Breaking Ground: Enve - Autobiography (2011)

 

 

Wow, can't believe it's my turn to do this again. Time sure is flying lately what with the stress and the stress and also the stress, who knows by the time you read this the politicians might have managed to manufacture a global financial meltdown. But that's when we need music the most, am I right?

Trylemma actually gave me this one before, which was fortunate because it gave me the opportunity to listen to it two times separated by a few years and I think I've got some intelligent type thingys to say about Enve's music. The album, Autobiography is really a fascinating piece of work for several reasons which I will go into in a bit. It is also really pretty damn good. I enjoyed it a ton both times around, and both times around was motivated to seek out more from this guy and his crew "Groove Movement" as in "got the new blueprint" to paraphrase. And both times around I recovered nothing. Looks like he retired following Autobiography (with the exception of some stuff he sent to T later on that apparently wasn't the same and never dropped) and this is it.

The dude in question is claiming on Bandcamp to be from Minneapolis, but also mentions a home in Eugene on "The First Chapter" (excellent track) and has features from NW dudes. I will say right off the bat if you liked Atmosphere (or still do, maybe because your doctor needs to lower your trazodone) and related you will like this. Enve clearly draws influence from that pseudo-emo, sad sexual scene that gave us Slug, Sage, Sadistik and stuff. He's got a number of songs on here about relationships, mental health struggles, music, etc. Nothing especially groundbreaking. So let's do some specifics.

For one thing, it is SO easy to dismiss this guy and his music based on several superficial things that are immediately evident. First we've got this name, Enve. So another dude with a misspelled name that's a random word and probably has no real connection to his music. It's like putting a "The" in front of some plural noun (The Protractors, The Spoons, The Noodles) as a band in the aughts. Fucking stop it. Alternate spelling was edgy and made a statement when most of us were in diapers, and now its just more of the same. Then we've got this album title. Wow. How DID he come up with that?! It's the most original title since Latyrx gave us The Album. Also the artwork I would be willing to bet was scrounged up somewhere and appropriated for the album. I could be wrong, but it looks pretty damn generic to me.

The good news is though that if you overlook that stuff you find a serious diamond in the rough. Enve has a fantastic voice that he makes great use of, giving us both solid head nodding bangers and emotional, melody driven songs that are catchy, fun, powerful and just damn dope. Imagine if Demune could sing, slowed it down a bit and did a bunch of songs in the vein of Atmosphere and you might have some idea of what he's about purely from a sonic level.

Another thing that makes this a winner is the production. Man these beats are the type of fire I was always aiming for during my short lived career as a rap artist. We've got a lot of acoustic guitar and strings coupled with atypical percussion made use of in clever ways (pretty sure that's glass breaking on "The First Chapter" where more logically a cymbal crash might have gone, and that muted snare that drives "Without a Map" is serious ear crack. Whoever did these beats (and we get one or two names, some relative unknown calling himself Sapient?) was a true music fan and it shows in sample choice and the way they are compiled and reshuffled.

Finally, it is truly notable how dynamic and all encompassing this album is. In thirteen tracks we've got posse cuts, love songs, travel songs, depression songs, music songs, all featuring different lyrical stylings, different BPMs, wildly different song structures, different genres (not quite folk rap but definitely flirting with it in places). Autobiography is a truly ambitious, lovingly crafted, genuinely felt and meticulously crafted (if unfortunately named lol) album that pays homage to indie rap and all it can do while still managing to make truly listenable songs with replay value even a decade later.

Thanks for this one Trylemma, and Enve sorry for clowning on the name and album title, this shit is solid as all hell.

Download Insert better name here right here for free, and see you next time!

 

Breaking Ground: Quote - Self Effacer (2013)

 

There's no shortage of artists out there, both past and present, whose music combines the sounds of Hip Hop and more folksy guitar driven sounds. There seems to be some strong connection that ties the roots of Hip Hop and Folk together. Perhaps it's the histories of personal story-telling that both genres share, or the importance traditionally placed by both genres on lyricism (above other aspects of the music.) Whatever it is, a lot of it works for me and I think the same goes for Dimxsk - Ceschi, for example, is a key name for the both of us. This week, Dimxsk passed me an album that fits into this tradition: Quote's "Self Effacer" from 2013. 

