Sunday, June 26, 2016

Spinnin' All The Platters That Matter with Borough to Borough, Another Fine Mess & "Tribute to The Greatest" Mash-up Maestros Alex Belth & Alan "illchemist" Friedman (The Witzard Interview)


"With all due respect to Babe Ruth, Pelé, and Michael Jordan, Muhammad Ali was the greatest athlete of the twentieth century. The Champ passed away late Friday night in Arizona at the age of seventy-four due to respiratory complications. Esquire has a trove of memorable Ali pieces—he was manna from heaven for writers—beginning with Tom Wolfe's 1963 Esquire debut, "The Marvelous Mouth," published when the fighter still went by the name Cassius Clay. At 21 he was already fully aware of himself as a show-business creation, and Wolfe predicted a fascinating career for him in "boxing or show business or folk symbolism or whatever it is that he now is really involved in,'" Esquire Classic writer and curator Alex Belth wrote within a touching June 4th Muhammad Ali piece published following the three-time World Heavyweight champ's untimely death. Belth's Muhammad Ali: The Greatest of Them All was accompanied by a similarly-titled, Funk-laden "Tribute to The Greatest" mix assembled by Belth himself and long-time collaborator and self-described programmer/musician/editor/producer Alan "illchemist" Friedman. Soon after hearing Alex Belth & illcehmist's sprawling 4-minute Ali mix, I reached out to @EsquireClassic for a list of contained samples for a Muhammad Ali-centric piece I was writing at the time, went on a relaxing vacation to Amish country, and now, we're here... and I proudly present you an all-bases-covered interview with the very masterminds behind the mix, Alex Belth & Alan Friedman!!!

Sincerely,

Matt Horowitz
The Witzard Editor-In-Chief

I. How did you two gentlemen first meet and decide to collectively start recording your unique brand of film dialogue-sampling "Hip-Hop" mixes as Alex Belth (or Al Dente) and illchemist?

Alan Friedman: We met through mutual friends, found that we had similar interests in music and baseball (which are two of only a few things I have serious interest in in the first place), and didn’t think of collaborating on a piece until about two years into our friendship. I had been quite busy in the record-making world and towards 2000, I wanted to devote more time to working on new kinds of projects, so Borough to Borough grew out of that.

Alex Belth: First time I went to hang out at Alan's place was like getting a golden ticket to Wonka's chocolate factory—LP’s, 45’s, CD’s, cassettes galore. We made a mixtape, if you can believe it. Which soon morphed into mix cds. I was working as an assistant film editor at the time and at the end of the summer in 2000, I thought to make a more ambitious mix with Alan. Now, he used to make these great annual holiday mixes that he'd give out at the end of the year and that was roughly my idea when I first showed up with a bunch of records to work on this project. Once I realized our schedules allowed for us to really spend some time on it, I decided this was my chance to make the dream mix I'd always wanted to make, but didn't have the technical chops to pull off. Alan is a wizard, so it was like having Steph Curry show you how to shoot jump shots. We spent more than four months in the studio, over the course of [a four-month span] putting Borough to Borough together.


II. What's your typical recording process for a mix like, let's just say for example, your recent Esquire Classic "Tribute to The Greatest?" How did you fellas manage to create and upload your Muhammad Ali mix so quickly after his untimely passing?

Friedman: We had done some pieces together for Esquire over the past year; a couple which saw the light of day, a couple that didn't. We worked on the Ali piece last year as there were a couple of times that his health was failing, and we thought it important to do a very respectful audio tribute. It started out much shorter, and we added more content to it, as we gladly had more time. We've been happy with the response.

Belth: We decided to put something together for Ali last year. As a contributor to SI.com, I'd been assigned to write obituaries for George Steinbrenner and Yogi Berra long before they'd passed away just so they could have something on file. I was aware of wanting to do something similar for Ali, a figure both Alan and I revered. We spent close to a month putting it together. The way we [began was] that I combed through audio clips we may have on vinyl and then I listened to hours of Ali interviews on YouTube. I'd send Alan a YouTube clip with instructions to pull a specific portion of dialogue. And this is how we begin the process; I feed Alan clips and out of that comes an idea for the structure. We didn't have any plans going into this, so the fact that we made it into a chronology of his career—both in terms of the sound bites and the backing music—just happened naturally. That's crucial to our process. We don't try to steer the thing. We might start it with a specific idea, but once we start working on it, it takes on a life of its own and we honor that. What we arrive at is something that's not Alan and not me, but a true collaboration that should sound seamless to the listener.


