Wednesday, February 20, 2019

Uncommon Records Presents: Last Sons' "Champions" Feat. Barrie McLain & Guillotine Crowns (Short Fuze & Uncommon Nasa)

For at least a few years now, I've been speaking with UK emcee Duke01 (@DukeBinary) effectively one 1/2 of Last Sons, about their long-rumored full-length debut to be produced by Uncommon Nasa. Merely separated by an ocean, Staten Island, NY-based producer/emcee, Uncommon Nasa, has been working with Nottingham, UK-bred Duke01 and his in-house DJ/turntablist, Furious P, since about 2014. Duke01's Steroid Stereo (Orange Edition) EP was released in collaboration with Nasa's Uncommon Records and features cuts throughout from Furious P. Now, nearly five years later, Last Sons & Uncommon Nasa have reunited for their aforementioned Steroid Stereo follow-up that's now being billed as Chekhov's Gun; a couple weeks ago, I received an early press advance of Last Sons' Chekhov's Gun and trust me, it's well worth the wait! Still about a month ahead of Chekhov's Gun's March 15th world-wide "street date," Uncommon Records & Last Sons unleashed the first proper "teaser" single from the 11-track album, "Champions." Duke01 & Furious P recruited New York songstress Barrie "Lobo" McLain, as well as Guillotine Crowns for the Experimental/Prog Hip-Hop-leaning track.

Now, the greater majority of you may not be all too familiar with the latter... but that's because "Champions" is, actually, their first on-record appearance together. Guillotine Crowns (@GuillotineCrown) consists of Chicago emcee Short Fuze & Uncommon Nasa himself, who have been earnestly working together since 2010's Lobotomy Music, but have just now given their collaborative efforts a proper nom de plume. Upon it's initial release last week, "Champions" was accompanied by a unique lyric-less "lyric" video, which conveniently labels each performer during their respective contributions; on-screen throughout "Champions"' nearly 4-minute duration, you'll continually see "SHORT FUZE," "GUILLOTINE CROWNS," "BARRIE MCLAIN," "UNCOMMON NASA," "FURIOUS P," "DUKE01," and "LAST SONS" imagery plastered across your computer screen. Last Sons' Chekhov's Gun Produced By: Uncommon Nasa is currently available to pre-order in vinyl, digital, and compact disc (CD) formats directly from Uncommon Records. Stay tuned to this very space for a comprehensive interview with Last Sons & Uncommon Nasa—and maybe, even a few special guests!—corresponding with Chekhov's Gun's impending 15 March, 2019 wide release on Uncommon Records.

Stuntdouble & Tenshun Talk 3-part "Welcome to San Diego, Now Go Home" EP Series & Pump The Brakes (The Witzard Interview)

Bob "Stuntdouble" Surratt AKA Bobby Stundooblier & Jon "Tenshun" Calzo—or sometimes, just 10shun—are an emcee/producer duo hailing from San Diego, California. Stuntdouble & Tenshun quietly unleashed 3 self-released EP, as well as an additional EP's-worth of out-takes or "party-starters" between 2011-18. Said 3-EP series was fittingly dubbed Welcome to San Diego, Now Go Home and consists of, in order: The Ballad of Shawn T. Nelson, Pay Us a Visit & The Hunchback of Golden Hill, as well as 2016 out-liers EP, Pump The Brakes. Bob & Jon first met around 2003 while being employed at the same place of work, as Tenshun's boss suggested Stuntdouble check out his then-newly released Grey Death.

Prior to unveiling their Welcome to San Diego, Now Go Home EP series, actually, recorded and self-released two earlier small-batch "full-lengths" on CD-R throughout 2005: Don't Have to Be Drunk to Tell The Truth & You Can't Polish a Turd through 10shun's own SKRAPEZ Label. After, somehow, just recently discovering the Welcome to San Diego, Now Go Home series, I reached out to both Tenshun & Stuntdouble, who both kindly agreed to participate within a comprehensive Q&A. The text below has been lightly edited for general clarity. The Hunchback of Golden Hill, Pay Us a Visit & The Ballad of Shawn T. Nelson EP's are currently available on Stuntdouble & Tenshun's Bandcamp page in either digital or 7-inch formats.


