Wednesday, June 20, 2018

3 Feet High & Rising: New York Indie Rock/Neo-Soul Quartet Holy Ride Share "Pictures" from Debut Party Tricks EP (The Witzard Premiere)

Holy Ride are a New York-based Indie Rock/Neo-Soul quartet, who formed while attending Columbia University in 2016. Consisting of vocalist/keyboard player Julian Ernest Wright, guitarist/bassist Caleb Oldham, second guitarist John Sudman, and drummer Mark Brathwaite, Holy Ride started playing dorm rooms, parties, and other collegiate functions, while three of it's four members were running a music blog called Rare Candy, as well as a small on-campus recording studio called CU Records. I guess, what initially drew me to Caleb Oldham's cold-sent email was this line, in particular: "We sound like D'Angelo meets Mac DeMarco," which they genuinely do! Holy Ride's aptly-titled debut EP, Party Tricks, is a self-described Soul-Pop/Pop Rock-minded affair strongly influenced by Fleetwoood Mac & Prince; although, I would also, liken their sound to something reminiscent of The Beach Boys, Chester French/D.A. Wallach, Childish Gambino's "Awaken, My Love!" similarly-minded greenhorn quartet no suits, and Stones Throw multi-instrumentalists The Stepkids. Although, Party Tricks has yet to even be released to the general public, Holy Ride are already plotting their next couple moves; "we're planning to come out with 3 more EP's in the near future," stating they presently have about "a dozen" songs completed and ready to go. '"Pictures" is a song about possessing intangible things in a physical format, like personalities, dreams, or memories," Holy Ride wrote within a recent emailed conversation.

Honestly, we're ecstatic to have partnered up with Holy Ride to premiere Track #03 from their Party Tricks EP right here at The Witzard! Vocalist Julian Ernest Wright croons, "If I'm just looking for a place to sit / Blind painter / See what's new" in a very abstract, almost stream-of-conscious way over relaxed guitar riffs and an effortlessly cool musical backing provided by Caleb Oldham, John Sudman & Mark Brathwaite. Then, we hear "Pictures"' main refrain/hook: "And we take pictures of each other..." directly followed by this poetic little nugget, "Millions and millions of tiny shards of glass / In my head / Poking through" during Verse #2. In addition to The Witzard-exclusive premiere of "Pictures," we're actually, lucky enough to be sharing a video of Party Tricks opener "Spotlight" filmed in guitarist Oldham's living room and sent in as a submission to NPR's now-closed 2018 Tiny Desk Contest. Party Tricks EP was entirely produced by talented record producer, mixer, engineer, and multi-instrumentalist Sahil Ansari at Degraw Sound in Gowanus, Brooklyn, New York. Holy Ride will be self-releasing their debut EP, Party Tricks, this upcoming Friday, June 22nd on digital streaming platforms. Give Holy Ride a Follow on Facebook: Holy Ride (@HolyRideNYC) Twitter: @weareholyride, Instagram: @weareholyride, and Soundcloud or simply, to stay connected regarding their future releases, upcoming shows, happenings, and all things Holy Ride. 🎈

Tuesday, June 19, 2018

Cell:Adore Re-releases For Her Cassette Tape In Limited Edition of 40 with Vinyl-cut Stickers & Revised J-card Artwork (Behind The Veil)

Drew Carpenter is a producer and beat-maker hailing from Bailiwick of Guernsey, Channel Islands, UK. Carpenter has been making music since about 2010; first, anonymously "just for fun," then, Deep Dubstep as Gastly around 2013, next, making more EDM-leaning music as Somber in 2015, and most recently, as Cell:Adore since October 2016. Cell:Adore now crafts his own unique brand of Instrumental Hip-Hop and Experimental Electronic music, but has previously released atmospheric EDM, Deep Dubstep, and a variety of Electronic-leaning music, as well as founding a Deep Dubstep blog called After Dark Music with his good friend Acomply, which has now grown into a fully functioning record label. Cell:Adore/Somber/Gastly has released music on a number of labels including Indonesia-based Tandem Tapes, now-obscure and mysteriously vanished Eight-Sixed Tapes, and Drew Carpenter's own imprint, Behind The Veil. Since being founded in 2017, the Guernsey-based imprint has self-released a FREE EP DOWNLOAD titled Laced Love, For Her (BTV001,) and "A Fools Wish." However, For Her alone has, thus far, been released THREE separate times in varying formats: 05.19.2017 on cassette - via Eighty-Sixed Tapes, 09.29.2017 on digital platforms - via Eighty-Sixed Tapes, and most recently, 06.15.2018 on cassette (again) - via Behind The Veil.