III. Would you care to briefly explain your professional and personal relationships with the film, Hip-Hop, music production, print journalism industries, and the like, Alex & Alan?

Friedman: My background has been exclusively audio-based for my whole career. Starting in the music industry as programmer/musician/editor/producer, then becoming a sound and music designer at a post facility inside of a major ad agency.

Belth: I worked in film editing during my twenties—for filmmakers like Ken Burns, Woody Allen, and The Coen Brothers—and got into journalism in my thirties, first as one of the Yankee-based fan blogs, later as a contributor to SI.com, author of a biography of Curt Flood, and editor of two literary sports anthologies. Eventually, I turned to curation, particularly preserving classic journalism, at my blog, Bronx Banter, The Stacks, a blog I run for Gawker, a weekly re-print column at The Daily Beast, and finally, as editor of Esquire Classic.


IV. Your collective discography currently includes Borough to Borough (The Full 2000 Mixtape), Another Fine Mess, "Tribute to The Greatest," and a number of abridged mixes; what do you have in store next for your trusty beat-loving fans like myself?

Friedman: There are beat/sound collage sketches that for some reason, didn't fit with the final versions of the long-form mixes. Those would always work as jumping off points for future projects. Or there could be an idea, which comes from current events that we’d do an audio piece about.

Belth: Oh, we've got endless ideas. So many secrets. Muh hu ha ha ha.


V. I read during your 2013 Borough to Borough Deadspin article, Alex that "Alan... re-programmed the drum pattern on a Jurassic 5 record because there was no place on the instrumental where the drums were in the clear;" I'm curious as to which Jurassic 5 track was sampled and re-programmed and where about it appears within Borough to Borough?

Friedman: It was a matter of taking drum hits that were in the clear, and replacing the ones that had music over them, while matching the original pattern. We did a similar thing with [Quasimoto's] "Microphone Mathematics."

Belth: So, the Jurassic [5] song was from the Quality Control LP—"Jurass Finish First." The thing that Alan did, now that I've listened to it again, was take the string melody/riff that comes in at 29 seconds into the track and then repeats again through the song, but is never in the clear; meaning it's never just paired off with the drum track alone. It always appears with a vocal over it. So Alan, re-created the string line to fit over a straight drum track. Either way, it was great fun because he got to screw around with one of our favorite Tex Avery cartoons and mix in some [Alkaho]liks and [A] Tribe [Called Quest], too.


VI. How much of an influence find sample collage-style albums like Beastie Boys & The Dust Brothers's Paul's Boutique, DJ Shadow & Cut Chemist's Brainfreeze, or even Girl Talk's early 2000's masterpiece, Night Ripper, ultimately have on your own hour-long sample collage albums, Borough to Borough and Another Fine Mess?

Friedman: All of the above, plus Steinski's records. I first worked with him in 1988, and completely related to the stuff he did. At the time we did Borough to Borough in 2000, I'm not sure we knew of Girl Talk yet, so in fairness, that wouldn't have been an influence, but I certainly paid attention to it as I got more interested in mash-ups in general.

Belth: I wasn't a fan of the Beasties' first record when it came out but, Paul's Boutique turned me onto them. [De La Soul producer] Prince Paul was a major influence for sure, but Steinski is really the model for what we do. Alan worked with Steinski in the early 90's and introduced me to him and it was the combination of funky records and funny clips that Stein and his partner Double Dee introduced to the world that I found really inspiring.


VII. I'm curious to hear, Alex Belth & illchemist: what were a few of your personal favorite vocal-assisted Hip-Hop albums of let's just say, the past 6-8 months?

Belth: Does Strictly Business by EPMD count? Man, the truth is, I'm so out of-the-loop, I haven't heard much new Hip-Hop in a long while. You tell me, what are we missing?


VIII. As a quasi-follow up to my last question: if sky-high recording fees and feature costs were universally abolished, who would likely be a few of your dream collaborations—any particular sharp-tongued emcees, silky smooth singers, talented musicians, bands, etc. you would love to work with?


Friedman: These days, I’m interested in collaborating with visual artists and animators, where I can use my music production work in tandem with sound design. Any kind of audio collage, musical or otherwise, that can be purposed with visuals is something that could be exciting.

Belth: Well, Prince Paul for one. Biz [Markie], Sarah Silverman, Kid Koala, Madlib, Patton Oswalt, Sadat X, and Mel Brooks.