Matt "The Witzard" Horowitz
Your Resident New Jersian

I. How are all of the releases within your "Welcome to San Diego, Now Go Home" EP Series thematically connected or related?

Stuntdouble: All three records, thematically, look at San Diego, California. We're known as a "tourist destination" to most, but there is definitely an underbelly of this town. We have a long history with the military industrial complex, we have the fourth largest population of people experiencing homelessness, we have issues with gentrification, etc. We wanted the records to, eventually, stand as a "concept album," which explores life in the city from a somewhat different angle.

Tenshun: They are all based around stuff that happened or is happening around San Diego.

II. How did you fellas first meet and ultimately, decide to start actively recording and releasing music together as Stuntdouble & Tenshun?

Stuntdouble: I met Tenshun at work. His supervisor gave me a copy of his album, Grey Death. I was blown away! I hit him up for a beat and we've been making songs and doing shows [together] ever since.

Tenshun: I met Stuntdouble at my job. My friend gave him a copy of my album, Grey Death. From there, we met up and made a song called "Back Off."

III. What type of relation, if any, does Pump The Brakes have to your 3-Part EP series, "Welcome to San Diego, Now Go Home?" Where exactly do these "loose" tracks initially stem from?

Stuntdouble: Pump The Brakes are songs that don't really fit the theme of the Welcome to San Diego material. At the end of the day, we're still Hip-Hop guys and we like to make shit that is fun to perform. Songs like "A**hole," "Nice Hands," and "Nom de Plum" are made for performing. Heads don't want to go to a show to hear sad songs; people want upbeat stuff that's fun. Some of the Welcome to San Diego material just doesn't work in a live setting.

Tenshun: That was just a EP of songs that didn't fit the theme of the records. They are mostly hyped party-rocking tunes.

IV. Now that your "Welcome to San Diego, Now Go Home" EP series has been effectively completed, what's next for Stuntdouble & Tenshun, either together or as separate solo entities?

Stuntdouble: Tenshun's always got other projects cooking. I've got some beats from him and other producers I'm working on. I'm in grad school right now, so music, generally, has to take a back seat. I'm hoping to put out another EP sometime (late) this year.

Tenshun: We are currently working on some new songs, at the moment, and are hoping to drop a tape on I Had An Accident (IHAA) Records.

V. What exactly are the titles The Ballad of Sean T. Nelson, Pay Us a Visit, and The Hunchback of Golden Hill intended to mean or convey?

Stuntdouble: Each EP is named after their title tracks. "The Ballad of Shawn T. Nelson" is about a guy who took a tank on a rampage through The Clairemont & Kearny Mesa areas of the city. He was, eventually, stopped and gunned down by the police. His story is pretty complex and speaks to issues and histories of San Diego. "Pay Us a Visit" is about the tourism industry here in San Diego. That song, for me, kind of encapsulates what the Welcome to San Diego project is all about. "The Hunchback of Golden Hill" is a personal joint about the neighborhood I grew up in. It's since gone through a pretty thorough gentrification. I was butt-hurt about it for years; the song kind of reconciles some of those feelings for me.

VI. Judging by "Shaving C.R.E.A.M." (great play-on-words!) you fellas are both die-hard Wu-Tang Clan fans. If so, what are some of your all-time favorite Wu-Tang/solo verses?

Stuntdouble: My all time favorite is "Cuttin' Headz" from Dirty's first solo album. Also, anything from Enter: The Wu-Tang (36 Chambers.) Sh*t, pretty much anything from the first five Clan albums.

