February 10, 2020

Interview: B. Dvine

Our artist spotlight interview series this time takes a closer look at B. Dvine, who is promoting his brand new, self-produced EP, Times Have Changed!

AirdriftSignals: How long have you been producing/emceeing?

B. Dvine: I have been producing for 16 years and emceeing for the past 9.

AirSig: You are a Long Island native. How has location informed you musically, either in influence or output?

B. Dvine: Long Island is very diverse so you get to see both sides of the fence in almost every sense of that term, and I've seen the ups, downs, lefts, and rights so when I go in two different lanes it comes natural.

AirSig: Is there a specific set of equipment that you prefer to use when producing hip-hop beats?

B. Dvine: Right now I've been heavy on the maschine and you can use keyboards and live instrumentation. I've been using Sony Acid Pro since the beginning but lately it's been about elevation and growth.

AirSig: Speaking of live instruments, are there any that you’ve been interested in learning to incorporate more into your sound?

I want to pick up whatever possible. Violins, trumpets, guitar, bass. Why not learn everything?

AirSig: You have been granted the opportunity to work with a number of prominent artists, such as Tragedy Khadafi, Kinetic 9, Solomon Childs, Young Dirty Bastard, and now Erick Sermon. What has this experience been like?

B. Dvine: It has been both lessons and blessings. I've learned a lot from being around some of these people and it helped me get a better understanding of the business and how to move in this industry so for that I'm grateful.

AirSig: Does the Times Have Changed EP mark the beginning of a new chapter in your artistic career?

B. Dvine: Of course, I'll always stick to my true style but growth is necessary and so is change.

AirSig: The new EP has been a distinct departure in style from your familiar boom bap hip-hop beats. Were you comfortable venturing into this new region of electronic hip-hop styled music?

B. Dvine: I'm a say yes or no. I had to learn to adapt to certain styles but I had fun doing it so that's what's important.

AirSig: Not only does the release stylistically diverge from previous efforts, but the lyrical content of your songs, specifically the opener and closer, have a deeply personal way about them. Did your life’s events and also time working in this genre inform your overall message of Times Have Changed?

B. Dvine: I would say so. Because I see the growth in myself but I also understand that we're in a new age and you don't have to hate on that and still be true to you.

AirSig: Your final track, Mr. Dreams, features a female singer by the name of Xavia. What was it like to add this new type of collaboration to your music? Do you plan on doing more of it in the future?

B. Dvine: I wouldn't say it's a new type of collaboration because I've worked with singers in the past but yeah I like working with singers so I plan on working with more.

AirSig: I hear you have even more exciting developments in your upcoming releases. Do you have anything about your future projects you would like to share?

B. Dvine: Not yet. Let the people soak this in now and when it's time to talk about the future it'll be presented by then.

AirSig: What advice would you like to give newcomer artists who look up to you?

B. Dvine: Stay focused, stay motivated, stay blessed. You're in control of your life path at the end of the day so go your hardest to make it count.

Times Have Changed can be heard on multiple streaming services now! Our full review can also be read here.

B. Dvine - Times Have Changed EP Review

As our interview with B. Dvine makes light of a lot of things going on in this Long Island producer/emcee's life, so too does his latest release, the self-produced, ever-changing, and forever-growing Times Have Changed EP.

Contained herein are five original tracks that are both different from one other, and also different from the rest of B. Dvine's expansive catalogue of rhymes and beats. As a prolific producer and emcee, B. Dvine has already been featured with a number of prominent artists, and found himself on a wide array of releases. It's no wonder the first track of this release, Selfless Pride, opens up with a mental note of gratitude and an essence like Dvine's been to the other side and back, with his struggles and losses over the past few years. He raps, "it's a new age, a new dawn, a new B. Dvine, grow with me" and "like the smiling Robin Williams, for years masking pain, watching my family dismantle made me feel insane, but my sister's health inspired me to diet and train." It's a tough pill to swallow for Dvine, but overall his empowered state of mind, winning attitude, and invitation to grow with him sets the stage for the themes and lessons of Times Have Changed.

Hush Now, the first single of the five, is the only song to feature guest rappers, and it's a first for B. Dvine to invite celebrated artist, EPMD's Erick Sermon, to the stage, while Cuban Pete and D-Rage make the necessary rounds on hook and verse. Sermon raps, "unbelievable, we not equal, E and Dvine, we do it for the people, Cuban Pete and D-Rage, we on stage, every time we step out, we front page." Cuban Pete follows up, "closed mouths get nothing inside 'em, so you know how my people ridin', hush now!" Don't Mean Nuttin' is a necessary follow-up, with its wavy synth beat and Dvine's cutting lyrics as he breaks it down "to the core". The realness of B. Dvine's message pulls the facade off of fake hardcore, gangster rappers in this one, as he raps, "actions louder than words, that's why it's not serious when it comes to you birds, talkin' all like gang gang, nothing ever occurs."