IX. I believe I read that while recording Borough to Borough (2000), you guys would record together at Alan's home studio and after each session, a rough mix would be burned onto a CD-R to take home and critique before your next session. Is this a process you still actively use? I'm a fan of CD's, LP's, tapes, etc. too, but why exactly did you willingly choose to use such an antiquated technology, rather than simply just emailing mp3's back and forth to each other?

Friedman: We did the 2000 project that way. We post files now. Better, faster, easier. Mercifully.

Belth: Interestingly, when we started on Another Fine Mess, we figured we would be able to do it so much faster because we didn't need to be in the studio together—in fact, we didn't spend one second in the studio together on this one. So, we shared everything through Dropbox, email, etc. But we ended up spending just as much time on it, about four months, as we did back in 2000.

I think the difference is that 16 years ago, we spent so much more time constructing it. Now, the technology made the production part so much faster. But we spent more time listening to it, living with it. That's always been an essential part of our process. Alan will arrive at a draft with a piece—a song, a skit, whatever—and then I'll play it on my iPhone for a few days. I've got to live with it—because that's what you do with music, right?—and I make notes—oh, we need to add something here; let's take away something there. Then, I give him the notes, he makes the changes, and we push on.


X. Now, do either of you have any projects—either musical or non-musical—currently nearing release that you would like to elaborate on in this space, in closing, Alex & Alan?

Friedman: Along with the usual array of industrial work, I've had more chances to work with local musicians (based in the Maplewood/South Orange area) whether as an editor, which is my favorite part of the process, supervising basic tracks that then get handed off to someone else, or mixing. It's a mixed bag of ways of working these days. Digital workstations of all shapes and sizes have made the production process more fragmented and compartmentalized. I like to focus in on an area that I think an artist doesn't have covered, so I can help move the ball forward. It's a "whatever it takes" kind of approach, that keeps things interesting from project to project. And I'm always sketching some kind of audio collage/mix, whether with Alex, or for my own “TooMuchInformation” series.

Belth: I'm happily engaged with the curation work I do for Esquire Classic and The Stacks, which keeps me stimulated and busy.

Tuesday, June 21, 2016

Remote Places "tell the timeless story of falling in love, falling out of love, falling back in love, and..." with Branko Jakominich-directed "It All Comes Back to You" (Box Theory Records)


"["It All Comes Back to You"] has a miles-deep atmosphere of layered synths and drum machines that sucks you in while the love and empathy of the lyrics bubbles to the surface. It's enveloping and all-encompassing, sending you deep in the same way The Church's "Under The Milky Way Tonight" sends you into orbit,'" Philly's WXPN The Key enthusiastically wrote about Pink Skull founder Justin Geller's latest 80's New Wave-leaning project, Remote Places. Geller's debut solo endeavor, Nights and Weekends EP, has already drawn early stylistic comparisons to The Cure, New Order, and The Smiths, as well as a bit more contemporary artists like The National, Washed Out, and Wild Nothing; or even more befittingly self-described as sounding "like the soundtrack to a modern day re-make of The Breakfast Club. (Sometimes)." Justin Gellar recruited a gaggle of local Philadelphia area friends and musicians for his 5-song Box Theory Records EP including Pissed Jeans drummer Sean McGuinness, Pink Skull band mate Julian Grefe, Mikele Edwards, Mike Hammel, and Kurt Vile's long-time engineer Jeff Zeigler, who was brought in to help co-produce and record their first extended play.


Although he previously told The Witzard upon Nights and Weekends' May 13th wide-release that "Mark Robinson of Teen Beat Records and Unrest/Flin Flon was contacted to see if he could help establish a visual direction for the project, and also signed on to produce the first video," it appears as though Geller decided to take a slightly different direction... Bullett Media premiered Remote Places' "wistful, whimsical animated video" for "It All Comes Back to You" Tuesday morning. Justin Geller briefly described "It All Comes Back to You"'s visual direction and full-circle treatment within its YouTube video description as a grainy "re-imagination of "Portret Niewierny" by Polish animator Ewa Bibańska. Branko Jakominich (of MODERN MOTHERS) edited the original to humorously tell the timeless story of falling in love, falling out of love, falling back in love, and falling out of love again." Geller-led Remote Places' 1980's-indebted debut EP, Nights and Weekends is currently available for purchase or streaming from a number of online digital retailers by way of Philly-helmed imprint Box Theory Records.