Although, this latest re-release of Cell:Adore's For Her has the unique distinction of revised artwork added to the cassette J-card—including back panel and alternate inner art—and a clear case to distinguish it from the initial Eighty-Sixed Tapes (86T001) version. Limited to just 40 copies, Behind The Veil's For Her re-release comes with vinyl-cut stickers featuring both "Anna" AKA Anna Karina... Cell:Adore's pseudo-mascot and "Behind The Veil Logo." For Her is a very relaxing, atmospheric listen which almost transports you to a different place. It's of a similar breed to Clams Casino's Instrumentals 1-4 mixtapes with sonic allusions to Joy Division, Swedish Dream-Poppers JJ, oOoOO & Islamiq Grrrls, SALEM, and grainy old black-and-white films, as well as "miserable ambient landscapes," as Cell:Adore fittingly puts it. Behind The Veil's For Her cassette re-issue is currently still available to purchase from Cell:Adore's Bandcamp page, although, it's limited to to a one-time pressing of 40 x tapes, so make sure to get one, while you still can. Cell:Adore is currently working on assembling Vixen (BTV002) which can presently be previewed on Soundcloud, and is set to be released later this year... hopefully!

Monday, June 18, 2018

Various Artists: How Compilations Influenced a Generation - This Is Boston, Not L.A. Penned By: John E. Swan (Modern Method Records)

Maybe, it's in the gray hairs that I've started finding in my thinning hair. Maybe, it's that dreaded third decade of life that seems to have been rearing it's ugly face around every corner. Maybe, it's a quarter life crisis, but something has been keeping me up at night. I sometimes, stay awake into the early hours of the morning spinning records and fumbling with CD jackets from high school, grasping hold of my youth for dear life. I search out elusive first presses of albums I'd somehow, lost to time, hoping that they'll somehow, tighten the thread leading from middle school to adulthood.

To be clear, I'm not fishing my torn band T-shirts or bondage pants from the depths of my closet, but as I make the transition into my 30's, shedding roommates and getting oil changes at regularly scheduled intervals, I can't help ruminating on where these albums came from and how they've shaped me. I can't help begging the question, "How did I get here?"

How I've come to be surrounded by this specific collection of music is largely, the consequence of efforts made by larger labels and their annual sampler CD's, but even today, I search out small Indie labels that pump out quality collections of exclusivities and excellent representations of a variety of music scenes.

Typically, priced at $4-5.00 and featuring sometimes, up to 40 songs from just as many bands, compilations have always served as convenient and affordable ways to discover new and obscure bands. This is imperative to the formative years of a generation of listeners; compilations were the compass that one used to navigate the endless sea of Punk Rock and consequently, Hip-Hop, Hardcore, Indie, Reggae, etc. etc. ad infinitum. Many of these discs were used as shovels to tunnel into cozy nests of Punk records and artistic eccentricities.

It's this ability to influence and inform listeners that I'll be here every month to discuss. I'll be stopping The Witzard by to shed light on those discount albums in the so often overlooked "Various Artists" bins of the world, along with their influences within their communities, within their genres, and within the chronology of listener interests all across the globe, here in, Various Artists: How Compilations Influenced a Generation.

