.”

Their new single, like their past work, has lyrics that confront sexuality without ‘beating around the bush.’ Again, Electra vocally deconstructs gender, using auto-tune to make their voice deepen and jump from note to note like a gender-fucked pop cyborg. Unlike the choreographed, colorful, theatrics of their earlier album, Flamboyant and its visual pairings, this new single takes on a darker sound and a darker aesthetic. The song is still loyal to the project of Dorian Electra. I say project, because Electra works in concepts, fashion, education, and character to make their music both an exploration and explosion of gender and sexuality.

This electro-hyper-pop artist queers music like never before, holding a mirror up to pop, shattering it, and putting it back together with glitter glue and handcuffs. Most importantly, Dorian Electra is still flippant, fun, and flamboyant. They’re making music how they want to and, in doing so, creating a space for fans who want to sonically combust as they dance along.

Originally published: https://aslutzine.com/2020/07/26/we-give-thanks-to-dorian-electra/

Originally Published on aslutzine.com

In the afternoon of Sunday, August 16th Cult Love Sound Tapes is set to release Cult Love & Friends Volume 1, a smorgasbord of genre and sound coming in at 47 minutes with 18 tracks ranging from noise and punk to rap and electropop. The tape features music from a huge sampling of artists and takes the listener on a tour of the sounds Tulsa has to offer. As musically diverse as they are consistent in quality, I cannot recommend enough that you give these artists a moment of your time and let them whisk you away.

To break down this delicious buffet, we begin with Black Gambit (Adam Townsend), whose funky beats get your head bobbing and your body moving. From here we move into a track featuring Kyra Bruce, a music journalist herself who is making her debut on this compilation album. Bruce, playing with Noah Beal who had a heavy hand in some of the production on the tape, brings Riot Grrrl to the Mid-South with a track that is grimy and angry in all the right ways. Bruce says she has been heavily influenced by ‘90s rock band Veruca Salt. Despite having only been playing guitar for around 3 years, and only over the last year been “seriously making music,” Bruce’s vocals scream out over some immense shredding, announcing herself as a formidable player in Tulsa’s punk rock scene.

Bruce isn’t the only one to make her debut on this tape. Rainbeaux, with production assistance from Solbakk (Lars Gardner) and Noah Beal, premiers a bubblegum bass anthem that rings exquisitely in your ears. Rainbeaux describes her style as “spitcore,” and despite only having started making music around late January of this year, she shows much promise.

Olivia Woodall is another newer name who appears on this tape, performing on three tracks. Woodall says there isn’t a particular sound she’s looking for, but has been “having fun trying out different styles and personas.” Her vocals come through strong and she’s got some serious noisey talent. Like Bruce, Woodall has only been playing music for a few years, and even this she’s done secretly. “This is the first time it’s come to fruition,” Woodall says. Like the others, she has plans for more music in the near future.

All three of the aforementioned debuting artists thank some of the more seasoned artists like Noah Beal, Lars Gardner, and Natty Watson for help in production. Rainbeaux recalled how “Solbakk and Noah Beal made making music a really inclusive and comfortable experience” with Noah laying down “the hard hitting drums and bass” while “Solbakk top layered the crazy synths, explosion noises, and sexy water sounds.”

As these newer artists develop their sound, what they all express is gratitude toward each other and real admiration of one another’s talents. This collaboration was made easy by the fact that many of the artists have known each other for years, encouraging each other in artistic endeavors, and assisting and mentoring one another.

For fans of the (now broken-up) band The Lukewarm, this tape features two demos recorded from their earlier sessions. The band’s former members, Lars Gardner, George Christ, Caleb Campbell, and James Connelly have also found their way onto this tape with both solo and collaborative work. Lars Gardner—who also played a part in much of the tape’s production—appears as Solbakk on several tracks. Solbakk’s raw musical talent and range as well as their efforts in studio assistance for the other artists makes them one to follow.