Tenshun: I like a lot of the old school Wu-Tang albums; even the Gravediggaz stuff was ill! I liked the sound of the production RZA was doing during that time. All raw and gritty stuff.

VII. Do either of you have any particular solo or collaborative projects dropping any time relatively soon that you might like to mention or expand on within this space?

Stuntdouble: Nothing soon...

Tenshun: I have a few projects coming out soon. SKRAPEZ (Psychopop & I) are currently working on a record. I have a project with Bethaniens Dust coming out on IHAA. I also, have some solo stuff in-the-works, which is more Noise and f***ed Electronic beats.

VIII. Who designed the phenomenal artwork for your 3 "Welcome to San Diego, Now Go Home" EP's? They personally, remind me of old school American Traditional tattoo artwork!

Stuntdouble: That's def. what we were going for. My good friend, DJ Dimitri, did the art for the first two. The plan was to get him to do all three, but he just had his kid when it was time to get the art rolling for the third record. The homie, ARTOO of Hellnote Crew (who's also, a tattoo artist) stepped in and made our third cover. Both guys are incredibly talented and in addition to being dope artists, they are great musicians.

IX. What would each of you cite as some of your greatest sources of personal inspiration and influence while recording your 3 collaborative EP's?

Stuntdouble: My family and crew, First Power. The San Diego region, 90's-era Hip-Hop, and our local underground Hip-Hop scene. Our town has been bubbling for a minute now. We got a lot of really dope, active cats out here.

Tenshun: Early Hip-Hop stuff with dope drum breaks and samples.

X. Aside from your 3 collabortaive EP's, which particular release(s) would each of you recommend fans check out from each other's catalogs? Stuntdouble for Tenshun's and Tenshun for Stuntdouble's, please?

Stuntdouble: Tenshun's got so much heat in his back catalog. However, and I'm not sure, if it's still available, [but] I would say, check out Grey Death. Also, peep the SKRAPEZ 7-inch series. All fire!

Tenshun: Stuntdouble has a project with Mr. Henshaw called Future Primitive Foot Prints. Also, peep out some old verses Stuntdouble did on the Roundtable MC's album, Table Manners [EDITOR'S NOTE: under his then-alias, "Lipher Cypher."]

Tuesday, February 19, 2019

Dutch Producer Reinier Thijs Pens Beat-maker Bedrock #26 On The Heels of Thijsenterprise's DOKKUM EP (Thijsenterprise Label)

"Any question which starts with "Top 5..." is hard to answer. I used to ask all my friends and other musicians about their Top 5 albums. And since I asked them, they used to ask me the same. I have been with the same list for the last couple of years, which is, maybe, not really my Top 5 right now, but it's pretty OK for a Top 5 of all-time. Any of these albums I've played intensively, most of them for years straight on a daily [basis] and I can sing/rap them along or even play some of the solos. These are must-listen records for anyone because these records are my friends in the good and dark times. The Top 5 is in order of discovery because after all, there can't be just one winner. Let's start!"

- Reinier Thijs (@thijsenterprise)

I. Jimi Hendrix - Band of Gypsys (1970)

"When I was around 14/15-years-old, I got really into music; not only the mainstream, which was on MTV, but, also, the older stuff. I don't really know how I stumbled on Jimi Hendrix, but my parents might have had an influence on that. This record is quite a weird one because it's basically, a compilation record of four shows Hendrix did at The Fillmore East on New Year's Eve (1969-70). It also, feels rather short, but the main thing is it's a live record without overdubs and little showing off. Jimi Hendrix also, has a different line-up than his previous records, now with Buddy Miles on drums (and vocals) and Billy Cox on bass.

