WKDU 2021 Picks

Our favorite albums from this year!

Dominick // Partly Cloudy

pick #1: For the first time by Black Country, New Road

pick #2: By the Time I Get to Phoenix by Injury Reserve l

pick #3: Bright Green Field by Squid

pick #4: Smiling With No Teeth by Genesis Owusu

pick #5: Drunk Tank Pink by Shame

DJ BIG JIMBO // 3rd IMPACT

pick #1: Gouldian Finch 4 by bitbird

pick #2: Wahala Edits Vol. 1 by salute

pick #3: The Fool by Bladee

pick #4: FOR YOUR EYES ONLY by DJ IKEA CANADA, “this is just one song but warrants its own place”

pick #5: Absolutely by Dijon

Derek H // Where’s the remote?

pick #1: Hayday by Feeble Little Horse, “awesome new band from pgh and dc, ffo tagabow, swirlies, spirit of the beehive”

pick #2: Garden Bed by 22º Halo “local, intelligent soft spoken guitar music for cold crisp fall mornings”

pick #3: Something to Look Forward to by Hooky, “local, one of my favorites, drum machines and detuned vocals like indie rock gameboy”

pick #4: Guttering EP by MJ Lenderman & Wednesday, “asheville nc, lofi w/ a southern rock feel and powerful vocals”

pick #5: Dogfood by MAH KEE OH, “texas, the first half of this album starts with quick and dark tracks, finishes with some heartfelt slowcore”

Kiva K. // The Ghoul Disco

pick #1: Here in Heaven-Flesh of Morning, “dark/synthwave”

pick #2: Badtime vol. 1 & vol. 2, “realllllly good dark post-punk”

pick #3: birdfeeder- A Country Western

pick #4: Quale Futuro? Qlowski

pick #5: Only Sleeping-Vaguess

Bart Jaskulski // SLAPB0X

Pick #1: Tako Tsubo by L’Impératrice

“I haven’t ever heard of this group before this year, but I was clearly missing out. They keep being labelled as the “alternative to Daft Punk”, but I got to disagree. Tako Tsubo is an album that really defines on its own merit, creating such a spacey landscape while keeping it electrifying the whole way through! Favorite Track: Submarine”

pick #2: A Tiny House, In Secret Speeches, Polar Equals by Sweet Trip

“Back after 14 (!!) years, Sweet Trip is a band that I’ve grown to love in these past couple of years 🙂 Their newest album “A Tiny House” secures that position for me. Building off of their second album “YWNKY”, they keep the same genre space while expanding across the board on what they’re capable of. Favorite Track: Walkers Beware! We Drive into the Sun”

pick #3:

Butterfly 3000 by King Gizzard & The Lizard Wizard

“Easily one of my top 5 King Gizz records, this was the perfect summer album for me. They get into such a melodic, dreamy state while keeping the rhythm of what they’re known for throughout all of their albums. Favorite Track: Shanghai”

pick #4: mesh by mesh

“This EP is exactly what I want out of a punk EP. It doesn’t strive to make anything over the top, but it’s just so fun to listen to as a whole, blending elements of post, psych and punk altogether. Favorite Track: CIA Mind Control”

Alina // Sonic Rendezvous

pick #1: Alkisah by Senyawa

pick #2: Valdez by Birds of Maya

pick #3: Chart For The Solution by Writhing Squares

pick #4: White Dwarf by Heavenly Bodies

pick #5: How to Moonwalk by Emily Robb

brooklyn // let’s talk about boys

pick #1: GLOW ON by Turnstile

“This band has just been growing and growing, both in popularity and sound; I am always eager to hear what they come out with next.”

pick #2: birdfeeder by a country western

“Philly slowcore, how can it get much better than that?”

pick #3: ENTERTAINMENT, DEATH by SPIRIT OF THE BEEHIVE

pick #4: Violent closure by Gel, “jersey hardcore”

pick #5: Cabalcade by black midi, “they never cease to confuse and excite me”

Alex aka djq // In My Bag

pick #1: Cinema by the Marias, “feels like a sonic movie”

pick #2: Space 1.8 by Nala Siniphero, “Spacious but bright modern jazz”

pick #3: The House is Burning by Isaiah Rashad, “unapologetic and honest hip hop with song-for-song bops”

pick #4: Nine by Sault, “cmon fam this project was a breath of fresh neo-soul air”

pick #5: Vince Staples by Vince Staples, “8 songs, 22 minutes, no skips, just raw”

Sam Axelrod // fair trade radio

pick #1: Hayday by feeble little horse

pick #2: Twin Plagues by Wednesday

pick #3: Cool Dry Place by Katy Kirby

pick #4: ALEXALONEWORLD by alexalone

pick #5: Marriage Material by Lorkin O’Reilly

Cameron // Dog Daze Radio

pick #1: Vince Staples by Vince Staples, “Favorite track: Take Me Home”

pick #2: Play With the Changes by Rochelle Jordan, “Favorite track: Love You Good”

pick #3: SURE SHOT by OSSX, ” Favorite track: UNDERNEATH THE STARS (OSSX Edit)”

pick #4: Bigger Than Life or Death by EST Gee, “Favorite track: 5500 Degrees”

pick #5: BLK VINTAGE by BLK ODYSSY, “Favorite track: FUNKENTOLOGY”

Amy Carson // Music for Pseudo-Intellectuals

pick #1: For the first time by Black Country, New Road

“Every year, the indie scene seems to pick a few albums to hype into oblivion, but BCNR’s debut is actually deserving of it all. Blending post-punk with that huge, anthemic sound only achievable by having way to many band members, every song is guided by lyrics that simultaneously feel deeply insightful and like you are witnessing a mental breakdown happen in real time. Absolutely exhilarating and feels like it was made to specifically fit my taste in music lol.”

pick #2: Ignorance by The Weather Station

“Somehow I missed this when it came out earlier this year, but I’m so glad I finally listened to it! Absolutely beautiful orchestral folk/pop, with incredibly meticulous arangements throughout. The whole album also just sounds amazing from an engineering perspecive, making it such a warm and enjoyable listen.”

pick #3: Seek Shelter by Iceage

“I’m a sucker for Iceage. This album feels so ambitious and big, while still retaining an underlying aggression from the band’s earlier, punkier albums. Plus, I love how they threw in a random, dorky 70’s AM-pop-inspired song smack in the middle with the song “Drink Rain”

Lukas // Windows Down

pick #1: By the Time I Get to Phoenix by Injury Reserve

“Few records capture the destructive nature of loss in such a raw and unique way. As the final work of Injury Reserve member Stepa J. Groggs, this record serves as a surprisingly close examination of the unexpected repercussions of sudden loss. However, it also gives us a look into the creative originality of Injury Reserve as a group. While songs can come off as rough and even violent, it reflects the mindset of its creators as they came to wrestle this sudden loss. This record is a tough listen but a project that fully encapsulates why death is so destructive isn’t suppose to be an easy one to ingest. This is not for everyone but if you can handle this record, you can find true beauty within the group’s mourning process.”

pick #2: Sometimes I Might Be Introvert by Little Simz

“Little Simz has reshaped the landscape for female rappers and with her sophomore record, I am awe stuck by just how much better this record is than her last. Not only does it expand upon her lyricism but the grand and orchestral production allows Little Simz to stretch her wings in a new and exciting way. She manages to touch on sexism, love, abandonment, and so much more in a potent hour long record. It’s an amazing continuation of her previous work and makes me confident in saying that she is the best female lyricist right now.”

pick #3: I LIE HERE BURIED WITH MY RINGS AND MY DRESSES by Backxwash

“I don’t know how she did it but Backxwash has somehow exceeded every expectation I had for her follow up album. Taking everything she demonstrated on her past record and refining it, Backxwash has created songs that surpass the rest of her discography. While I still believe “God Has Nothing To Do With This Leave Him Out Of It” is the stronger overall project, it’s hard to disagree that this record doesn’t have better individual tracks than the original.”

pick #4: A Martyr’s Reward by Ka

“Ka’s last record was an amazing conceptual dive into religion and his responsibility to his family. But Ka elevates past his previous peak by tackling his survivor’s guilt around his success and the unjust appropriation of Black culture. It’s an incredibly deep album that is pulled off amazingly by a master lyricist and outstanding use of sampling. Everything about this record is somehow superior than Ka’s last and it’s a truly surprising feat.”

pick #5: Private Space by Durand Jones & The Indications

“I loved this band’s previous album, “American Love Call”. It was the perfect love letter to 50’s music and with this new record, the band tackles 60’s soul and funk. Few albums have so perfectly paid homage to its influences while feeling wholly original. Everything from the smooth vocals, retro production/instrumentation, and lyricism that tackles modern day issues come together to make one of my personal favorite albums of the year.”

