The Most - A.O.K. (2003)

 

 

Happy Friday y'all! Time to take it way way back, to a time long ago called the early 2000's, when two New Haven brothers formed a trio with another dude named Jay Scarafiello and decided to make weird sing songy hip hop in the vein of Imprints and Shapeshifters. The result is just as out there as it sounds.

The Most is essentially Anonymous Inc. minus a lot of what made them so amazing (live instrumentals, good songwriting, Max Heath) but it does have it's moments. And both Ceschi and David Ramos have enough talent to make just about anything sound good.

That said this is mostly for the hardcore Ceschi fans out there, and be warned there's a reason it's never resurfaced. Hopefully he doesn't mind if I share this. It's a great fossil and definitely hard to come by...

 

Enjoy A.O.K.! Oh and by the way, definitely check in a week from today because I caught a glimpse of what Trylemma's offering up and you don't want to miss that...

 

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  Note: There appears to be a single image file of this album cover floating around. I have never seen a larger, higher resolution image, it's clear someone scanned a jpeg back before we could all do it at home. This can't be all there is. Does anyone have good cover art for this one?

New Music: Factor - Time Invested II

 

20 years ago, the GOAT producer Factor Chandelier, comin' straight outta Saskatoon, dropped his first official solo album, "Time Invested." Now, 20 years later, we finally get the sequel!

"Time Invested II" not only celebrates Factor's longevity in the game, as well as his birthday (the date on which the original and sequel dropped,) but also very successfully re-taps into the atmospheric folky prairie-hop that ran through the original (which a healthy dose of synths to update things.) 

On vocals, Factor calls upon some MCs who appeared on the original - Kirby Dominant, Sunspot Jonz, Kay The Aquanaut, Eligh, and Moka Only - as well as voices that have come to become Factor staples - Awol One, Ceschi, Def3, Myka 9. 

Everything about "Time Invested II" flows together so smoothly and both takes you back to the good ol days of 2000s underground rap while also continually proving how forward-thinking Factor is as an artist. Pay what you want for it below!

Time Invested II

Fake Fouragers

 

Hello, hello and Happy New Year! As far as new music goes, I'm currently digesting new albums from the likes of Nickels Hawkeye, A-Plus of Hiero, The Cloaks, Telephone Switches/Moka Only, Thorts, Calm, Zoen, Scatterbrain, Del Tha Funkee Homosapien, Claud Six, and others. Today, however, I thought I'd share Fake Four's new subscription program - The Fourager's Club.

For a yearly fee paid via Bandcamp, you can join the dopeass new Fake Four Fourager's Club. Every month you'll get new exclusive tunes from Ceschi and a guest (this month's guest is Gregory Pepper.) You also get 10% off all merch that Fake Four puts out. At slightly higher tiers, you'll get free merch such as CDs, pins, tote bags, books, and more. At the highest tier, you get an exclusive lathe vinyl + an entry into a monthly auction where you could win exclusive rare vinyl. And the best part? The top level is only $100.00 USD for the entire year. That's a great price imo for exclusive monthly music, new merch, and exclusive vinyl (including shipping!)

On top of that, all subscribers get an immediate download of a demo version (with B-Sides) of Ceschi's new album, "This Guitar Was Stolen Along with Years of Our Lives" as well as an immediate download of a new REMASTERED version of Ceschi's "Forgotten Forever!"

So if you have the dough - check it out HERE! 

Knuck Feast - Knuck Feast (2007)

 

 

For some reason, when I listen to Ceschi's rap I find myself reminded strongly of the Georgia crunk legend Lil' Feisty. The similarities are undeniable although it couldn't possibly be the same man who wrote the ultra depressing "Bad Jokes" and the ultra violent "Huntin' Season". Although they can both rap with precision at extremely high speeds.

Anyway, since everyone already knows that this record is basically Ceschi and David Ramos I'm gonna just stop with the theatrics. If you're unfamiliar, this is pretty much the only full length album where you can hear these brothers go hard as fuck, albeit with some of the most ridiculous lyrics you've ever heard put to beats. It is very much a fun listen though, and since I just discussed the polar opposite release This Guitar Was Stolen Along with Years of Our Lives on Tuesday I figured what the hell.

Not sure if this is available for download anywhere. I'm gonna put it up here until the police make me remove it ;-).

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New Music: Ceschi - This Guitar was Stolen Along with Years of Our Lives

 

 

Well, Trylemma and myself, along with anyone else who preordered Ceschi's final trilogy of albums on vinyl got a surprise email earlier this week from the man himself. Imagine my surprise when while scrolling through it I realize it contains a download of a completely new unheard collection of songs! No shit right?!

By this point I assume most of you have heard this, and that most of you know what I do at this point. Ceschi really does just keep improving over time. His guitar playing is amazing, his songwriting has matured considerably with every release (especially over the last decade), and what I find most remarkable about this particular collection of songs is that he's managed to blur the lines between folk, punk and rap to such a degree that there is really no way to classify this anymore under any existing genre label.

That said for the most part this is a punk record. In places it's brutal tempo, irreverent go fuck yourself attitude and fast paced guitar make that obvious, in others it's roots are more hidden behind the masterful musicianship and beautiful moments of vulnerability, so unlike the garage thrash antics of the angsty punk rockers of last century.

I call this a punk record for three reasons. One, because Ceschi calls it that on the genre section of the files info, and who am I to argue, two for the structural reasons I state above, and three most of all because it purely embodies the DIY ethic that made punk rock in some ways the only place to find honest rock music at one point in it's history. This Guitar was Stolen Along with Years of Our Lives is the result of a musician needing so badly to say something that they assembled it through blood sweat and tears, without any corrupting influences. Ceschi has always been about that, and it's only been lately that I've seen how very punk that is.

It's interesting to me that at the time this record came out I was slowly reintroducing myself to punk music through the folk punk scene. Get Dead, We the Heathens, Pat the Bunny and related bands, basically everything Bandits Never Die puts out, etc. I never would have bothered if it wasn't for Ceschi and to a lesser extent Sam King fka Lewee Regal and thank you guys. This is a hip hop blog but that doesn't mean we only like hip hop.

So finally, is this a good record. The short answer is yes, the long answer is fuck yes. Basically it combines the maturity and technical skill of Ceschi's split with Pat the Bunny with the genre melding goodness that was Elm Street Sessions and slaps on a layer of professionalism that comes from working with some truly talented individuals (this record seems to have involved more collaboration than either of the other Ceschi guitar driven releases).

I need to give this more time to sink in, but I did think just in case some of you weren't aware that there was a new Ceschi it was worth shouting it out. If you like music you will probably like this. That's it.

Get This Guitar was Stolen Along with Years of Our Lives right here as a pay what you want download because Ceschi really is that cool.