When I was in high school, a friend of mine lent me a copy of Steven Blush's critically-acclaimed book, American Hardcore: A Tribal History, an oral history of the early 80's American Hardcore/Punk Rock movement. I was immediately drawn in by the obscurity of the genre relative to other genres of music during that decade and other carnations of that genre over time. Purists claim that original "Hardcore" only actually existed between the years of 1980 and approximately 1983 and so many of those records seemed lost to time and discount bins in the basements of re-sale shops. It seemed to me that the first wave of Hardcore had showed up, made a lot of noise, and self-destructed with virtually, no one to witness it.

The nature of Hardcore dictates that fervor precedes talent. The urgency with which songs were written and performed meant that few hardcore bands were of any technical proficiency. Album covers and flyers for shows were often crude sketches done in just black ink. Any concept of fashion statement was virtually nonexistent. It was all so approachable. It was accessible. It was the antithesis of the Rock star. It was something that I could actually do.

For the first half of my sophomore year of high school I tore through the pages of that book, downloading every song that I could find by every band that I didn't already recognize—no easy task in the unorganized days of LimeWire—and that's how I came to be familiar with a band called Jerry's Kids; a meager 1 minute and 22 second glimpse into Boston's Hardcore scene by way of a song called "Wired." With one song, Jerry's Kids seemed to exemplify the ferocity of teen angst that I'd been trying to articulate for years. Jerry's Kids and "Wired" acted as my first introduction to the 1982 Modern Method Records classic compilation album, This Is Boston, Not L.A.

30 blistering fast Hardcore songs by seven of Boston's finest at the time, This Is Boston... serves as a rabbit hole for the casual Hardcore fan to delve into. It's an exhibition of bands so obscure that, in some cases, they only exist on this particular slab of wax.

Perhaps, more accurately billed as an "EP collective," This Is Boston... opens with six songs from Jerry's Kids, before moving on to three songs by The Proletariat, one by The Groinoids, and closing the first side of the disc off with four songs by The F.U.'s. On the second side we have seven tracks from Gang Green, one from Decadence, and eight songs from The Freeze. I won't delve into any stylistic descriptions here, as this isn't exactly where my interest lies. Arguably, of more significance to the history of Hardcore and Punk Rock is that This Is Boston... acted as the recorded debut of almost every band on the record; The Freeze, whose only prior recording was the self-released "I Hate Tourists" 7-inch single, is the only exception to this.

The significance of this is not to be overlooked. Modern Method Records existed to document Boston Hardcore and Alternative music and did so to a fault. Hardcore was never meant to make money and as a consequence, the label folded in 1985, after 27 releases. But the genre would never have made much noise at all, if it weren't for small labels coming out of the woodwork and shouldering financial risks in the interest of preserving American music.

Hardcore wasn't viewed by record labels as a viable commodity. In fact, most record labels probably had no idea what these suburban teenagers were doing on the fringes of the music industry. It was necessity that bred these small labels. It was an eagerness to document marginalized sub-cultures and forms of art that blazed the trail between that tree falling in the forest and the ears of those who weren't around to hear it.

What we're seeing here is hardly new. In the early 1920's, talent scouts were known to venture into the hills with recording equipment, returning with shellac discs with grooves cut by needle, housing family heritages and traditions. Even today, archivists hunt those discs down, arduously restoring them, enhancing them in a way that brings us closer to their original sound. Closer to what those early talent scouts heard before they put that needle down.

In the case of the origins of Hardcore, bands, record labels, and promoters were forced to operate under the radar of the major label music industry. This Is Boston... is by no means, the first compilation to give a platform to bands who were assumed better off not having one, but it certainly defines a genre built on a strong DIY ethos that's been upheld for nearly 40 years.

Even now, assembly lines form in basements of suburban houses all across the country. When they can't be heard over the noise of their neighboring cities, these musicians pool their money, sharing the financial strain and producing tapes and records on their on. As these labels grow and these bands gain more momentum, they begin speaking over other musicians in other suburbs and the cycle is repeated, breeding more documentarians tasked with telling the world that even art made in haste is art worth holding on to.