Philip Gross // Clangour

pick #1: Pollen by Superbloom

“This was far and above my favorite album of the year. On top of it just generally being an amazing album, it also gave me nostalgia for music I grew up hearing on the radio in the late 90s and early 2000s.”

pick #2: Comfort to me by Amyl & The Sniffers

“Favorite Tracks: Hertz, Snakes, Security”

pick #3: Spare Ribs by Sleaford Mods

“Favorite Tracks: Nudge It, Mork n Mindy, Spare Ribs”

pick #4: Too Much Nothing by The Weep

“Favorite Tracks: Sophie Said, No Cold Winter, Widow’s Weeds, You Won’t Wonder”

pick #5: Sweep It Into Space by Dinosaur Jr.

“Favorite Tracks: I Met The Stones, And Me, Hide Another Round, N Say”

DJ Roo // Politics of Dancing

pick #1: Black Halo by Hybrid

“6th studio album and it sounds better than ever, gets better after every listen.”

pick #2: 2021 Remix Collection by Framewerk Framewerk

“Available as individual downloads on Bandcamp, each track is a gorgeous take on a later 90s/ early 2000’s Progressive anthem- spectacular!”

pick #3: Quattro II by John Digweed

“Spectacular production from a true master, 56 tracks not to be missed!”

pick #4: The Luzoscura Collection by Sasha

“3 sets epically crafted! A brilliant journey by DJ collection that is everything a late night set should be !”

pick #5: SOS [Charity Compilation] by Asymetrik

“Available through Bandcamp ,and produced by Asymetrik this beautiful compilation on Bandcamp is a charity album for those communities effected by this summers wildfires in Europe.”

Joshua Patton // Glass Cannon

pick #1: Sympathetic Magic by Typhoon, “Favorite Track: Evil Vibes”

pick #2: Astro Tough by audiobooks, “Favorite Track: First Move”

pick #3: Sometimes I Might Be Introvert by Little Simz, “Favorite Track: Protect My Energy”

pick #4: Deep England by NYX & Gazelle Twin, “Favorite Track: Better in My Day”

pick #5: io by Circuit des Yeux, “Favorite Track: Oracle Song”

Carolyn // The Music of Sound // Art of The House

pick #1: GLOW ON by Turnstile

pick #2: Heaux Tales by Jazmine Sullivan

pick #3: ULTRAPOP by The Armed

pick #4: Celestial Blues by King Woman

pick #5: Black to the Future by Sons of Kemet

pick #6: NINE by SAULT

Scott Kelly aka DJ Kel // The Nod

pick #1: @0 by Various artists

“ompiled by Coldcut @ Mixmaster Morris. A great variety of wistful, sweet, and calming ambient music featuring both new and old names.”

pick #2: Rift by Martinou

“Hypnotic dusky deep techno without the monotony, instead it gets better and more detailed with each listen.”

pick #3: A User’s Guide To Existence by Curved Light

“Playful sequencer-based music with a slightly retro flow to it, like old soundtrack or library music.”

pick #4: Angel Tears In Sunlight by Pauline Anna Storm

“Completely unique, engrossing ambient music with amazing texture and detail in every minute.”

DJ Junior // Eavesdrop Radio

pick #1: Mindfuckfulness for Self​-​helpless Cognitive Misers by Helsinki Headnod Convention

pick #2: Abstractions by Zo! & Tall Black Guy

pick #3: An Insight To All Minds by Kaidi Tatham

pick #4: Aspects by STR4TA

pick #5: Power Of Soul (The Music of CTI) by Kosmos Jazz

Sean Lavery // Music That Kills Puppies

pick #1: Product of my Environment by Jarhead Fertilizer

“The Midatlantic has been pumping out death metal for hardcore kids for most of the past decade, but Jarhead elevated the form. This grindy slab of caveman riffing death metal is the butt wiggler and toe tapper of 2021.”

pick #2: Tales of Othertime by Stormkeep

“Yet another gem of a band from Denver (ft members of Wayfarer and Blood Incantation), Stormkeep delivers perfectly executed Dissection worshipping melodies, lyrics of wizards, and dungeon synth interludes.”

pick #3: Exhumed Information by Fulci

“These Italian death metallers take a step away from their slam-oriented roots to deliver a gore-laden gem of an album, with a B-side filled with soundtrack instrumentals worthy of their horror namesake.”

pick #4: Pale Swordsman by Kekth Arakh

“Lofi bedroom black metal executed superbly. Melancholy, with borderline romanticism woven into the sound.”

Hot Mixing w/ Sorry Records’ Nick Boyd

Brooklyn’s Sorry Records has been a bright spot for new electronic music in these wild-ass times we’re living in, serving up everything from tender break-beat groovers to full throttle giddy-up, let’s rave bangers & beyond.

We caught up with label manager Nick Boyd after grabbing this b2b deejay set from Nick & Sweat Equity co-founder Alien D.

Press play & sink into the chat ▶️

Chris B: Nick, thanks so much for linking up to do this mix, chat, etc! I feel like you wear a lot of different ‘hats’. For the uninitiated, can you walk us through who you are and what you do?

Nick B: No worries Chris — thanks for inviting me to do the show and all your hospitality!

I’m from Winston-Salem, North Carolina originally — moved to New York when I was eighteen or so for school and have been just generally doing as much music stuff as I can since. I run Sorry Records, interview NYC artists for the great Love Injection fanzine, write about music every now and then for places like Crack and Bolting Bits, DJ, and run two radio shows on The Lot Radio and Newtown Radio here in Brooklyn. I used to go out dancing a lot too! I try to approach all the stuff I do with that mindset. 

A festive cake for the new Tony G – Pianoman EP, featuring remixes from Bored Lord & DJ Delish

How have you been hanging in there this past crazy year? What a time to be alive, right? Any new Covid hobbies ? How have you been coping and getting through this all?

Not quite sure how well I’ve been hanging in but I’m still here! It’s been just an insane sludge of a year — finding it difficult to find any consistency between bright highs and new lows. Outside of a weekend or two, I’ve been in New York non stop since this whole thing started. I’ve been very lucky to have held onto my pre-pandemic day job which wasn’t the case for so many folks so I really can’t complain though. Besides long aimless walks through Brooklyn and combing through the David Morales remix catalog, I’ve been coping by throwing myself into running Sorry. We’ve probably “signed” 10 records in the last year and significantly ramped up the frequency of our releases. That first month of pandemic I think I commissioned like six remixes. 

What is the ethos behind Sorry Records? Why did you start the label & where were you when you started it? Was this like a back of the napkin kind of thing or had been premeditated for a while or … ?

Definitely wasn’t premeditated. We’ve grown and changed a lot since our first records in 2015. Sorry started back when I was living with Tony G and Nick Dalessio (Figur fka Stick Figure) in college. They started a band and made an indie rock record with our friend Noah Engel from ART DLR on vocals and Drummy on drums. The label was initially started to promote that record but I’d wanted to start a label since I was in high school.Those early releases were all over the place, predominately music from my close friends, and genre wise everything from Dalessio’s experimental IDM leaning breaks stuff to the aforementioned indie rock and pop punk stuff from our friends Trash Boy in Philadelphia. 

Drummy & Nick Boyd at The Lot Radio in Brooklyn

Our original ethos was completely open format — really just any music I liked of any genre period. As time moved on and I myself got heavy into disco and subsequently house, techno, going out raving, the Sorry Records as it exists today cemented as a label primarily focused on the diverse sound of the dance floor and dance music history as a whole. I’ve always been in love with dance music as a curatorial genre developed via DJs who pieced together music from all sorts of genres and eras in their own new vision. I feel like all you really need to know was pretty much laid down by David Mancuso before Disco even had a name, you know? Lead with love, community, and play whatever feels right for you and the dancers. 

Must admit I’ve had a lingering frustration with what I perceive to be a loss of that spirit from current DJs and dance labels. From house to techno, there’s tons of labels out there putting out record after record with the same tone, same sound, same artwork… You hear stories about folks like Anthony Parosole ending a set at Berghain with Frank Sinatra and people being legitimately mad! That mindset sounds like hell to me. 

Ahh, to get lost in the fog again — soon enough! Figur enjoying a moment in the dance at the 2018 Sorry Records Halloween party

Sorry Records is also super influenced by the diversity of the New York dance music sound and we definitely want to champion our community where you can go to Bossa on like a Wednesday night and hear ballroom mixed into gabber into Detroit techno into reggaeton. I want to turn the techno kids onto house and vise versa. Would love to help people my age be more familiar with the history of this music and community within our city and the rest of America. I also want to make music that is fun to dance to. As far as ethos goes, these things are always in mind when I approach our label. 