New Music: Deadpan Darling - Deadpan Darling

 

Here's a slightly late post for a slightly old release of a very old album! 

I'm sure most of the crew here is familiar with Deadpan Darling - a trio consisting of Ceschi and Blue Sky Black Death that originated in 2005. The trio recorded an album and the demos floated around online for years. Unfortunately, due to time, money, and lost data - the album never officially dropped. Until now.

The self-titled album has been mixed and mastered (and re-recorded when needed) into a really beautiful body of work. For those who enjoy dream-pop with a dash of indie rap (exactly what you'd expect between a Ceschi and BSBD collabo) - you couldn't get a more perfect album than this (my favorite of the year thus far.) The lyrics and melodies hit hard here, even for those of us who have rocked with the demos all these years.

Do yourself a favor and stream this if you haven't yet - and re-stream it if you have - below. Then DL it for free! Physicals coming this Fall.

DEADPAN DARLING 

New Album Review: Dark Time Sunshine - LORE

 

It's crazy to think, but it's been nearly nine years since Oldominion/Grayskul head Onry Ozzborn and super-producer Zavala last formed the Dark Time Sunshine train and gifted us an album (that was 2012's "ANX" if you're keeping score.) Suffice to say, a lot has changed since then - for both the world and the guys themselves. We of course now live in a fully postmodern planet with meme presidents and social distancing galore. Meanwhile, Onry has dealt with his daughter's diagnosis and eventual beating of cancer. I've always found that Dark Time Sunshine projects do a wonderful job in letting the listener transcend whatever state he/she happens to be in at the moment - so now seems like about the perfect time for another go round. Here's an early track by track review of Dark Time Sunshine's new album, "LORE." 

1. Lore (Feat. Ceschi): It's become a tradition for Fake Four head honcho Ceschi Ramos to open up Dark Time Sunshine albums. Unlike previous outings, however, Onry accompanies him on mic duties and really sets a sort of 'triumphant return' type mood in proclaiming, "We bringing gully back/We bringing smilin' back, we bringing happy back/We bringing laughing and living a little back/But most of all, we bringing love back, and that's facts." Zavala provides a pretty bare-boned drum track for the guys to flex on, which works pretty well, though I do miss the big Zavala intros that previous DTS albums gave us...

2. Ritalin: Now here's that Zavala production! Multi-layered, atmospheric bliss from the Chicago producer that rarely fails to impress. The song's content, which has been a theme throughout a lot of Onry's work, tackles the struggle of dealing with mental issues ("I am an intricate doubter about myself") while at the same time trying to seek out basic joys in life. Onry also switches up the flows here a bit, giving us a bit of chopping, and gives us our fair dose of bars as well, "FML, FML/Rid myself of these blues like I'm Gargamel."

3. 7 Knots: Things get even deeper lyrically at this point in this ode to learning from the past and loving those close to oneself. Onry has a great way of giving us wordplay that is neither cheap nor too abstract, "I've decided to limbo beneath my own personal purgatory/Although my vantage point at that moment was rock bottom/It taught me how to morph colors and become autumn." The moody earworm electronics from Zavala, especially in the long outro, are gold as well.

4. The Rite Kids (Feat. R.A.P. Ferreira & Homeboy Sandman): Possibly my favorite track on the entire album (which is saying a lot.) Onry enlists RAP Ferreira and Homeboy Sandman, over some really cool retro synths, for his ode to the promising outcast and weirdo kids, with such unique quirks as "Separating they food and never letting it touch before it enters the tummy." The song hits hard especially as Onry has been rapping since the mid-90s, always taking fresh left-field approaches to music-making, and has managed to really carve his own lane despite the fact that...yes, believe it or not kids...indie rap wasn't always cool. "The wrong kids have been always the rite kids, the bright kids." Both guests fully deliver as well. Sandman notes, "Rite kids aren't part of the plan...but plans make God laugh," and Ferreira really ends up being the star of the show, "I write this for the chosen few/Who were told as children to speak when spoken to, and then were never spoken to." Having each rapper come in on the hook is genius too.

5. Star Scream: Here we have a mellowed out bouncy Zavala production, with Onry riding it perfectly. The joint is a humorous take on the constant journey of following fame, money, and trends, "These days everything/Is captured on a screen/Then captioned, turned into a meme." I especially appreciate the funky keys over the hook (hopefully an instrumental version of the album drops soon.)

6. Poor Pavel (Feat. Hail Mary Mallon): So not only are we getting the Onry + Zavala combo, we're getting the Rob Sonic + Aesop Rock combo as well?!? Yes, please. Over a pretty unique jazzy bassy instrumental, our hosts discuss, I believe (things can get murky when these 3 are involved lol,) the daily struggle of living up to one's promise or worth. Rob and Aesop of course bring their A-games. I felt Aesop when he said, "If I'm horizontal, eight hours on a thousand nails/Waking up is more than putting piss into the howling gales." 

7. Hell Nah: On this personal track, Onry addresses using others' overcoming of obstacles as his own large inspiration in doing the same. While I'm not 100% sure, and don't want to assume, who the subjects of the song exactly are, it's clear that those close to Onry have made serious moves through the muck and grime in their lives, and it's made an impression on him. "After meandering in and out of those bubbles/Them rubber glovies were tossed away with the muzzles/I snipped your feeding tube in half and sat there puzzled...you made it through." The backing minimal melodic beat does its job in really letting Onry speak his mind.

8. Look At Her Go: Personally speaking, this is a slightly low point on the album (but luckily the only low point.) On it, Onry talks to a special girl in his life with some vivid imagery, "Your voice - a pocket of diamonds inside my satchel/Your smile - a fanny pack of golden ice capsules," which is nothing to complain about. Musically, however, the playful instrumental and sample choices didn't really work for me. The hook was a bit clunky as well. Hopefully others will dig it more than I did. 

9. Familiars: Back on track, we're given a darker moodier intro here before things lead into a drum heavy track that is reminiscent of something off of DTS' 2010 album, "Vessel." The content is slightly vague, but I believe the song is concerned with the brute power of dealing with life hindrances, both physical and otherwise, "All of your arteries are opening/Channeling electricity to these probe machines/It's quite deafening/Mute button on lapse, quite threatening." The long Zavala outro makes everything hit that much more. 

10. Ayemen: As we near the end of things, we're given some classic vibrant and illustrious Zavala synths and, being a longtime Onry fan I can say, some real OG Onry Ozzborn deliveries. Onry celebrates his daughter's overcoming of cancer, which has given him a new fresh outlook on life, "Broken before, but never again....used to try, just to live but now I won't die." The song really elevates above an already elevated album and gives us a peek into how far Onry and his fam have really come over the past years. 