John E. Swan (@midwest_stress) is a novelist and short story writer, as well as freelance editor and journalist. His first novel, Any Way to Elsewhere, takes its name from a compilation cassette that he curated during his time with Berserk Records. When he's not writing, he can be found making music under the moniker "t h e m e s" in Milwaukee, Wisconsin, where he lives with his girlfriend and their dog, Diesel.

Friday, June 15, 2018

alt-J Join Forces with Pusha-T & Twin Shadow for Re-worked Version of RELAXER Single "In Cold Blood" (Canvasback/Infectious Music)

Late Thursday night into early Friday morning, while everyone else was listening to the livestream of Nas' Kanye-produced NASIR EP from G.O.O.D. Music's Queens Listening Session/Party, I was listening to alt-J on Repeat, instead. Right around 12:10am, I got an email from Atlantic Records titled "New Version of "In Cold Blood" Released Today;" when I opened up said alt-J Fan Club email, I learned it was actually, a Twin Shadow re-work of RELAXER single "In Cold Blood" with a guest verse from G.O.O.D. Music Prez. Pusha-T himself. It wasn't until a little later, I realized alt-J had actually, appeared on The Late Show with Stephen Colbert Thursday night with Twin Shadow frontman George Lewis, Jr. and Pusha-T in tow to perform the world premiere of "In Cold Blood" (Twin Shadow Version.) Now, let me just say this: I'm a fan of all three artists' bodies of work, especially, alt-J's RELAXER, Pusha-T's My Name Is My Name, and Twin Shadow's Forget (2010) and string of early singles... although, I would NEVER have expected them to link up for a collaboration. However, with that said, "In Cold Blood" (Twin Shadow Version) is an original, surprisingly fluid and cohesive re-work of alt-J's stand-out Indie Pop/Prog Rock single from last year's RELAXER. Side note: if you haven't yet already, you really HAVE to check out the original video for alt-J's Casper Balslev-directed "In Cold Blood" narrated by Iggy Pop and co-starring an adorable little wood mouse.

"We are absolutely thrilled to have done this collaboration with Pusha-T and Twin Shadow," alt-J enthusiastically stated within a press release. "They are two artists who really sum up the amazing music scene that we have in 2018. What they have done with our track is inventive, playful, and very forward-thinking. We hope you love it as much as we do."

Pusha-T added: "I've been on festival bills with alt-J around the world for a few years now and was excited to get the call to collaborate with them on this record." On it, Pusha-T ferociously rhymes: "It's hot at night in the summertime (ooh!) / The Summer's mine, that's underlined / King Push, Kingpin put none over mine / Dope boys workin' overtime" and honestly, that's just the tip of the iceberg! alt-J's Pusha-T & Twin Shadow-assisted performance of "In Cold Blood" from The Late Show with Stephen Colbert is now available to view online—this version with the slightly extended into prior to Pusha's version is my favorite!—along with an artsy shape-shifting YouTube visualizer, which you can watch below. alt-J's "In Cold Blood" Feat. Pusha-T (Twin Shadow Version) is now available to steam or purchase from Amazon Music, Apple Music, Soundcloud, Spotify, YouTube Music, and like-minded digital retailers. Pusha-T's infamous beef-starting Kanye-produced DAYTONA is now available on G.O.O.D. Music/Def Jam, as well as Twin Shadow's latest, Caer, out now on Warner Bros. Records/Reprise Records.

ON TILT's QM, Luke Sick, VRSE Murphy & Richie Cunning Unveil "All Liquored Up" Video Just In Time for The Weekend (Megakut Records)