Quote is a rapper, producer, and singer from Victoria, Canada, though I am told he now resides in South Korea. Quote wrote and produced the entirety of "Self Effacer," an album which appears to be his debut. The project is a solemn dark recording of Quote's struggles with alcoholism and how such struggles played out in his personal life and relationships. 

The album, which consists of ten tracks, is formatted in an interesting way. Half of the tracks are fairly standard Hip Hop cuts with rapping and half of the tracks are more bluegrassy folk songs with singing. The album begins with a rap track, then follows up with a Folk tune, then another rap track and so forth. The project as a whole leans much more towards the folky side, however, as the majority of the rap tracks are very acoustic guitar driven. Without yet getting into the details, this basic format threw me off a bit. I think the root cause of this is my feeling that Quote doesn't really tie the two sounds together very well. On the rap tracks, he is very much in rap mode and on the singing tracks, he's very much in that mode. By simply having odd number tracks be Hip Hop songs and even number tracks be Folk songs - it brings light to this divide (as if this was the only way Quote knew how to mesh the sounds) but nothing sonically really combines well or blends smoothly. On the one track where these sounds do meet face to face, on the nearly seven minute "Autumn," Quote essentially just performs a long Folk ballad and then seemingly tacks on a sped up rap verse for the last minute. In terms of just general style, things feel a bit disjointed. 

The individual rap and Folk sounds themselves are not bad, however. Though, I can't say I am extremely impressed by either. In terms of rapping, Quote has a pretty straight-forward flow and chosen cadence that he reuses throughout the rap tracks. Vocally, he sounds a lot like Buck 65 with a dash of Jonny 5 of the Flobots. Quote unfortunately, however, lacks the more complex and engaging rap styles of the former artists. It definitely seems like a lot of his raps may have begun as ideas for non-rap songs but were tinkered and put to a basic rap flow. The rap beats leave a bit to be desired too. Often, it seems like there was a rough guitar driven track and then a drum machine was thrown behind it with some electronic clicks and clacks here and there. 

On the Folk and singing side of things, I like Quote a bit more. He has a pretty good voice and while the melodies don't always hit, when they do, they hit hard. While I'm not very familiar with the genre, I do enjoy the sound of Quote's bluegrass takes. I do think there was some room for some more experimentation sonically, however, on these tracks (most of the "eclectic" sounds come on the Hip Hop tracks.) There's a really nice electronic break after the hook on "Man Down The Road," that might be the best sounding thing on the track. But it isn't given much life. 

The standout Hip Hop track and the standout Folk track are actually back to back near the end of the album. On "Calculated Sacrifice," Quote deviates slightly from his standard rap delivery and goes a bit off-kilter with his cadences which is nice. This is accompanied by some airy synths and jittery drums that give some unique flavor to the song. Then, on "The Killer," Quote sings us a haunting death country tune with a beautiful ethereal hook comprised of just "Whoas." I would have loved to hear more things that followed the formulas of these two respective songs.

While the sounds and formatting of the album may not entirely work for me, I am very impressed by Quote's brute lyricism. The album's opener, "On The Breakwater," sets the stage of Quote's reflection on his life of alcoholism and the day to day, sometimes second to second, tribulations that it has brought him ("It's the silent screaming halogens burning in traffic lights/It's the alcohol fevers and purges that warm the night.") 

What's particularly engaging about Quote's story here is that, from what I can tell, it isn't necessarily one of redemption, optimism, or even necessarily hope. On "Burdensome" and "Man Down The Road," Quote expresses some hope that things will be better in the future once some recovery milestone(s) is reached, but he also acknowledges that such milestones are unrealistic and/or that such milestones won't actually bring him what he is looking for ("I'll make a record once I graduate that's a long shot/I'll be happy once I'm done, that's a nice thought" on "Burdensome.") Instead of such hopefulness, we're given a very bleak and intimate look into Quote's reality - one of anxiety ("On The Breakwater,") painful monotony ("Break Don't Bend,") isolation ("At A Distance,") and lost passions ("Burdensome.") Powerful moments are found on "Call Me Out," where Quote expresses that he's content with even the pity from those he was once close to, and "The Killer," a great story-telling track where Quote is put on trial as both the victim and perpetrator of a crime. 

Despite the darkness here, there is some true basic beauty to be found in Quote's lyrics, perhaps just in the mere honesty of reflection that he shares. There is some acceptance in his words, but it's not necessarily the acceptance you might treat as a "first step" towards some recovery (though it may very well be that as well,) but rather the acceptance that helps briefly mute the chaos of the world - which may be sufficient for Quote. 