What are some of your favorite labels & why? Maybe include a favorite label growing up, an all-time favorite and some contemporary labels you’re feeling…

I could go on and on so this will be an incomplete smattering but I’d be remiss to not mention a trio of labels that actively and directly inspired me to start Sorry.

I’ve been a humongous fan of Jeff Rosenstock and his community-oriented/anti-capitalist DIY approach to his collective Bomb the Music industry! and Quote Unquote Records was hugely influential on just about everything I do. He made so many decisions that completely shifted my understanding of what was possible for a musician and record label. Every record he’s put out since 2005 is available for free download online even since he’s signed to larger labels like Polyvinyl. Almost every Bomb show was all ages, under $10, and instead of selling merch you’d just bring a blank t-shirt to the show and Jeff would spray paint a stencil on it for you in the parking lot. To me I guess Jeff proved that idealism and honest commitment to DIY ethics was not only possible but fun. I’ve strayed pretty far from the punk world since but his words and approach are always in mind — “So write some songs with lots of hooks / Remember why you wrote songs in the first place / Let’s start a band / This is all that you can do.” 

Another label that inspired a similar realization of “wow I can do this” was my old friend Nathan Romano’s cassette label Personal Records based out of Greensboro, NC. I met Nathan when I was 16 at a summer filmmaking program and he is an insanely creative person who spent high school releasing dozens of folk/experimental/rock type records via this cassette label he ran out of his bedroom. Nathan was the first person I knew personally that ran a record label, booked shows, built his own world via DIY… He pushed me way more than I think he realizes. 

Lastly I just generally wouldn’t be running a label if it weren’t for A. G. Cook and PC Music. What they did with that label especially between 2013 and 2016 just bowled me over. They created their own world and changed the world at large in turn — legitimately the most thrilling and impressive record label in my lifetime, you know? PC Music taught me so much about intentionality, curation, presentation, and the overall possibilities of what you can do with a record label especially as it relates to digital media.

In interest of brevity, here’s some other labels I adore divided between past and present:

Strictly Rhythm are HUGE for me and everyone. Salsoul, Fania, Ze Records, West End, Philadelphia International, Prelude, Nice ’N’ Ripe; MOTOWN, Sleeping Bag, Emotive, Movin Records, everything Power Music especially Sex Trax, Nu Groove, Nervous, Easy Street, King Street Sounds, T.K. Disco, Suburban Base, Dance Mania, Teklife, Warriors Dance…

Sweat Equity, Haus Of Altr, Moveltraxx, Naive, Juke Bounce Werk, Future Times, ONE PUF, Sneaker Social Club, Kiwi Records, Allergy Season, EAT DIS, Mood Hut, Incensio, Timedance, The Bunker NY, Knightwerk, Scuffed Recordings, Most Excellent Unlimited, TWIN, Super Rhythm Trax, N.A.A.F.I., BFDM, Mister Saturday Night, TraTraTrax, Frendzone, ROOM, Off Me Nut, Local Action, Dark Entries, Balkan Recordings, Fixed Rhythms, T4T LUV NRG, Intedimensional Transmissions, Loveless Records, Planet Euphorique, Swing Ting, Kindergarten Records, Super Tuff, Twin, Hooversound, Illegal Afters, Honey Soundsystem, Loveless, Local Action…

If you had to give someone advice for starting a label today, what would it be?

My advice would be if you’re thinking about starting one, just start one. Work with your friends at first, really think about what you can do for the artists you work with that they can’t do by themselves, and never prioritize money ever. Also just email me — I don’t have enough friends who run labels and would love to help any way I can. 

Escaflowne rocking it at Good Room for a livestream

What’s one thing you love and one thing you don’t love about electronic music right now ? (not being able to do parties aside)

Octo Octa said “good DJs make dance music still feel like a secret.” That’s my favorite part about electronic music. 

Something I don’t love? The fact that not a single publication or platform is even coming close to properly covering even 10% of the beautiful stuff going on right now. 

What’s in the pipeline for you, Sorry Records, and beyond?

We’ve got a ton of projects in the works for the next year or so on Sorry Records. Records and remixes from Escaflowne, C Powers, PlayPlay, Bored Lord, John Barera, Brian Abelson, WTCHCRFT, Amal, X-Coast, Xhosa, UNIIQU3, Interplanetary Criminal, Chrissy & Maria Amor, Bianca Oblivion, Alien D, Tony G, DJ Girl, Sonia Calico, Drummy, zorenLo, Nick Leon, Figur, Loraine James, They Hate Change, NIGELTHREETIMES, Olive T, Martyn Bootyspoon, Overland…

Our next record is from Miami bass duo Basside and produced by the late genius SOPHIE 

 We’ll get around to our first vinyl release sometime as well. Besides that I’m just going to continue to try to do as much radio, DJing, music writing as I can while I can. 

What’s one thing you found out about yourself through this crazy period?

I’m addicted to YouTube and TikTok in a profound and concerning way.

What’s your favorite post-rave meal / snack ? (For whenever that happens again….)

Whatever’s available but I do have a fond memory of walking home from a DJ Harvey all nighter years ago and passing Bergen Bagels on Flatbush Ave just as they were opening and getting a plain bagel w/ lox and cream cheese. In a dream world my favorite post-rave meal would a BBQ tray w/ red slaw from whatever they call the original Little Richards in Winston-Salem, NC. That or a Cookout tray — burger cheddar style, fries & a corn dog, with a Cheerwine float.

We’ll all be in the dance rocking it to awesome peeps like Sorry Records soon enough! Be well & spread love y’all <3

WKDU Picks: 2020 Selects

Our smooth blend of 2020 selects have notes of electronic, slowcore, hip hop and powerviolence, among other delicious genres. Perouse our list, keeping in mind these albums have been hand selected to best suit the taste of true enjoyers and listeners of music. As you read through our list, please note the DJs associated with their pick. Although they may enjoy a range of music, one may expect these albums to make an appearance on their show. Pair these albums with friends, a candlelit dinner, or scaring off fascists. We at WKDU hope you enjoy our delicately chosen selection.

Bart Jaskulski // General Manager 

NO – Boris

https://boris.bandcamp.com/album/no

I wanted to finally dip my feet into the genre of metal this year, and NO was such a great album to start that out with! I’ve heard little about them before this album and I regret not finding them sooner. A killer, raging album from start to finish, no track disappoints. Fave track: Anti-Gone

Inner Song – Kelly Lee Owens

https://kellyleeowens.bandcamp.com/album/inner-song

This album surprised me with how it combines genres together! One track will sound like a “dreamy electro” sort of song, and the next track can go into a moody house+techno combo. The whole project is so satisfying to listen to. Fave track: Night

WHAT WE DREW – Yaeji

https://kraejiyaeji.bandcamp.com/album/what-we-drew

Yaeji went towards a more relaxing setting with this album, but it still makes way for some heavier tracks. Listened to this album a bunch during the Spring and Summer and it really set a good mood. Fave track: WHEN I GROW UP

DEEWEE Sessions, Vol. 1 – Soulwax

https://emssynthi100.bandcamp.com/album/deewee-sessions-vol-01

A side project from Soulwax, they created a roughly 30 min album with a sound that is unlike theirs. Think of Jean Michel-Jarre blended with Soulwaxes’ unique mixing and that’s what makes this album. Fave track: Movement 6

Derek Hengemihle // Station Manager

Something Nothing – Clothesline from Hell

https://clothesline.bandcamp.com/

Latest release from a Toronto DIY artist, lots of murky acoustic tracks with hints of somber prog rock influences in the likes of Pinback and Elliot Smith and Sebadoh.

The Three EP – Pulsr

https://pulsr3000.bandcamp.com/

Debut release from a trio based in New Haven, CT. Comprised of members and collaborators from beloved CT bands like waveform* and sundots, this is an exciting sneak peak of the swirling rock tracks to come from this powerhouse of a band.

Moral Panics – Peel Dream Magazine

https://peeldreammagazine.bandcamp.com/album/moral-panics

An early 2020 release from NYC’s Joe Stevens. A hearty tribute to 90’s dream pop legends like Stereolab and Yo La Tengo complete with driving harmonies and tight drum tracks.

Brooklyn Fellner // PR Director

Kiss My Superbowl Ring- The Garden

https://thegardenmusic.bandcamp.com/

I think this is the best album to come out this whole year…. Or literally any year that I have been alive. It is unapologetically angry, fun and genre switching. You can literally listen to it all the time, anywhere and scare everyone but also leave them intrigued.