Caleb Campbell makes a solo appearance as himself, does vocals on a project TaV: Reloaded, and performs as his alter ego CrazyFlow, who is equal parts absolutely absurd and utterly prolific. (If you’re looking for more CrazyFlow, an older song, Mercedes Type Car, is an absolute banger). Campbell’s various talents are on display in this compilation, but if you’re not down for the humor and fun brought by hip-hop satirist CrazyFlow you’ll be pleased to hear two excellent tracks from hip-hop duo Find Solace & Charade (Zach Prichard and Reggie Watson respectively). Their work is lowkey and seriously good. For something that hits a little harsher, there is Benzo’s song “Spouse” spat so heavily that when Benzo says “getting some head from your motherf*cking spouse,” you almost want to hand you partner over to Benzo.

But this tape wouldn’t be a true Cult Love compilation if it didn’t include some more noisey and experimental work. We find that in a spacey-staticky track by Beachmaster, in a song titled “Noisecore Quarantine,” and in some very chaotic sounds produced from a collaboration between Noah Beal and Aaron Wang.

Cult Love co-owners, Natty Watson, George Christ, and Lauren Drummond say this project has been in the works since May, and a compilation has always been on Natty’s mind. Now, they say, “with so many of [their] primary collaborators making top-notch music prolifically, [they] realized [they] could put out a compilation tape presenting a lot of material in one place.”

You can find the tape and digital download on the Cult Love Sound Tapes bandcamp. The music will be streamable on Youtube as well. One thing that is undeniable: this group has talent, and Tulsa has the music. Supporters of the local scene can listen to this compilation album while waiting for shows to start up again. Lucky for us, the Cult Love execs say we can expect another “on an even grander scale with a broader scope of Tulsa artists” in the future.

Click here to read the full article on ASLUT’s website.

Originally Published: aslutzine.com

Photos by Claire Gibson

Listening to Charlotte Bumgarner’s music is like floating through a dream—the kind where muted colors meld together, you’re running in slow motion down a familiar road you’ve never been on, and some warm, unseen arms wrap themselves around you. It’s a sad dream sure, but for some reason you don’t want to wake up.

At 19, Charlotte writes with the lyrical depth of someone who’s lived three of her lifespans. Her voice is equal parts haunting and enchanting as she croons across many modes of melancholy.

“I think there are so many different types of sadness,” Charlotte said. “I definitely touch on a lot of them in my songs...I write about things to try and work them out in my head. So, some of them it's depression...sometimes it's a self-deprecating-sad, but I think it's usually just things that I find stunning or that catch my attention.”

On Friday, December 11th, you can hear “Honey Touch” the first of three singles in a series released in conjunction with Manor Records and Garden Kiln.

The three new songs were recorded at Charlotte’s boyfriend, Drew Richardson’s house. Unlike the simple guitar and vocals of her previous self-recorded EP, “Night Blooming Flowers,” these singles will have drums and synths. Still, Charlotte said she didn’t want the sound to be too heavily produced.

“I don't want it to not sound like me,” She said.

This DIY ethos is big in the Tulsa arts and music scene.

“I never want to not be in a DIY scene,” Charlotte said, “I think it’s the most comforting place...everyone is so supportive and just excited to hear your music.”

Despite the support, Charlotte says she’s still striving to see herself as a legitimate solo artist as distinct from the band she’s in, Graveyard Party.

“I want people to have more respect for solo music, and just sad and vulnerable music in general” Charlotte said. She is definitely putting in the work to earn that respect. Until she feels it though, she’ll continue to make the music she wants with the people close to her.

“I just keep playing with music with my friends and just, hopefully, [I can] make myself feel like a more legit musician,” Charlotte said.

You can check out her very legit music on bandcamp by clicking here.

Follow her on instagram @charlottebumgarner for more updates about her upcoming music.

First published on Star Catcher Magazine

Tulsa-based hyperpop artist Rainbeaux released her second single, “Heart Sparkle Gleam” on January 15th. This song will lead you on a sonic journey from the sugary sparkle of a wand, to a heavy metal interlude.

For sound, Rainbeaux cites a number of other hyperpop artists as inspirations including Fresh Hex, Laura Les, Alice Glass and 8485, and Charli XCX. The influence of these artists can be traced in the vocal manipulation, heavy bass, and liberal use of synth in Rainbeaux’s work.