11. Better Off: As a parting gift, Zavala blesses us with a really colorful soulful instrumental as an outro, with Onry giving us some parting introspective words, "All of your flowers before you perish friends/It's always perfect at first, what about when it ends?/Are you able to make amends or does ego take over empathy and leave us like we hangmen?" Because the album has been a very personal journey for Onry, the raps here, and throughout the album, are able to dispense some words of wisdom without ever getting too preachy, which is something not always easy to achieve. A great closer for a great project. 

Overall, "LORE" is not only a welcomed return for Dark Time Sunshine, but also a near-necessary body of therapeutic work that a year like 2021 can absolutely put to use. Zavala's production and Onry's rhymes hit all the senses and provide more than one reason to be optimistic for the future. For those who enjoy either artist, references to Yorgos Lanthimos films/Game of Thrones/Royce Da 5'9/X-Men/Walter Cronkite, or good music in general - be sure to give this a listen! 

"LORE" drops via Fake Four Inc. on Thursday, February 4th. You can pre-order your digital copy or physical version HERE. Also peep the music videos for "Familiars" and "7 Knots / Ayemen" below!

Happy Thanksgiving from UGF!

 

Sorry to say it folks, no post for Friday. No free music, no reviews, no nothing. Trylemma is on a rare fossil finding mission in Armenia, and I'm going to the coast. I feel bad about that contrast there. But the NorCal coast is very nice too.

So how's about a song, probably my new favorite track from Ceschi since hearing the revamped version featured on the deluxe The One Man Band Broke Up vinyl, which you can pick up right here.

 

 

Maybe I've missed the point of the song, but if this year has taught me anything it's to marvel at the way we grow back tails when they get cut off.

Happy Thanksgiving everyone! Stay safe and healthy out there!

Anonymous Inc. - Anonymous Inc. (Original Version) (2000)

We're continuing with the Ceschi love this week with 2000's Anonymous Inc. self-titled album - the original version!

This particular version was sold by the Anonymous Inc. guys at the 2000 Broke Ass Summer Jam (for $5.00 according to Ceschi.) The disc art (and sticker) is another creation by the late great Jon Nagel (who also did the artwork for the subsequent 2001 official version.) 

The body of this version of the album is very similar to the 2001 version that I'm sure most of you have heard. There are, however, various sonic differences between the two versions, as well as some tracks that are exclusive to one version or the other. 

There's not much to say about this project overall that hasn't yet been said. So enjoy some early versions of this great album!

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New Music: Ceschi - Sans Soleil (Track by Track Review)

"Sans Soleil" is Ceschi's second installment in his final trilogy of albums using the moniker "Ceschi." Today, Dimxsk & I (Trylemma) bring you a track by track review of the album.

1. Nonchalant (Eulogy by Mestizo)

Trylemma: Wow, what an intro. Factor's melodic banger comes across like a marching anthem with a crazed Ceschi as the drum major. Technically, these are some very impressive raps - I'm not surprised that Cesch drew inspiration from battle rap to craft them. The multis in particular, combined with the drawn out flows, stand out (e.g. "aliens" / "cane again.") I can already pick up on a different tone here when compared to "Sad, Fat Luck" (SFL.) While societal criticism is still at the forefront, Ceschi's delivery on this track comes across as a bit more brutal. If SFL laid the groundwork for an enlightenment pool, this track is Ceschi coming out of that pool and slapping society in the face...while still recognizing that he's a part of it. I also loved the Mestizo outro, excited to see what's next. RIP Caddy Ron and Alias. [Looks like Factor's wife got on backing vocals too!] 

Dimxsk: A great opening track, Nonchalant gives us Ceschi railing against hypocrisy in art and everyday life with classic cynicism and rage. The beat can only be described as ominous, with a shouting chorus in the background upping the ante of Ceschi's disdain for racists and celebrity apologists. The sound of it bodes well for what's coming and Mestizo's eulogy at the end is touching and heartfelt. A good Ceschi joint, not one of the standout tracks in my opinion but a great one to get the blood pumping.

2. Sufjan Is Gonna Die

Trylemma: This short interlude has already got me thrown back to Anonymous Inc. days! 

Dimxsk: One of those weird one's here; the guitar work is pleasant and provides an interesting juxtaposition with the synthetic distortion and the eerie vocals. Something you might expect to hear playing on a dusty turntable in a haunted mansion at night.

3. Frank False's Eulogy

Trylemma: We're not only saying farewell to the Ceschi legacy this year, we're also lying the great Francisco False character to rest - and what a memorable way to do so through this track. Frank, a man who's life was full of mistakes, gets put in the ground and with it, Ceschi ponders on the fleeting nature of life and the origins of meaning over a wonderful mix of trumpet and beatboxing. I particularly like that a song focused on ending the Frank storyline itself ends with a reference to another distinct Ceschi track, "This Won't Last Forever." 

Dimxsk: The first great track of the album, an honestly tragic piece of work. Ceschi, if you read this we love you. Ahem, a sound that would've been at home on The One Man Band Broke Up, this track seems to serve as a goodbye to fans and a (duh) eulogy to the Francisco False persona we've grown to know over the long years. A beautiful and haunting chorus, with what sounds like mostly live instrumentation. I have to say this is the Ceschi that I love the most, an artist who can craft rap songs out of melodic folk harmonies and make it both dope and beautiful. The more raw sound of the live instruments in my opinion gives this song a weight and depth that can't always be achieved with overproduction and synthetic sounds.

4. Old Graves (Eulogies by Patrick Schneeweis & Sole)

Trylemma: Ceschi has said that "Sans Soleil" is an album based around sorrow, and this straight-forward acoustic tune bleeds that. I really enjoy the constant issue of "fuck it all" being a source of both genius and demise, and Ceschi tackles the issue quite nicely here. I did think the Pat the Bunny and Sole eulogy book-ends to the track seemed a bit out of place, however. I would have enjoyed hearing the tune in solitude a bit more I think. Sole's eulogy was also a bit too slam-poetry to me. 

Dimxsk: Ceschi does a bit of a murder ballad style song here. Another standout for me on the album, a fantastic and stirring song with some creative poetry from Pat the Bunny and Sole. Just Ceschi and a guitar, singing that the fuck it all "philosophy" can work for a while, but sooner or later we all need to adjust or die. Very moving for me as it hits home, and tells the story of a few people I've crossed paths with in my life so far. They won't be the last, most likely.

5. Incesticide (Feat. Open Mike Eagle, P.o.S. & Onry Ozzborn)

Trylemma: Easy contender for song of the year thus far. Factor crafts a hectic slapper and Ceschi recruits some of the biggest names in the indie scene to join in on the fun between the amazing hook that is certainly one of Ceschi's best (which is saying a lot.) The theme is early indie rap lives versus current indie rap lives, and I've gotta say that Open Mike shines the brightest overall. Whether intentional on Mike's part or not, I take his verse as a eulogy to both the many great Project Blowedians that never fully reached their potential and the legendary Hellfyre Club collective that met its untimely demise. Hearing about P.o.S.' Warped Tour days, Onry's relinquishing of a baseball college scholarship, and Ceschi's constant pursuit of music for music's sake only adds to the song's greatness.