Come Alive thumps with 808s and a club vibe, as Dvine hollers "keep your hands in the sky, make the dance come alive!" It's an easily head-bobbing beat, while Dvine takes his music into a more adventurous and fun detour. His vox fx, 808s and beat syncopation all come together nicely and are signs of more stylized hybrid hip-hop tracks in the future. Chocolate Syrup combines trap hi-hats and women's vocals for a sensual and hypnotic flow. It's another logical follow-up to Come Alive and it's a full-on love song that Dvine executes with lyrical bliss. Mr. Dreams, featuring singer Xavia, brings Times Have Changed back to the beginning of what started it all. What did B. Dvine do with a dream that awoke in him at a young age? He not only chases that dream, he gets it, as he raps, "around that time school couldn't get me to focus, all of my teachers thought I was just hopeless, daydreaming over music they took notice, enrolled me in trade school so I could grow this, dream to reality then I hit the streets, got tired of waiting started rhyming on my beats, sharpened my sword by doing a bunch of feats, then dreams turned reality rocking with elites." As a closer, Mr. Dreams is hard-hitting and inspiring and it ignites the fire that burns in the hearts and minds of those who have also nurtured big dreams.

What B. Dvine shows us with Times Have Changed is a hip-hop release that honors living life to its fullest potential. It does everyone involved, whether it's artist or listener, a favor in its celebration of a life worth living, and stands out amongst a genre saturated with hardcore rappers who honor just the opposite. B. Dvine's got some major stories to tell and lessons to teach within the walls of this EP, and it's all a part of a journey he wants us all to take with him, to grow and evolve together.

Times Have Changed - 9/10

Recommended Tracks: Selfless Pride, Hush Now, Mr. Dreams

January 20, 2020

The Professionals - The Professionals Review

As far as collaborations go, it was only a matter of time before the world heard of The Professionals, the new duo formulated by prolific and eclectic hip-hop producer Madlib and his brother, producer/emcee Oh No.

Released on short notice, The Professionals is a funky and swaggering swerve through hip-hop, which is less aggressive and more chill than the Eminem album Music To Be Murdered By released the same day. Keeping Madlib in this project ensures that it will maintain a cult following. Brother Oh No, rather, has maintained a lower profile, working with The Alchemist in their collaborative duo, Gangrene, and releasing sparse instrumental and lyrical hip-hop albums when compared to his brother Madlib. As Oh No has achieved relative success with hip-hop label Stones Throw, Madlib has become a legend in his own right, collaborating with the likes of MF DOOM (forming Madvillain) on their classic comic-book inspired album Madvillainy, releasing his own cartoon-y hip-hop swine character, Quasimoto, for several albums, produced with late hip-hop producer legend J Dilla, and releasing albums as a producer and even DJ with many more other artists. This album is the latest from the family and it feels great to hear the two of them come together.

The first thing to note about The Professionals debut album is the inclusion of multiple vocal snippets and the wild and busy production work that is signature to Madlib's many styles and influences. In the intro track My House, for example, there is no actual songwriting; instead it is a reggae-styled horn section and a brief and vulgar monologue to get listeners into the world of black music. It gets loud and intense and morphs into the high-synth church-like opening The Pros. Oh No makes his entrance and sounds confident with his brother on the beat. By the second half toward the end, Madlib treats listeners to other sounds and producer table scraps that are always a treat to hear. His overwhelming output creates this finesse, with multiple sounds in just a single track. Payday has a fascinating drumbeat and a choir of voices as Oh No raps about the hustle. The funky and soulful stabs that come in and out are just an example of how much Madlib's own productions are their own character in any given album.

Give N Take is a super feel-good cut with beautiful keys and a female pop group that are sampled throughout. Oh No knows how to take care of business, as he raps in the chorus, "If you can take it, I'll give it as soon as I make it girl!" Superhumans features several other rappers as well (Elzhi and Chino XL) and it has wicked DJ scratches by Madlib. Buggin is a spaced-out cut, and CDP Smackdown and Timeless Treasure bring the intensity before it slows way down for I Jus Wanna, which works as a much-needed break from the busy production and loud rapping. It feels almost like a Flying Lotus vibe, as Oh No just goes through everything he wants to do to unwind from a crazy day. Away Too Long takes the soulful route and features a beat that was previously featured on Madlib's own Beat Konducta Vol. 5 & 6, which was an instrumental hip-hop album dedicated to J Dilla (James Yancey), who died in 2006 at the young age of 32 from a long and rare illness. This one feels nostalgic personally for me, as I felt brought back to my years of playing Beat Konducta's and J Dilla's Donuts album over and over again, and for that reason, it gets extra points for feeling so special. The final trio of tracks all feature the usual melodic, soulful, and jazz-fused production that Madlib is known for while Oh No does all the beats plenty of justice.