I can talk hours, or days, about this record. I love this for many reasons, but the rawness of Hendrix's guitar combined with the improvisations are one-of-a-kind. This record was on my Disc-Man, then, on my green iPod Mini, and later, on vinyl and was as important to me as food and water. I have listened to it at least five years straight because in my university (2007) I wrote a paper about it called Jimi Hendrix - "Machine Gun" (The Perfect Note.) I highlight some of the essential parts: "Listen. The greatest feeling I ever had in my life—with my clothes on—was when I first heard Diz & Bird together in St. Louis, Missouri, back in 1944. I was 18 years old and had just graduated from Lincoln High School. It was just across the Mississippi River in East. St. Louis, Illinois. When I heard Diz & Bird in B's band, I said, "what? What is this!?" Man, that sh*t was so terrible, it was scary. (...) Anyway, I've come close to matching the feeling of that night in 1944 in music, when I first heard Diz & Bird, but I've never quite got there. I've gotten close, but not all the way there. I'm always looking for it, listening and feeling for it, though, trying to always feel it in and trought the music I play every day," From Miles: The Autobiography By: Miles Davis with Quincy Troupe.

The perfect note, a Holy goal for each musician and for may listeners. Sometimes, looked for conscious, sometimes, unconscious. But what is a "perfect note," anyway? The perfect note is something unreachable; nobody knows how it sounds like. You know it's a perfect note, when you hear it. How would that be? Like when entering Heaven and see God or Jesus? Is the quest the same as the quest to perfect love? Is the perfect note something personal or would any person recognize it? Jimi Hendrix plays on 3:56 minutes the most beautiful note I know. By utilizing guitar effects, timing, and the ambient, he plays the perfect note. This high note is a pure form of electricity and any time I hear it, it gives me goose bumps. The build-up is amazing, the bass and drums play so simple and Jimi plays so pure, it's hard to explain in any other words."

II. Common - Be (2006)

"When "The Corner" came on The Box (TV music channel) I was instantly hooked. I hadn't heard about Common before and thought this was his debut record. This album is a complete album for me. The beats, most of Kanye's production with two J Dilla beats, is on-point. And Common sounds refreshing, while touching different topics. The sound of this record influenced me a lot: the use of old Soul samples, mainly. A lot of times, while I make beats, I think: "this is for the Be follow-up and I'd like to hear Common rhyme over this!" Common is definitely one the Top 5 emcees. Besides this record, I also, like how he kept challenging himself after this record and his ability to connect different people. A huge inspiration in many aspects."

III. John Coltrane - A Love Supreme (1965)

"This record must be in many lists. It's a classic, but one for all kind of music lovers. First of all, I'm a huge Coltrane fan, more for his sound than for his innovations and improvisations; it just attracts me more, as a saxophone player myself. The whole spiritual side of Coltrane is a good one to dive into, but A Love Supreme is a good start. What I love most about this album is the theme: it has the same theme from beginning to end. Besides that, the opening melody is one of the simplest most intense melodies that exist. Anyone can sing or whistle it. In many ways, this album has inspired me: the melody is the most important part of a song, the sound gives your identity, using a theme for an album makes the story stronger. The record doesn't really need an explanation to be understood, which is for any person different and which makes it so cool."

IV. Benjamin Herman - Campert, De Tijd Duurt Één Mens Lang (2007)

"While this record is my favorite Dutch Jazz record of all time, it lacks International recognition. Benjamin Herman is a Dutch saxophone player. I'm a huge fan and in the last 13 years, I must have seen him play 100 concerts, at least. This record came out in 2007 and should be considered a classic, world-wide. It's funny how the record came together: Benjamin was asked to write music for a documentary about poet Remco Campert and developed the material into a full-length album. All the cool things about the record: the line-up (young musicians), the theme, the interludes next to full-length songs, the sound, the improvisation, the cover, the photos, the design... Goddamn, everything about this record is great!

This record inspired me as a saxophone player. It showed me the importance of tone, that Jazz wasn't dead, nor isn't right now. The way of improvising is different, in a good way. I play the solo of "Catnap" daily, studying the greats makes you a better player. Besides that, it inspired me, as composer, to write more abstract songs without using the traditional A-B-A form or any similar. And not to forget, it got me into poetry. Remco Campert is my hero. His work has been through my life, ever since this record came out and guided me, while I was in dark times. This poet is all featured on the record on the song "Lamento" and I can't listen to this without tearing up."