The saccharine lyrics at the start “I’ve got a crush, a crushed velveteen dress/something I really wanna express/a boy I really wanna impress” are well juxtaposed by the hard-core screaming that comes later, making for a wild and incredible balance to this maximalist number.

Producing team Beal and Solbakk worked closely with Rainbeaux to craft and shape the song. The two are musicians in their own right; both have been active in the Tulsa music scene for years. Solbakk said that while they always liked pop, it was when Rainbeaux showed them Dorian Electra that their mind really opened to “the type of music that could be made within the pop genre.” They said Electra’s music, especially their 2019 album Flamboyant took them aback with its “insane production, the catchy melodies, and the smart and funny lyrics that flip our binary world on its head.” Intense production and catchiness make their way into Rainbeaux’s singles as well, making “Heart Sparkle Gleam” fit snuggly beside hyperpop masterpieces like Electra’s song “Musical Genius,” or Charli XCX’s hit “Pink Diamond.”

There is a certain joyousness in Rainbeaux’s music that was well described by Beal who said, “each project I am in feels similar just in (the) spirit of wanting to make cool stuff that can also make you laugh a little without it being a joke.”

This isn’t to say Rainbeaux’s music isn’t to be taken seriously. Rather, Rainbeaux’s work, like much of the genre she’s a part of, approaches pop with an emphasis on what so many people love about it in the first place: a sense of fun, carelessness, and ease that blasts away the rest of the world. It’s the kind of music that comes as a sweet relief in the era we live in now. In short, Rainbeaux is making absolute bops in a time of absolute crisis.

When asked if she plans on releasing an album, she replied, “I’m still looking to pump out bangers for now and we shall see where that leads.”

To get word on the latest Rainbeaux bangers, you can follow her on Instagram @imrainbeaux and Spotify.

First Published on ASLUT

Artist Pisha (Madeline Kassen, genre:unclassified) released her newest album January 20, 2021. The album, titled Threnody—a word that implies lament or mourning—will reflect not on death so much as on the themes of rebirth and transformation.

During Threnody’s making, Kassen underwent a personal transformation. She described the album as an “audible growing pain,” in which she is “lamenting the death of a past self.” Listening to the previously-released single, “Home,” those sounds are definitely present. There is a hallowed howl and a wilting wail in Pisha’s voice that packs emotional power as bright as the burning light of a funeral pyre.

The atmosphere of Pisha’s music could as easily be the soundtrack to a Tim Burton movie as it could accompany you on a psychotropic journey. While her music could be categorized as avant-pop or hypnagogic pop (descriptors her friends dreamt up), there is something new-wave about it. This makes sense, as Pisha lists among her influences The Cure, Alison Goldfrapp, and New Order.

“I feel it has some goth-pop elements and rock influences, sometimes some industrial elements,” Pisha said. “I’d call the genre ‘shit show’...I try to take it song by song. Hopefully a cosmic melody of yore flows through.”

The talk of yore and gothic elements calls back to Pisha’s namesake, a cannibal character from the video game, Vampire Masquerade Bloodlines. It’s exactly the persona one envisions when listening to her music.

Aside from her musical work as Pisha and in the band Tada! Kassen is a mutli-media artist. “My philosophy is everything is art,” she said. “I feel that if I did not make other forms of art, my music would suffer and maybe even vice versa. It is instrumental in me decongesting and getting over myself.”

Her artistic sensibilities can be seen in her music videos and promotional art, which she’s done in collaboration with artist-friends Riley Halliday, Nate Buckley, and Stefan Bucchieri just to name a few. The incredible visual elements of Pisha’s work are key in cementing the musical and performative role of Pisha.

“Pisha is just me with less inhibitions,” Kessen said. Uninhibited turns out to be a perfect way to describe Pisha’s music. Give it a listen, and maybe let go of a few of your own inhibitions.

Follow Madeline on Instagram @madelinekassen and check out the album on Spotify by searching Threnody or Pisha. You can buy a tape of the album from Cult Love Sound Tapes by visiting their bandcamp.