As a full experience, The Professionals is eponymously named for obvious reasons. Production-wise, it is stellar and exemplary and it shows Madlib is at the top of his game and probably still climbing, even if it might sound a little too busy at times. Oh No takes this collaboration opportunity with his brother to the next level, and it makes it exciting to see how much further they will go with everything they've accomplished here. Casual hip-hop heads might feel a little turned off, but for any Madlib or Oh No fan, it is a must-listen.

The Professionals - 7.75/10

Recommended Tracks: Payday, Give N Take, Buggin

January 18, 2020

Eminem - Music To Be Murdered By Review

Marshall Mathers is in the unique position of reaching legendary status at a young age over 20 years ago. Since then, he has faced a tougher uphill battle to stay relevant and top himself more than any other artist today, and subsequently, receives more criticism for any release that is anything less than brilliant or extraordinary. His anger hasn't changed, and his subject matter might feel stale, but his fire wit, lyrical spit, and storytelling remain as jaw-dropping, and arguably, sharper than ever before with his second surprise album in two years, Music To Be Murdered By.

As a title (borrowed directly from a previous 1958 album), Eminem does not leave anything free from double meanings, as this relentless diss record is a satisfying listen as it murders all the Nick Cannons of the world. Slim's traumas from his childhood (in Stepdad) come back to haunt him, and his current troubles are still on the surface as he testifies his rage for the critics who want to bring him down. According to Mathers, that struggle is real, and is documented in his opening track, Premonition, "They said I'm lyrically amazing but I have nothing to say, But then when I put out Revival and I had something to say, They said that they hated the awake me, I lose the rage, I'm too tame, I get it back, they say I'm too angry," as he pulls the curtains back on the critics who can't be pleased by his two preceding offerings, Revival and Kamikaze. As an artist, his latest output has been pretty incredible, releasing the former in 2017, and the latter as a direct response to Revival's criticism, as a surprise album only a year later. The hook in Premonition burns and the heavy and dark beat rides out, but it hardly is the hardest track of the album. Unaccommodating, featuring Young M.A., is the first track to hit home Em's unapologetic wordplay, and it is displayed at a hyper-speed that only rewards with multiple spins. You Gon' Learn, featuring Royce da 5'9" and White Gold, has a fazed-out R&B soaked hook, and its glitchy staccato production is standout here.

By the time we get to the first of only a couple of interludes, we are introduced to the overarching idea that ties this album together, in concept, title, and artwork, in Alfred (Interlude). Citing the 1958 album of the same name (Alfred Hitchcock Presents: Music To Be Murdered By), this direct successor comments on the violence that persists in our culture and our nation. Before we get to Darkness though, we have the party track Those Kinda Nights and the unrequited love song In Too Deep. Godzilla works as another speed-running lyrical feat; it feels like Shady has never sounded faster at the mic than in this one, even by Kamikaze standards. Darkness now, is the most thought-provoking work Eminem has released in a while. Still interweaving-in thoughts of violence and anger, this track wasn't meant to make you feel safe. Some might get shocked, some might get triggered, but no matter whether you fall on the left or the right or somewhere in between, everyone should agree that the persistence of mass shootings in our world must come to an end. Eminem does this track from inside the mind of the Las Vegas massacre shooter. While this effort essentially immortalizes the suspect, its case is one of the most disturbing, as a man with no prior convictions and no history of mental illness just didn't want to "feel alone in the darkness anymore,” which makes this crisis even more difficult to address. In a sense, this song is about reconnecting with loved ones, and the need to feel more together and connected, but it is executed in horrific fashion as one of the consequences of the crushing loneliness in this world. Ultimately, Eminem's conviction for these acts of violence to end is a standout moment and commendable if listeners can get past the shock value, something he has ingrained throughout his entire career.

Beyond this single there are a number of other sharp, brutal, and tongue-in-cheek songs that you would expect, such as Stepdad, about Marshall’s experience growing up with an abusive father figure, Marsh, an amusing moment of feeling not of this world, and Never Love Again, a double meaning of a past love and getting clean off of prescription pills. Little Engine brings in Mr. Hitchcock once again as he reminds us that we should enjoy the music while we’re being “done in” by Shady’s lyrical lacerations. It’s a spiffy, classical horror sounding track, and Shady shows off as a speed demon who refuses to slow down. Lock It Up, Farewell, No Regrets, and I Will construct the album’s coda, and it’s a give-or-take acceptable ending in an album full of great moments interspersed throughout familiar territory.

Music To Be Murdered By is full of double meanings, interesting wordplay, and familiar, but well-executed themes. Eminem, Shady, or Marshall, either alter ego or persona delivers, and this latest rendition should probably go down as the best of the trio of LPs that have been released thus far. Eminem is ultimately right, as he states in his opening track, "Instead of us being credited for longevity, And being able to keep it up for this long at this level, we, Get told we'll never be what we were, B*tch, if I was as half as good as I was, I'm still twice as good as you'll ever be." Whether Eminem decides to take up tougher subjects in this new decade remains to be seen, but until then, he’s released a worthy follow-up that should go down as a pin in the cultural zeitgeist of where we are today.