V. J Dilla - Donuts (2006)

"It's obvious I had to include Donuts on this list. Mainly, because it's the reason I started making beats. What hasn't been said or written about this album? Probably, [everyone] knows the story by know and if not, I recommend the book by Jordan Ferguson for the series, 33 1/3 about Donuts. I know a lot of musicians who list this one of their main influences, which can sometimes, be tiring, like it's converting in the Kind of Blue of Hip-Hop. To be honest, it's not the only one album that inspired me, it also, guided me to check other producers, which I equally respect as [much as] Dilla: Madlib, Knxwledge, Pete Rock, Samiyam, and Q-Tip, amongst others.

Regardless, to these comments, this work stands out for me because of the use of samples, the rawness of using the Soul 45's, chopped, looped, played faster, slower, while using little effects. The ingredients of this record are the essence I look for while making beats or more general: music. Dilla made the original songs just better or, actually, a lot better. This is a record to discover, re-discover, study, imitate or just to vibe to. The story is intense, the record is deep, but regardless of this, it's a classic, in terms of music only.

This album taught me that I, actually, like Hip-Hop because of the beats more than the raps and motivated me to do it myself: I released STEPBACKS & SETBACKS last year with the A-side mainly inspired by Donuts. This release was the start for me doing what I'm doing today: making beats, while using little effects and staying close to the melody and drums. Dilla showed me that the raw, seemingly "unfinished" songs can be more interesting to the listener than "over-produced" songs. Sometimes, it's better to leave it for what it is and drop those beats. Oh, and I started eating Donuts..."

Reinier Thijs is a Barcelona, Spain-based producer, sax player, beat-maker, and multi-instrumentalist originally hailing from The Netherlands. Since quietly bursting onto the Instrumental Hip-Hop/beat scene in September 2018, Thijs has self-released twp projects as Thijsenterprise: STEPBACKS & SETBACKS—including his homage to J Dilla's Donuts—and 14-track DOKKUM EP. The Dutch beatsmith is also, effectively one half of Amsterdam-based Instrumental Hip-Hop/Jazz duo 2-Two Legged Dogs, along with like-minded multi-instrumntalist Laurens Beijer AKA Drumma Sheen. 2-Two Legged Dogs, actually, unleashed their expansive 22-track debut, Je Hebt De Boem En De Klao AKA "a small hour of coke for the ears" prior to Thijsenterprise's STEPBACKS & SETBACKS, after nearly 10 years of hard work in the studio together. For Both STEPBACK & SETBACKS & DOKKUM EP, Thijsenterprise largely created unique Hip-Hop beats by "chopping [up] Soul & Jazz samples, using raw drums and dirty basslines, all for the love of the perfect loop." Thijsenterprise has already garnered wide-spread critical acclaim from the likes of The Find Mag, Brooklyn Radio, Beat Tape Co-Op, Sampleface, etc. and has painstakingly created a number of exclusive guest mixes. It appears as though Thijsenterprise is already earnestly at work on his proper DOKKUM EP follow-up, Smoetsie, which Brooklyn Radio says will be thematically centered around "good old love-making music" and will likely be released by Spring 2019.