ON TILT is a Bay Area-based Hip-Hop crew consisting of emcees QM (@QMRecLeague) & Luke Sick (@megakutrecords) and VRSE Murphy (@vrsemurphy) on beats and production work with Richie Cunning (@RichieCunning) supplying additional production and musical arrangements. I had heard of ON TILT over the last year or so, but hadn't really delved into their music FULL-TILT, until Damien Miller from I Had An Accident Records (IHAA) suggested I check out their recently-released second album, Drink Floyd. Honestly, I'm glad he did because ON TILT's Drink Floyd is one Hell of a listen; stylistically, Drink Floyd falls somewhere in-between the Beastie Boys' raucous 1986 Frat-Rap debut Licensed to Ill and their sample-laden magnum opus/follow-up, Paul's Boutique (1989) with a dash of Mickey Avalon's sleazy 2006 self-titled debut, as well as Action Bronson's foul-mouthed grown man/child-like sense of wonder. Drink Floyd is the follow-up to ON TILT's self-titled 2016 debut and as QM perfectly put it, via email: "Drink Floyd is the album that will talk you into completely blowing it and becoming a legend simultaneously, so crack a beer and get ON TILT!"

I won't get into specifics, but VRSE Murphy, Richie Cunning & QM really flip some crazy-a$$ samples throughout Drink Floyd, including, but not limited to Madonna's "Holiday," Ol' Dirty Bastard, Eric B. & Rakim, and that "g-g-get busy, y'all" sample I know I should know, but can't place, for some reason. Not only does ON TILT's Drink Floyd feature 11 fun-loving Bay Area Hip-Hop tracks peppered with appearances from DJ RECSPIN & DJ DEFIE, it also, showcases 6 ON TILT remixes constructed by G PEK, Grip Grand, Supa Dave 405, LONE, DJ EONS ONE, and Brycon of The Watershed. Just yesterday afternoon, ON TILT let loose a music video for Drink Floyd's first proper single, "All Liquored Up" Shot/Directed & Edited By: Dannie Holzer for MYND MYLK Productions. "All Liquored Up" features Luke Sick & QM trading bars back-and-forth Beasties-style, while driving around to various dimly-lit parking garages, bar/pool halls, liquor stores, and San Francisco's finest hot spots. ON TILT's Drink Floyd is currently available to purchase on either limited edition translucent purple tape (100) + digital album or super-limited edition CD (20!) from QM/ON TILT's Bandcamp page or from MEGAKUT RECORDS' online store or Luke Sick directly, via PayPal to

Thursday, June 14, 2018

All-around Breakdown: NATION Frontman Guillaume Destot Breaks Down "Something Happened" EP (Kromatik Records/Musigamy)

"One morning in October, 1999, it's very early in The Paris Metro. I'm bent double on a folding seat, unable to take back control. Suddenly, the storm that's been brewing in my head for weeks is to heavy to bear. I can't ignore it anymore, I can't pretend. It's the beginning of a long struggle against myself. It's the beginning of a quest not to founder completely, to tame the dangerous jungle that my brain has become. I have lost my moorings, those that connected me to a territory familiar to me: the I that I used to be, the world that I used to inhabit. I will never see it again, probably. But I can invent a new Nation," reads NATION's recent S o m e t h i n g H a p p e n e d promotional one-sheet.

NATION is the latest project from Paris-based musician and multi-instrumentalist Guillaume Destot AKA Vim le Commodore, formerly of Vim Cortez. Destot established NATION in 2016 and as their Facebook page reads, are "looking for somewhere to go from there." Last year, NATION quietly released a their Baltimore Rising EP featuring "Baltimore Rising" B/W Prince-indebted "Computer Purple," which was profiled right here on The Witzard. Now, Guillaume AKA Vim le Commodore and a rotating cast of "some friends, depending on their availability" has returned with his proper 6-track debut EP, Something Happened. Guillaume Destot was kind enough to provide a thorough track-by-track break down of NATION's Future Soul/Pop-leaning Something Happened EP exclusively for The Witzard. Something Happened is now available on ALL digital streaming services, as well as limited edition vinyl(e) through Kromatik Records/Musigamy.