A Country Western (Self Titled) – A Country Western

https://acountrywestern.bandcamp.com/album/a-country-western

Slowcore has never sounded so gritty yet romantic. This nostalgic genre of choice was incorporated into the album which was created completely over quarantine by two of WKDU’s DJs (no bias here, I swear). Hit Derek and Garret up for a tape and get engulfed by the hypnotic bass tones and cryptically delightful lyrics. 

Perfect Break- Squat!

https://squatmusic.bandcamp.com/album/perfect-break

This is a lovely surf album released by some lovely Jersey people. A surf album is what we needed at the end of the summer of no fun. It leaves a hopeful taste in everyone’s mouths, remembering sunny days at the beach and excitement for the future when we can roadtrip to this album on full blast. 

Madeline Avarese // Program Director

Charm and Mirror – Kitty

https://kitty.bandcamp.com/

Ok so not a full album but EP, but I definitely danced to this in my room while getting ready 🙂

Perception is/as/of Deception – ADULT.

https://adultmusic.bandcamp.com/album/perception-is-as-of-deception

The first song I heard off of this album was Why Always Why through one of our new DJ’s songs during her on air test. After listening to the rest of the album much later it is definitely the electronic pick-me-up I needed with Second Nature and Controlled By being my second and third favorite songs off of this album.

This is my Beloved – Mort Garson (single)

https://mortgarson.bandcamp.com/album/music-from-patch-cord-productions

I found this song through someone who I liked and honestly it is the cutest little romance song for 2020. Hints of video game-like sounds add a nice touch!

Cameron Vickens // Development Director

Alfredo – Freddie Gibbs & The Alchemist

“God made sell crack so I’d have something to rap about.” Freddie Gibbs is the gram that finds himself in the pocket of Alan The Chemist’s instrumentals on Alfredo. This album is the fusion of elite lyricism and perfectly warm, cohesive, and tightly stitched beats. Alfredo is a crystal clear lens into the backstory of Freddie Kane and is the unintentional blueprint to the sound of the hip hop revivalist movement.

F*** The World – Brent Faiyaz

F*** The World provides a small peek into the world of Brent Faiyaz characterized by excess, luxury, and Earthly pleasures over a landscape of smooth, sultry instrumentals. “…Some of the qualities that make up the people that relate to my music is like an empathetic narcissism or attention to detail and over-indulgent personality when it comes to sex and drugs. And if you get it, you get it because you live it.”

SAD (She Already Decided) – Smino

SAD hearkens back to a time when mixtapes were comprised of rappers spitting over contemporary, popular instrumentals with originals sprinkled throughout the project. Smino gives new life to beats from the early 2000s and 2020 with standout originals and remixes from Groove and Phoelix. This project feels like Shasta Tiki Punch washing down a bag of Red Hot Riplets. It feels like a freshly oiled scalp. Pass the most(k)accioli.

Ioana Racu // New Member Coordinator , PSA Director

SAWAYAMA – Rina Sawatama

One of the best pop albums of 2020. Every time I was sad, I would listen to this album and I would instantly feel better. XS is the first song I am going to play at a party post-corona

Nightmare Vacation- Rico Nasty

I have been really into hyperpop this year and Rico Nasty dropped one of the most creative albums of the year.

Charli XCX- how i’m feeling now

Another hyper pop album that talked about quarantine and it was released at the perfect time. Charli XCX has the perfect combo of extremely energetic instrumental and meaningful relatable lyrics.

Dominick Baglivo // Music Director

Kiss My Super Bowl Ring – The Garden

https://thegardenmusic.bandcamp.com/

On their fourth studio album, The Garden absolutely excel at what they have always done best—getting weird as fuck. Following up 2018’s Mirror Might Steal Your Charm, which saw the duo of Wyatt and Fletcher Shears adopt jester aesthetics, the two have now enlisted the help of what can only be described as green goblins. Whether you credit the green goblins or natural artistic progression for this is up to your discretion, but there is no doubt The Garden have never embodied their own artistic vision of “vada vada” as well as they do on Kiss My Super Bowl Ring.

From The Garden’s website, “Vada Vada is a term that represents total freedom of expression without boundaries or guidelines of any sort.” If we are discussing the boundaries of Kiss My Super Bowl Ring, let’s be very clear—there are none. The album starts out rather tame for the duo with lead single, “Clench to Stay Awake”, which—save for a mildly chaotic midsection—describes feelings of helplessness and subsequent struggles to cope over light instrumentation. From there, Kiss My Super Bowl Ring quickly transforms into the most impressive musical clusterfuck you might ever hear, in which The Garden seemingly knows nothing and everything at once.

Synth-heavy, bass-heavy, loaded with screams, Kiss My Super Bowl Ring thrives off of chaos and unpredictability, shifting from one extreme to another at a moment’s notice. Perhaps the biggest surprise, and a shining example of the duo’s unpredictability, is the extent to which they have incorporated more aspects of electronic music to their already eclectic sound. Littered throughout the track list, most notably “Sneaky Devil” and “Please, Fuck Off”, you can find instances where the song evolves into or simply is based around breakbeats and drum ‘n’ bass. The duo’s willingness to experiment has always been their calling card, and they appear to have mastered it on Kiss My Super Bowl Ring by injecting electronic music into their musical backbone of fiery and chaotic punk.

N O D R E A M – Jeff Rosenstock

https://jeffrosenstock.bandcamp.com/album/no-dream

Jeff Rosenstock’s fourth solo studio album, N O  D R E A M, continues his streak of creating chant-worthy pop punk hits. Subtlety is largely out the window as Rosenstock comes crashing in and never lets off the gas, creating short and punchy tracks that directly address issues he has always stood for throughout his lengthy career. 

Looking back through Jeff Rosenstock’s catalog – whether that’s with The Arrogant Sons of Bitches, Bomb the Music Industry, his prior solo efforts, or any number of his side projects and collaborations – you will almost always find lyrics that are shrouded in uncertainty and anxiety. Rosenstock has never hesitated to offer political takes in his music either, as they are inevitably linked to the feelings of existential dread he is constantly dwelling on. On N O  D R E A M, these feelings of uncertainty and confusion feel more pressing than ever, both in his lyrics and the context in which they were released.

In 2016, we got WORRY., the aptly-titled record addressing the corporatization of society, our growing dependence on technology, increasing levels of gentrification, police brutality, and more…all the while having been released just a month prior Donald Trump’s election as president. Talk about things to be anxious about. January 1st, 2018 saw Rosenstock surprise release POST-, ringing in the new year with an album that directly addressed the fallout of said election and the subsequent hopelessness it evoked in much of America.

Four years removed from WORRY., it would be hard to argue that N O  D R E A M — based off title alone ­– paints a brighter picture. While certainly packaged beautifully with catchy hooks, infectious energy, and colorful instrumentals, the core of N O  D R E A M consists of an overwhelming sense of helplessness and frustration.

The title track features Jeff shouting the words, “The only framework capitalism can thrive in is dystopia,” which ultimately functions as an overarching theme for the album. In Rosenstock’s eyes, and in the eyes of many, the current structures that exist have failed to protect us and have failed to provide for us. Systemic inequality, abuse of power, and widespread injustice are constantly occurring around all of us, and we have continually failed to make progress against these issues. And while Rosenstock’s gripes against structural issues (capitalism) are plenty, the kicker of N O  D R E A M, and what makes it so relatable is his ability to reflect on his own apathy. Getting out of bed is a struggle of its own, but how do you muster up the energy to fight back against a system designed to discourage you from doing so? Rosenstock does not seem to have the answers, and maybe no one does. But if you feel similarly to Rosenstock, the revolution will be worth the fight.

Heaven to a Tortured Mind – Yves Tumor

https://yves-tumor.bandcamp.com/album/heaven-to-a-tortured-mind

Yves Tumor’s fourth studio album, Heaven to a Tortured Mind, is an ambitious genre-bending record that only further solidifies them as one of the more innovative artists of recent years. The follow up to 2018’s Safe in the Hands of Love sees them adopt a more lavish and elegant aesthetic as they build upon sounds of traditional pop with the fusion of psychedelic soul and glam rock. Throughout Heaven to a Tortured Mind, Yves weaves through hazy, soulful, and extravagant instrumentals—delivering impassioned vocal performances that detail stories of love and desire.

Pain Olympics – Crack Cloud

https://crackcloud.bandcamp.com/album/pain-olympics

Pain Olympics is the debut album from Vancouver-based, DIY collective Crack Cloud. Most of the members met each other through recovery programs amidst Canada’s rising opioid crisis — something they have openly embraced and incorporated into the ethos of their work.