Dimxsk: Ceschi reunites with Factor Chandelier as well as guests P.O.S, Onry Ozzborn and Open Mike Eagle for a pretty epic banger, touching on the old days and the way things have changed in the indie rap scene. Open Mike Eagle provides his first ever collaboration with Ceschi, opening the song with his trademark laid back genius wordplay. P.O.S comes through with cynicism and wit. Then Onry offers a unique look at his background in music, revealing he left behind a scholarship to pursue his love of rapping. Always love hearing from Onry, probably one of my favorite rappers alive. And finally Ceschi's flow is in top form as well, describing the state of despair brought about by the drug abuse and death around him, and his disgust for the capitalist agenda that slowly takes over every life and sucks out the spark that would've had us creating works of beauty and meaning, so that instead we mass produce the same boring mediocrity we've had to eat our whole lives. The same process that slowly drove Kurt Kobain to suicide...

6. Britney 

Trylemma: This somber slightly distorted cover of Spears' "Baby One More Time" will probably get the skip from me on future replays. I've unfortunately heard one too many "dark" covers of the song over the years for this to reach me personally...

Dimxsk: Well there's this. I've always believed that the pop artists of the late 90's / early 00's were selling tunes that had potential. Before you laugh at me consider that the worst things about boy bands and girl pop is the inanity of the lyrics and the utter insincerity and lack of artistic merit that went into the deliberate marketing of said tunes. They were written by someone else for someone else, maybe they had a personal message but it was diluted by too many cooks in too many kitchens. That said, Genie in a Bottle had a sick beat, and Ceschi crafts a decent little interlude out of Hit Me Baby One More Time. Not exactly a standout moment for the album, but amusing and not unpleasant to listen to.

7. Ceschirito

Trylemma: This track has been floating around live for a bit I believe. A recent DNA test showed that I'm at least 95% Korean, but luckily I spent about 4 years living and growing up in Honduras, so my Spanish is pretty good. I sort of view this as a companion piece to SFL's "Daybreak." Amidst grief and exhaustion, Ceschi finds clarity, even if briefly, in anarchist hopes and a love that inspired even if it didn't fully work out. I think Tommy V's guitar was ultimately the right instrumental move, but apparently this was originally supposed to be over a Reggaeton beat. As a big Reggaeton fan (I'm guessing Ceschi isn't as much lol,) I would have loved to hear that. 

Dimxsk: Sadly my grasp of Spanish is limited to slang cursing and basic vocab. I can understand bits and pieces of this track, but lyrically it totally leaves me behind. That said, we have a Toca-esque joint here, which is always welcome. Catchy work with the finger piano and guitar, with Ceschi bringing us both melodic and rhythmic vocal work. A good track.

8. Cici Atlas

Trylemma: This little interlude has Ceschi reciting some old Xololanxinxo lyrics over his brother and niece's riffing on drums and keyboards, respectively. Another moment that calls back to the Anonymous Inc. and (obviously) Toca days. 

Dimxsk: A weird little interlude. Not much for me to say about this one, kind of spacey and tripped out in an Anonymous sort of way. Provides a good introduction to the next track.

9. Christ On A Cross

Trylemma: We got an acoustic version of this earlier this year and I was excited to hear the final product. Ceschi and Factor cleverly rework SFL's "Say No More" to address modern Christianity's portrait of Jesus as a strict detached moralist. Ceschi offers up, instead, a portrait of Jesus as a hated communal teacher. In "Say No More," Ceschi appears to cry out to the proverbial "God" amidst losing his friends to arrest. In "Christ on a Cross," Ceschi appears to address the judeo-christian god amidst a realization that the story of Jesus might closely mirror his own (and perhaps his friends in "Say No More" as well.) Amazing track.

Dimxsk: An interesting reflection on Ceschi's lost faith, although it's a little bit unfortunate that this has the same chorus as Say No More, which he already did a remake of with Sad Fat Luck. It is a beautiful chorus, and it was by far my favorite track on Elm St. Sessions. And he does give us some new lyrics to contemplate. I think a good way to look at this track is less as a remake of the original and more of a part 2. I believe that's how it was intended, and that's how I receive it.

10. Yoni's Electrocardiographs

Trylemma: The original "Electrocardiographs" was the only track on SFL that I didn't care for. This version, however, is superior to the original in pretty much every way. Sonically, Yoni's production kicks into gear much quicker which I appreciate. I think his more quirky beat choices work better for the song as well. Lyrically, I like all of Ceschi's additions (e.g. the ICE stanza) and minor tweaks (specifically the Freestyle Fellowship "griot" reference.) The redone layered closing hook also improves upon the original. The track is still a bit disjointed imo, but, unlike the original, I likely won't be hitting the skip button on replay. 

Dimxsk: A remake of Sad, Fat Lucks Electrocardiographs, and in my humble opinion a much more interesting version. It's amazing how far Yoni has come since The Early Whitney EP as a musician, this track is both catchy, complex and orchestral. The new instrumental work allows the lyrics to come through more clearly, and the more percussive but less cramped production gives the song a much more epic build up to the climactic chorus. Everything falls in line, like electrocardiographs when we die. Not a bright message, but delivered with sincerity that instills the listener with hope for the possibility of something more. Another standout track no doubt.

11. 1998 (Feat. Anonymous Inc.)

Trylemma: I believe some version of this was on the Broken Bone Ballads pre-order CDR. In any case, the song is a beautiful tribute to Ceschi's childhood and general childhood naivety over some proper 80's synths and drums. I am very excited to see the video for this one when it drops.

Dimxsk: So I was lucky enough to get to hear a CDr I apparently shouldn't have, and there's a demo version of this song featured on it. This plays a bit like a Trent Reznor remix of that demo version, with harder hitting drums and a crisper overall sound. Ceschi's melodic falsetto vocals perfectly complement the mood of nostalgia and fond reminiscence that the tune and lyrics convey. I am a bit reminded of 1979 here, the tone and driving beat match up, with the titles possibly playing a role in that connection. But 1979 may be one of my favorite rock songs ever written, so I'm not complaining. A great song, both as a demo and in the Anonymous Inc laced remake featured here.

12. Pepe on the Game (Feat. Pepe)

Trylemma: Such a strong eulogy that is advertised as a "Eulogy to the Game" but comes across much more as a "Eulogy to the Player" insofar as the "Game" continues to operate as normal as the state protects its drug interests against would-be competitors like Pepe. We've heard these stories a lot from Ceschi - it's nice to hear them from another voice within a Ceschi experiment. 