Sunday, February 17, 2019

The Witzard Premiere: Raymond Strife & iLL-Omega's The Replacements-evoking "Shane Falco" Music Video (Invisible Library Records)

Last year, Trenton, New Jersey-based emcee/producer duo Raymond "Ray" Strife & iLL-Omega unleashed their second proper long-form collaboration, Go for The Gusto. It's the full-length follow-up to Ray Strife & iLL-Omega's 2017 Preface: I Will Never Be Beautiful EP, which was, actually, premiered right here, across the pages of The Witzard. On Super Bowl Sunday, I received an email from Ray Strife entitled "Wanna premier a new video?" It was during, as we all well know, a fairly lackluster game between The Patriots & The Rams, so I quickly watched the video and sent an exuberant "Hell yes!" Reply back to Ray. Said music video is for Go for The Gusto stand-out "Shane Falco"—an allusion to Keanu Reeves' character in 2000 Sports/Comedy film, The Replacements—is now, proudly premiering right here on The Witzard, as well, this afternoon. Throughout "Shane Falco"'s nearly 5-minute duration, we're treated to, at least 3-4 different on-screen versions/multiple personalities of our titular character, Raymond Strife. Strife himself describes "Shane Falco" as primarily being "about feeling like you've dug a whole you can't get out of. Like you're trapped in quicksand; like I'm my own worst enemy, which, I think, is kind of illustrated in the video. Eric [Backlund], actually, came up with the video's concept."

Director Eric Backlund of Sketchisms Media fondly describes his experience working on "Shane Falco" "with Raymond Strife," "and Raymond Strife," and "guest star Raymond Strife" as: "the scene driving in the car was a pain in the a$$ to shoot and edit... but the fact that Ray trusts me, makes it a lot easier and less stressful. I like shooting an entire video in one day." Ray Strife tells The Witzard he's already working on the proper follow-up to Go for The Gusto with frequent collaborator iLL-Omega, as well as new material with his "Negative" Hardcore band OVER EVERYTHING. He also, says he's actively working on an EP with another Trenton-based producer named Bockman and preparing music with a "secret" Trenton band that's playing a special gig within the city on Friday, March 29th. Ray Strife, iLL-Omega & OVER EVERYTHING are all planning to head out to Austin, Texas between March 8-17th for a number of gigs they have lined up during South By Southwest AKA SXSW 2019. Raymond Strife & iLL-Omega's Go for The Gusto is currently available on Bandcamp, as well as like-minded digital streaming services, through Invisible Library Records.

Saturday, February 16, 2019

CZARFACE Meets Ghostface's "MONGOLIAN BEEF" Music Video Directed By: Shawn "Shon J." Johnson (NEKTR/@oldsoulbrother1)

Shawn Johnson is a multi-talented artist, who makes digital art and videos, as well as Instrumental Hip-Hop. For his digital art efforts, Shawn goes by @oldsoulbrother AKA NEKTR (@SHONJART) and has released music, over the years, as Shon J. Mr.J with Mr. Backside, OLD SOUL with Optimus Prime, and as part of Hip-Hop/Rock band, NOGENRE559 with affiliation to The Natural High, Amajin Records, and Alpha Force. Shawn Johnson has worked with and created Cut-and-Paste-esque music videos for The Witzard mainstay Purple Dialect, Slum Village emcee T3, Westside Gunn & Conway affiliate Benny The Butcher, J-Zone & Pablo Martin's The Du-Rites, Ali Miller FKA Truck North (The Roots,) K.A.A.N. and Lance Skiiiwalker. I've previously spoken with Shawn Johnson concerning his work on Purple Dialect's "Cocoa" video, as well as Shon J & Mr. Backside's 32-track Mr.J beat tape; however, in recent months, Shawn has been mentioning a number of high-profile collaborations including "CZARFACE vs. Ghostface Killah" and Guilty Simpson's Reckonize Real-produced Carved from Stone. As a matter of fact, just this past Friday, CZARFACEDJ 7L, Esoteric & Wu-Tang's Inspectah Deck—joined forces with Ghostface Killah for CZARFACE Meets Ghostface, remarkably, their sixth album in just as many years!