“Based On True Shit” is a reoccurring phrase that you’ll find in each of their recent music videos and on the artwork for the album’s singles. The more you listen to their music, the more you hear the message they’re conveying on Pain Olympics, the more that indicator almost feels unnecessary. It doesn’t need to be said, you can simply feel it and hear it at every turn.

Pain Olympics has a chaotic nature to it that feels like a calculated representation of what can only be described as troubling times, brought to you by those who have battled some of the worst of them. Crack Cloud loses a smidge of their intensity and is significantly less jarring on their debut LP when compared to their previous work, but they trade this for a more refined and purposeful sound.

Pinning down genre identifiers to this can get a bit murky and feels rather redundant — post-punk, art punk, experimental rock, whatever. Across 8 tracks, Pain Olympics manages to sound jarring and abrasive, raucous and chaotic, bouncy and danceable, dark and depressing, beautiful and uplifting — covering so much ground in less than 30 minutes and often incorporating a trifecta of these descriptors in any given track.

This album is about pain, addiction, the failures and abuse of those with power and so much more — it is about all the fucked up and very real shit that often feels out of control. There’s no question. But at the heart of Pain Olympics is the search for acceptance and inner peace. And it is very much a reflection of many of the members’ experiences in recovery programs, both as former addicts and as current frontline workers amidst an overlooked crisis.

And if we are to learn anything from their teachings, it is the importance of collective togetherness and supporting one another through our struggles. In the darkest of times, show compassion and show empathy.

Kirby Bell / Alumni Liaison, Philly Haps Director

In This House – Lewsberg

https://lewsberg.bandcamp.com/album/in-this-house

Okay let’s get this out of the way – yes, this band sounds A LOT like the Velvets. You could even say they are derivative AF and you would not be wrong. However, unlike a lot of the VU’s acolytes, Lewsberg (Rotterdam, Netherlands) actually channel that vibe (think the VU’s post-Cale work) to the point where you forget about comparisons and just groove along. While never scaling the heights of the VU (few, if any, bands do) you will find yourself listening to this album only to arrive at the end and saying “Dang, it’s over already?” RIYL: VU/Lou Reed, Cate Le Bon, Television

Brain Drugs – Brain Drugs

https://braindrugs.bandcamp.com/album/brain-drugs

Hailing from Melbourne, Australia, the duo of Pete Warden (drums, percussion) and Michael Beach (guitar, keyboards) have made an all instrumental album that is cerebral, trance inducing, and (at times) mysterious. RIYL: Terry Riley, Eno, Kraftwerk

A Golden Brain – Kraus

https://ultraeczema.bandcamp.com/album/a-golden-brain

A one man band from New Zealand, Kraus, makes psychedelic electronic music for the 21st century. A Golden Brain is an all instrumental album that meshes analog synths, tape loops, drum machines with standard rock instrumentation (guitar, bass, drums) to produce music that is ambient (with a tinge of rock), but that also rewards deeper listening. Like peeling away the layers of an artichoke to get to heart, A Golden Brain, reveals more with each listen. RIYL: Eno, Pierre Henry, Suzanne Ciani

Amy Carson // New Member Coordinator, Librarian

What’s Tonight to Eternity – Cindy Lee

https://cindylee.bandcamp.com/album/whats-tonight-to-eternity

This album feels like it was made for me. Somehow perfectly blending the sounds of 60’s girl groups, harsh guitar noise and feedback, and John Carpenter-esque synths, the end result is an album that is haunting, beautiful, ominous, and deeply sincere all at once. It makes me feel like I am dancing alone in the dark, smoky bar of a run-down 60’s desert motel at 10 pm, blissfully unaware that I am about to be murdered in the next 20 minutes, and I mean that as the highest of compliments.

Island – Owen Pallett

https://owenpallett.bandcamp.com/album/island

Owen Pallett is one of my favorite musicians of all time. Even though their hands have seemingly been in every indie project with strings over the past 20 years, Island was dropped after a 6 year hiatus from recording solo work. The songs balance the lush, orchestral string arrangements Pallett is known for with intimate songwriting and delicate, fingerpicked guitar The whole album feels like a retrospective of their past work, spanning back to the Final Fantasy days and up to their more modern scoring work, and they even bringing back the character of Lewis from 2010’s Heartland. And while it’s definitely an album you just have to sit down and listen though in one shot, Fire Mare (version) is by far my favorite individual song released this past year.

Various Artists – Louis Wayne Moody High

https://cabinetofcuriosities.bandcamp.com/album/louis-wayne-moody-high

Numero Group compilations are always a treat, often focusing on capturing specific feelings rather than just a time or place. A compilation of songs recorded by high school garage bands from the 60s and early 70s, the songs are all catchy and full of amateur charm. However, instead of the poppy dance tracks the niche is known for, the songs on Moody High all have an underlying theme of sadness, loneliness, and heartbreak that can only be expressed with such earnestness when you’re a teenager. Haunting, genuine, and danceable (in that sort of sad, swaying way), it really is a testament to the wisdom of youth.

David Juro // Production Engineer

Live Forever – Bartees Strange

https://barteesstrange.bandcamp.com/album/live-forever

This debut album is the manifesto of a proud Black artist in an overwhelmingly white indie scene, bucking simple genre descriptions and pulling no punches. Bartees experiments with styles ranging from indie to hardcore to hip-hop to house as means for expressing his unique voice and often gritty production style, hooking listeners from start to finish.

Songs – Adrianne Lenker

https://adriannelenker.bandcamp.com/album/songs

Even though it’s musically bare and stripped back, featuring only Lenker’s voice, acoustic guitar and minimal shaker percussion, this album is hypnotic. It’s lyrics are introspective, personal, and sometimes surreal, while the guitars are constantly weaving a melodic tapestry. All this paints a haunting, lonely, and intoxicating picture.

Long Haired Locusts – Godcaster

https://godcaster.bandcamp.com/album/long-haired-locusts

Godcaster committed their frenetic and dynamic musical chemistry to tape with this exciting debut record. Their brand of funky psych rock, showing off commanding vocal performances, propulsive rhythms, and gorgeous harmonic textures, makes me REALLY miss the carefree fun of packed house shows.

Moveys – Slow Pulp

https://slowpulp.bandcamp.com/album/moveys

I was waiting for this debut LP from Slow Pulp for a while, and it was a great addition to their shoegazey indie rock catalogue.

Jahred the Mutt Shares Video for “Shadows”: Watch

“P’s on our caps, we look so good in bright orange”

Image is from Astronaut Club

By Antonio Young

Philadelphia rapper Jahred the Mutt (MADDOGG collaborator) has shared the music video “Shadows.”

With footage compiled by Zeke Scorsese from over eight years of Sweet Chunk prosperity, Jahred offers a retrospective on the lighter times before the COVID-19 epidemic.

Earlier this year, Jahred debuted with his solo endeavor “Prayers for a Hungry Dog” after recording with Darryl Jenifer (of Bad Brains) at his home studio in upstate New York.

Prayers for a Hungry Dog came out in April of 2020 via Sweet Chunk

Artist Profile: Matt White of Goathex

By Sam Spencer

First things first, how have you been in these past months and how are you dealing with quarantine?

Well, all things considered, things have been solid. I have been lucky enough to keep my main source of income, my family has been safe, and I’ve been able to keep working on producing and releasing music with my band. Since I’m not one to go out or socialize in big groups a lot, my personal life hasn’t been too radically changed. So I really can’t complain much.

Do you have any advice for not going completely numb to it all? 

Genuine mindfulness, intention, and focused emotional investment in the things directly in front of me have done wonders for my chronic mental anguish, which like with everyone became worse at the start of this insane global crisis. I have too much anxiety to be numb, so I have to spend my time forcing myself to feel present instead of trapped in my head feeling ​everything​. I strongly advocate for conscientious physical and mental self-improvement. Focusing on your body, your intentions, your outlook, your knowledge is the best way to escape chronic stress and anxiety. Stop ruminating on and suppressing your problems and start working on how you can make yourself capable of conquering them. It IS possible.

I see you had some upcoming dates that got canceled, which must suck all things considered, do you have a plan for making up for lost time once things get back to normal?

