November 30, 2019

Daniel Son & Comet - Wormz Single

Madmen Entertainment's own Comet and Brown Bag Money's Daniel Son school it with the brand new MMX-produced single, Wormz!

Hot off the trails of his Moonshine Mix Volume 2 (with Futurewave), Toronto's Daniel Son shows no signs of stopping, and decides to drop a cut with the Bronx's Comet for a hardcore, real hip-hop treat.

The sinister beat, full of DJ cuts and dark, deep piano chords, blows a hole in fragile minds while Daniel Son rocks the mic with jagged wordplay and a flow that cuts like a sharp knife, as his verbal assault takes no prisoners. MMX lets the beat shine in the middle, with a specialized sample and scratch break that he pulls off flawlessly. Comet comes in and buries the haters in the city's underbelly, as he and Daniel crawl the streets like midnight marauders. This real hip-hop can be heard on all music streaming platforms!

These artists can be supported on their respective platforms. Comet can be contacted at Madmen Entertainment or his Bandcamp, and Daniel Son at his Bandcamp.

Comet and MMX's upcoming collaborative EP is titled Madmen Unknown. Stay tuned for more real hip-hop!

November 24, 2019

Update: "The Playlist", AirdriftSignals Official Spotify Playlist Now Featured In Every Press Package!

Now, at the top of the website and also along the right sidebar of any page, readers and artists can access "The Playlist", the Official AirdriftSignals Spotify playlist, featuring in reverse chronological order all of the hottest tracks from all the artists covered by the magazine!

All services now come with the extra benefit of having artists' biggest tracks included in this playlist in our ever-expanding platform and our commitment to giving artists a strong and dedicated online presence! For further details, please visit The Playlist or the Contact & Rates tabs of the website and stay tuned for further exciting developments!

November 23, 2019

High Zombie & graves - GHOSTS single

Industry engineer, DJ, and electronic producer graves teams up with rising hybrid trap and bass producer High Zombie for the epic and high octane EDM track, GHOSTS!

Originally from Hawaii, graves, aka Christian Mochizuki, got his start assisting and engineering top industry hip-hop and pop albums including Kanye West's My Beautiful Dark Twisted Fantasy and Kid Cudi's Man on The Moon Volume 2, among other big projects. His experience in composition and production continued to form as he played at popular music festivals, including the Las Vegas Electric Daisy Carnival, and released his debut EP, Hilo, in 2017. 

High Zombie, aka Matthew Hood, originally from Fairfield, Connecticut, got his start producing heavy bass and trap music that rattles the senses. In his time producing he's released many skull-crushing singles and EPs, such as 2017's Komodo, and 2019's Hooked EP. Now based in Denver, Colorado, he has begun playing and larger venues and concert shows. Together, with Welcome Records, graves and High Zombie release a smash hit in the form of the brostep trap EDM single, GHOSTS, an unbelievable and adrenaline-pumping track that will no doubt be dropped at multiple music festivals in the coming year. 

You can hear GHOSTS now on Soundcloud, Spotify, or whatever music streaming platform you choose. High Zombie can be followed on his Soundcloud or his Facebook page.

November 17, 2019

Essay #2: Why an electronic press kit (EPK) is so important for independent artists

In the age of social media, influencers, and followers, what do artists really need other than a large digital following? It seems that with all the services built to promote and build up likes and subscribers, there aren't that many other avenues for artists to grow in terms of their digital following. Networks such as Instagram, Twitter, and Facebook are the primary means nowadays, yet their algorithms have not been very artist or business-friendly. They have now become known to hold back most artist or business posts to just a fraction of those who are interested in their work. This archaic design is targeted to your Facebook page and business, promising increased impressions for "sponsored" posts, and is predatory at best when an artist's reach used to simply mean those who like their page. When it comes to public visibility, what most artists need to understand now more than ever is the ever-growing importance of electronic press kits, or EPKs.

What makes an electronic press kit so important for independent artists?

As artists become more dependent on social accounts to increase their visibility, they have the added obstacle of their "actual reach", this now being only a fraction of what they've been capable of in the past with networks such as Facebook. Independent artists that need this boost in quality promotion would benefit the most with press services and an EPK.