Originally Published on StarCatcherMagazine.com

When Scatter Girls! first came onto the Tulsa scene, they went by a different name. In fact, they went by several other names. The noise-punk trio took many shapes before solidifying into its current form, transforming from Folsom Point, to Sinus Pressure, to Safety Patrol, to Canker Sore and finally landing on Scatter Girls!.

“The band would evolve and the name changes came with it,” Scatter Girls! wrote in a joint-email. “The name changes didn't change our approach to music, they were just a fun side element and a byproduct of the natural evolution of the band's sound.”

The band’s perpetual change is perhaps due to the fact that it’s formation was something of an accident. As from the primordial soup rose mankind, Scatter Girls! emerged from an early-morning-too-loud jam session at a friend’s lakehouse. At the time, what they were making was noise, a genre that is the very antithesis of music as most know it.

Recalling that moment, Scatter Girls! wrote, “We would probably not be around had it not been for our friend Solbakk, who heard us jamming on a whim at 3am. We thought nothing of it, but Solbakk asked us to play our first live show with their group at the time, Birds Beak.”

And so, from the loose clay of 3am noise, Scatter Girls! began to sculpt itself, adding a guitar later, and going from complete noise to a punk sound.

The bands members, Natty Watson, Olivia Woodall, and Noah Beal were already close friends, each with their own forays into art and music. The three are members of what could loosely be called the “Cult Love Family” in association with Cult Love Sound Tapes, a Tulsa DIY art, music, and cassette collective.

Scatter Girls! played more shows and eventually released a split with Tulsa punk band Soaker, called Blonk 281. They currently have a music video in the works, and will release track on the next Cult Love & Friends Compilation tape.

Now, standing on its own fully-evolved feet, Scatter Girls! is putting out a 7” in conjunction with Tulsa Noise and Peyote Tapes produced with help of Solbakk and mastered by Mateo Gallindo. It will be released on March 5th, 2021. Keep your eyes out, and until then give their music a listen on all streaming platforms.

Originally published on starcatchermagazine.com

Lavish Obituaries is a recent arrival on the Tulsa scene with only two singles released thus far. Still, with these songs they’ve shown serious promise in groovy, genre-bending experimentation.

Living together as roommates, Cassidy Reed, Nik Natale, and Garrett Steelman formed this group in November 2020. Their fourth roommate, Rebecca Rayon serves as the group’s main photographer. In recent months, the creative quad has been cooking up various artistic projects in their apartment/studio.

Prior to becoming Lavish Obituaries, Nik and Garrett had another project: NIKSTEEL. Then, when Nik and Cassidy met on Tinder, the trio discovered their mutual passion for music and fashion and a common creative drive. Soon they were hard at work meshing their styles together.

“We had this playlist of completed or near-completed songs on Nik’s computer and just got tired of sitting on them,” Cassidy wrote in an email. “…But we knew we had to plant the seed to start growing.”

Their debut single “Shotgun to the Moon” is that seed. The song’s groove comes from a heavenly beat, keyboard dreamscapes, and the interplay of their voices. Cassidy provides something like a poem near the song’s end that sends you sailing away…maybe to the moon.

Cassidy used to do music journalism, which gave her a healthy genre-palette. Their influences are far and wide. “Music is vibrational,” Cassidy explained, “I put my vibrations on a track, and they’re mixed with the vibrations Nik and Garrett both have…”

Because their songs are on the longer side (4 and 5 minutes), they have the effect of taking their listener on a journey. “I really envision Lavish forming this colorfully vibrant animated universe,” Garrett wrote. “Sort of like a cowboy bebop/adventure time/Gorillaz mashup) with a heavy fantasy feel that’s outer-worldly.”

With their second single “Kiss It,” Lavish Obituaries sinks you into a sensual universe. “Kiss it/Touch it/Squeeze it/You need it,” is sung cooly over the simple yet compelling mix. The song is, simply put, a bop.

When asked about their aspirations, Nik replied simply: “I would say our end goal is to not have to work a 9-5 anymore and put out good music.”