Shawn A. Johnson had the distinct honor of directing and creating a music video for CZARFACE Meets Ghostface's second single, "MONGOLIAN BEEF," which was unveiled just days before the album's wide release. It appears as though Shon J. inter-cut a wide array of zany stock footage, animations, still imagery, etc. with shots of Ghostface Killah, Inspectah Deck, 7L & Esoteric to go along with their various portions of "MONGOLIAN BEEF." It's definitely something different, zany, and uniquely out-there; Shawn Johnson's "MONGOLIAN BEEF" music video is one of those things you could watch over and over again and, easily, notice something new or different with each viewing! CZARFACE Meets Ghostface is now available on GetOnDown/Silver Age. CZARFACE die-hards can expect an interview with DJ 7L of The Czar-Keys coming soon to Overseas music publication, GrownUpRap, along with an interview with emcee and comic book nerd Esoteric coming soon to The Witzard. Although, for the time being, I strongly suggest you ch-ch-check out our comprehensive interview with CZARFACE songstress and "BOMB THROWN" Feat. DOOM video director Kendra Morris from last year's CZARFACE Meets Metal Face album cycle.

Friday, February 15, 2019

Mr. Dibbs & DJ T-Rock Present: P**NTABLISTS' "Just The Tip" from The 2nd Cumming Full-length (Parental Advisory/Not Safe for Work)

Mr. Dibbs is a producer, circuit-bending artist, and long-time touring DJ for Atmosphere, El-P, Run The Jewels, and Eyedea. DJ T-Rock is a modern-day "cowboy," aspiring actor, and experienced turntablist with recent releases on Cold Busted. Mr. Dibbs & DJ T-Rock have known each other for at least 16 years with one of their earliest appearances on-record together being "Porntablist" from Side F of Dibbs' acclaimed 2003 Rhymesayers Ent. 3xLP, The 30th Song. DJ T-Rock & Mr. Dibbs have since collaborated countless times, including: "Dibbs (Outro)" from RAP ON ME? THE ORFANZ EP, "Rock Out" from DJ T-Rock & Squashy Nice Present: OUTLOUD, A.P.S.O.'s single "The Isle" with @E_makes_music, and a mysterious project called Travel Lodge 305. Now, Mr. Dibbs & DJ T-Rock have once again reunited as Porntablists to collectively display "the art of manipulating pornographic sound bites" with their turntables. For Porntablists' "forthcumming" album, The 2nd Cumming, DJ T-Rock & Mr. Dibbs have compiled a collection of Sex Education, "stag party," and X-rated vinyl records originally released from 1950-80. Just this week, in honor of Valentine's Day, Mr. Dibbs & DJ T-Rock have unleashed the first "scene" from Porntablists' The 2nd Cumming with a raunchy nearly 6-minute single entitled "Just The Tip." It's now available on a Name-Your Price basis from DJ T-Rock's Bandcamp page, as well as FREE download directly from

"So... DJ T-Rock (@djt_rockofficial) & Myself Were Thinking About This. Do You Remember A Time When You Didn't Have Walk On F***ing Egg Shells, As To Not Offend Your Neighbors God Damn P.C. Cat Or Whatever The F**k That Thing Is? You Miss That Don't You? Well, So Do We. So, F**K 'EM, We've Returned. PORNTABLIST IS BACK! Here's The Teaser To The First "Scene." We Call It "JUST THE TIP." This Entire "Scene" Will Be Available To DOWNLOAD FOR FREE! ON VALENTINE'S DAY! With The Full-Length To Follow Shortly. So, If You Like Porn Sounds, Scratching, Glitches, Vaseline, Various Lubes & Really, Don't Give A Flying F**k Who You, Potentially, Might Offend, Then, This Sh*t's For You. If Not, Then, F**K DIRECTLY OFF... Enjoy Kids, It Only Hurts The First Couple Of Times!"