Dimxsk: The title says it all. Ceschi's views and lyrical content have been forever altered by his experience with the American "justice" system, and this Pepe guy who's voice is distorted most likely to protect the innocent gives us a very succint description of what the game offers you in the end. It ends quick, no parting gifts, just long waits and no goodbyes. Interesting little number.

13. Animal Instinct (Feat. David Ramos, Shoshin, & iCON the Mic King)

Trylemma: At this point, it certainly feels like it's not a proper Ceschi album if David, Shoshin, and Icon (collectively known as "Counterfeit Quartet") don't show up together for a track. Unfortunately, I think this is one of the weaker of the crew's collaborations. The Factor beat is a bit too subdued for my taste and while I shouldn't be comparing, it's hard not to pair this track up against the earlier "Incesticide." The hook could have also been much stronger (maybe David just screaming the "Animal" portion?) The rhymes on the police state do hit hard and Shoshin, in particular, gives an amazing performance (his cadences are crazy on the track.) In the end, however, I wasn't too extremely moved by the song as a song. 

Dimxsk: When I heard Sad, Fat Luck I was wondering where these guys were! David is absolutely brilliant, always, Icon is a genuine vet with a serious rep. Shoshin I only know from his work with Ceschi and a single track on Farewell Archetypes, but he's pretty damn good. These rappers come together once more (for those who don't know we've had a track with this lineup on every full length official Ceschi solo work since They Hate Francisco False) to give us a straight up rap banger, with a beat that allows each artist to rip the song to shreds. It's not my favorite track on the album at the moment, but it's something that might grow on me as I start to grasp the message. It appears to be a rant on the ways in which some of us are held down until we either break or attack, and then held accountable for the damage we never meant to cause. I might be wrong, but I hear in David's verse some meditations on seeing his brother in prison. It does lead me to think further on that whole scam played on those of us born with the least power, and the anger I feel matches what I hear on this track. For that it's got my attention.

14. Joanna & Anna (Eulogy by Squalloscope)

Trylemma: This apparently combines two covers of songs by Joanna Newsom "A Pin-Light Bent" and "Sadie." I'm not familiar with either of the originals, but Ceschi certainly makes them work together here, fully displaying the melancholy feels of the passing of time and life. Squalloscope's eulogy to his grandfather is the perfect outro.

Dimxsk: A pretty and quirky song, not one of my favorites as it seems a bit forgettable but it is nice, and the lyrics evoke some interesting imagery. Squalloscope's eulogy at the end is probably what makes this song most worth a listen. It's a great tribute to her Grandfather, who sounds like an interesting man and certainly changed the way she sees the world in crucial ways. I don't know much Squalloscope but I like what I've heard. Time to get familiar.

15. Stop & Smile (Feat. Tommy V. & Ashley Crevier, Eulogy by Barfly)

Trylemma: A somber and quirky tune where Oldominion's Barfly gives the album a new twist by eulogizing the notion of rest. In an album dealing with death, decay, and passing, we're asked to view these things as just continuous entries along the constant line of change. I'm not sure if this is re-assuring or even more horrific. Tommy V's intertwined nostalgic vocals mesh extremely well with Barfly's lines. 

Dimxsk: A simple song about remembering the dead fondly. Nothing in a phenomenal world is ever at rest as it says, and considering Ceschi's exploration of the darker side of death in his music, a song like this is a pleasant break from the more solemn numbers. That's about all I can say about it, mostly a spoken word jazz influenced number. Nice but not incredible.

16. Red Emma

Trylemma: Here we get a riffy eulogy to a long-term relationship, or rather perhaps an attempt to eulogize a long-term relationship while realizing the difficulties of letting go of the small things. As Ceschi asks about the state of his ex's dishes, the album's theme of sorrow is perhaps the strongest yet. 

Dimxsk: A good breakup song where Ceschi strums his guitar and wonders what his exes life is like without his presence. Something we've all wondered when relationships end with the finality of a serious fight or the kind of harsh words we can't take back. I have one person in mind specifically. A solid folk song, not really amazing but good.

17. Seeds Of Revolution

Trylemma: A quick jazzy static piece whose swift lyrics ponder the speed of change. Solid interlude. 

Dimxsk: A short spoken word piece where Ceschi reflects on the role art plays in real social change. Trippy percussive background and turntable work make this an interesting interlude.

18. My Bad (Feat. Gregory Pepper & Kenny Dennis)

Trylemma: Possibly my favorite track of the album. To begin, the song samples Gregory Pepper's "My Bad" which fits the melancholy, yet left-field, tone of the project perfectly. Lyrically, I love the idea that when someone passes, we not only lose the person we knew, but the person we didn't fully know (yet could have.) I also love the idea that this realization can be used as fuel to more fully embrace our own lives. Having Serengeti close the song pushing for such embracing is so well done. 

Dimxsk: Okay, UGF loves Gregory Pepper, and any time two great artists like Ceschi and Peps work together we can expect something good. And Ceschi does offer a great poem, unfortunately it's over a remake of the Gregory Pepper title track off the EP of the same name. It's still a good song, but when I saw the features I was really looking forward to something new and exciting. It's still good, just not as good as I really believe it could have been. And Serengeti as Kenny Dennis? So much potential. Maybe I miss the real point of the song, but it's probably the one I'm least impressed with. Feels a bit unnecessary. Honestly, blame my expectations...

19. Greatest Poem Of 2019 (Eulogy by Mikal kHill)

Trylemma: In the album's notes, Ceschi acknowledges that this poem is not good at all - and I sort of have to agree. The observational freestyles mixed with creed over the cluttered instrumental don't come across well imo. Mikal kHill's eulogy to his testicle lost to cancer could have been given a better home I think on this album. 

Dimxsk: Basically an interlude. Distorted vocals with some drums and keys and not much going on lyrically. Mikal kHill eulogizes his missing testicle. Weird one, don't entirely see the point.

20. Better Man / Material Girl (Eulogy by Kaleigh O'Keefe)

Trylemma: From this song, I gathered two competing, though often co-existing, viewpoints as to how we deal with our inadequacies. In O'Keefe's eulogy to her father, she recognizes her father's faults, which may be present in her own life, and vows to do better herself. Ceschi then, with his short cover of "Material Girl," shows the viewpoint of realizing one's faults but embracing them insofar as they are merely a product of some external force. Very engaging idea imo. 

Dimxsk: This song is Kaleigh O'Keefe speaking about her father, followed by a short cover of Material Girl by Madonna. The eulogy is moving, Kaleigh speaks about her feelings before and after the death of her father, and how she had to become the "better man" in their relationship. Sad, thoughtful and well written. The cover is sort of amusing, not sure what the connection is between the beginning and end of the song. Not a bad track, but not a standout.