Until they can quit their day jobs, Lavish Obituaries will keep producing sensational singles.

“We want to tell stories, whether with pictures, physical art, merch, videos or whatever,” said Cassidy. “We want every song to have other things for listeners to explore, more ways to bond with our art.”

Check out their music and follow them on instagram @lavishobituaries to check out their dope visuals.

Originally Published on aslutzine.com

Benzo and blackgmbit released Yellow Tooth Bastard in late 2020. Now they’re back with a Valentine’s day single “Ain’t Mine” with production help from Solbakk.

Breaking away from his rap-based LP, this song features auto-tune singing. “I used to hate the idea of me using auto-tune because of how popular...it’s become,” Benzo wrote in an email. “I’ve always tried to go against the grain, but recently I have been experimenting with singing and more auto-tune.”

The result is a track with a catchy chorus sung over a groovy beat: “I need a little weed just to get through the week/I’m feeling real fine when I’m drinkin’ on wine/I’d rather have you, but I know you ain’t mine.” This chorus leads into Benzo’s fervent flow.

It’s fair to say that when Benzo is spitting his talents show best. He’s got a realness to his words, and he doesn’t shy away from the personal.

“I’m writing from what I know and my experiences,” Benzo articulated. “Whether it be love, lust, or loss, I try to keep it as genuine and honest as I can.”

In this song, that candour turns to the theme of heartbreak, or rather, the act of distracting oneself from it. This single developed from a demo Benzo recorded in 2019, and it tells the story of several relationships all mashed into one.

In the past his music has dealt with failure and struggle. In his songs, Benzo explained, he’s able to reflect on these themes as they show up in his own life. “I want to celebrate my mistakes and failures,” he said. “We’re in a time where failure is taboo and so frowned upon that people don’t even give themselves a chance. I’ve had a lot of fuck ups but I’m still pushin to find my way.”

Benzo says he’s got more songs, but he’s keeping them in a metaphorical vault for a while. We can only hope for more of his patented sincerity on future releases. You can stream “Ain’t Mine” now on all platforms.

Originally published on aslutzine.com

Detroit rapper, Scumbag Fred is almost never without a 40oz or joint in hand in his music videos while his deep voice spits absolute fire.

His grimy-sounding stage name evolved with his music.

“I’ve like slowly manifested into a different feeling of scum,” Scumbag said. “People are always telling me like, ‘you don’t seem like that scummy a dude.’ And I’m like, ‘that’s because it’s a different type of scum.”

It’s true that in my short interview with Scumbag, he came off more as a salt, not scum of the Earth sort of man. He was funny, honest and to-the-point in answering my questions. When he spoke about Lunicy Link Boyz (the artistic group he’s a part of), he spoke of brotherhood and a strong force of friendship.

Link Boyz is composed of Scumbag, SeventhLord X, Worlockk, and Larrair. The quartet have been friends since highschool. Each have their own solo careers, but together they push each other artistically. Scumbag explained that making music with Link Boyz comes naturally, flowing out of their pre-existing familiarity with each other.

“We be cooking,” he said of the production process. “And like, whatever is fire, is fire...We’re never going to the studio and looking to make like a certain song. It’s like as we are making it, it happens and it’s beautiful as it happens.”

Larrair even did the production on Scumbag’s latest album, the aptly titled It Only Gets Worse, which came out in January of 2021.

Scumbag said the title refers to the music, but also to life itself. “It only gets worse,” Scumbag said. “Like whatever you go through, it’s only going to get worse before it gets better.”

His own life, like so many of ours, took a turn at the start of the pandemic. He had been in California recording his 2020 tape Liquor Store Loosies, when COVID sent him back home to Michigan.

“It really made me access everything I had as an artist,” Scumbag said of that time. “Like how a big part of the money was coming from being able to play shows, but then when you realize how many fans you really do have supporting you like during a pandemic buying all your merch up — it’s a really beautiful thing.”

It Only Gets Worse features an incredible range of sound. From the flute of a snake charmer on “Dipshit” to the sampled guitar riff from a Slayer song on “Chivalry is Dead.”

