November 18, 2020

Earth’s Full Upon Her Burning Lips (2019) is an awesome showcase of doom metal, and probably the ultimate example of metal you can chill to

Earth Full Upon Her Burning Lips AirdriftSignals Music Magazine

Earth, a group that helped to define and form the genre of ambient metal, doom, drone, or stoner metal, has had multiple releases since the early 1990s. Taking elements from grunge and other forms of heavy metal music, Earth's founding member Dylan Carlson was notably friends with Kurt Cobain. Earth's origins in Seattle also explain this emerging hub of hard rock music that continues to be a haven of major and independent music to this day. Their latest release was last year's Full Upon Her Burning Lips, and while I am guilty of sleeping on this instrumental album, Earth has remained a personal favorite of mine, as they defined the perfect form of metal that you can relax to. Full Upon Her Burning Lips builds upon their previous releases and makes for an engrossing showcase of strong and steady guitar riffs and atmospheric drums and percussion. 

Unlike their previous release, 2014’s Primitive and Deadly (another favorite Earth release of mine), this album drops the vocal features and even sheds some members, making this release the most bare-bones of any previous releases, with Carlson teaming up again with longtime percussionist and drummer Adrienne Davies. With some overdubbing by Carlson to play bass guitar as well, this recipe of tasteful percussion and repeated guitar riffs have the ability to grow on a listener and nestle comfortably inside their head long after the echoes of these instruments fade, which is paramount to Full Upon Her Burning Lips's lasting impact. 

The album opens with a fairly long 12-minute march, Datura's Crimson Veils, which plays as more of an Earth standard for those who have come to know their style of melodies. The tones reverberate to the rising cymbals, which builds a noticeably foreboding atmosphere. Before long, this doom metal slowly thumps and washes over the mix in a steady call and response of its drop-D tuned guitar and sparsely chosen percussive beats. It repeats again and again, but eventually cracks the surface with its behemoth orbit of riffs that pay off famously with slow-motion solos, and then returns back to the start. Such is the songwriting style of Earth, as they slowly pay off carefully chosen riffs with a delicious and satisfying answer to the questions their instruments pose. Exaltation of Larks is the most straight-forward, Sabbath-inspired track of the album, and it formed as more of a studio improvisation between Carlson and Davies. 

Cats on The Briar is another example of how Earth uses call-and-response, but this time using multiple guitars that Carlson overdubs, and focusing on a brighter tone and key than the songs that came before. This key change is what makes Cats on The Briar stand out the most of what's come so far. The Colour of Poison hits more slowed-down Sabbath stoner metal vibes with its dark and descending opening. The real meat of this track kicks in a little after a minute in. It's a riff that any metalhead could recognize as one played by any heavy metal band, but Earth still makes The Colour of Poison all their own. Descending Belladonna is an interesting cut in that it was inspired by the group being tasked with performing a live soundtrack performance for the screening of the film Belladonna of Sadness in 2016. Its main riff is fragile sounding, and its bridge sections are designed to fall away into a momentary drone and minimal tempo held by Davies. This song is a character all its own and it likely fixed itself into the atmosphere of the animated movie very cohesively. 

She Rides an Air of Malevolence instantly feels like a ride with the wicked witch, as Carlson's intricate guitar melodies and Davies' cymbal, maraca, and snare hits make this another strong song that is hard to get out of the head long after it has played. Maidens Catafalque is a dissonant, somewhat messy, improvisational studio cut that wears out its welcome as soon as it's over. The practice of spontaneity in songwriting though cannot be faulted because it still feels held together, despite how loose it sounds. The last trio of tracks strongly wraps up this instrumental earworm of an album. An Unnatural Carousel is a fantastic display of multiple guitar overdubs and Davies' steadily held drum pattern. She has made mention of how unexpectedly difficult it really is to drive a doom metal track at such a slow pace, and for her work on these tracks, there really grows an appreciation for her foundation that she builds. The Mandrake's Hymn lifts its head and feels hopeful as it nears the end and A Wretched Country of Dust goes for the minor key as it bows out, displaying an attitude of masters that are far from done as the curtains close. The riffs are reminders that this isn't the end and there's more good riffs to be found and played over and over again in the future. 