- MR. DIBBS (@mrf*ckingdibbs)

Wednesday, February 13, 2019

These Bastards Rip Through Choice Cuts from Old... ...and pissed 7-inch on KZSU Stanford's Wednesday Night Live (90.1 FM)

These Bastards are a phenomenally-named Punk/Hardcore & Powerviolence band hailing from San Francisco, California. It appears as though These Bastards initially formed around January 2018, prior to the release of their frantic 6-track DEMO 2018 EP. These Bastards' first proper release, Old... ...and pissed's 7-inch liner notes proclaim, "These Bastards are these bastards: T.C. Bonelocs: Drums, Stoney: Guitar, Leech: Vocals, Bruno: Bass." These Bastards' Bandcamp page boasts it, in fact, consists of members of Conquest for Death, Venkman, Slobber, Agents of Satan, and Go Like This. These Bastards' Facebook page—I know, these bastards are all over social media!—additionally lists their "Affiliations" as: Dioretix, Fassbender, Mad Cow Dizeaze 182, Translators, Feldmans, Creepy People, Shed Wellaz, Gym Class Heroes(?), Say Bok Gwai, Theeannoying, Three Wheel Motion, and Useless Youth. Lo and behold, "Stoney Maloney" is, actually, Alex Yeung, who infamously played sax throughout SPAZZ's 1997 Sound Pollution Records/625 Thrashcore album, La Revancha, which was recently re-released digitally for the first time ever by Tankcrimes. I've also, recently learned that Leech is SPAZZ founder Dan Lactose AKA DJ Eons One's brother.

Back in 1997, SPAZZ/Slobber released a mysterious unlabeled split 7-inch housed in a blank cardboard sleeve on Sacapuntas. Leech & Dan Lactose, also, spent some time together playing in a short-lived band called Three Wheel Motion, along with Jon "J-Luv" Areds & Mark "Mark Ass MC" McCoy, who released one self-titled single-sided cassette on 36crazyFists. in 1996. Last night, while scrolling through Twitter, I stumbled upon a post from Kurlee Daddee Productions (@KurleeDaddee) entitled "These Bastards on Wed. Night Live @KZSU 1/23/19 (full set)" along with links to his blog,, as well as a YouTube video from KZSU Live. Honestly, the first thing I noticed one I clicked the link and turned on the 40-minute video was These Bastards' bassist Dave "Bruno" Bruno proudly rockin' a Dr. Octagon/Dr. Octagonecologyst T-shirt. Oddly enough, guitarist "Stoney" AKA Alex Yeung contributed "Sax & Violence" throughout SPAZZ's La Revancha, which also, featured Kool Keith AKA Dr. Octagon himself on album stand-out, "Camp Chestnut." As These Bastards' Wednesday Night Live session commences, frontman Leech proclaims: "Hi, in the temporary autonomous zone, in the shadow of the empire, you were hopin' for Those Bastards... but you got These Bastards instead!"

These Bastards then, launch into a frenzied set of songs that's almost Jazz-indebted and reminiscent of Henry Rollins-era Black Flag amidst KZSU Stanford 90.1 FM's "cramped" dusty basement-esque space. Through a series of separate sets strewn across nearly 40 minutes, I believe, These Bastards play a selection of choice cuts from both Old... ...and pissed and DEMO 2018, as well as "a couple new songs during that first set," as Stoney explains, which can be heard prior to the 12/13-minute mark. Leech & Bruno add that said new songs will be recorded in April at Earhammer Studios with Greg Wilkinson of Brainoil fame, who also, mixed and mastered Old... ...and pissed. According to Dave Bruno & Stoney Maloney, These Bastards' next live shows will be Feb. 21st at The Elbow Room in Oakland, California with Empty People, That Ship Has Sailed & Invertebrate and on March 9th at Mardi Gras Lounge in Redwood City, California. Leech further explains to the KZSU DJ that These Bastards are currently "planning tours, but that's super-secret top-level stuff... so secret, we don't even know!" These Bastards' Old... ...and pissed 7-inch is currently available to purchase on Bandcamp or as Leech calls it, "TheseBastards.TheBandcamp.commie."