As noted, I believe "Self Effacer" is Quote's debut project (or at the very least an early release from him.) Bandcamp shows that he has made at least two other projects since this release. While "Self Effacer" doesn't quite work for me overall, I am interested to hear where Quote takes his sounds (hopefully finding a better way to combine them and build on them) and his overall story. Peep the album, and download it for free, below!

Self Effacer

The Yesmen - No (2013)

 

Gotta do a quick one this week, I got myself some kittens recently and they want attention and they're funnier and more adorable than my computer so I'm gonna give it to them.

But for now, here's an offering from Royal-T and Nevamind. They did another album for Hand'Solo Records a while back, which wasn't bad (this also includes a better background on the group than I would ever write). This one is, however, in my opinion better with more variety in sound and better production.

Royal-T was a fantastic rapper and I have it on good authority he was a good dude too. For those of you who weren't aware he passed away in 2016 leaving behind a crew full of folks who loved him and the rare but devoted fans who did as well. This album was released before that when he was at the peak of his creativity and clearly enjoying making music with the homies.

I hadn't posted this up until now because it was available on the Deepcave blog, but it looks like it got taken down and replaced with a bit of a devotional page to T and his talents and interests. Worth a look so here.

Enjoy No!

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Barfly of Oldominion - I've Been Worse (2007) [+ Notes Section]

 

Today's post is a filler from a request I got on Discogs from Vims: Barfly's "I've Been Worse" album from 2007. (We'll also now occasionally be having a little "Notes Section" at the end of posts whenever seen fit to drop miscellaneous things.)

Barfly is one of the most productive members from the Oldominion crew. He's a core member in groups Candy's.22, Saturday Knights, Big Kids Run, and Leather Tuscadero. He's released projects with Onry Ozzborn, Graves33, and Mr. Hill. He produces under the moniker Floods, and he's even dropped a full length novel (in addition to various zines and poems.) Even so, 2007's "I've Been Worse" is really his only official solo album yet. A quick look around the net revealed that it no longer seems to be available to buy anywhere online, so I figured it could be documented here. 

I've always loved Barfly's sound. His punk rock background, side of the mouth sarcastic delivery, and penchant for great complementary production makes him one of the most unique artists out of the PacNW - and this album really puts that on display. Features include Onry Ozzborn, Snafu, and NyQwil. 

And for those who want to keep up to date, Barfly has dropped a new EP this year entitled "A Light In The Dark" which is currently for sale exclusively on Concuss Creations HERE.

I've Been Worse

Notes:  

Today is once again Bandcamp Friday (it looks like Epic hasn't ruined things yet?) so be sure to support the artists that have them. I'm personally looking forward to today's new releases from Awol One/Id Obelus/Rove ("Fresh Air EP,") Jade River/Beond of Acid Reign ("Conquest Part 3,") Billy Woods/Kenny Segal ("Maps,") Five Fingers of Funk ("Portland Say It Again,") and Buck 65 ("Super Dope,") You can also head over to Fake Four's Bandcamp and pre-order Factor Chandelier's new album "Moving Like A Planet." 

RIP to HelloLA records - they put out some of the best looking cassettes and overall artwork over the years. Bertrand is now working with Adeem in a new label called "Echo Finch." They recently dropped a new album from Rain entitled "The And // Chapter 2," with features from Open Mike Eagle, Onry Ozzborn, John Robinson, Moe Pope, Latrell James and more HERE. 

If you were a high tier member in the Fake Fouragers program last year, be sure to check that you got the new vinyl fossil from Ceschi - an exclusive 12" record filled with new music exclusively for subscribers. Word is, his final Ceschi project, "Bring Me The Head of Francisco False" will also be released exclusively on vinyl for those who pre-ordered the Ceschi/Factor trilogy. 

Anyone else miss the blogs of yesteryear? Shout out to Beetbak, This Is For The Hustlers, Record Science, Ludz, Thirdman, and obviously the great GhettoTyylit! Hoping for a new Til Infinity post soon! 