21. Capsize

Trylemma: Recalling to the first track I'll say, wow, what an outro. With it's eerie melodic keys and flutes, the song traces the depiction of total destruction and the acceptance of that despair. In the notes, Ceschi says that he wrote this song while experiencing such feelings, yet out of such events, arose Fake Four. This fact does make the song, and album as a whole, more interesting insofar as it was written with true feelings in mind yet, as subsequent history has shown, something great quickly followed. For an album full of truth regarding sorrow and pain, perhaps it is vital not to be ignorant towards the possibility of beauty that could show itself in the process. 

Dimxsk: This is what feels like the first complete song in a while on Sans Soleil. Vibes and woodwinds gently draw the listener in before Ceschi's falsetto comes in, slowly building into a pretty and complex chorus. A soothing song with an undercurrent of menace, probably coming from the vocal references to descending into the darkness. Reminds me most of what we heard on One Man Band, which I may have said before is probably my all time favorite record from Ceschi. This may be from that era, as he seemed to be on a nautical trip around that time with The Fall of Captain E.O. and Swallowed Salt all referencing death by or in water. A good closing piece that reminds us what's so unique about Ceschi. He can sing in a way that is so unlike what we usually hear in rap, but it fits his style so well and gives him an appeal that spans across all genres of contemporary music.

Final Thoughts:

Trylemma: Before "Sans Soleil" was released, Ceschi appeared to do some pre-emptive damage control by warning people that this album wasn't as cohesive as SFL and operated more as a collage. I respectfully disagree. If anything, I think "Sans Soleil" delivers a clearer, more cohesive statement when compared to SFL. There are certainly more pieces and voices to "Sans Soleil," so I understand the collage comparison, but this only adds to its fullness in my opinion. Furthermore, these days piecemeal albums are common both in the underground and mainstream, so "Sans Soleil" doesn't feel strange structurally at all. Now I personally enjoy SFL more but this is based solely on how much I enjoyed the songs on that album and has nothing to do with how cohesive either album is. As we prepare for the final installment in the series, expectations are certainly high! See you in November! 

Dimxsk: Overall, this is not an instant favorite of mine. I have to say at times, especially during the second half it becomes somewhat of a challenging listen. This is not a bad thing, it just means that these songs are the kind that grow on you with time and attention and you have to have enough of the former and the patience to offer enough of the latter to discover you enjoy it. I may find myself in love with Sans Soleil in the years to come. It's subtle, quirky, fun in places and tragic in others, with so much personality it's hard to find the right words to use to describe it. As a fan of Ceschi I have to say I did enjoy it, it has everything I love about the musicians work. If you're not a huge Ceschi fan but are looking for a smart yet hard-hitting album of folk rap, look at Sad, Fat Luck, Broken Bone Ballads or The One Man Band Broke Up. Those are solid albums for anyone who likes music to enjoy. This is for the real Ceschi heads, and in a way I feel this album is even more special for that reason. It wasn't designed to be good or bad, it's not designed to sell and go platinum or to attract the art rap snobs with it's pretense. It's just Ceschi making the music he feels like for the love of it. That will always be a great thing to behold. My biggest actual complaint is in places it lacks totally original material. It feels like a mixtape, with lots of covers, interludes and reprises of older tracks. In fact that's basically what it is, it's a reflection of the entire life of Julio Ramos's Ceschi persona, so it's appropriate that it reflects back. If this were the only official release to come from Ceschi in years, I might be somewhat disappointed. However, taken as the second album in a promised trilogy, it feels appropriate as a little brother to Sad, Fat Luck and an introduction to the forthcoming (and final) Bring Me the Head of Francisco False. I'm a bit sad that we now have only one more Ceschi album to look forward to. I hope he just does what he feels like again, because no matter the result Ceschi is a real musician with an unimpeachable integrity and no matter who likes what he puts out, it belongs in the world for that reason. 

You can purchase "Sans Soleil" digitally HERE or physically on vinyl, cd, and cassette HERE.

New Music: Ceschi & Factor Chandelier - Sad, Fat Luck

Ceschi and Factor are two of my and Dimxsk's favorite artists, and they play a small part in how we originally met as well. As such, we're teaming up today to give you a track by track review of the new album, "Sad, Fat Luck," the official follow up album to 2015's "Broken Bone Ballads." The album is still fresh in both of our minds, so we're just giving our basic thoughts on each of the 13 tracks for now. A fuller, more in depth review may follow at some point. Enjoy! 

1. "LOST TOUCH": 

Trylemma: A live version of this one dropped back in 2017 when Ceschi and Factor were just planning on doing a short EP instead of 3 full length albums, though I had forgotten about it until now. Such an epic opening. Based on recent interviews, Ceschi seems more focused than ever on confronting and rectifying capitalist trains of thought (this being supported by the three albums he has dropping this year and his planned move to LA,) and this opener really captures such sentiments perfectly. It sort of reminds me of a better, more refined, version of Sole's "Capitalism Is Tearing Us Apart." The hook really conveys the false sense of hope and security that Ceschi appears to want to target throughout this body of work. Also, the way Factor places and builds up the synths here is crazy - easily the best producer of all time in my opinion. 

Dimxsk: I had heard the live session recording of this track a year or two ago, and didn't really "get" it. Something about it seemed missing to me, and Ceschi usually shines live. But from the moment I hit play this track had me engrossed, Ceschi's frustration with the modern world comes through brilliantly, with a desperate sounding chorus fit for the climax of your favorite scene from your favorite show.

2. "JOBS":

Trylemma: I love the pitch play and schemes on here, Ceschi really pulls it off well. I think it's a really good follow up to "Lost Touch" insofar as that song frames the capitalist issue on a pretty grand scale and interprets the fight against capitalism as a larger moral fight. "Jobs," then, addresses similar concerns but brings them a bit closer to Ceschi's everyday life and profession. Ceschi is anti-capitalist not only because of a larger moral good but also because his art-making requires him to be. I believe the line about making his mom's salary in two weeks refers to the great success that this album's pre-orders had (such that it equaled, in terms of monetary results, his mother's yearly salary as a lecturer at Yale.) The shorter length of the track works really well too.

Dimxsk: I would almost decline to discuss this track, because for me this is the closest thing to a song I don't like on this album and I don't want to spoil a sublime piece of work for anyone by saying Sad Fat Luck has a weak spot when it really doesn't. I have never been a fan of trap style rap, and Jobs is undeniably that. Complete with autotune (why use autotune when you have an amazing voice, this isn't Kanye) syrupy MIDI drums and spacey synths, this sounds nothing like what I expect and love from Ceschi. The style does (as Trylemma pointed out) fit the content of the track (hustling) in a way that is a bit tongue in cheek, and it doesn't prevent Ceschi's talent from shining through, but I have to say I will never like music like this.