We had an almost unbelievably stacked year ahead of us with heavy-hitter gigs lined up for nearly every coming month with killer acts like SPITE & WITCHVOMIT from the U.S. and NOCTURNAL GRAVES from Australia, as well as two U.S. tours later in the year. Like everyone else we were immensely bummed to have our plans pulled out from under us, but we took it as an opportunity to focus more on writing and working on our dynamic as a band, as our heavily packed schedule was actually making it a bit difficult to write new material or rework things… for example we finally made a long-planned change of switching our bass player to rhythm guitar and adding bass to my position on vocals. This has proved to be a change we’re very happy with. We’ve also gotten a lot of work done on the writing of our first full-length with this new lineup. So I think we’ve made the most out of the situation.

On to your story, where are you from, and what was the music / scenes that you got put onto growing up? And who was it that was initially showing you music you remember feeling passionate about?

I was born and raised directly outside of Chicago in a community that is pretty rich with excellent young musicians and artists. I had an early penchant for Punk & Alternative Rock that soon evolved into an obsession with 80s American Hardcore, and by middle school continued to evolve into serious interest in Death and Black Metal, Raw Punk, and all aspects of the D.I.Y. music underground, from NYC warehouse raves to harsh noise shows in Midwestern basements. I was also definitely heavily influenced by the local culture of hardcore rap from very early in my upbringing. If you are a die-hard music fan, you know fully that the internet, and all its deep corners and crevices, is a ​godsend​ in the most profoundly legitimate way. But probably the most influential force in my path into ​playing​ music was the many D-Beat/Raw Punk house shows I attended in Chicago during high school. This was where I really learned about what true underground extreme music was about- freedom and self-reliance, creative purity, furious unity among ruin. I could probably never play in any other kind of band, at least not in any serious sense, and I definitely never want to be a part of the music “industry” in any way.

From what I can tell, you have a really broad taste in music, how do you feel that contributes to your own art?

Yes definitely, I would say that among my favorite genres I haven’t mentioned yet are Latin Jazz & Soul, R&B, Medieval Ambient, Vaporwave, Drill, Old-School Southern Hip-Hop, New Age, Juke/Ghettotech, Psych, City Pop, all kinds of international folk music and really anything and everything in between. I really don’t discriminate much at all when it comes to musical styles and I try to be as conscious of everything happening in the music world as possible. I’m an obsessive and a completionist when it comes to my habits in music hunting and collection, so when something catches my interest I tend to get very deep into understanding it. I also tend to keep the lines between these different worlds pretty clear in my mind, so honestly I’d say that it contributes more to my personal worldview and perspectives than my art, which I try to keep pretty purely devoted to the traditions and aesthetics of Black Metal.

​What have you been listening to as of late?

I’m going through a big kick of underground 90s hip-hop, deep house and dub techno. Also pretty heavy into old-school power electronics/industrial noise like ATRAX MORGUE and MURDER CORPORATION. I’ve been keeping a handful of newer goth/post-punk bands in rotation recently as well, lots of TR/ST, BLACK MARBLE, & MOLCHAT DOMA. And of course plenty of Black Metal, recently especially East Asian hyper-militant Bestial Black Metal bands like KONFLICT, DAKINI, REEK OF THE UNZEN GAS FUMES, and TETRAGRAMMACIDE. Some other mixed stuff I’ve been digging lately that I recommend: GROLLFRIED, FAILED TREATMENT, GRUPO EXTERMINADOR, DANIEL BACHMAN, JULIANNA BARWICK, STRIATIONS, NIRRITI, ROYAL HOUNDS NYC, THE AZTEC MYSTIC, LOS INICIADOS, KLAUS SCHULZE, NEIL ARDLEY, RUNESPELL.

What role does music play in your life?

It’s the most important aspect. Everything else (including my non-music related career path) is in the effort of facilitating my continued personal investment in music. I really could never live without its near-constant presence in my life as I’ve had for as long as I can remember now.

How long have you been making music now? And give me a little run-down of the type of music you started making originally, what you make now?

I’ve been messing around with instruments for most of my life. I jammed with friends throughout middle school and high school, but as I was surrounded mostly by thoroughly more musically gifted jazz/funk musicians in my friend group, I never really found the creative chemistry or alignment I was looking for. So I kept working on lyrical and conceptual ideas on my own, and it wasn’t until a year or so into college that I found other Black Metal musicians interested in putting together a serious band. Things fell into place very naturally once we got the group together. So really, Black Metal was the first style of music I’ve been able to produce in a legitimate sense.

​What instruments do you play?

I’ve attempted to learn many over the years and the only ones that have ever really stuck with me enough for me to have any real confidence are drums and bass. Learning to perform metal vocals and developing my own style and different approaches for various styles has been something I’ve enjoyed a lot as well, if that can be considered an instrument.

Do you have any bands that you really look up to within black metal? Have you been able to meet any of them?

Goathex as an entity worships the elder cults of BLACK WITCHERY, PROCLAMATION, and CONQUEROR above all else. We also give our total support to the TRUE warriors of the Black Metal underground, such as ABYSMAL LORD, HUMAN AGONY, ARCHGOAT, CRURIFRAGIUM, SATANIC WARMASTER, and NYOGTHAEBLISZ… not to mention our comrades in METHGOAT, PRIMITIVE WARFARE, BAPHOMANCIA, NACHTLICH, PROFANE ORDER, NOCTURNAL DEPARTURE and others… We’ve made many allyships around the world through our efforts in the underground and have performed alongside some of the aforementioned acts on our home territory… We consider it the utmost pleasure to commit acts of debauchery and barbarism alongside these men.

Tell me more about Goathex, how did you guys come together, how long have you been making music, and how has the scene here in Philadelphia been thus far?

Goathex was formed at the end of 2018 with the intention of playing pure, unflinching Barbaric Black/War Metal in the tradition of the 90’s underground. The lineup from the previously active band SILVANTHRONE, whose guitarist and I came up with the idea for the band, was copied over directly with my addition. We started jamming during that winter, and by early spring were recording our first demo. It was for us and anyone who cared, and we didn’t expect much to come of it as we passed that demo around, but it was surprisingly well-received locally and around the black metal community online. Soon we were offered to do a professional tape release of our second demo by our allies at FORBIDDEN SONORITY. Both of these demos continue to do pretty well, and in Philly we’ve seen quite a bit of support from the extreme music scene.

​From what I can ascertain you guys are really starting to blow up, how does that feel, and if you could set your sights on an ultimate goal what would it be?

As far as we still have to go in our efforts, knowing we have people digging our music around the world is pretty surreal. I’ve always thought the coolest shit is playing in a band writing and performing psychotic anti-music for no one except yourself and a handful of other die-hard weirdos scattered around the planet, and being on the other side of that dynamic is humbling and inspiring as fuck. Our ultimate goals include lots more U.S. touring, and definitely European, Southeast Asian, and Australian tours, we fully intend to establish these plans as soon as possible so that we can meet and perform alongside some of the people we’ve connected with around the world in real life.

What’s the story behind putting out physicals instead of going to streaming platforms? Do you ever see yourself going that route?

Aside from the traditional aspect of physical music in metal/punk and the fact that all of us were already pretty hardcore collectors, self-releasing via tape and working with independent labels is simply the best way to release music in my opinion. The artist gets to offer a more holistic and multifaceted work, and the listener gets a more tangible artifact of their connection to the artist. While we do put our stuff up for promo on YouTube and Bandcamp, we don’t have much interest in putting it on streaming platforms. It’s just not the right venue for Black Metal in our view.

What’s your creative process like? Ambiance, company, drugs etc.

Smoldering, unflinching, hateful rage. Of course having some booze, weed, and nicotine around doesn’t hurt either.

Tell me about how important imagery, especially the disturbing stuff, is when you’re formulating music.

The driving creative force behind Goathex is the sum of all sadistic brutality and agonized suffering of mankind- war, torture, murder, plague, misery, deceptive cruelty on the grandest scale. We don’t consider this subject matter to be fantasy or a joke in any way, and we view our use of it as expression of reverence to its power, its eternal presence, its curse-like permanence, its undeniable and unquestionable REALITY. We also want to be clear that we don’t have some half-baked underlying positive or hopeful political message like a lot of false black metal bands that have been cropping up on social media recently… human suffering is absolute and eternal. Furthermore, black metal is NOT a vehicle for forced political virtue signaling. We are disciples of the school of Occult, Bestial, and Evil Metal, and absolutely consider ourselves specifically a SATANIC Black Metal band. Images of slaughter and chaos at the hands of demonic figures are a blunt allegory for the demented, grotesque Hell that is human reality, controlled as it is by the unstoppable forces of Evil and Death. “Satan” is a representation of pure darkness- the whole of the aspects of our reality that we don’t want to experience, and that we will never experience. It is also a symbol of eternal resistance to Judeo-Christian moral matrix… but perhaps that’s a discussion for another interview.