Breaking Ground: Sorority Noise - You're Not as (blank) as You Think (2017) / An Unexpected Discussion of Problematic Behaviors in Music

 

 

 Well I think there's no shame in admitting that I just don't have a Trylemma album dissection in me at the moment, if I ever did. Sometimes folks appreciate what I write and express that and I appreciate that myself, but for the most part I just don't have that background knowledge to draw on, and that's just to start with. All that's to say two things: this will not be up to the caliber of the excellent Gold Midas Breaking Ground we got last week (super thrilled Trylemma enjoyed it and I hope you guys will as well, to me it's got what I love about Kid Cudi and Serengeti wrapped up in one amazing package, over some of the more interesting sample based beatmaking I've heard in a minute), and also I really wish I'd done more things around this music than get high and listen to it and occasionally make it (don't ask lol).

However! Getting high and making it gave me some insights into instrumentation and songwriting, if fairly humble ones. So this week's Breaking Ground, a Ceschi-esque (not rap at all, but neither is Gregory Pepper and we cover him) indie shoegaze thing called Sorority Noise is a good one for me to dive into seeing as it is chock full of good examples of both.

That's how I planned to start this post. Then I googled these folks and looks like there was an allegation made against the frontman, Cameron Boucher. Neither I nor Trylemma knew about it. So I'm torn between writing the post I'd planned and scrapping it and starting over. I'm thinking there's some room here to do two things, one is to examine the music as a band and not as the project of the single frontman and the other is to talk about what it means to be in the spotlight, and how we should react when artists we may admire do things we may not. This will be a very delicate process and I want to state first and foremost that I'm challenging myself and my intention is NOT to trigger anyone. So please feel free to shred anything I say in the comments or C-Box. Okay here I go.

First off, the music. I really DID enjoy this album. It strikes a very delicate balance between moments of softness and moments of intensity, dealing with extremely heavy subject matter in an intelligent and articulate fashion. The lyrics are, although VERY emo, also clever and well written (speaking sarcastically of the act of IV drug use as letting out the Holy Spirit in someone's veins) and deal mostly with the death of a friend and the survivors guilt and depression that ensues. This hit close to home for me as I've lost more than one friend to fentanyl and other drugs recently. It's clear the singer is using this music to exorcise some demons.

Anyway the music is really what I enjoyed. It has a shoegazy Otem Rellik sound, with fast paced percussion and palm muted clean guitars keeping even the most depressing of the songs fairly lively, not to mention when things unexpectedly ramp up and grimy distortion and frenetic percussion never fail to surprise and elevate the tone to something new.

I don't want to sell it to much so I will stop now. I want to go into more detail about what I found and how it has changed my attitude towards this music. It sounds like after being confronted online about an encounter the front man had that the woman involved had deemed rape, he reached out to the victim and was able, supposedly, to reach an understanding. At least that seems to be the tone of the statements being released. Who's to say what really happened, both around the assault itself and the alleged closure taking place?

My conclusion, hopefully unsurprisingly, is to not buy or listen to this album. It IS a shame when good music gets ruined by the behaviors of one party involved in it's creation (although I would rather lose faith in every single one of my musical heroes than experience an assault of course), but the fact is in this world music and the artists behind it cannot be separated like some people like to wish. When we listen to music that comes from a problematic personality, we diminish the perceived seriousness of what was done by them in the eyes of people around us. And the fact is there is so much good music out these days from artists who don't have these dark clouds around their personal lives.

It is my firm belief that, even if sometimes these allegations seem a bit unfair, people in the public eye in the types of careers that cultivate heroes like music, sports and film have a responsibility to behave in a way that is unimpeachable. We no longer live in the era of rockstars exploiting young women as perks of the job. We need to take things like this extremely seriously no matter how much we may enjoy these musicians. And I have had trouble with this in the past. I loved Astronautalis' music, and I enjoyed Isaiah Toothtaker also, although quite a bit less lol. But we can hold these people accountable for their crimes by withholding our dollars and 'listens'.

Now finally, can we ever forgive these people? I can't say and if I tried I'd be in the wrong because it's not my place to do so. That's for the victims to decide. I will say that I think it is probably more useful to see alleged abusers making public gestures of apology, contrition, and attempting to fix whatever is broken inside them than to cancel them forever. But I don't think they should ever be allowed to be held as heroes by anyone, and that, somewhat sadly, means they really shouldn't be making music anymore. It seems Cameron Boucher has done this as I'm reading he's doing social work and not making music or touring anymore.

This may seem obvious or painfully clear already. I don't know. I just know I saw an opportunity to discuss something complicated and do a post a bit more useful than my usual bad jokes and I took it.