Many blogs offer a version of these services by "posting artist content", but few take steps above and beyond a traditional post and actually form insightful, detailed, and carefully considered words in the form of articles the way that AirdriftSignals Music Magazine does. This can be witnessed by just scrolling through our many entries of articles. Whether it is an interview, such as the one done with New York rapper Thomas Coppola, a full album review, like B. Dvine's The Process of Illumination, or a press release for a single or music video, such as those by Cuban Pete or Paranormal Adam.

A lot of blog publications will post a YouTube link or a Bandcamp single with fewer words than a simple tweet. This is hardly a satisfying product to an artist who is vying to get some thoughtful feedback with their music. These forms of "press" also risk getting lost in the ether of infinitely expanding timelines and news feeds, and this is where another benefit befalls the artists who have received the unique and specialized writing services of AirdriftSignals: a quality-written and tangible product, and real, unlimited, global reach.

As a business-minded owner myself, in charge of my own artist brand, a long-running radio program (which was designed to promote independent artists from the very start), and now an online music magazine (which will be growing into a team of passionate staff writers), I have witnessed the potential of a worldwide reach with multiple platforms, and the phrase "it isn't what it used to be" is ironically already able to be applied to networks such as Facebook and others because of their reach restrictions and their push for owners to pay them advertising fees. The same day that I personally announced this magazine's expansion, I have experienced a significant spike in global traffic, page views, and article views, that is increasing by the day. Now, there are over a thousand page visits by the day, and articles further back in the AirdriftSignals archives that are also being read by new subscribers. Besides the United States, there has been a spike in readership in countries such as France, Canada, and the United Kingdom, and regions such as Russia and South Africa.

An unexplainable phenomena

What is beautiful about this magazine's design is the ever-growing global readership and the unlimited, unrestricted, capability for its content to spread, unlike that of social networks. To say that your music could reach over a thousand (and growing) people daily is a huge benefit to those who are just starting out, and even those who are well-established can only gain from this process. As the artists whom I have mentioned (and those I have not) received these writing services, so too will they come to realize that getting their music articles in an up-and-coming, specialized, and growing music magazine will only continue to benefit them for years to come as readership increases globally. This makes thoughtful and impressive music articles for independent artists stand above and beyond what other promotional services, such as like-pushers, and marketers, who claim to "increase followers", have to offer. What marketers and most artists need to realize now is that the value in such an endeavor is decreasing over time, while actual, quality press articles leave a tangible product and a powerful marketing tool in artists' hands, which ultimately stands the test of time.

November 15, 2019

DJ Shadow - Our Pathetic Age

Just over a month from the end of a decade, there's been more change in the Internet age than ever before. As the rise in social media, influencers, and connectivity continues to grow, so too do the anxieties, concerns, and questions that our artificial and intelligent world continues to pose. There's a lot to be concerned over, but there's still room for hope. If there was ever an album to sum up what's happened to us globally in the past ten years, then it is DJ Shadow's latest full-length album, Our Pathetic Age, an affecting and universal double LP that features genre-bending electronica, hip-hop, and heart.

Known to revolve around the world of hip-hop, but take an elliptical course into the realm of hardcore electronic music, DJ Shadow has been making music for precisely 30 years now. Ever since his debut landmark album, Endtroducing....., Shadow's style hasn't much strayed. A turntablist and a record collector at heart, his music always found ways to incorporate sounds of old into inventions of new in his many hip-hop and electronic productions since then. His sixth LP isn't much different, if only more expansive. DJ Shadow, aka Joshua Davis, stated that he had never set out to make a double album before, and so this was his basis of motive, to create a first half of entirely (mostly instrumental) heady and genre-expanding, electronic, hip-hop songs, and a second half full of collaborators, be it R&B singer-songwriter Fantastic Negrito, or his mostly rapper-clad army to drop commentaries that are disconcerting and ratchet up the tension for what we as a society have allowed to come to pass with technology.