Well said. Looking back on past shows, have there been any especially memorable moments/stories worth sharing?

We look back on all of our performances so far with great fondness, but notably, Goathex and our other project, Silvanthrone, played a successful gig in Columbus, Ohio this past February with the mysterious cult known as GEHEIMNISVOLL… Little is known to the public of this act, and it was a unique pleasure to plot, perform, and celebrate this success alongside the entities behind this project.

​It might be hard to, but if you could pick a project that you feel most proud of, what would it be?

Goathex is the first “real” band that I’ve been able to be a part of, and thus far every release has just been a learning experience which we’ve built off of and applied onto the next one. None of our releases come close to capturing our ultimate vision of relentless barbarism- each following will be an effort to push ourselves further into the spiraling black abyss. However, I do believe our recent split EP was a considerable step in the right direction from our demos.

For those who don’t know, give me a rundown on your label, and the other bands you’re associated with.

Goathex bassist and entity behind TRIST DØD, Vantherus and I started Pennsylvania Black Metal Records at the very end of 2019 with the simple goal of having a platform to release any of our ideas with total creative and operational freedom. We had a handful of side projects and solo releases ready to go, and a bunch of old releases we wanted to reissue, so we took it upon ourselves to establish the label and start making the tapes by hand ourselves. At the moment, the label has only released projects by the members of Goathex- SILVANTHRONE, TRIST DØD, and DECEASHOST. But we have new personal projects in the works, as well as some releases by friends to be put out on the label eventually. But recently we have been focusing a bit more on in-progress releases that are going to be coming soon through the work of other labels.

​Any upcoming releases or secret shows we should be on the lookout for?

On the release front,  writing of the debut Goathex full-length is nearly complete, set to be released as a 12” LP with a limited edition boxset through our long-time ally RED DOOR RECORDS… Also, look out for vinyl releases from Goathex-related acts TRIST DØD and SIlvanthrone coming soon via NITHSTANG PRODUCTIONS… Hand-dubbed tape versions of most of our releases are made available through the P.A.B.M. online store (pennsylvaniablackmetal.bigcartel.com) for those interested in our back catalog. As far as shows… We had a tour planned for Southern CA with the San Jose-based GOATCORPSE, this summer. Most of the dates of this tour are unlikely to be replaced, but we are in the process of planning a small-scale invite-only, secret-location generator show in the Los Angeles forest with GOATCORPSE and a handful of other local bands, thanks to the immensely ballsy work of our L.A. promoter NIHILISTIC MORTALITY. We have no interest in surrendering when the choice is in our hands. The real Black Metal underground is invincible.

Shoutouts or last words? Thanks for taking the time man.

If any of the things I’ve mentioned here interest you, I implore you to LISTEN TO THE BANDS MENTIONED ABOVE, look into the labels releasing them, and BUY their music. Avoid “safe”, neutered, and commercialized metal like the plague!!! Black Metal will always be more than music… death to false devotion! Your interest and support is greatly appreciated, it’s a pleasure to answer your questions. Always stay true to the underground…

ARTIST PROFILE: QThree [EAR.DRUM]

Photo by Jahmir Brown @bulbshoots

By Sam Spencer

As the Philadelphia lockdown carries on, so does the music and skate scene here in the city. At the epicenter of both those arenas, I was introduced to QThree. I got in contact with him to go in depth about who he is, what he comes from, and how it feels to be one of the most talented producers working out of the 215.

What’s up man what have you been doing and how have you been keeping sane during this quarantine?

I’m alive bro I can’t complain. I say that a lot because I know no one wants to hear it. This pandemic has been a 50/50 for me. Really eye-opening, reconnecting me to my spiritual side. Also making me regain focus on my mental health, as well as my physical health. It’s been stressful but very growth-filled.

You grew up in Philly, right? What was the first kind of music you got exposed to, and who was it that was putting you on?

The first kind of music I can remember being exposed to was classical and Jazz music. My grandfather would play it in the morning driving me to school and at night if we went out on 90.1 on the radio station. I was also exposed to soul music of course. Marvin Gaye, Curtis Mayfield, Etta James, Patti Labelle. My mother would clean the house and play a lot of Sade, Jill Scott, and Anita Baker. My mom played me my first hip-hop album, The Miseducation of Lauryn Hill. It wasn’t the first hip hop song I can remember, but it was my first experience with an album.

Were there any specific scenes that you grew up around that influenced what you listened to?

I grew up in the church. I used to sit in my mother’s choir rehearsal, I was also in the children’s choir. By the age of 12, I was engineering the live sound in my church and handling the manufacturing of the recorded services. I’m also from the hood, there was no avoiding hip hop and the contents of the lyrics.

When/what did you first hear that made you want to start making beats? How many years have you been doing it now?
Still D.R.E. was the instrumental that made me want to make beats. I made my first official beat in the 9th grade. At the end of the year, my teacher had a competition in computer class and we were instructed to use the apple loops in GarageBand to make a composition. I had the best beat, so my first beat was lowkey from a beat battle [laughs]. I didn’t start taking producing seriously until Freshman year of college when I was 18. It’s been on ever since. I’ll be 28 this July.

Were you always rapping too?

Back in grade school, we were really influenced by the Rap DVD era in Philly. I wasn’t always as nice at rapping as my peers. In 6th grade, I was the beatbox guy they would tell to “hit the beat” when my associates had rap battles. I was always the best at it in the class, despite being an outcast in those early years, music was a way I could connect with everyone. I also used to bring in my radio and we would dub tapes of us rapping on it in music class. I got into hip hop by rapping and making beats.

That’s sick, If you had to pick an all-time favorite producer who would it be?
The RZA. He is the perfect example of orchestrated chaos. When I hear RZA I get a representation of art, I can hear human mistakes, as well as borderline perfection. He was also the first to sample a high-pitched soul sample. That inspired so much of hip hop, and it’s still an element that can connect the most even through modern rap and the new generation of listeners. Wu-Tang Clan’s production is my all-time favorite. The C.R.E.A.M instrumental revolutionized hip hop production.

What was the first cosign that really meant something to you?

I wouldn’t consider myself as receiving a “cosign” yet because usually when you get those, your career “jumps off” and you “blow up over-night” when Alchemist and Evidence first started publicly saluting me on twitter it was definitely a special moment for me. They even supported my projects.

How was being able to work with Evidence?

Genuine. Everything is organic with Ev. When I first started tweeting that I was moving to LA he never hesitated to reach out and make sure I connected with him. He still to this day will check in with me on a personal level. I’ve learned and am still learning a lot about life from him aside from music. Me rapping to one of his beats just happened naturally.

What’s the worst misconception people have about producers, or what’s your biggest pet peeve in working with rappers?

I’m not sure what kind of misconceptions people have about producers, but I do know a lot of people fail to give a producer credit for a song. The lyricist always gets the recognition for a beat and it just doesn’t make sense to me.  Working with rappers is always a different experience. My pet peeve in working with anyone is bad communication. Waiting too long to hear back about a beat, if they’re going to use it or if they want a different vibe. It’s like pulling teeth. I work best with any artist who knows how to communicate outside of their ego.

What kind of hardware do you usually work with? What are you working with right now?

I use an MPC, an SP 404sx and an SP303 altogether. I also own a Po-33.

What role does music play in your life right now?

Therapy. The support is a plus, and I’m eternally grateful for it.

You do all your own cover art, right? Where did the inspiration for that come from?

Yes, I do. I drew my first picture when I was 3 years old. Art has always been a part of me. Audio Is just another medium I create with. I can’t even finish a project without staring at the artwork. Music for me is scoring my visual art with its own soundtrack. Besides graphic novels and anime, the inspiration for my visual art comes from somewhere beyond explanation. Most likely God and my ancestors.

What is your music creation process like? 

It depends on my mood and where I am. If I’m not at home, I’m over at Krouse Quality studios, If I’m not there I’m at sadhu’s making beats with him. I make most of my own solo work on my own in solitary. I produce, record and engineer, so everything gets done on my time, when and how I want it to be. I hate studios. I’d rather be in comfort in order to express myself appropriately.

Tell me a little about Baked (Life) Recordings

Baked life is a brotherhood established in 2011. We were brothers for years before then, bonding through the skateboarding lifestyle in Philadelphia. Under the organization of one of our founder’s Mark Ryan, we formed together as a rap group: “The Bakery Boys” and we fully embody the representation of “Brotherly Love.” We were the first rap group of our generation to bring “being yourself” into the music scene in Philadelphia. I would be nothing without Baked Life. The “recordings” aspect is our independent label imprint. Consisting of members: QThree aka EAR.DRUM, Mark Ryan, Drip, TJ ATOMS, Atar’e Godspeed, Veeay, Mr. Joe Cool, Reef Raw, Dook, Cousin Ab, Davey Denairo, and KiDZER0.