3. "SAD, FAT LUCK": 

Trylemma: I think Ceschi's odes to weariness (and possible depression?) hit so hard because a lot of us view the man as the great Fake Four head who is constantly rounding up our favorite artists and helping them bring us classic music. Maybe we also view him as the guy who got locked up, came out, and continued to fight. Maybe we just view him as the dude who puts on crazy shows every year - sun, rain, snow. So hearing Ceschi wrestle with wanting to give up is something special. This title track, I believe, hits even harder, however, than some of Ceschi's other tracks where he shows such sentiments because this track is really just focused on that raw tired feeling (as opposed to some greater lesson on how to overcome it once and for all.) The harmonizing with Taylor Jade is pulled off so well. I could have done without some of the chopping near the end, but even so, this is definitely in the running for my favorite track off the album.

Dimxsk: Okay, back to the good stuff (for me). A beautiful, personal chorus (no autotune), cinematic beat and an insanely fast verse where Ceschi spits very frankly about his experiences as a musician. Still a bit trappy but a great song. 

4. "THE GOSPEL":

Dimxsk: You've probably had the opportunity to hear this song even without owning the full album yet. It's incredible, one of the moments on Sad Fat Luck that almost brought me to tears. The content hits close to home, and you can FEEL the same is true for Ceschi. One of my favorite songs by him at this point.

Trylemma: We originally heard this one on Factor's top notch "Wisdom Teeth" album last year. We now get a slightly remixed version of it here, and its inclusion on the album makes a lot of sense. Right after a song about getting worn down by a long career, we get a track about addiction, or rather devotion, to opioids - wowee. I really enjoy the juxtaposition between the poppy sound of the track and Ceschi's darker, very (I won't use this term again) poetic, lyrics. The fact that the song deals with the drugs as pure power, as opposed to either mere comfort or mere decay, is very smart. 

5. "DAYBREAK": 

Dimxsk: At this point in the album I'm thinking, bring the folk. And Ceschi does. To say that Ceschi has improved as a guitarist throughout his career is an understatement, he's gone from average to very very good. He's a brilliant and unconventional songwriter, and has managed to build folk songs that never really do what you expect. A beautiful track, and it wouldn't be a Ceschi album without something like this.

Trylemma: And we get our first acoustic based ballad! I can't say for certain, but I'm assuming this chronicles Ceschi's most recent ending of a longterm relationship - brought about by, again partially assuming, Ceschi's demanding work life as an artist (hence the "floating in limbo" line.) The melodies on here are great and Factor's backing keys add an almost celestial feel to the song. Situating the track within the greater album, we really get an even closer sense of the cost of dedication that Ceschi deals with. Can't wait to sing along with this one live. 

6. "TAKE IT ALL BACK (PARTS 1-4)": 

Trylemma: We got this one back in 2016 I think and it finally finds a home here now. I'm not entirely sure what to make of the four distinctive sections that make up this track, but, from what I can gather, it seems like the song traces (though likely not chronologically) the various ways in which Ceschi has dealt with societal issues. Specifically: Head on and almost abrasively (Part I); In the company of like-minded youth positioned in a dying society (Part II); Barely, in a coping fashion (Part III); Head on again, only this time with a sort of aged wisdom (Part IV.) The "Thinking that a meme is a revolutionary strategy" line is something that I've heard Ceschi talk about on various occasions when it comes to how some of the political Left deals with issues in the internet age. I enjoy the clearer divisions between the Hip Hop and Punk sounds here - major props to Factor for giving such unique backing to each of these parts. The production works well in all four segments.

Dimxsk: Released previously as a single, most of you probably know this one. It goes all over the place, with each part flowing seamlessly into the next. Awesome, and a perfect introduction to what Ceschi does for anyone unconvinced that folk and rap can coexist peacefully on the same song.

7. "SAY NO MORE": 

Trylemma: We first got this one, in recorded raw acoustic form, on Ceschi's great "Elm St. Sessions" that dropped last year. It was easily one of the best tracks on that project and it is definitely in the running for my favorite track on this album as well. The song is written about two friends facing marijuana cases and you can really feel both the sincerity and the desperation in Ceschi's verses and hooks, especially considering what he himself went through. The notion of an atheist calling out to God, knowing that he/she/they/it doesn't exist is such a powerful, dare I say religious, tool and comes across as so here. The 'religion/AA/AK aimed at your head' line is killer. I do think I slightly prefer the acoustic version as Ceschi sells the hook a bit more there. This one is almost as great, however, thanks in big part to the added backing vocals. 

Dimxsk: Being my favorite song on Elm St, I was excited to hear what Factor could bring to this track. It is a very good version, although in my opinion the first verse fits a bit better the live acoustic sound of Elm St. There is a pretty strong dose of that trap sound thrown in as well (betrayalll [ay al ay al ay al]) which I have said previously I can't really dig. It's also autotuned again. But after the chorus which is seriously amazing, he gets going on the beat and brings the song to life in a big way.

8. "ELECTROCARDIOGRAPHS": 

Dimxsk: A sort of stream of consciousness rap song, taking references to drugs, sex and toxic masculinity and blending them together into something like a 4th step moral inventory. Very dope rapping too, builds to a pretty epic finish.

Trylemma: I feel like I may have heard this one performed live in 2016? Maybe not, it sure sounded familiar though when they dropped the video. Anyhow, and minor spoilers ahead, this entire album is greatness in my opinion save one track - this one. I feel like the song is a combination of various ideas from Ceschi's "rhyme book" that are tied together at the end rather sloppily (and in a cliche fashion.) We certainly get some fun lines and heartfelt content, but in an album with such strong focused songs, this one stands out as below par. Also, and this is just from the standpoint of a rap nerd, the "enough," "Rican," and "foreign" rhymes are delivered super forced and really distract from the important content being conveyed. The instrumental at the beginning is also sort of disjointed and took me out of the song. Luckily, the beat gets much better in the latter portion once Factor establishes a constant melody. I also think that the positioning of the song is sort of strange. If this had been put at the end (with a cleaner instrumental) I think it would have worked slightly better. As a middle track sandwiched in between two of the best tracks on the album, however, it sticks out as the clear, and only, weak link. 

9. "MIDDLE EARTH (Feat. Sammus)":

Trylemma: So there's a handful of candidates for my favorite track off of this thing, but this is currently the strong frontrunner. The song is a great companion to the previous title track insofar as we get Ceschi acknowledging the struggles hinted at in the title track (and throughout the whole album) but also identifying a desire to continue and embrace the life he's chosen. I love the play on the common "H.E.R." theme with the "I know she don't love me like that - not the game or the lady" line in the chorus. Sammus gives an incredible performance here as well, giving her fresh version of "struggling artist" in a wonderful fashion. The upbeat strings and bass orchestrated by Factor are amazing and fall perfectly in sync with the vocals. If there is another video in the cards for this album, I hope this song gets it. 