Music To Be Murdered By - 8.5/10

Recommended Tracks: You Gon' Learn, Darkness, Lock It Up

January 7, 2020

Cuban Pete - 5 Pointz EP Review

Cuban Pete, our resident U.K. emcee, is back with Wu affiliated producer, Falling Down, with the graffiti-themed 5 Pointz EP! 

As we've come to know Cuban Pete from our interview last year, his passions include graffiti art, since he is also a visual artist with his company C75 Live. It's no wonder that 5 Pointz (named after the now torn down New York mural space) would feature 5 specifically designed tracks tailored and named after 5 different legends in the world of graffiti art.

The street artist INSA, who specializes in trippy and almost optical pieces (can you say painted, animated street GIFs??) that could make any passersby's eyes pop out of their skull, takes the first track of the EP. Falling Down's
‘c’est la vie’
opening sample of a female vocalist singing "never, never die" works as a note on the legacy of artists, while INSA himself opens with a comment on how the big idea of street art is making it outside as opposed to making art on a computer, making its creation an entirely human (not digital) effort. His life is mostly private since he wants his art to speak for itself, and Cuban Pete pulls out the big guns with Falling Down to commemorate the work that this man has done thus far. Pete raps "blessing them with pieces created from my fingertips, I'm Hanz On like Method Man affiliates, perfectionism is a schism in my psyche, admirable at times, but can turn around and bite me, the latter most likely" and then "everything on hold until I throw it out my system, a gift and a curse, my work greatly received, but at times it suffocates, I'm barely able to breathe." The track is then processed with cuts and scratches by the talented DJ Erex, aimed to put more fuel in the tank, with such cuts like "never give up" and "perfecting the craft." In the second verse, Pete questions it all, his life's purpose, and what all this art is worth, but admits it's his relentless drive to take his craft ever higher.

DONDI, the second graffiti legend to grace the 5 Pointz EP, is also the first single of the EP.

Tellin About Anno Domini (trad.2) - 1986
His rise to prominence resulted in many of the graffiti styles we see today, and his techniques still inspire generations of younger artists. His signature style included readable lettering and even some more stylistic and abstract pieces, and he was known to hit up train cars, as featured in Pete's single artwork. Sadly, he passed away in 1998 from AIDS. The track opens with DONDI's own words as he comments on his search for a safe space to work without having his work erased and how he settled on the subway yard to paint his pieces. He states that his work naturally evolved from this need, and that he never had to compromise his artistic vision. Falling Down's triumphant beat kicks it into high gear as DONDI finishes his thought, and Pete gets it in with his perspective in life ("smile, you got it, flaunt it") and his observance of others who got it wrong ("too worried about their likes and their cash flow"). Cuban Pete's lyrical hammer comes down on social media fakes and phonies in this one.

Crazy Legs & Mr. Freeze at Common Ground, Manhattan
Henry Chalfont is the iconic photographer and videographer who rose to fame from his documentation of graffiti, breakdance, and hip-hop that took the world by storm. Starting out as a sculptor in the 1970s, Chalfont soon switched to the camera as a storytelling device and began his decades-long study of the hip-hop and graffiti culture. His track opens with his own learned wisdom of the movement, "it was only years later when I actually started to meet graffiti writers, and after I have taken a lot of pictures of it, did I understand from their point of view, that it was a voice, and more than just fun." The beat then steps into the fold, as a murderous track about the camera and surveillance system as it's being turned against us nowadays. Graveyard Shifter and Cuban Pete remind listeners that we are on the cusp of humanity's greatest fight, for our privacy and for our lives. Pete's chilling verse is all too real today as he raps "watch, people stop and stare, film the victim," and "Alexa the snitch can't save you, f*ck that b*tch!" Graveyard Shifter gets down and dirty with his verse as well, as he raps about end-times, war, secret bunkers, and what the elite have planned for the masses.

Futura, the fourth track on this record, got his start in the '70s tagging the New York City subways. Through the years, he has shown his work in galleries, and even collaborated painting live backdrops on stage for European punk-rock band The Clash, and even ventured into graphic design and album artwork. His signature graffiti style is abstract works, as can be seen here with him, and sometimes even futuristic looking art, which is fitting for his name. He states in his track his feeling of the world wide web and how after being well-received in Japan, the Internet made the world start to feel smaller and tighter knit with international communications. This track is the final Cuban Pete solo cut, and the beat is blessed yet again by Falling Down with an Eastern musical vibe baked into the synths. "Catch me mixing paintbrush with the pixels," Pete raps as he comments on his passions. "Me and the day job in showdown, guns drawn, never-ending battle, from dusk till dawn." Pete's resilience and perseverance shine brightest on Futura, and his end product is inspiring to say the least. DJ Erex takes Pete's vox and spins and scratches them to a satisfying conclusion.