Opening with the first half of this experiment is some busy and abrasive soundscapes in Nature Always Wins, a short and thematic intro that cuts right into the electronic, hip-hop sensibilities of Slingblade, a minimalist, fuzzy, and poignant beat that unfolds with melody over time. It's a classic DJ Shadow composition, and lets listeners know that Shadow is prepared to unleash an epic meditation on what our pathetic age now means for all of us. Most of Shadow's tracks verge on the mind-bending and experimental, as Intersectionality begins to reverberate and dance around the head space with its moody synth and echoing toms. Juggernaut straight up pulls a hip-hop sample deep into breakcore territory, while Firestorm is a more traditional (and less hip-hop-y) piano melody that conducts the rest of the instruments around it. My Lonely Room and We Are Always Alone taps into the crushing loneliness that Davis must feel at times in the quiet between his beats. They are unbelievably moody and perfect capsules of his dark and introspective imagination. These songs all have something fascinatingly different to offer for the first half, and they prove that Davis is a master of his sound.

The second half of the album drops the moody intensity of DJ Shadow's solo material and steps aside to give the mic to a huge cast of talented and famous rappers, including Nas, Pharaoh Monch, three Wu-Tang members, Run The Jewels, and De La Soul, among many others, who all want to give their two cents about what humanity is up against with technology. Lots of the themes have to do with political climate, mind-control, social media, loss of human connection, and hopelessness. Each of these hip-hop tracks venture between the head-bobbing traditional vibes that Shadow is known for producing, and then some downright chilling material that is spoken. Most notably, JoJo's World, a suicide track rapped by Stro. Also the Urgent, Important, Please Read, is the most poignant, on the nose song of the album, where the listener is directly addressed, "a few different perspectives to reinforce the notion that you are not going crazy, and you are not being paranoid, and everything that you've been worried about are the exact things that need to be on your mind. The question is, what do we do about it?"

In a sense, Our Pathetic Age is a wake-up call to those who are lost in the digital universe, and a hopeful reminder to remember what makes us human. It's a call to action to not put the blinders on when staring at our screens, and that this new uncertain decade that we are about to embark on is the ultimate decider of what we will collectively choose for our destiny. It's the end of the 2010s, and Our Pathetic Age will hopefully (as Davis hopes) become a beautiful, new beginning. For these reasons, DJ Shadow's sixth double LP is elevated beyond what he is normally capable of producing, and will remain one of the most comprehensive recordings to document this unprecedented change that our species is facing. DJ Shadow also proves that he remains one of the most compelling, electronic, hip-hop, turntablist, producers of our time.

Our Pathetic Age - 8.25/10

Recommended Tracks: Slingblade, My Lonely Room, Urgent, Important, Please Read

Update: AirdriftSignals Music Magazine is hiring!

The application is now live! AirdriftSignals is now hiring for those who are passionate about music journalism and interested in helping to grow our brand of publishing! As we continue to expand, we will now employ a small team of talented and inspiring individuals to help increase AirdriftSignals' reach. We hope that you will be a part of our journey. Under the new "Apply!" tab of the website you can find the official AidriftSignals email to forward your completed application. Best of luck to you, peace, and prosperity!

November 10, 2019

Thomas Coppola - Psych Ward Single

Long Island rapper Thomas Coppola is at it again shortly after his Cold Cuts LP drop in September and his May LP Dusty, with the Halloween single Psyche Ward, and B-side, Leave!

Produced by Ghostie, Thomas Coppola's Halloween drop picks up pace and runs alongside the demented and carnival-like hi-hat beat. The verse doesn't pull any punches either, as it displays Coppola's quick tongue as he raps about switching up his style on command and going crazy on a night out. In the chorus he raps "Yeah, man I think I'm going crazy, they're gonna have to restrain me" while Ghostie's eerie and minimalist beat haunts the track. Leave, featuring New York artist Fendii, is a B-side about heartbreak, complete with a full sounding and catchy, hip-pop production. Both artists shine on Leave and leave a great impression of what they can do if given another opportunity to collaborate. By the end of it all, it's easy to leave these songs on repeat, as both tracks have their own distinct feel and professional shine.

Psyche Ward can be supported on Bandcamp, and Thomas Coppola can be contacted for interviews and collaborative inquiries on his personal Facebook page. You can also read his AirdriftSignals artist spotlight interview, his Dusty album review, or his Cold Cuts album review.