If you haven’t already, give It Only Gets Worse a listen. And while you’re at it, check out Scumbag Fred’s whole discography to get an earful of the scum.

Originally Published on aslutzine.com

When I called Slyrex for our interview he was sitting in his bedroom, which also happens to be where he makes most of his music. The Norman-based R&B artist said he finds it easiest to record in the early mornings when the mind starts making strange connections. Those hazy-minded connections are sewn together in his contemplative lyrics and dark sound.

Even before he started recording, Slyrex was writing poetry and short stories. That literary practice is apparent in his mosaic-like songs which stitch together past relationships and attractions with nostalgia and the fear of growing up.

“I’m not the most cerebral about it,” Slyrex said humbly about his writing process.

Humble is a good way to describe this talented artist who spoke honestly about the journey of honing his skills.

“I’ve very much been learning in front of people,” Slyrex said of singing, admitting that part of learning is also fucking up. “It’s getting better now…I’ve been learning very publicly.”

Improving his singing and learning to produce were just half the battle. Curating an image is also part of the work. “That’s probably been one of the hardest things to learn,” he said. “All processes, all art forms, all brand management has really transitioned to social media in a big way.”

Slyrex listened to 50 Cent, T.I., and Lil Wayne when he was younger. “I didn’t know it then—I thought it was strictly the music that was moving me, but I was influenced by the image just as much,” he said.

Now as an artist himself, Slyrex is trying to do the same. “I'm learning how to tell a story with the presentation and the way it's packaged.” Slyrex said. “But it's definitely not first nature.”

When asked what he sought to portray with his image, Slyrex answered that he just wanted to be the best vehicle he could for the music.

To help with the work of image-making, Slyrex has his brother, Ben Tefera who directs many of his stunning music videos.

Creativity clearly runs in their blood; it’s on display in music videos like Eros (2020, directed by Slyrex) and Couture & Wine (2020, directed by Ben Tefera) where images bleed together as in a fever dream - which happens to be the name of another Slyrex song.

“I'm happy with all the videos,” Slyrex said. “When they're rough around the edges, or you can kind of see the DIY aspects, it gives people more of an appreciation for it, because you can kind of see the person on the other side through the cracks.”

This dichotomy between Slyrex the artist and Slyrex the performer peaking through the cracks of his work is one he’s had to struggle with. Now, he is balancing being open and vulnerable in his art with a very real need for privacy.

“I wanted to have a clear separation between who I was as a person and the kind of art that I was making,” Slyrex explained. “Sometimes when you do art it is just to experiment with form, sometimes it's to take on identities or present things. But music— intrinsically people see it as autobiographical.”

The fruits of Slyrex’s creative labor are on display in his latest album Call of the Void. The songs float in a moody matrix, pulling you into the shadowy sounds Slyrex croons over.

Follow Slyrex on instagram @slyrex for updates on his upcoming projects, music and videos.

https://www.makeoklahomaweirder.com/2021/04/12/album-review-cult-love-friends-vol-2/

https://www.makeoklahomaweirder.com/2021/03/05/album-review-scatter-girls-by-scatter-girls/

Originally Published on aslutzine.com

Intentionality may seem antithetical to the emotions—the latter are typically the bread and butter of soul music. We tend to think of emotions as uncontrollable or overwhelming—feelings take hold of us, not the other way around—but in Gabrielle B.’s neo-soul music, it is exactly her emotional control and focus that charge her songs as she peels back the layers of love.

The Oklahoma City singer released her first EP in 2016. She followed it with Shift in 2017. The 7-track album was named Best Album by LineUp OKC’s Oklahoma Hip-Hop awards. Her last EP, Feel Something was released in 2019.

B. has a book of mantras to her name as well as three EPs. “Anything that you say has the possibility of coming to fruition,” B. said.

“When it comes to the similarities between writing a mantra and writing a song, it’s very intentional,” B. explained. “Like ‘What am I?’, ‘What is the purpose behind the words that I’m saying.’.... it’s all about intention for me.”