Thursday, June 16, 2016

Rapping with Paul White, Vol. 2: Danny Brown Unleashes Detroit-heavy Talking Heads & Radiohead-influenced Video for untitled Old Follow-up Single, "When It Rain" (Warp Records)


"With the blessing of my Fool's Gold family by my side, I'm excited to be working with Warp [Records] on new material. They're music fans to the same high degree I am and I'm looking forward to breaking some rules together," frantic Detroit-bred emcee Danny Brown recounted within a brief statement released along with his latest single, "When It Rain." Nearly mere hours after its Tuesday night reveal, Brown appeared on revered Beats 1 Radio DJ Zane Lowe's web-series; "it's actually even better! Shout out to [Mimi Cave], man- she really just made my vision come to life... I really got the idea from this Talking Heads documentary that I saw and I was really into that, so I wanted ["When It Rain"] to look like that," Danny Brown divulged when Lowe inquired if Cave's video treatment came out like he had imagined. Brown continued that his still currently untitled album was heavily influenced by a book penned about Talking Heads' critically-acclaimed 1979 album Fear of Music, Little Creatures, Radiohead's surprise released A Moon Shape Pool, Icelandic crooner Björk, and Lil Uzi Vert. London-based producer and multi-instrumentalist Paul White produced Brown's proper Warp Records debut, "When It Rain," although they've previously collaborated on XXX, Old, Rapping with Paul White, and Watch The Ants EP stand-out "Street Lights."


Danny Brown's long-awaited follow-up to Old may very well feature singer-songwriter Natalie Prass, which he alluded to during a series of seemingly off-the-cuff January Tweets wherein he additionally name-dropped Surfan Stevens, Kanye, Death Grips, Kendrick Lamar, and Young Thug. "Have you ever been... uh, stiffed at work? No, I've never been stiffed... at work," retort the double entendre-evoking host and a fuzzed out female contestant on Singles Game, after which we see millisecond images of a sledge hammer-wielding cartoon fox, Monument to Joe Lewis ("The Fist"), a Detroit 1/2 MILE sign, a couple scuzzed out dancing videos, an image of a syringe, and a gaggle of generally meme-able content are inter-spliced amidst director Mimi Cave's negative "TV Carnage-style stock footage" of Danny Brown frantically rapping along with "When It Rain." Although Warp Records recently began advertising that Paul White-produced single is currently available on digital and streaming services alike, Brown's long-awaited and still currently untitled "debut" still lacks a proper world-wide release date. White recently produced Hella Personal Film Festival with Open Mike Eagle, Golden Ticket with Florida vocalist and rapper Eric Bidness, and is currently busy recording his latest "psych rock song-based" solo album, which should be out early next year.

Saturday, June 11, 2016

LCD Soundsystem's Tyler Pope Premiers Drug Apts. Death Grips-produced "Concrete Jungle" & "Mother Invention" On Pitchfork Radio (Interference Pattern Records EP)




Tune in... on Friday, June 10 from 11 a.m. to 12 p.m to hear two brand new tracks from Sacramento band Drug Apts, "Concrete Jungle" and "Mother Invention." Both tracks were produced by Zach Hill and Andy Morin of Death Grips," Pitchfork wrote Wednesday afternoon, detailing the latest installment of their London-based Pitchfork Radio. LCD Soundsystem bassist Tyler Pope will release a Drug Apts. EP fully produced by Hill and Morin this September on his newly-formed Interference Pattern Records; "a 5-song EP by Drug Apts. will be coming soon on Interference Pattern Records. Produced by [Zach] Hill and Andy Morin (Death Grips), stay tuned!" Pope revealed within a track description on the label's Soundcloud page roughly four days ago. Although Interference Pattern's Soundcloud page has been established since 2012, Drug Apts. Death Grips-produced EP will be their first official release and it sounds like MLML's "Retrograde" and "Whipped"-featuring album won't be too far behind.


Not entirely unlike drummer Zach Hill and bassist Andy Morin's previous outer-band work with The I.L.Y.'s, "Mother Invention" and "Concrete Jungle" sound fairly similar to Death Grips' beloved MC Ride-fronted brand of self-destructive Industrial Hip-Hop, or "Aggro-Rap," as I've personally branded it since Hill and company's sudden formation and ferocious media take-over. Drug Apts. includes members Mike Thiemann and Tristan Tozer, who were both previously in The Yah Mos along with Interference Pattern founder Tyler Pope. Death Grips recently released their second album since their short-lived 2014 "break-up," Bottomless Pit, which I would go as far as to label their strongest effort since NO LOVE DEEP WEB (2012) or their self-released 2011 mixtape, Exmilitary. "More Than The Fairy" recorded with Primus frontman Les Claypool serves as Death Grips' first taste of non-album material released since Bottomless Pit; it has yet to be seen where "More Than The Fairy" will ultimately end up, but Death Grips could very well unleash a new album... tomorrow!