November 6, 2019

Paranormal Adam - Analyze This Music Video

Hot off the Full Blast Booking OcTourberfest is Paranormal Adam's brand new single and music video, Analyze This!

Sporting some colorful environments and a dedicated posse at his back, New Haven rapper Paranormal Adam drops his latest single and music video, Analyze This, which was shot and edited once again by Vego Harris of Fourth Degree. As big, crunchy, hip-hop beats go, B. Dvine's fiery produced beat reverberates and chimes while Adam pulls out the dictionary and flows effortlessly in multiple scenes as he details what he's thinking. Featuring some of the crew from the tour, Paranormal Adam proves that when it comes to powerful wordplay and stellar sound, he's got both of those areas held down.

Paranormal Adam can be contacted for interviews and collaborative inquiries at his personal Facebook page.

November 4, 2019

B. Dvine featuring D-Rage - Clipped Wings Music Video

Long Island beat maker and touring emcee, B. Dvine, teams up with Hawaiian rapper D-Rage, to produce one of their latest music videos while touring the East Coast, Clipped Wings!

Having the pleasure of seeing the growth of prolific producer/emcee B. Dvine over the years, I was pleased to see this collaborative single garner a visual presentation. Shot and edited by Vego Harris of Fourth Degree while on their East coast tour, this one features both emcees in front of some breathtaking architechture of a church and with their crew of other performing emcees. For a special live feel of their music, be sure to be on the lookout for B. Dvine, D-Rage, and others on East and West coast tours throughout the year through Full Blast booking!

Both emcees can be contacted for interviews or inquiries. B. Dvine can be contacted via his personal website or his Facebook page B. Dvine Beats. D-Rage can be contacted via his Facebook page.

November 1, 2019

Cuban Pete - Nothin's Gonna Stop Me Single

UK Rapper Cuban Pete is hot off the trail of his mixtape, The Standout, and his single, Burn, with his latest hip-hop track, the inspirational Nothin's Gonna Stop Me. 

Produced by Nary Da Producer, Nothin's Gonna Stop Me boasts focused and driven verses matched to a beautiful, soulful beat in a song ultimately about perseverance, and Cuban Pete sets fire with multiple visuals by using his pleasing wit, electric wordplay and signature sound. He raps, "They try to hate, try to hold me back, take more than their team to stop my victory lap, I gut 'em, I keep moving man, fuck the snakes, keep winning, just to see the look on their face, yes!" all while the beat returns a beautiful female vocalist's, "Nothin's gonna stop me". Cuban Pete throughout the track comes off hard and aggressive, but still manages to deliver a measured and inspirational performance. 

Nothin's Gonna Stop Me's landing page can be found here, where most streaming services can be linked or where you can contact Cuban Pete directly. Check out this beautiful music and flow from one of UK's finest. Cuban Pete can also be found at his personal website, C75 Live! Read his AirdriftSignals artist spotlight interview, or his The Standout Mixtape album review

October 29, 2019

Update: Satellite Beats: Earliest Transmissions OUT NOW!

How do I begin? Satellite Beats... Where do I go from here? DJ Dark Flow... As an aspiring songwriter and musician, a 15-16-year-old me was lucky enough to collect and get my hands on various electronic equipment, a keyboard, an acoustic and electric guitar, and a digital recorder. With these circuits and machinery, I was able to begin to fulfill my dream and passion for songwriting by creating acoustic, electronic, and industrial atmospheres full of mystery and dread, and from this era of my musical experimentation, I produced a lot of wide-ranging material under my first musical alias, Satellite Beats. After years of having the songs on my computer, I decided to curate and release this compilation album of my earliest recordings.