What do you guys think??

Breaking Ground: Gold Midas - The Search Party Is Over (2020)

 

One of my favorite eras/movements in Hip Hop history is what might be best classified as the 2009 XXL Freshmen period. The Hip Hop publication had chosen 10 really interesting and engaging artists to grace its Freshmen cover, and while the artists themselves (of which included Wale, Asher Roth, now crazy man B.o.B, Curren$y, and now underground hero Blu) were diverse sonically, they all seemed to be united around a general sense of creativity, marijuana use, and a fun preppy nonchalance. Ultimately, none of them reached the heights that other global superstar XXL Freshmen did (like Future, Lil Yachty, or Kendrick Lamar,) but their general sound definitely lasted and was carried into even today by bigger names like Lupe Fiasco and ultimately Kanye West. As such, I was pleasantly surprised that today's Breaking Ground artist, Gold Midas, sounds like he could fit perfectly in with that sound. 

Midas is a rapper and producer from Broward County, Florida. I had never heard of him before Dimxsk sent me the rec. The album covered today is 2020's "The Search Party Is Over," on which Midas handles the raps and the production. The project is ultimately a spacey diary of Midas' general struggles, overcoming of said struggles, and reflection on where he is now - all over some super solid synthy production. Spoiler alert: This one is definitely a keeper.

My personal two favorites of the 2009 Freshmen are Kid Cudi and Charles Hamilton - and Midas definitely has heavy shades of both of them. This is perhaps nowhere clearer than on the album's opener, "Hey Sunshine." I love this as an opening track because, while Midas has vocals all over it, you really get the feel that the instrumental is the star. The heavy ethereal synths and trippy breaks give you a good sense of the tone of the album and the overall mood. Midas' constant humming and "whoaaing" sound like a Kid Cudi demo track! Lyrically, Midas bemoans his losing track of his "sunshine" and declares that he's found his last straw on the edge and that, "The sky is all I have left/Countin' down my last breath." It's perhaps fitting that the lowest point on the album comes first and is best conveyed instrumentally.

Not to be classified solely as a producer, however, the album follows things up with "RAMPAGE!" Over a heavy vocal sample loop, Midas gives perhaps his most "aggressive" (which still isn't very aggressive) rappity rap performance. He tackles racism and militarized police, and contemplates how debt and low paying jobs can be just as detrimental. This all leads to his paranoia and general depression setting in. "We ain't stoppin' til them kids out the cages/White man wanna se us burnin' in the flames/Til he realize he got a billion of us to erase!" 

From here, Midas sets out on a journey to find some sort of meaning amongst the political/social chaos and his own personal confusion. On "Full Circle," over some jazzy samples and melodic synths (and a great hook,) the man embraces the nightlife and smoking lifestyle, sensing that it can help him get closer to whatever he's searching for ("I ain't never comin' down no way/I'm too busy comin' up all day...Sun goes down, that's when I go up.") The Wiz Khalifa vibes (without the total corniness) works their way into things around this point of the project. On "Dancing Man," which features probably the most "traditional" and toned down Hip Hop beat on the project, Midas points out, "I was searching for faith/Every angel I met had a smirk on his face." Perhaps marijuana is ultimately a better spiritual filler for Midas than traditional religion?

Things then move into "Heaven Gotta Wait," where Midas spits a bit about finding his soulmate. Things quickly turn to that (or a) relationship not working out on "Sorry World," however, where Midas addresses having to deal with rejection - romantically and socially due to his criminal record acting as a hindrance in society. Even so, over the soulful sample, Midas begins to find worth in himself. Autotune pops in here and works wonderfully in my opinion as does the distorted Kanye-esque outro. The heavy "Gone For Days" mirrors this general sentiment of finally coming out on the other side of reflection and introspection.

As things get better for Midas, celebration begins to enter the picture on "Search Party." Over a funk-filled beat this time, Midas notes, "All I ever wanted was a piece/Now I'm en route for the whole thing...you can have anything you want here /All that I ask - have no fear." In addition to some added in "Ooohs" that again sound like Kid Cudi exited the mental hospital and the wording fit for one of Charles Hamilton's 2000 mixtapes, Midas toasts to a life of a struggling, but still successful, artist - and notes how this has helped him overcome his issues. On "Burden Club," he points out the role that smoking has helped in letting his demons go and pushing forward in life (this one has a real earworm of a melody too!) 