The final song on 5 Pointz features the "Godfather of Graffiti", as SEEN is known. His fame is credited to his use of bright lettering, cartoon characters, and bringing the movement to the doors of commercial art galleries. He has since opened a wildly successful tattoo studio in New York, and still to this day creates brilliant mixed media (paintings, sculptures, etc.). He describes the adrenaline rush of painting and the therapeutic effect of creating art, something that we covered in our Essay #3 last week. We get a trio of hip-hop legends in this one: Karnage Ca$hman and B. Dvine join Cuban Pete in this final number, and they rap about what they've seen in their years in the hip-hop game. Pete reminds that there's No Wannabeez Allowed. DJ Erex makes some final scratches, "I seen the gimmicks, the wack lyrics." Karnage delivers a verse about the disgusting wack emcees who should quit before it's too late or else receive the 5 Pointz in the form of his fist. B. Dvine repeatedly hits hard with all the weak rappers and the life's struggles he's seen.

Cuban Pete's latest release works on multiple levels, and the sum of its parts takes it onto a higher plain than most hip-hop releases today. Together, with Falling Down, DJ Erex, and his guest emcees, Cuban Pete crafts the ultimate love letter to graffiti artists everywhere and successfully combines his two life's passions.

5 Pointz EP - 9/10

Recommended Tracks: Henry Chalfont, Futura, Seen

December 31, 2019

Essay #3: The cerebral and therapeutic value of art

Our first essay in our newly serialized selection of op-ed pieces focused on the special attributes of music, film, and art in the context of time, legacy, and user experiences. Our third essay will be focused now on the third characteristic, and how it forms this basis for self-reflection and its physiological, therapeutic value.

What is the cerebral and therapeutic value of art?

To get started, it should be noted that the core concept of art’s value as a therapeutic device is its ability to tap into the wide range of human experience. When people absorb or create art, several factors come into play. These are time, place, and the artists’ life experience, outlook, and intention in creation. Depending on the level of practice and ability to tap into subconscious levels, all of these characteristics come together to create a wholly unique serving of expression. Whether it is highly regarded or forgotten, the artists themselves are “in the zone” of creativity, and exercising their brain with a therapeutic and meditative exercise. Others consuming art, too, have the same ability to become immersed by and pulled into the world of the artist’s imagination with each film viewing, music listening, or visual experience. Each of these paintings, compositions, sculptures, or films, leave viewers with a degree of understanding and an experience to take away. Whatever that experience may be could be abstract and up to interpretation, or it could be simplistic in its execution and effect, but even what might appear simple could have even deeper levels of meaning that come out of either intentional or subconscious creation. No matter what the medium or the message is, art in all its forms has a therapeutic value for all to benefit from.

To try and not sound too preachy, this idea should largely be known or recognized already when it comes to the arts and the humanities. What some people in life might not realize though is the importance of the arts to maintain a healthy and balanced mind state and how it directly supports problem-solving and creative thinking in many of life’s struggles and situations. How exactly does AirdriftSignals support this? Through the past couple of decades, there have been mounds of research on the subject, which will be detailed below in several examples.

As a young music listener, I have had the joy of discovering many musicians in different genres. Also, as a movie lover, I have enjoyed watching many classic and current science fiction and horror films growing up. There is an argument to be said for different genres of music and art. When the Columbine High School massacre took place in '99, the mainstream media needed to put the blame on something, or someone. At the time, the main culprit was shock jock metal frontman Marilyn Manson, while other "dark" or heavy metal music became the main scapegoat for future shootings or violent incidents involving adolescents. Now, nearly 20 years later, society has come to the realization that mentally disturbed individuals with prescriptions could cause harm with or without the "help" of metal music, meanwhile multiple studies on the genre suggest the opposite that was proposed 2 decades ago. The documented results that metal music can calm aggression in listeners may be a shock for some people, but for those who understand the power of art as a vehicle of escapism, it isn't that hard to comprehend. 

The heavy metal genre of music specifically maintains documented mental health benefits, and other interests of my own, including science fiction and horror movies have stirred my imagination growing up and built up my fascination with the macabre and fear of the unknown. Little did I know growing up that these films too, have a positive impact on viewers' brains. Most people who know no better when asked, may dismiss horror films as something negative and ridiculous. Of course, there are no shortages of bad films that leave viewers in their seats screaming at the main characters what they should be doing to survive. This practice in worst-case-scenarios is in actuality our fight-or-flight response, learning from the mistakes of those who meet untimely ends on screen. The studies done suggest that scary movies also counter-balance the stresses of life, bolster our immune systems, and even lead to positive mental health benefits.