As I made music with my high school-created rock band Breathe (named after the Pink Floyd song of the same name), I also explored this galaxy of sound in my own bedroom, discovering new effects, recording tricks, and ways to make music, and I captured these sounds on my 16-track Fostex recorder. I never officially released these besides trading out songs to stream on my Purevolume and Myspace (yes, many years ago) band accounts. Here, before you, is the surviving data, and my best, most interesting solo material to come out from those years. Some songs are very electronic and danceable, others are heavy, industrial tracks, and a couple are dark, acoustic/electric compositions. May this give insight into my musical being, where I came from, and how far I've come in the years since with the release of my debut full-length album Crystallize in June of this year. Stream Satellite Beats: Earliest Transmissions now on any music platform, feel the raw energy and creative tension within, and keep listening to DJ Dark Flow. More new and original releases are sure to come. Peace~

October 13, 2019

Bill Laswell - Smoke + Glass & Realm of Spells

Having significant involvement in the creation and release in over 100 albums since the early 80s, the breadth of musical discography that bassist, producer, and record label owner, Bill Laswell has accumulated is enough to overwhelm the senses and make your head spin. Still, Laswell, an undeniable influence in the genres of world, jazz, and dub, does it again with dual collaborative releases in 2019, Smoke + Glass (with Alex Haas), and Realm of Spells (with Jah Wobble).

To be completely fair, these are only two of the 7 albums Laswell has released so far this year (how is this even possible?!), but to consolidate my review article, I only plan to give a look into these two releases since they are the more collaborative efforts, and because the other 5 are self-released by Laswell himself. Released one day apart from one another July 25 and July 26 respectively, Smoke + Glass and Realm of Spells feel as if they were meant to be together, despite releasing on separate labels from one another. Smoke + Glass takes listeners on a journey through electronic, worldly, jazz, which settles into solid, smooth grooves, such as its opener Truth Be Told, but also has the ability to kick it up a notch for more experimental and daring electronic (can I say dance?) tracks with Hard to Believe. Besides these two distinctive moods, other compositions find their sound somewhere in between, such as the title track's confident and self-assured drumbeat bravado, which carries the listener through a palate cleanser of choral echoes, reverberating melodies, and repeated mantras. Strange Weather pulls up slowly before the drum brings the energy up a few more degrees in tempo. The smooth jazz that goes in and out of this track and the others give Smoke + Glass a level of easy listenability while still maintaining a very cool vibe.

By the end of the song, it's surprising to note that the first of these two collaborative albums is already halfway through, clocking in at only 46 minutes long. Chasing Chaos, easily the slowest openers of the bunch, fades in with swells and syncopated synthesizers for a few good minutes before the saxophone blasts in through the cosmos and cloud of sound with lively drum rolls before fading back into the ether. Chasing Chaos does this as a repeated pattern for the duration of the track, giving it something interesting to be heard every minute as it plays out. Another Way develops into a beautiful tabla / drum beat that maintains a steady and slow groove, while Second Thoughts goes back for another stab at experimental electronica, complete with audio-effected synthesizers and voices, and a dark tonal atmosphere. Forgotten City, the final track off of Smoke + Glass, pulls listeners in for a final reggae-dub-electronic coda, and features the traditional delayed and reverbed effects that the genre has become known for. Ultimately, it gives Smoke + Glass a nice full circle display of what both artists could accomplish when working together.

In Realm of Spells, a similar album with the same number of tracks (this one however, is 55 minutes long), Laswell teams up with known singer and bassist, Jah Wobble, and the two come together in this realm to craft a similar, but equally satisfying record. It's opening number and cocktail jazz groove in Uncoiling does much to set the mood into what the majority of this release has to offer: a magnificent blend of atmospheric, chill, jazzy, bass-y, and electronic recordings for listeners to zone out to that combine elements of reggae, dub, world, and jazz in such a way that it sounds unlike most other music released this year. Off World Departure gives the saxophone some room to breathe as it sounds as if it's floating on by, while Dark Luminosity builds the melodic tension with synthesizers, sound effects, and a repeated drum snare. Code of Echo's is a track which all the previous ones seem to have been building toward, as it's extended build-up and crescendo lead into a satisfying breakdown of instruments and free-flowing rhythms. It's bold bassline and slowly building drums allow Code of Echo's to fully unfurl with the rest of the entourage of instruments on display here. At The Point of Hustle pulls out all the stops as a groovy penultimate pleaser of a jazz track, with a repeated bass pluck and emphasis on the organ, while the final title track isn't afraid to go into weirder territory and move through multiple suites across 10 minutes.

As a full experience, Realm of Spells seduces with its magical whimsy, and feels a lot more jammy than Smoke + Glass, albeit while sounding a little too much of the same. This doesn't stop Realm of Spells from still having some truly magical moments, and these two records released one right after the other just go to show how busy, virtuosic, and prolific Bill Laswell has become.