Dimxsk: One of the brighter sounding tracks (with the obligatory references to death and depression), Ceschi and Sammus talk a bit about childhood dreams and letdowns over a foot stomping, Celtic influenced folk rap beat. Classic Ceschi.

10. "SANS SOLEIL": 

Dimxsk: The more I hear this the more I'm convinced it's the best song Ceschi has ever written. More of that cinematic production from Factor with a beautiful set of chords that lay the groundwork for a track that is simply heartbreaking. Ceschi speaks about anxiety, about the loss of Sixo, Bender and a friend named Niles who committed suicide, and most importantly about sticking it out. There are traits to this song that hit me like Half Mast did, which was previously my favorite Ceschi song. Came the closest to crying from this particular track. I can't stress enough how good it is.

Trylemma: This is certainly one of the most somber songs we'll hear this year and is the emotional high point of the album. Ceschi has to be one of the most "connected" people in indie rap. If you make a list of your favorite indie rap acts - chances are, Ceschi has made a song with, played a show with, or at least knows a good amount of them. And that's just his peers, not to speak of the countless other people he's met along the way. As such, it's not surprising that Cesch has seen loss. This doesn't lessen the blow at all, however, when he raps and sings about it here in depth. The lines about Sixo and Bender cut hard. The glimmer of hope and continuance that Ceschi adds in is the high point of this great cut (another potential favorite off the album.) [RIP Tech 9 and Nipsey.] 

11. "ANY WAR (Feat. Astronautalis)": 

Trylemma: As the vocal sample at the beginning of the track suggests, "this is the hardest one!" This is the closest thing the album has to a banger - and it's a good one! Factor's drum and brass work here crafts a solid instrumental for Ceschi to spit his "rise up and rebel" raps over. Astronautalis also shows up to the party and delivers a good, though not extraordinary, verse, taking a sort of dystopian approach towards the track's theme. I'll mention here that I do like that there's only two rap features on this project and they're both from artists that Ceschi and Factor have toured nationally with recently, one having been a headliner (Astronautalis) and one having been support (Sammus.) 

Dimxsk: This track strikes me as similar to Broken Bone Ballads. Fairly optimistic for Ceschi, with some awesome rapping and a steady, dope beat. Astronautalis comes through with a decent verse, but I have to say on an album of brilliant songs, this one is just good. There's no reason not to like it, but it doesn't cut as deeply as some of these others. I'll forgive Ceschi for stopping the bloodletting and simply rapping his ass off for us.

12. "DOWNTOWN (Majical Cloudz Cover)": 

Dimxsk: Trylemma has a story for you guys about this song. It was meant to grab my attention. Ceschi kills it, a pretty song and a cover that doesn't just play the same notes. He does his own thing with it, and while the sound doesn't totally fit the record, I'm still glad it's there.

Trylemma: Quick story. A day or two before Dimxsk and I heard this album, I recommended that he watch "The OA," a Netflix show that originally aired in 2016. Once we heard the album, he texted me and told me that this song sounded like something he had heard in "The OA" the night before (I couldn't remember what song he was talking about as I hadn't seen season one of the show since 2016.) He looked it up and sure enough, during a pivotal scene of the show, the Majical Cloudz song is playing triumphantly. This coincidence was very strange, especially considering that neither of us had heard the original song (or heard of Majical Cloudz) before - and just based on YT views, it looks like Majical Cloudz is/was a pretty successful group but not extremely famous by any measure (it seems like they might be best known for having the song in "The OA.") Anyways, while, after listening to both versions, I like the original slightly more, Ceschi certainly does this song justice and the track fits in really well with the album. I'm not sure Ceschi's exact intent, but I think the song works well both as a tribute to a lost loved one and as a tribute to music itself and the dedication Cesch has towards it.

13. "BONA DRAG TAPE": 

Dimxsk: Ceschi takes the three Bona Drag songs from Elm St and blends them together to create a perfect final track to the album. As a chronic maker of mixtapes I appreciate the art of the final track. It must leave the listener with a specific mood. And this song is like a sunrise at the end of a stormy night. Perfect. "Pretty sure this music will not heal your broken bones," but it may help you to see a light at the end of the tunnel, and rock out while doing it.

Trylemma: This was originally given to us via 3 separate, very rough, tracks on "Elm St. Sessions." I thought they were cool, but also thought that they were sort of a low point on that project. Here, however, those 3 tracks have been combined and given full production and some singing - leaving us with a pretty great closing track. Factor's breezy production gives Ceschi's rhymes a cohesive reflective vibe, giving us what I think "Electrocardiographs" ultimately couldn't. The "pretty sure this music will not heal your broken bones" line makes it pretty clear that "Sad, Fat Luck" isn't a "I'm better now!" project from Ceschi, but rather an album really based around constant coping and struggling. It's in that coping and struggling, however, where Ceschi flourishes the most. 

FINAL THOUGHTS:

Dimxsk: This album had such a visceral and positive effect on my mood when I first heard it, and even as a fan of rap I have to say I can't often get that feeling from it as a musical style. Even with this being a markedly darker offering than Broken Bone Ballads, it still offers moments of hope that show us Ceschi will fight on. This is not dark for the sake of dark, it is real, it is a man ritualistically purging his struggles and anyone who has ever struggled will find something to hold onto when they hear it. Cechi's songwriting has improved so dramatically over his career, where once my only complaint about his music was a slight simplicity to his vocabulary and word choice (which he more than made up for with raw honesty and singular talent), now he writes with confidence and sophistication. 

Trylemma: This is easily the best album I have heard this year so far. Ceschi and Factor's chemistry is perfect at this point. While I need to let the album sink in a bit longer, I'm pretty sure I like this more than "Broken Bone Ballads" (which was my favorite album of 2015.) I am so excited for Ceschi moving forward, should be a great year. 

"Sad, Fat Luck" officially drops this Thursday (4/4.) You can order the vinyl, cassette, cd, stickers, mug, tattoos (yes, tattoos) HERE. Also, if you want the album digitally, you can enter the code "phat" and pre-order/order the album for literally only 50 cents HERE. Ceschi and Factor are also taking a 7 piece band on a national tour to promote the album, with lots of cool acts as "local" support (e.g. P.o.S, Nostrum Grocers, Dark Time Sunshine, Astronautalis, Myka 9, Mestizo, Awol One, Sole, Armand Hammer...) so make sure you go see them live! And the good news doesn't end there. Ceschi and Factor are putting out another album, called "Sans Soleil," on July 4th of this year and then another album, called "Bring Us the Head of Francisco False," on December 4th of this year. So be on the look out for those as well!