After tackling these two most controversial genres of art, it is easy to see how most other genres fall into categories of therapeutic effects. Classical music has already been studied to death, with the many calming benefits aplenty that don't need to be referenced here. A good film or just very good storytelling gives viewers an escape from the daily stressors of life. Even beautiful architecture or paintings fill people with a sense of wonder as they ruminate on the time and place of its creation. Hip-hop, one of the primary genres covered by AirdriftSignals, has been found to be a "strong source of self and community empowerment." Video games (which I will argue is an art medium), is the newest scapegoat for teen aggression, but has since been proven to not be a link to violence. While there are those who suffer from gaming addiction, The Psychological Bulletin recently revealed that the activity hosts a wide range of benefits, including cognitive improvement, boosted creativity, motivation, and emotional and social well-being. With no stone left unturned, it's clear to say that all mediums of art carry variations of the same positive mental health benefits. Besides all of these positive results, how does this carry over into our daily life?

From some of the articles that have been referenced, there are clear indications that consuming these different forms of art bleed into our daily life. From the reduced stress levels from heavy metal listeners or horror movie fans, to the empowerment felt from hip-hop, to the boosted cognitive functions and creativity of gamers, to the increased intelect of avid book readers, all who enjoy their choice of art benefit greatly. And while the arts can seem abstract, the benefits can absolutely be measured. In another report, the benefits of arts education in schools far outweigh the cost of funding it, such as academic improvement, increased self-esteem, less interest in drugs, and reduced criminal activity, among many others. The National Institute of Health even admits that engagement in the creative arts results in positive health outcomes, and improves overall public health. What does this mean for us? 

As a fan of many forms of art, I cannot stress enough how important it is to support independent artists. I have had the privilege of meeting so many talented individuals through the years, and it is a great honor to have great minds collaborate on something special. Overall, the support and spread of art is one of the most important indicators of our excellence as a human species, and a way to improve our communities from the ground up, which always start from within our minds' eyes. Artists always receive great benefits from being a creator, and the critical thinking and problem-solving skills involved when making something out of nothing helps them in their daily life as well. Still, even if you are a person who thinks they aren't that "good" at art, there's even a study that supports that you should participate anyways! Working on something, whether it is just sketching with a pad and pencil, painting, or even the act of knitting could significantly reduce stress levels in the body from just 45 minutes of activity! The studies are numerous, and the results are in, so what are you waiting for?! Make some art today! 

December 14, 2019

Interview: Nary Da Producer

Our featured interview this holiday season is seasoned Pittsburgh producer extraordinaire, Nary Da Producer!

AirdriftSignals: How long have you been focused on producing hip-hop beats?

Nary Da Producer: I started seriously producing music around 2007 when I briefly relocated to Green Level, North Carolina, so we can say 12 years... I was making beats for my cousins and some artist around the area... I always knew I would do something with music even before then... But I ended up signing to two different indie labels during my stay in North Carolina that showed me a lot about the business aspect of the music industry and I took what I learned from that and started my journey into this music thing!

AirSig: As a producer based in Pennsylvania, how has your home base and local scene informed your creativity? Are there any local spots that have given you inspiration?

Nary Da Producer: ... I love my city! Shout out to everybody that's grinding and doing their thing! I haven’t worked with too many in my city... really just because I didn’t start out producing in Pittsburgh... But what I will say is... the thing that inspires me about the city is... just the grind... there’s a lot of go getters, dope artists and producers that came from here! Mel Man, Sam Sneed, Johnny Juliano, I mean even legends like Ahmad Jamal!! Pittsburgh is definitely a musical city man! As far as local spots that inspire me... I would have to say “Jerry’s Records” located in a section of the city called “Squirrel Hill” because that's where I go digging for vinyl!

AirSig: Oh, so you dig for your loops then? 

Nary Da Producer: Oh most definitely!!! I feel like digging is one of the biggest fundamentals of hip-hop and more! Most of the things I find rather it’s old classic records or even some random drum loop I like to find new ways to make it into something fresh! I know there’s sites like splice that give you a source to find loops and things of that nature too... It’s just crazy to see how much you can do as far as creating music in today's era!

AirSig: What events in your life made you want to make music and who are your biggest producer influences?

Nary Da Producer: I honestly can say every minute of my 24 hours inspires me to create! My heart and soul is making music... SOULFUL music! Every time I turn on my MPC, I just feel the moment! My biggest music influences are Pete Rock, Chad Hamilton, Just Blaze, Bink, Manny Fresh, Dj Premier, Hi-Tek, J-Dilla, Marley Marl, Trackmasters, Scram Jones, My Bro J.Dova from Atlantic City! And SO many more!

AirSig: One of our previous articles covered a hip-hop single by Cuban Pete which you produced, called Nothin’s Gonna Stop Me. It features a classic sounding female singer crooning the hook and it recalls a golden era of music. It also has a certain Dilla vibe as you mentioned him being a big influence for you just previously... Is there any style or era of music that calls out to you when making beats? 

Nary Da Producer: J-Dilla is forever man! His legendary work and the things he’s done with that MPC are incredible! I feel like there’s J-Dilla influence all over the hip-hop culture! He’s definitely one of my biggest influences. Also shout out to Cuban Pete and the UK! We have an EP coming real soon!! My favorite era is the golden era of hip-hop! That era influenced my style a lot! Just the sound and the feel of that time! 80s R&B is another era that calls out to me! I like some of the new stuff that's coming out too!