Monday, June 6, 2016

Esquire Classic Presents: Alex Belth & illchemist's Miles Davis, Earth, Wind & Fire, and James Brown-sampling "Tribute to The Greatest" (Muhammad Ali #Sports mix)




Esquire Classic's nearly 4-minute "Tribute to The Greatest" mash-up was quietly shared by @EsquireClassic this past Sunday morning, June 5th, along with a striking image of recently deceased three-time World Champion Muhammad Ali sorting through a collection of dusty 45's in a 1960-70's car along with the caption, "Ali spins the platters that matter;" Esquire's digital archival curator and editor Alex Belth composed the mix along with frequent collaborator Alan Friedman (aka illchemist). "I see it as an extension of the curation I do with print on the [Esquire Classic] site," Belth wrote within an email, which contained a 20-song tracklist from which he and illchemist meticulously composed a Soul-Funk-evoking soundbed to underlay beneath an array of Ali's finest spoken word material and fight commentary. Miles Davis, The Temptations, Bob & Earl's House of Pain-sampled "Harlem Shuffle," Bill Deal & The Rhondels, Gary Byrd, The Staple Singers, The Pazant Brothers & The Beaufort Express, The Explosions with Juanita Brooks, James Brown, Idris Muhammad, Funk Inc. Kool & The Gang, Earth, Wind & Fire, Milt Jackson, and Brass Construction are all beautifully sampled throughout "Tribute to The Greatest"'s all-too-brief 4-minute duration.


It's a rather fitting tribute to the man who once described himself as, and I quote: "I'm young, I'm handsome, I'm fast, I'm pretty.. and can't possibly be beat!" I've decided to accompany this very Ali Tribute piece with an Esquire-sampling piece of artwork titled, Saint Ali: Muhammad Ali Esquire April 1968 + Altarpiece of St. Sebastian by Master of The Holy Kinship II1 designed by Philippines-bred pop artist Eisen Bernard Bernardo. In addition to their latest "Tribute to The Greatest," Alex Belth & illchemsist have previously collaborated on countless sonic sketches to two full-length Hip-Hop and film dialogue-melding mixtapes, including Another Fine Mess, "Richie Acts a Fool," "Quick In a Slow Way Mix," "We Are Uncool," and Borough to Borough. "I'm as proud of the music collaborations I've done with Alan [Friedman] as anything else I've ever created—drawings, stories, whatever. That's the Emmis [Yiddish for "the truth"], too," Belth proclaimed in closing. Rest in power, Muhammad Ali!!!

Sunday, June 5, 2016

@questlove Proclaims: "so, @TheAvalanches just gonna act like 16 [years] ain't go by?" The Avalanches Enlist Danny Brown & DOOM for Wildflower Single, "Frankie Sinatra" (Astralwerks)


"I did one song with them a while ago and it was cool. They felt like it was OK and I felt like it was OK. But then we actually got in the studio and made a record and I swear, the record we made is incredible. "[Frankie] Sinatra" was the first one we did. That was cool, but the one we did after that... I swear, if we put that out, it'll change the world. I heard it that first night and that was the only time I heard it. I wanna hear it again," Danny Brown mysteriously revealed to Australia's Triple J Radio nearly two summers ago. Now, roughly 16 years after releasing their critically-acclaimed debut, Since I Left You, The Avalanches have finally unleashed the first single, "Frankie Sinatra" from their now-mythical follow-up, Wildflower. MF DOOM & Danny Brown-assisted "Frankie Sinatra" was suddenly premiered on Zane Lowe's Beats 1 Radio program overnight Wednesday into Thursday; ultimately, kick-starting a flurry of mass media coverage, which ended up culminating with a 22-song tracklist, a personalized note from the band, Wildflower's Sly & The Family Stone-evoking artwork, a world-wide July 8th release date, an insanely trippy Fleur & Manu-directed "Frankie Sinatra" video, and a blistering who's-who of album features. The Avalanches have masterfully inter-woven multiple samples culled from The Sound of Music staple "My Favorite Things," King Houdini & His Calypso Parliament's 1947 single "Bobby Sox Idol," and Mic Geronimo's "Masta I.C." which are all wonderfully brought together by Danny Brown & DOOM's undeniably rhythmic flows.