Matt "The Witzard" Horowitz
Walking Musical Encyclopedia

1. "Something Happened"

"The inspiration for this track comes from various places. I'm a great fan of Ulysses by Lord Tennyson and of the idea that even though Ulysses finally got home, he's changed so much that he's no longer in a place he feels fine in. I don't necessarily, project myself in this feeling, but I find it interesting: the journey has more influence on you than where you start from, and where you’re headed. There's also, the idea that along the way, you can lose sight of who you are, now and then. I'm not sure if that's a bad or a good thing! The main riff, at least, the one I like best, which is in the chorus, was actually, created spur-of-the-moment by Nicolas Gueguen, who co-produced and arranged the tracks with me. The guitar motif is inspired from African guitar styles—I'm not at all a specialist, but there's something I love about the way Congolese guitarists, for instance, use the instrument."

2. "Baltimore Rising" (EP Version)

"This track was inspired by the events in Baltimore in 2015, which I observed from a distance, but which affected me very much. The story is told alternately from the point of view of a policeman, who's not sure he's on the right side of history and from a more collective point-of-view, which emanates from the demonstrating crowds. The main synth riff is intended to give a sense of both hope and despair, of anger and sadness. It's not a happy song, in other words, I tried to have it translate my frustration and my sadness about Freddy Gray's death and the events that surrounded it."

3. "Brooding Thuggery"

"The name of this tracks is odd: I tend to give specific names to demos, when I'm working on them and for some reason, this one stuck, even though, its not thematically related to the lyrics. But to me, there's something a little "gangsta" in the groove, at least [because] it's slow and vaguely menacing. But as usual, the guitar gives it a more plaintive, melancholy twist. Some people don't get that the guitar is intentionally late rhythmically. I intended it to sound like a hesitant voice. As far as the lyrics are concerned, they are partly autobiographical, as they speak of a friendship I lost many years ago and which still hurts to this day. The chorus tries to express that songs can numb the pain, even if they sometimes tell lies. I certainly use songs to tell myself stories that are not always true, but which help keep my mind off things I don't want to think about."

4. "Computer Purple" (EP Version)

"This song opens with a sample from a NASA audio document, in which the speaker describes the last flight of the space shuttle. It's very Sci-Fi. As far as inspiration: it talks about a guy, who's in love with a woman, who might be a cyborg. Sound familiar? Of course, it was inspired [by] Blade Runner, which is my favourite film of all time. But there's also, some Joseph Conrad thrown in and some Captain Harlock... it's a window into my own epic fantasies, I guess. There's often "static" in my soul, a kind of background noise that I try to turn into meaningful music. My good friend Swanny [Elzingre], who plays drums with me on stage, sings the background vocals on this and plays the drums, which we sampled [and] chopped up like something off an old record. This, along with "Baltimore Rising," is the only track that has live drums on it."

5. "Rainstorm"

"I really meant this one to be atmospheric and say something about the ambiguous feelings that make up what we call "love." There’s sometimes guilt, secrecy in equal measure with openness and plenitude. At least, that's the way I experience it. I've never tried to play this song unplugged, but I'd like to try it; the texture of the synth is so essential that I wonder, if the song can even exist played on an acoustic guitar or piano. I like to do this sort of thing, actually, and more often than not, I find myself completely re-inventing the song or, at least, giving it a new identity. We had a lot of different tools in the studio: old analog synths, as well as state-of-the-art plug-ins, but sometimes, trying to re-produce on-stage exactly what you did in the studio is not very interesting. So, we'll see what this one becomes, once I've chosen how to play it live. Musicians sometimes, find the lead motif a little odd because it doesn't fall on an obvious division. I quite like this kind of shenanigans!"

6. "Suddenly I Feel"

"This one is about this feeling I often have that I'm not in the right place or, at least, that the place I’m in is not right for me. And this tends to happen to me in crowded places or at parties, etc. I guess, every now and then, we all feel like we're a stranger in our own lives. I certainly feel this very, very often. Which is one of the reasons why I "build myself a bubble," which I carry with me everywhere, but which is easily burst because there are so many eyes and faces to face.