AirSig: While listening to that single, it’s amazing to think about how the Internet allows people from all walks of life to connect, and nowadays even allow those who are separated by thousands of miles to create some amazing music! It gained a lot of traction internationally following its release and even got airtime on a French radio station. Does this added international element to your music give you added desire to see how many other international artists you could work with?

Nary Da Producer: I think it’s dope how the Internet links all us musicians together from all across the globe! When I first sent Cuban Pete that beat (Nothin's Gonna Stop Me), he sat on it for a few... And then he finally messaged me like “Nary I think this is it!" He sent everything over and I mixed and mastered it and the rest is history! I think it’s really cool that it spent almost a month in rotation on the radio in France and the UK!

AirSig: Are you more interested in expanding your producer portfolio across multiple emcees and keeping yourself a free agent or eventually joining forces into a hip-hop duo or creative team? 

Nary Da Producer: I recently been working with Solomon Childs, affiliated with the Wu Tang Clan... I got some work with Cuban Pete of course lol. I’ve been working with a lot of rising artists from PA and all over the globe! Also there’s a few big COLLABS in the works! I’m working on my beat catalog and collaborating with a lot of different artists! As far as joining forces with another producer or team, I wouldn’t rule it out but right now I’m just focusing on my own craft.

AirSig: Is the MPC and Pro Tools your sole production tools? 

Nary Da Producer: The MPC and Pro Tools are definitely my go-to's! That swing and just the feel when you’re producing on the MPC is something special! BUT! I also use FL Studio too! That software is dope! Sometimes it annoys me with all the extra layering I like to do to get that fuller sound I’ve grown accustomed to using the MPC but all around it’s dope! So yeah the MPC Touch/MPC 2000, Pro Tools, FL Studio, and mad vinyl records and other sounds are my go-to's!

AirSig: Do you find creating on the MPC a smooth and effective process? 

Nary Da Producer: Most of the time... If I’m going for something with a classic feel... The MPC is my go-to! The process of creating those kind of moods but if I’m going for a more modern feel I would incorporate my FL Studio with the MPC and get really busy!

AirSig: How do you follow your instincts with your creative flow to make captivating and engaging beats? 

Nary Da Producer: If it feels right I just go with it! Most of the time my ear doesn’t steer me wrong lol! Like I said though it’s all about the mood when it’s time to create!

AirSig: Your newest release, a full-length beat tape titled The Chill Out Volume I, is designed to introduce the world to your atmosphere of sounds, and is designated as an instrumental hip-hop album. Is there anything you’d like to see accomplished with the release of this first volume of this series? 

Nary Da Producer: I would like people to just enjoy the project! Also, I would like the world to know HIPHOP IS FOREVER!! I feel like it's something a little different than the usual 808s and robotic sounding Hi-Hats that’s in a lot of today’s music... I feel like this is a project you can turn on and just chill lol... If you don’t rap or sing you just might after you take a listen!

AirSig: I've also noticed that hi-hats have had a bit of a renaissance in the last ten years with so much hip-hop/trap music. Do you think it's just a fad that will fade in another ten years or will the polyrhythms always have a place going forward? 

Nary Da Producer: A lot of the music is being created with D.A.W. aka Digital Audio Workstation and a lot of the software is so digital sounding along with the heavy quantization they're using in a lot of these new era records that it begins to sound robotic... I feel like trap is here to stay because it has its own place... I wouldn’t call it hip-hop at all but it’s something of its own genre.

AirSig: I, myself, very much enjoy the music of hip-hop. Usually you can hear so many other influences and genres blending into the work of certain producers, such as classical, oldies, and even electronic music. Are there any other genres you might be interested in exploring more, or exclusively, as you continue your musical career? 

Nary Da Producer: I’ve definitely been exploring R&B... some trap/mainstream. I would like to venture into creating jazz music too! There’s a lot of music man! I get inspired by a lot of the elements!

AirSig: Who have you been listening to lately outside of hip-hop? You mentioned you're a fan of jazz music.

Nary Da Producer: Lately, it’s been Ahmad Jamal, a lot of classic R&B, and a lot of instrumental music!

AirSig: What does it mean to you to stand out in a genre that is so diverse and full of talent?

Nary Da Producer: I feel like being yourself and staying true to yourself is everything! It’s so easy to get caught up with following trends because whatever’s the new popular thing is what a lot of people tend to flock to I feel like.

AirSig: Are there any other upcoming projects that you are excited to be working on or planning on releasing soon?

Nary Da Producer: Look out for my first all trap music instrumental project “Nary’s Trap” coming soon! I got a project coming with my bro Prynce who’s also from Pittsburgh! Definitely good music! Also go get Solomon Childs project “Wu Tang BBQ” I got a few records on there! Cuban Pete’s upcoming EP produced entirely by me is on the way! And just follow my social media to stay updated! Also I just wanna just finally shout out a few artists I work with In my city....Prynce and Gotti Boi!!