You just dropped a compilation tape on Bandcamp called Deaf Tricks, with stuff you worked on for skate videos with Thrasher, Sabotage, DGK, and DC, how does it feel to have something like that under your belt?

If it wasn’t for skateboarding, I wouldn’t even have baked life or anything. Big thanks to Brian Panebianco for calling me to his crib one night in need of an instrumental for Dylan Sourbeer’s Sabotage 4 part. As the Sabotage brand started to grow, Thrasher reached out to clear music from me for their exclusive premieres. I feel blessed to belong to skateboarding in my own way because I damn sure ain’t nice enough at it to go pro. [laughs]

If someone reading this is unfamiliar, what would you recommend they listen to?

Everything. not even just mine. Get familiar with the family.

https://bakedlife.bandcamp.com/

You had a beat battle with Sadhugold recently, how did that go and give me a little insight into your relationship? 

I’ve known him for over a decade. We started making beats at the same time, we bonded first through trading vintage clothing and through Pokémon. Battling was in our nature. We always tend to challenge each other just like Ash and Gary, Red and Blue, etc. It definitely helped with my growth as an artist as well. The battle was awesome. It was actually the first Instagram live-battle in history, for those who are not aware. He put up a great fight, but I won. [laughs]

You said you have another tape dropping in the near future, anything in regards to that you can expound on right now? 

I have an instrumental album set to drop in June. It will be one of the best instrumental albums you will hear in 2020.

To wrap up, tell me about how important Philly is to you, and the impact it has on the music you make? Obviously, this city has a lot to it, but what are the aspects that not everyone understands? -Do you ever see yourself living elsewhere?

Philadelphia is the greatest city in the universe. There is a code of realness I have never experienced anywhere else. Everyone here is actually aware that they are a human being, I’m grateful for how humbling it is here. I lived In LA for 2018-2019 and when I moved back home, I nearly kissed the ground. It’s so much love here. I don’t know if I could find it anywhere else, and I feel great about it.

Any shout-outs or last words?

Shout out to God, my mom, My grandad, my entire immediate family, Brax, Jay Sun, Plain, Matt Ford, Miles Comasky, Tony Maserati, Ev and Enzo, The entire Baked Life brotherhood, my Armory East Skateshop family, Infamous Love Plaza, Anthony Trivelli, Joe Piff, Brian Douglas, Heather, Tracy Gorman, Seme, Ajua, Akasha, Bianca, Chris Mulhern, Marq Spekt, Kermit, Mike Gov, Bobby Tenderloins, EBN, Wiles Martyr, Krouse Quality, Karas Lamb, BIOE, Tayyib Ali, Sherm, Mongo, My therapist, Sleaz, My nan reef (dirty fresh), Daniel Amalak, Shamsiddin, The whole “M-Block” from Lincoln University class of 2014, Mr. Green, Jimmy Gorecki, Sagan Lockhart, Andrew Gilbert, My SOH family, Kareem Idris, AA RASHID, Jamil and Kozel, DooF, Shamus, Foozy, My cuzin Jewshism, 8ballMal, Geremiah, Tat the destroyer, Julian Robinson, Daria, Brewery town beats, Creep Records, Ben, Zev, Beemon, Ayoub, and my lawyer. I know that was extra but I don’t care. Last words: who cares.

Holding Hands (Again) with Gargoyle Records

Some records just stand the test of time. In the mid-90s Baltimore natives Don Corrieri & Tony Pegas of Gargoyle Records released six of the most high-octane east coast break-beat records we’ve ever heard, all of which now fetch a pretty penny on the good ‘ol Cogs. It goes without saying that these tracks still completely rip up today’s dancefloors, which is exactly the reason why Holding Hands label boss Desert Sound Colony snatched some up for re-release on his Holding Hands Again imprint.

Editor’s note: Desert Sound Colony played one of the best sets of recent pre-quarantine memory for [sic] at the end of 2019 — dang, I miss dancing with friends!!

Hot off the release of Gargoyle Records Classics Volume 1, I caught up with the Gargoyle bosses Don and Tony to chat about the label’s history, their favorite breaks, and of course grab some of the label heat (which I mixed up into a little label sampler below to whet your appetite).

WKDU · Gargoyle Records Ultra-Mix

How did you and Tony meet up? What music were guys into at that time?

Don: We met in the mid 90s and were both already deep into the underground music scene. It was an exciting time as we were moving from industrial bands (like Nitzer Ebb and Thrill Kill Cult) to house and techno. At the time, I was promoting my record, FS Tech. Tony was only 17, but  was one of the biggest DJ’s and promoters in Baltimore. He would spin my records at his weekly “Meltdown” parties. Soon after, I had him over to my studio and we would do sample sessions into my EMU sampler.

Tony: I met Don sometime in the 90s. He had produced several projects I had heard, so when he brought me some records to play, you better believe I played them. Eventually he invited me to his studio and it was an instant connection.

How did Gargoyle get started? 

Don: Tony would bring DJs and acts to my studio. In 1995 he was throwing a New Year’s Eve rave and approached me about creating a song specifically for that event. The song we created eventually became “Danceaholic”.  After that we began working on more music together, and soon launched Gargoyle.

Tony: Once we had a few songs, our friends Dan and Bump at Defective Records suggested that we start a label and release it ourselves. Fortunately they shared with us how to go about doing that (thank you guys!) And that is how Gargoyle Records was born.

What’s the biggest difference in dance music today vs the 90s ?

Don: Back then the music was much more underground. It didn’t permeate ads and pop culture as much. It was great to witness the birth of new genres and be able to go to clubs and hear truly new sounds.

Tony: In the early days, it was all just called “dance music”. As time went by it got more refined in terms of genres. Eventually DJ’s started playing just one style.

What’s one of your most memorable label / party moments?

Don: Tony was one of the headliners at a big party in Ottawa, Canada. They rolled out the red carpet for us and it was amazing. It was a wild party with great bands and DJs. Our (just released) song, “Do You  Believe” was actually created for and debuted that night, played on acetate vinyl.

Tony: The best Party I ever played was with DJ Bump from Defective Records for the premier of John Waters’ film Serial Mom at the Baltimore Museum of Art. A-List Party. By now I played only what I liked and everyone loved it…if you have ever seen a John Waters movie you can understand Baltimore and its charm. I eventually produced and promoted raves with SisterFace (Trax DC) and Bubbles (Cignels + Orpheus). Richard Long had passed by this time but Gary Stewart, who was an associate of Richard’s, did our sound and Super Cal did our Lighting. In the Mid-Atlantic Area, our system was only comparable to The Paradox.

Is there anything that stands out to you as part of the signature East Coast sound / style ?

Don: I say the East Coast sound is a little rougher and rawer— just like Baltimore!

Tony: The ‘Baltimore Club’ sound influenced our music quite a bit. We took the chopped up loops/vocals and added techno and acid synth sounds.

How did you link with Liam / Desert Sound Colony?

Don: Beginning in 2019, we had a steady stream of renewed interest in our music. We never officially had anything online and the vinyl was getting scarce. In fact, it’s not uncommon to see our records selling for upwards of $100. Along with messages from fans we had a good bit of label interest. Liam offered us a great deal and the rest is history.

Tony: We liked the vision Liam had toward re-releasing our music. His label, “Holding Hands Again” not only symbolizes the reissue, but that Don and I are back at it!

What else do you guys have in store after the Holding Hands release?

Don: We actually have another retrospective EP, “Gargoyle Classics Vol 2”, coming this summer on Liam’s label Holding Hands Again, and a 3rd EP with another label based in Europe. On each of the records we’ve also included an unreleased song from that era. Plus everything has been remastered and sounds really great. We’ve also began working on some brand new tracks, so be on the look out for more on that soon!

Tony: We’ve been talking about the next Gargoyle release and I can feel it coming.  I’m putting together a new studio with some of my favorite classic synths like the Juno-106 with the Kiwi mod as well as new gear.

Don: Yeah, the renewed interest in our music is definitely making me itching to create some new acid breaks!

What’s your favorite break ?

Don: I love the Bad Sista break, which is one of the most iconic loops in Bmore club music. Also the Lyn Collins (used in ‘It Takes Two’).

Tony: Pacha on Acid ( Krafty Kuts remix)

Stay tuned for more heat from the Gargoyle crew & definitely check out Gargoyle Records Classics Volume 1 if you haven’t already!!!

Stay safe out there y’all <3