Her intentions are usually focused on one topic in particular: “I love love songs,” B. said. “I always come from a place of love whether it’s heartbreak or making up. This year, I've been tapping more into self love—loving yourself, loving others, sharing that love—that is kind of my niche. Love is just a natural feeling for a lot of us. It’s fun to explore because it’s never just one-sided—there are so many other layers to it.”

B. writes about all kinds of love. Her early song “Well Wishes'' deals in the messy business of parting peacefully with a lover. “Only time will tell/I wish you well,” B. sings resolutely.

In “Free Again” B. meditates on trust as an internal and external practice. As she sings “I’m putting my trust in you/I’m finally trusting you/because I finally trust myself,” it feels almost like a mantra. The more she says it, the more her trust grows and swells with the notes. Listeners are taken up on the wings of her silky voice, and lifted by the simple rhythm. It’s not hard to understand why B. recalled feeling free as she recorded this song.

“Easy” is simple and pure. It perfectly captures the joy of love coming easy. “Don’t think I ever have found it this easy to breathe” B. sings, almost in a sigh.

Her latest single, “Trying to Forget,” features Bairi. It was recorded cross-country with Bairi in New Jersey and B. in L.A. To make the music video, the director flew from New York to L.A. and back. In some ways “Trying to Forget” is a thematic reversal of “Well Wishes” — in the two songs, recorded years apart, B. captures the pain and possibilities of parting.

B.’s expressiveness came late for her. As a child, B. was shy. “I was a very quiet child,” B. recalled. “I didn’t really say much, or know how to express myself. But when I got into songwriting I was like okay so this is how I’m really going to tell my story.”

Songwriting gave her a vehicle for expression, and moving gave her the confidence to open up to an audience. B.’s musical career began when she moved to Houston to continue pursuing a nursing degree. While she was there, she bought her first mic and recording equipment.

“I didn’t think it was until I moved to Houston that my eyes really opened up to all the other possibilities,” B. said. “Not even just for music, but for me as a person to grow.”

Invigorated by a world of possibilities B. came into her own as a singer and started work on her first EP. She’s been at it ever since.

Since living in Houston, she’s been back to OKC, spent a year in NYC, and now lives in L.A. B. views each move as a turning point in her music. She is transformed with each new landscape. Now, she views the music she produced in each place as a timestamp.

“Each project means something different to me,” she said. “I’m always in a different head space, sometimes a whole different place. I just think that every time I decide to make that leap, to take that leap of faith, something beautiful happens.”

B. is now taking a different sort of leap of faith. The self-recorded, self-written, self-driven artist is looking for a team to support her. She’s already working with a producer.

As she looks ahead to building a full length album, a purposeful spirit and a deep commitment to personal and musical growth drive this effort.

“This year I’m definitely tapping more into other outlets as far as how I can make my vision even bigger and just expand it,” she said. “Because as much as I try to do everything by myself, it’s just not possible.”

B. is releasing new music later this month. Follow her on Instagram @iamgabrielleb and on Spotify Gabrielle B.

Stay up to date with the latest: You can hear B. featured on "Crush" by Duane Something by clicking here.

Watch the music video B. is featured in for the song "Solana" by Oklahoma City artist, Slyrex below.

Originally published on aslutzine.com

They wanna see us pigeonholed/That ain’t what my vision hold

— "SPAZZ!"

The seed for Angry Blackmen was first planted in 2016 when Brian pitched the idea of becoming a rap duo to Quentin. Back then, the two were solo artists, shouldering all the work of writing and performing on their own. Becoming a duo would make the grind a lot easier. And the name for that duo? Brian wanted them to be called Mad Blackmen.

“I was thinking along the lines of MADtv,” Brian explained. “Like I used to watch as a kid. I want to bring some type of feeling like that to music.”

It wasn’t until 2017 that the two rappers officially linked up and became who they are today, ditching the “mad” and switching to “angry.” Even though they ditched it, the story behind their original name is crucial to understanding what drives this Chicago-based rap duo.

MADtv, with its irreverant humor, pop culture spoofs, and cheeky political bits, sounds like it sits miles away from the much more loaded title “Angry Blackmen.” But don’t be fooled, this duo has as much humor as that 90s sketch show, and about twice as much wit.