Smoke + Glass - 9/10
Realm of Spells - 8.25/10

Recommended Tracks:
S+G: Hard to Believe, Strange Weather, Second Thoughts
RoS: Uncoiling, Code of Echo's, At The Point of Hustle

September 23, 2019

Essay #1: What makes music, film, and art so special?

Being as self-reflective and introspective as I am, I sometimes have deep thoughts that simply cannot be captured or conveyed in my poetry or music. These thoughts relate to human experience and various subjects related to this concept. For this reason, I am opening up the AirdriftSignals music magazine to another feature that I would like to add, called Essays, and my first essay will be titled “What makes music, film, and art so special?” I will continue to explore this idea and others as they come to mind in future essays.

What makes music, film, and art so special? 

For any living species on the planet, its main directive is to survive and thrive. This is ingrained in our and all other living species’ DNA. It is the most basic, primal need to survive and reproduce for the future survival of the species. However, once a species has become abundant and prosperous with plenty of resources, there comes another set of needs that develops. These are basically, the need to be heard, understood, appreciated, and remembered. Also included in this group is happiness and self-enlightenment, but I just want to focus on the first group that I mentioned. If you haven’t already guessed, I am borrowing from the theory of Maslow’s hierarchy of needs. From this, we can discern why the creation and enjoyment of the arts are so special and important to humankind.

As a developing man, I never had much of a desire or interest in sports. I used to be a willing participant, through which I found a lot of enjoyment, but as I grew older, it never grabbed my attention after my formative years. A lot of people really enjoy sports games and are fans of teams. The games themselves, the closely scored ones rather, I’ve found to be exceptionally exhilarating when I’ve been caught in a room with people and a sports game on the tv. When anticipating the outcome and wanting your team to win, it can be quite an adrenaline rush. This interest that others have satisfies a competitive gene that exists in all life forms. It is a trait that is vital to our survival, and it can be treated healthily or unhealthily. It also exists in many other forms of society other than sports, whether it is in a workplace, politics, or even the arts. The highest achievement of art though isn’t wholly concerned with competition.

As sports ticks two of the boxes of these higher needs, being appreciation (or respect), and legacy, art attempts to raise this already high bar of human excellence even higher with the artists’ attempt to be heard and understood. These four higher needs of human existence, being heard, understood, appreciated, and remembered, are actually important to all people, but they all come into play with the creation of music and art. As people use their hobbies, passions, and talents to achieve success and understanding of oneself, there is a therapeutic element to the process of creation. The same way that physical exercise is good for one's health, the creation of music, writing, drawing, and painting, among other things, is an exercise that sometimes doubles as an exorsize of that which is troubling or difficult to deal with. These obstacles in life, whether it is family trouble, loneliness, depression, or what-have-you, is filtered through the many hobbies and crafts that people enjoy to do. When people create something, they mostly do it for their own personal growth and understanding on a subconscious level, but almost all who create want their art to be seen and witnessed by others. At the same time, the emotions that they've infused into whatever medium they decide to pursue is a real snapshot of their emotional and mental state of mind at the time. The ultimate goal of the artist is to be heard or seen, to be understood as deep, emotional beings, to be appreciated for their craft, and to be remembered.

As for the last need, it's a common desire of most people to want to be remembered for what they did in this physical life. It isn't hard to see the prevalence of legacies that have been left by important figures of generations past. But this doesn't mean that all people want to be remembered on such a grand scale. Some people just want to make a difference in their communities and their families. And so this fact of the matter leads me to another question that I will attempt to explore: how is art remembered and how is this different from other forms of history? The answer lies in how it is experienced. When thinking of the past athletes, political leaders, entrepreneurs, and inventors who have left a mark in the record books, their achievements are remembered and appreciated, but there is a fine distinction between these types of historical figures and recorded works by artists. Take for example any of the psychedelic paintings by Salvador Dalí, or the Beatles album Sgt. Pepper's Lonely Hearts Club Band, or the Pink Floyd album Dark Side of The Moon. Each of these recorded works, whether on canvas, tape, or film, all have a unique quality to them, and that is that they can be experienced by younger generations, sometimes for the first time, for decades and (hopefully) centuries to come. Why do so many people still enjoy classical music, which came from an era nearly 300 years ago? Some might argue that it is because of the emotion that it invokes within us, or that it serves as a time capsule of a time when there was more sophistication in society. But no one can deny that the experience of classical music will continue to be enjoyed as long as human history persists and survives against the future threats that humanity might face.