On the closing tracks, Midas tells about how far he's come emotionally and where he currently is at in his life. "Post Peak Rain" finds him discussing how his self-worth was partially found via others, "And to think that I was worthless all to myself/Until I find that I am helpful on someone else's time." "Second Chances," which features almost a chiptune based synth on production, has him pointing out the importance of patience in the whole process of growing. Finally, on the album's closer, "The Trip That Never Ends," Midas declares, "I think I'm okay now" and thanks those who have helped him succeed, while also noting that growing and reflection is a never ending process. 

Overall, I greatly enjoyed the listening of this one. The production is heavy and staticy, but also emotional, driven, and progressive (it builds up the story just as much as the lyrics.) Vocally, Midas is really gifted. The tracks here often fall into a three part phase - a really catchy sung hook, a more melodic chanting verse, and then a more straight forward rapping verse. Midas is great at all three, which is super impressive. In terms of the straight rapping, Midas has various cadences and flows and while the rhymes themselves aren't super intricate, the multis and word choice do more than enough to get the job done (e.g. "stars align"/"saw the light"/"hard to find"/"heart to fight" scheme on "Heaven Gotta Wait.") Midas is also really good at really painting the picture of what he's trying to convey - e.g. "Hell came down, well it was featherweight/Moodswinging just as fast as the weather change...find a diamond in the rough til it got swept away/I still feel it in my chest like it was yesterday." 

Things aren't perfect, of course. First off, if you don't like Cudi or Hamilton or Kanye (for reasons other than him being a Nazi lunatic) or that whole sound...you should probably pass. If you do like them, but hate anyone else who follows that style or sounds too similar...you should probably pass. Second, while Midas absolutely tells an effective story here - he never really gets too personal or too specific. That's not really an issue for me as this is the first I've heard from him - and it hooked me without me having to worry about getting drug down in particulars. With that said, as I go into his back catalog (and the things he's done after this,) I hope to hear more overall about who he is and what he can do. Third, a couple of the longer tracks end up running a bit too long production-wise (and in terms of vocal sample play.) I'm all for letting a vibey album just blend and live a little - but I think that feeling could have remained in addition to everything hitting harder had some of the tracks been trimmed. 

"The Search Party Is Over" is a great all around album, lyrically and musically. For those stuck in the underground, I'd suggest this if you like, say, a Cities Aviv mixed with a Fredo Algebra. Props to Gold Midas for making it and props to Dimxsk for the rec. You can download the entire thing for free via Gold Midas' Bandcamp linked below. Next week I'm switching things way up and having Dimxsk listen to a contemporary indie emo pop record. Now excuse me as I begin to delve deeper into this guy's discography! 

The Search Party Is Over

A small underground rap request note: Napkins asked in the chat about a 2002 project called "Spirals" from NW Undergrowth (a project/collective made up by Mo-B of the Sandpeople.) I added the entry on Discogs and the photo in the picture is mine. Myself and a fellow collector friend Renee (Bballchic on Discogs) are the only two people I know of who have copies. Unfortunately, neither of them play or are even readable to any degree. At first, we thought it might be a bootleg or some fan-made compilation - but such songs do not appear elsewhere. Renee asked Onry if he remembered recording it and he said no. I asked Toni and she said she thinks she does remember it. Someone who was featured on the "A Drink Of Air" album from Undergrowth reached out and said he remembered the album. Finally, Iame said he remembered the project from back in the day - so it is a legit album. As to why neither copy plays? No idea. Both copies were free of scratches. It might be simple rot from the CDR type or the disc's sticker cover rotted it (as seems to be the case with one of the JFK "Anchor Head Chronicles" cdrs I found and several other older cdrs with the sticker label.) Anyhow, if anyone has a working copy of this (physical or digital) let me know! 

PSeudo - Be Here Now (2002)

 

 

Wow, feels like it's been a while since I've sat down to do one of these. Crazy busy. Sessed lay vye.  Wait that's not how it's pronounced...?

So as usual when I'm just trying to push one of these out there (he he didn't mean that at all) I just post something from an artist I've covered more exhaustively earlier on and add a tag to that post. So here's something from PSeudo, one of my favorite JKC members who makes introspective conscious rap that has some flaws common to twenty year old indie but who cares it's good stuff.

Enjoy Be Here Now!

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By the way, Breaking Ground is not broken up, it's just a rumor.