To be fair, “Angry” is not a misnomer, but it can miss much of the madness behind Quentin and Brian’s music. Their name, like their music, plays with expectations and taps into the zeitgeist in uncommon ways. Their references range from Patrick Bateman and Courage the Cowardly Dog to Caligula and Oppenheimer.

Their music is edged not exactly by anger, but by a purposeful frivolity.

“I may decide to be angry,” Brian said, “but still be smiling in (the audience’s) face at the same time.”

Of course, the duo isn’t angry all the time. In fact, their talent lies in their ability to spin an emotion many ways like a crystal refracting light. Anger in their music might sound a lot more like a Dark Knight reference than an actual call to violence.

In the music video for their song “RIOT!” all the connotations the word carries are flipped on their head. The video begins with a title card “Somewhere in White America” then proceeds to show an American flag burning. However, the political implications are made playful by shots showing Quentin and Brian in a Walmart, contributing to a chaos that appears more like good fun than an actual uprising. In one shot, Quentin feigns coitus with a stuffed unicorn—an act that recalls MADtv humor more than political rebellion.

That the video was shot at a big box store is on brand for the two rappers who’ve both done time working for Amazon. When asked if there is something they would want to start a riot over, the answer “capitalism” came quickly for both.

“RIOT!” isn’t the only song in which anger and humor alternate easily. The two seamlessly rap about looting in a song that begins with a sample of Spongebob talking to his pet snail.

“Tryna win this white man/Game with my heart intact/Loot a local Target next/Hit 'em where the money at,'' Quentin raps in “PROPAGANDA!”

The same song includes a bridge: “Used to be a corny kid/Watchin' Rick and Morty, lit.”

This duality — this balance of humor and seriousness over incredible industrial beats from producer Gary G is at the heart of their unique style. And this style, as Quentin explained, isn’t necessarily tied to the history of Chicago rap.

“We just happen to be in the (Chicago) area,” Quentin explained. “But being from Chicago, that's like some 90s shit. Right now, it doesn’t matter where the fuck you’re from — we’re in this internet world.”

Quentin’s influences aren’t just famous Chicagoans like Chief Keef and Kanye. For his musical inheritance he looks to artists like Death Grips, Danny Brown, Tyler the Creator, and JPEGMAFIA as well as punk groups like Bad Brains and Blackflag. For their latest album, HEADSHOTS!, Quentin played Icecube’s 1990 album Amerikkka’s Most Wanted on repeat.

Brian on the other hand, doesn’t listen to music when he makes his own for fear he’ll lose himself in the influences.

“When I work on an album, I probably take 2% of something away from a song,” Brian said of his process. “Then I won't listen to music ever again until the project is finished so I know I sound like me at the end of the day and not who I'm listening to.”

The combination of Quentin’s studied practice and Brian’s more isolated approach results in music that’s always new without being completely disconnected from the larger musical world.

Their musical process shifted when they made HEADSHOTS! The whole album was written and produced during the pandemic, a process they described as “hectic, scary, and deceitful” on account of their need to make excuses just to see each other. Out of the turbulence of the early pandemic came an album that is undoubtedly of its time.

“That whole album is 2020 that’s for sure,” Quentin said. “If it’s not talking about COVID, it’s talking about everything else. Like race, to COVID, to politics, to some personal stuff—but it’s also very fun—we didn’t want to make it overly serious.”

True to their beginnings, the album is packed with anger, but also with a sort of madness—a wildness—that is as entertaining as it is powerful and, like the sketch show that inspired them, wide in its scope.

“I’m not tryna be boxed in with a bunch of things,” Brian said. “I would love to touch on every single topic. You know? Like, this is life. I’m tryna go through. And one day, you may get mad, then you’ll be happy, then you’ll be sad. And I wanna touch all of that in one song. I wanna touch every emotion in one day.”

Follow Angry Blackmen on Twitter @ANGRYBLACKMEN_ and Instagram @angryblackmen_ for updates about their upcoming music. They plan to drop two projects later this year.

Read the article on makeoklahomawerider.com