Although, it's currently unclear which artists will appear on which tracks, Father John Misty, Toro Y Moi, Jennifer Herrema of Royal Trux, Camp Lo, Biz Markie, Mercury Rev's Jonathan Donahue, composer Jean-Michel Bernard, and Warren Ellis of Nick Cave & The Bad Seeds will all appear throughout Wildflower. Zane Lowe asked founding members Robbie Charter and Tony Di Blasi how they knew the album was finished: "It was the night before mastering... Robbie had to fly out to master and his flight left at 7:30 in the morning, so we're in the studio til 6:30 that morning til' he literally was like, 'I gotta go man, I gotta get on the plane.' We were like, 'I think it sounds good. F*ck it.'" Charter and Di Blasi went on to explain that they have numerous album's-worth of material stashed deep within their vault including a "Rock album" recorded with Empire of The Sun frontman Luke Steele, leftover material from their 2013 King Kong musical, and a glorious-sounding, yet scrapped Hip-Hop Yellow Submarine-reminiscent cartoon. The Avalanches' first album in 16 years, Wildflower is currently available for pre-order on Astralwerks/Modular/EMI/XL Recordings ahead of its forthcoming July 8th release date; Newbury Comics have announced a limited edition SOLD OUT 1970's re-issue style 2xLP with exclusive artwork, Vinyl Me, Please are offering 2,000 members-only foil-stamp numbered red vinyl copies, and Astralwerks have pressed up a limited edition I DO THIS SH*T MY WAY "Frankie Sinatra" 7-inch available at local independent retailers.


Friday, June 3, 2016

"Teacher, Husband, Beat-maker & Dish Washer" John Bachman Unleashes Brainfreeze-style, Emcee-helmed Breakbeat Album, [I wish it was longer] (Jumbled)


"Hi, reaching out from Northeast Baltimore. This is Jumbled's new album – sample-based Hip-Hop... Proof that [there] is still sample-based Boom-Bap from Baltimore," read a mysterious email I received from one John Bachman about a week ago; his latest self-released album as Jumbled [I wish it was longer] (WIWL) has been in constant rotation since last Friday, although I've been a little preoccupied, to say the least, with a new county job in my sights! [I wish it was longer] was produced and recorded by Bachman, a self-described "husband, beat-maker, dish washer," and high school engineering teacher, over the past two years "between working, making beats, and organizing collaborations with [emcees]." WIWL is a painfully brief 13-track album with 2 appended bonus tracks, which plays out like a "Lesson"-filled DJ Shadow & Cut Chemist Brainfreeze-indebted mix between Jazzy breakbeat instrumental tracks and Baltimore area emcee-helmed concoctions. Throughout a series of Twitter DM's exchanged during the course of the past week, Jumbled told me that his "main influences [as] a producer are Madlib and MF DOOM, as well as J-Zone" and that his overall intention with [I wish it was longer] was "to experiment more – not just sample Jazz stuff."




All the while recording WIWL, Mr. Bachman single-handedly started a beat club with his rap-loving students at school using Ableton and managed to recruit local Baltimore and Pittsburgh area emcees Height Keech, Ullnevano, Berko Lover, Stillborn Identity, Napalm Def collaborators Dwell and salk. Bigelow Riders, and Bito Sureiya, as well as bassist Ron Carter and Soft Peaks guitarist Eben Dennis. Jumbled had a "brief career as an emcee" and has previously produced beats for the likes of AK Slaughter & Rap Dragons, Stillborn Identity, Hemlock Ernst aka Future Islands frontman Sam Herring, Butch Dawson, Baltimore spitter Anna Notte, and NASA8 emcee Bito. "When Jumbled sent early demos to friends, many responded that they were disappointed with the brevity of the project;" said album, [I wish it was longer] is currently available for download on Bandcamp and Soundcloud on a name-your-price basis and will additionally be available on limited lathe-cut record and cassette on Harford & Reckord tapes. WIWL's lathe-cut format features only the seven emcee-led tracks from John Bachman's latest album and is limited to an edition of 10, 7 of which are left because yours truly snatched one up the other day, and is expected to ship by or before June 26th.