AirSig: You can follow and listen to Nary Da Producer on his SoundCloud page, which already has over 20,000 streams or follow him on social media (Twitter, Facebook)! You can listen to The Chill Out Volume I on any streaming platforms, and you can also read our full review here

Nary Da Producer - The Chill Out Volume I Review

Following our at-length interview with Pittsburgh hip-hop beat maker Nary Da Producer, there's a lot to unpack. Whether it's his most recent productions, such as Cuban Pete's single Nothin's Gonna Stop Me, or his fulfillment of a childhood dream in producing four cuts for a Wu-Tang Clan affiliate, on Solomon Child's 2019 album Wu-Tang BBQ, Nary is hitting the bars of his MPC hard, and now, swerving in just in time for the holidaze is Nary Da Producer's first in a themed series of beat tapes, The Chill Out Volume I!

While this is the first volume of The Chill Out, it's not the first beat tape that Nary Da Producer has been known to drop, as his regular series, simply titled The Beat Tape, has already seen six iterations, and even though Nary already has The Beat Tape 7 on deck, his unveiling of The Chill Out series is purposed exactly for what the title (and artwork) displays.

The most striking and noticeable feature of Nary's production when listening to this most recent offering is his industry-grade skill and also his soulful, J-Dilla-inspired soul. As he states in our interview, his love of soul, R&B, and also the golden era of hip-hop are what end up washing over every instrumental cut that is on deck here. His use of funky and jazzy licks are emotionally arresting, as "Mellow Situation" plays out to a beautiful trumpet and piano duet, which recalls a late-night city club atmosphere on a snowy night. As Nary mentioned in an earlier conversation, this is the right one to release for the holidaze, and it can be heard very clearly as the Tape begins to unfurl. "A Dream" continues this festivity with a hip-hop-styled exercise full of jingling bells and holiday chimes, and Nary proceeds to play around with the sample and let it ride out. "A HipHop Story" pulls in the focus with a jazzy saxophone and melodic chimes, and they also keep with the chill out and holiday vibes of the opening credits.

Of course, there's always some beats in place to even raise everything a notch higher here, with "China Connects", as it breaks up the beat tape's chosen style in favor of a more cinematic, Eastern musical rendition that is pushed through Nary's magical hip-hop filter. The kung-fu and action-inspired cut should make anyone who considers themselves fans of the Wu appreciate and revel in the intensity of Nary's (karate) chops. "Grimey Winterz" leaves some of the Eastern region strings in, and it teases out a singer's sustained croon while stringed instruments play off of her gut-wrenching despair. The emotion and soul is strong with this one, and the string section especially just glistens with Madlib Beat Konducta influence. It sounds and feels like a grimey winter indeed.

By this point, we are halfway through the experience that Nary Da Producer has guided us through. While nodding heads and pulling heartstrings, Nary is hardly finished, as he's saved some of his best for the second half of The Chill Out! "Imaginary Dreams" gets downright chilling (no pun intended) in its theatrical and soulful heights, and it's no wonder that one of Nary's biggest influences is the great Jay Dee. The soul singer featured here flutters and screams out to the heavens as the drums punctuate the clouds. Overall, all the instruments, the strings, bass, drums, and voice, all coalesce and meld into a sultry and vivid musical painting. "The Essence" sounds and feels as if Nary is a chef, sprinkling his sweet and aromatic ingredients into a mixing bowl, while the rest of us listeners are in the other room, kicking back on expensive furnishings and enjoying the fine wine of his soul's lounge, while "Murder For Da Art" settles into another slow-paced and introspective loop, bringing the energy down for a soft landing.

By the final two cuts, it's apparent that from all the previous tracks, the ecstasy has been released and it's only fitting that The Chill Out Volume I closes out with two love songs. "Romance" is the beginning of that coda, and it hits its stride with a beautiful and wistful piano loop and a playful set of drums. It's a melancholy, but a fitting penultimate track. "True Love Don't Come Easy" is a the final statement of The Chill Out, and its melody and beat are founded on the message of true love and holding onto it tight and not letting go. Its sendoff is spectacular, and from witnessing the amount of heart and soul that is put into The Chill Out tape, it's clear that Nary knows what's most important in music and life.

The Chill Out Volume I is a beautiful exploration of multiple themes and emotions. While a sidestep from his usual Beat Tape series, it makes a statement all of its own accord and holds up as a standalone work of art and lesson in beats. Whether he is working with high-profile emcees or continuing to release his own series of instrumental hip-hop, Nary Da Producer shows no signs of stopping, and in fact, seems to be pushing forward stronger than ever before. Keep him on your radar, and on repeat, for you'll be hearing much more from him soon!

Chill Out Volume I - 9/10

Recommended Tracks: China Connects, Grimey Winterz, Imaginary Dreams

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 Review

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.