What Earth does in this album released last year is something special. Their brand of impressively slow stoner metal or doom metal is a perfect companion to literally doing or working on anything, which is by no means an insult to their music by itself. The music, when actively listened to, rewards and repeats with carefully formed riffs, melodies, and drum patterns. The music Earth makes is an essential part of this subgenre of drone, doom, stoner, and ambient metal, and anyone who enjoys this album should definitely check out each of their past releases. Here's to a brand new decade and hoping this metal pair stick it out long after their now 30-year career. 

Full Upon Her Burning Lips - 8.25/10

Recommended tracks: Exaltation of Larks, Cats on The Briar, Descending Belladonna

November 8, 2020

System Of A Down’s first music in 15 years, Protect The Land, and Genocidal Humanoidz, brings to light immediate atrocities committed in their homeland

System of a Down Protect The Land Genocidal Humanoidz AirdriftSignals Music Magazine

Now is a pivotal time in world history, which should go without saying. Not only are Americans and worldwide citizens bearing witness to a historic election year, but a once-in-a-century worldwide pandemic has rocked the world. If there could be any more unpredictability, it is that ISIS terrorists from Syria, along with the corrupt regimes of Azerbaijan and Turkey have declared war on the independent Republic of Nagorno-Karabakh, committing unspeakable crimes against humanity. These atrocities that are being committed have brought out from hiatus System of A Down, who are releasing their first new music in 15 years. 

To call this a momentous occasion for the sake of the music would take away from the grim reality that citizens of Artsakh (as is commonly referred to by SOAD members and Armenians) are facing. Their press release on their website explains it all. "For over the past month, civilians young and old have been awakened day and night by the frightful sights and sounds of rocket attacks, falling bombs, missiles, drones and terrorist attacks. They’ve had to find sanctuary in makeshift shelters, trying to avoid the fallout of outlawed cluster bombs raining down on their streets and homes, hospitals and places of worship. Their attackers have set their forests and endangered wildlife ablaze using white phosphorus, another banned weapon."

Protect The Land, opens with a straightforward hard rock riff, while Serj and Daron share vocals, "If they will try to push you far away, would you stay and take a stand? Would you stay with gun in hand? They protect the land." It's void of any of the complex songwriting style found in their final twin albums Mezmerize and Hypnotize in 2015, but that’s hardly a reason to balk at SOAD’s just cause for this single. Genocidal Humanoidz takes a more frenetic approach though and is a welcome return to their charged speed-metal sound. It addresses themes of the devil and terrorism and there’s no confusion about what point they’re trying to drive.

This pair of songs arose from a need to drive charitable donations for Armenia Fund, a US based charity organization that is necessary to combat this violence and evil being perpetrated. Whether the band chooses to start making music again remains to be seen, but the Armenian genocide has always been the driving force of System of A Down since the group’s inception. If it were for a just cause, this may not be the last of System that the world will see. Please check out their new music on any music platforms and consider giving a charitable donation through their website. These acts of cruelty should never be tolerated and we’ve progressed too far to keep allowing it with complacency or naivety. Peace.

November 2, 2020

Long Island artists Thomas Coppola and Fendii release their collaborative album, Fendii Flannel!

Amid the bleak worldwide pandemic, both major and independent music has been thumping and more alive than ever. Artists’ projects that have been cooking for the majority of 2020 and some of 2019 show that the perseverance to survive and thrive is strong in artists. We have covered Thomas Coppola's previous album releases, Dusty and Cold Cuts, and have even featured him in our first ever interview! Suffice it to say, Coppola has come a long way, and releasing just on Halloween is Coppola's entirely produced collaborative album with rapper Fendii, Fendii Flannel! 

The album kicks off with No Preference a beautifully cool strumming beat that exudes a jazzy warmth like BADBADNOTGOOD or Sour Soul. This opening track is mellow and features samplings of Thomas Coppola and Fendii’s lyrical flows for first-time listeners. "Says she wants powder, white, has no preference, none," Coppola raps about his misadventures with a lady friend who seeks the synthetic affections of multiple drugs, which Coppola plays the role of the unwilling passenger to this downward spiral. "She wants to roll with the crew," he raps, "flannel you know what it do, she showin' love, she want the drugs, girl, we got nothing for you." Fendii comes in later to further characterize this lost girl and how the steep decline of partying and drug use ends in overdose and death. It's a blunt metaphor for the ills of this kind of lifestyle, and Coppola and Fendii come across as lived-in with this life experience. Rainbow Road is instantly recognizable to the millennial generation in its beautiful 8-bit synth production. It continues the laid back flow and Coppola effortlessly delivers. Fendii brings the chorus this time and raps about the day-to-day, smoking kush, and getting closer with some ladies.  