I quite like the guitar sound at the beginning (take this [as] a "note-to-self:" I should use this sound more!) It's a Big Muff fuzz with some added FX's. It's very distinctive. As far as the vocal sample is concerned, it's actually, my own voice; it's from a previous version of this song and I recycled this snippet, which I find is very important to the general feel of the track now. I think, Nicolas [Gueguen] and I played quite a bit with an old Echoplex that he has; it’s a vintage echo box that makes some other-worldly sounds. The third verse, which has a different, almost Reggae-like feeling, is partly inspired [by] Major Lazer's sounds, although, it might not seem obvious. It's meant to sound a little more sardonic or, at least, a little angrier than the rest."

Wednesday, June 13, 2018

Scottish Beat-maker 'i's Unleashes .and then there was flowers EP with billy woods, Safari Al, SaIGO, Uncommon Nasa & More (Mugwampers)

Chris McCormick AKA 'i's is an Ambient Hip-Hop/Electronic producer and beat-maker hailing from Livingston, Scotland. Many of you might remember him from a The Witzard post back in 2016: 'i's—then know as ('i's')—along with all these fingers (now known as Gould '72) and Butch Dawson, produced beats hand-selected and gloriously re-used by Future Islands frontman Sam Herring under his rapping alter-ego, Hemlock Ernst. 'i's is now part of Mugwampers, a rapper-producer duo/crew with emcee SaIGO, which seems to also, be functioning as a label, imprint, brand, and Odd Future-like creative collective. "Mugwampers are a Scottish Hip-Hop duo that draw ideals from the abstraction of art, meddling in Experimental Hip-Hop, Ambient, Jazz, Plunderphonics, Punk, Metal, and whatever we like; we will just see where a session takes us. Mugwampers are the least important important people you have never heard of," 'i's recently wrote to The Witzard on Facebook Messenger. Last month, 'i's quietly released failure​.​to​.​communicate, billed as ".a collection of tracks made during the process of feeling like sh*t," under the newly-launched Mugwampers Bandcamp umbrella.

failure​.​to​.​communicate features 10 'i's instrumentals, two collaborations with cunabear, and one with Jazz Williams and acts as an unofficial introduction to the Mugwampers' sound/brand. Savannah, Georgia emcee cunabear and 'i's previously worked together on a multi-media project entitled tr0glodyte​.​BurialGround, complete with hand-dubbed BearTooth Collective cassette tapes and original artwork, as well as a 34-page 'zine/artbook. Now, 'i's has returned with a new project, .and then there was flowers, released yesterday afternoon on the Mugwampers' Bandcamp page. This one's being billed as a 6-track compilation EP described by 'i's as ".a collection of tracks that i felt i had to get out there, slated to be titled "pretty" but mourned that title until the flowers had to be placed." It features an array of Electronic, Hip-Hop/Rap, Spoken Word, Abstract Hip-Hop, Ambient, and Experimental Hip-Hop tracks with guest appearances from AKA Safari Al, Emmanuel Coto, wc tank, cunabear, Uncommon Nasa, and Backwoodz Studioz emcee billy woods, as well as Mugwampers' proper debut, "white liez," with fellow Scotsman, SaIGO.

Man, I can only imagine what Mugwampers' upcoming proper full-length(s) may feature, if these are merely the left-overs 'i's & SaIGO just wanted to get out into the world! Mugwampers have been teasing their mysterious 717 project, which will actually, be THREE separate EP's delivered in a variety of styles: "one, grimy Trap, one is filthy abstract sh*t, [and] the other, is more of a vibe tape to give a taster of our styles that we bring to the table," Chris McCormick further detailed. Upcoming Mugwampers releases will also, include a project called to kill an already dying space of time with cunabear & Unsung dropping later this month, as well as a SaIGO's ANOTHER TIME MAYBE . . dropping Monday, June 25th. 'i's is additionally, working on a number of projects with his Scottish Hip-Hop buddies Spawn Zero and CRPNTR. 'i's' .and then there was flowers EP is currently available to stream or download from Mugwampers' Bandcamp page. Make sure to Follow @mugwampers and @eyesluvsu (Chris McCormick) on Instagram, as well as Mugwampers' Facebook and Soundcloud pages for frequent updates!