As far as athletes in the history books are concerned, are their achievements experienced "for the first time" by younger generations? I would argue that their records and achievements are remembered and appreciated, but there is no way to experience them like new unless there are specific video recordings that a person who is learning their history is watching. Still, this doesn't compare to being there and in the moment when great athletes performed, and the same can be said of musical artists when their music is first released into the world or when they perform in concert. However, there is a difference when the actual work is created or recorded, released, and preserved, as is the case for the most influential and important movies in film history, in which a copy of each is preserved by the library of congress.

In conclusion, the ability to experience the art of famous painters, sculptors, authors, musicians, and filmmakers, at any point in time, and sometimes for the first time, is a uniquely special characteristic of historic works. When artists can rise above the apparent mediocrity of their time and stand out as distinct voices, their work may have a chance of passing the test of time to be remembered for years to come. Even as some art seems very of its time, there are the works that stand as timeless, and those are some of the most universally rewarding pieces to experience since they address a vital part of the human condition. While other notable figures have certainly made their mark in history, the works of music, film, and art will always be revered for its unique ability to be experienced and appreciated in any year or time period, and the artists that have not been lost to time have successfully achieved their higher purpose for the greater good and enrichment of humanity. 

September 17, 2019

Update: 3 Page Interview with Verb'z Up Magazine!

I was lucky enough to get a featured interview in the independent, Texas-owned Verb'z Up Magazine!! Here I was able to go in-depth into my background in music and what inspires me most, as well as some of the plans I have for the future as a multi-genre, multi-medium artist! You can purchase physical or digital editions of issue #10 of Verb'z Up here. Support this magazine, check out my latest paperback novels, and keep on drifting to DJ Dark Flow~ Peace. 

UPDATE 9/25/19: The Verb'z Up Magazine issue #10 is now available for FREE viewing and reading here. Just register and you can read the interview in the back of the magazine! 

September 16, 2019

Thomas Coppola - Cold Cuts

Showing that he will not let up or get Dusty (released in May), Thomas Coppola's latest album, Cold Cuts, is a supremely firey lesson in lyrics and beats, as Thomas shines yet again with each and every one of these hip-hop cuts.

With his highly stylized flow and an army of beatmakers at his fingertips, Thomas's opener Just Begun, produced by John Cotton, acknowledges his huge output and return, while Breathe, produced by Mike Martinez, lets listeners kick back and relax to a chill and lowkey beat, as Thomas displays calm composure, and asks to "let the beat breathe." His personality and cool attitude are what elevate Coppola as a lyricist, and while Dusty displayed his aptitude at producing his own beats, Cold Cuts' array of repeat collaborators and newcomers help him focus 100% on the verses.

American Nightmare takes a soulful and dark NOLA spin and Classic Sound is a self-described track to flow to. At this point, fans and listeners have heard the talent of Coppola with just a couple of producers, in John Cotton, Mike Martinez, and Gekko, but Cold Cuts is still in the process of opening up, with many other talented producers' cuts to make an impression, including those by B. Dvine, such as Cradle 2 The Grave and Dead Friends, E-Prosounds, and even Killarmy's Kinetic 9 among others. Coppola's fresh aesthetic and feel-good vibe can be heard on tracks such as French Dip, Summer's Over, and Mesmerized, while others, such as Dead Friends, gets down and serious, showing off Coppola's willingness to explore the pain that he has felt through the years.

Ultimately, Cold Cuts is a promising and surprising follow-up to Dusty, with 16 fully fleshed out tracks that don't pull any punches. If Cold Cuts is any indicator, it is that Thomas Coppola will continue to grace fans with record after record within the next year and that more hits are sure to come.

Cold Cuts - 9/10

Recommended Tracks: Breathe, American Nightmare, Cradle 2 The Grave