She Knows, Fendii delivers a continuation from Rainbow Road as he shows off his individual growth from moving on from dealing. "She knows, she knows, she knows, that I don't sell drugs no more," he sings over the melodic and floating beat, and it is his first solo cut of the album. August 4th cuts a little deeper than the previous tracks with its serious cathedral organs. Fendii recollects a specific date in his life, August 4th, 1999, the scene is chilling and features a confrontation with a car-full of gangbangers who are fully strapped. The graveness of the situation highlights some of the dark corners of city life and the senseless violence that can erupt at any moment. Coppola comes in on this one with a determination to make it no matter what it takes, and their strive to be the greatest in all that they do despite the evil that comes their way is something that all can relate to. Glass takes up a more chiller tone for the album and an R&B vibe for Fendii and Coppola to use their voices for more melodic lines. The quietude and melancholy of their verses are supported by a somber piano and tremolo'd autotune, as the duo confronts the tough subjects of addiction, relationship woes, and death. 

Headband, highlighted by a beautiful Eastern music whistle and keyboard that are wistful in their call and response, picks up the pace for the halfway point of the album. Coppola opens this track with strong confidence, delivering life lessons, and showcasing what it feels like being his own boss in his lifelong passion as music maker and ultimate authority of his own destiny. Fendii later claims the struggle is not enough to make him quit, as he pushes to make his profits from legal business, dodges money-hungry bitches, and lives his life to the fullest. By this point, it should be clear that Coppola's production chops are of professional-grade, and Thottin & Plottin' is another beautifully soft and melodic beat for Fendii to tear up. His autotuned chorus and verse go hard over the beat but are an ode to not get trapped by a drug-addicted girl. Casualties, one of the more interesting cuts of the album, is one of those rare two-cuts-in-one tracks, and Fendii gets rough over the bell-echoing minimalist beat. It's a track worth rewinding because the switch halfway through delivers two distinctly satisfying beats, reminiscent of a Madlib produced cut that switches up halfway. Coppola is paired with a slick-stringed beat and his rap flows smoothly along its clever chord structure. 

Tryna Live is one of the best cuts of the album, and it faces serious single contender status. It's a message that most rappers who struggle in the game should understand and not let hate rule their hearts. "I'm just tryna live, while you're hating on me, I'm just tryin to give, while you're taking from me, want beef but it's overcooked, acting like a thug, but everybody know you're shook," Coppola raps in the chorus. Fendii then takes his turn to deliver this powerful message in his own unique way. Fraudulent Charges pulls back into that special and floating vibe that Coppola's productions have become known for. It's a slow-speed trip full of late-night vibes. Fendii pops in with the hook and chorus, and Coppola adds to this dreamy cut with his signature flair. Technically the last track of the album, Boss Fight pulls out the Nintendo influence once more, and it's more or less the parting words from the pair. The violin-laced chorus gives a classic hip-hop feel, and Coppola makes his case, "Come with your arsenal ready, you ain't got nothing on me," he raps. The aggressive and laid back vibe coincide and contrast well here. Between The Bricks is the final cut, and is technically a bonus track for Fendii and Coppola to have a little bit of fun on. The beat is fully loaded with many different facets that make it captivating and particularly strong for a closing track. Coppola and Fendii play off of one another impressively and close out Fendii Flannel with a huge bang. 

Thomas Coppola and Fendii's first collaborative album really is a huge hit. Not only has Coppola grown as an emcee and producer over the years, but his team up with Fendii proves that the pair are a cohesive and powerful pair. The success of hip-hop collaborative albums in the past come to mind, such as Run The Jewels, Freddie Gibbs & Madlib, and Madvillain. This duo takes up this mantle effortlessly with their own God-given talent and skill, and it will be exciting to see where the pair goes from here. 

Recommended Tracks: No Preference, Casualties, Tryna Live