In the past, The Girobabies music has been imaginatively described as, Scheme Punk, Baffling Ned Punk and Gutter Rock, these expressive stamps may have had their place in order to describe a momentary creative framework from project to project, however they do not define the overall transformative, redefining nature of this Glaswegian outfits music and members who have come and gone over the past ten years, leaving an indelible mark towards their current explorative creative energy and tone.
Founder, and lead protagonist, Mark McGhee has consistently directed his distinctive, sharp-witted personality into an incomparable delivery of crossover song/ rap and spoken word, fulled by social commentary, self-awareness and humour, which he channels so fervently through the Girobabies project and has always left himself wide-open to collaboration and experimentation in his song-writing and music making conduct. Over the years, Marks ability to shape-shift in such a progressive, imaginative way, alongside numerous musicians, producers, and poets from throughout Scotland has given much room for creative maneuvering and expansion, experiencing many highs, as of equal measure lows as a band project.
It has been over 3 years since Girobabies released their album ‘Who Took Utopia?’, so it was with much anticipation and excitement to hear of their recently announced new single ‘Dear Monday’ which is set to be released on Monday 4th March 2019 over on Bandcamp. Both, Giro drummer, Gordon Duncan, and vocalist, Mark McGhee have collaborated on this fresh sounding single track, alongside Perthshire based producer, Macapella, forging a bright and brilliant sounding track that is bass-driven and experimental in its nature.
Gordon D has brought forth an inventive psychedelic feel to the track, placing curiously captivating guitar textures and mindfully located synth within the track, as samples and dynamic backing vocals are situated around Marks gripping, rhymical lyrical flow. Instrumentally, the track sounds bright and fresh with soft edges, yet packs a punch vocally with its directness and force. The band are currently working on a music video to accompany the song alongside their photographer/videographer, Martin Windebank, and have recently posted photos over on their music media page of Giros bassist, Jo D’arc laying down basslines behind a blue screen! The band is keen to kick off celebrations of their 10th anniversary year as a constantly changing, progressive band with this current new single, so make sure to join them on their journey of both old & new.
This will cost you dearly
Check out Mark & Gordon in the studio below, providing a
taster of ‘Dear Monday’.
Please, pre-order the CD or digital download over on Bandcamp on the link below as it will help support the bands return properly after three years. More announcements shall be made in due course as they celebrate a decade of the highs, the lows – https://thegirobabies.bandcamp.com/album/dear-monday
Scottish DJ, Turntablist & Producer Jan Nada agreed to lay down some insight into his forthcoming album ‘Pale Horse’, as well as selecting and blending a gorgeous valentines mixtape for our readers listening pleasure.
Lock into his diligently selected mixtape below and kick back and enjoy this in-depth interview which highlights DJ Nada’s unique creative perspective, his inspirations, and how he feels about his record collection, as well as mentioning his hopes for future projects…… 🙂
First and foremost, thank you, Kutz, for taking the time to
share with us here at Revel…….
Thank you for asking me, Miff. And it’s Jan; the Kutz Cobain thing was a bad pun which Scottish Emcee, Ciaran Mac and I came up with before our first gig together and the name kind of stuck. Usually, I DJ under the name Nada or have done since 2014ish……
Miff – Ah, cheers for the clarity… Jan it is then. 🙂 Can you cast some insight into your initial journey into turntablism/DJing, what year did you get into it? Who fuelled your fires? And did you find yourself part of any collectives/crews?
Jan – Regarding DJing itself, I have been doing it longer than I haven’t. I got my first set of decks at age 13 and have been on them ever since. Turntablism was an element I got into purely from scratching initially, then felt inspired by watching old DMC and ITF videos which made me decide to finally have a go.
As for finding myself part of any collective, there has been no crews, no cliques, no covens – just Lil’ (well, not so Lil’) old me 🙂
Miff – Tell us about the soul mix which you have so graciously spun for us this Valentine’s… What do these select tracks mean to you? And what magic do you hope to weave by blending the alchemy of soul, funk & disco?
Jan – Anytime I spin records, I just want to make people smile, laugh, and express themselves. I used the Valentines theme to play a lot of the records that I wouldn’t sit in a standard “mixtape”.
There’s mixing and scratching but it’s tastefully done of course, and I tried more to syncopate the mix around what I think people should be doing while listening. I hope it helps people break the ice and set fire to tears. Let’s all be making love out there, not lust 😊
Miff – Masses of respect for the Mixtape Jan, you’ve blended those tracks punctiliously and I’m positive your select sounds will help set hearts on fire.
I am interested in hearing about your personal journey into defining your own unique, music- making/production style, what elements/realizations have helped you find your distinct sense of self within your overall creativity?
Jan – I make a varied amount of music and generally try to make whatever’s coming through at that particular time. It could be a hip-hop beat or a melodic rave thing. My direction really just depends on the mood I’m in or if I’m working on a brief. More recently I think I’ve been able to crystalize my influences through my musical output a bit more cohesively.
Miff – In September, of last year you turned your attention
to, Colonel Mustard & The Dijon 5’s – Cross the Road (Cross the Rave Remix)
What special elements did you bring into play regarding that fun song? And have
you any artists in mind for working on future remixes?
Jan – I saw the band perform the track in Glasgow’s, Cafe/Bar venue, Stereo and thought “that needs a fucking rave remix”. I had already done some remixes for them, so I asked, and the Colonel sent the parts. The remix kind of wrote itself, laying down hoover, square lead, jungle break and the vocals and horns over the top.
I liked it as it was a complete throwback to the early to mid-90s, Happy Hardcore stuff, reminding me of the English Electronic group from the ’90s, Technohead, with their track “I Wanna Be A Hippy” or DJ Paul “Rainbow In The Sky”. The track made me smile anyway……
Miff – Last year you were a semi-finalist at the IDA UK
& Ireland DJ Championships 2018, what category were you placed? And how was
that overall experience for you?
Jan – I was placed within the ‘Technical’ category, which I wouldn’t have given myself much of a shout in. Scratching has always been my thing, so being placed at all in the technical category was an absolute buzz for me. The experience itself was cool, met some nice people. The stress and self-discipline aspect of preparing was a bit grueling however, it was good to test myself and my dedication to whatever the fuck it is I’m doing.
Miff – Your ardent flames of creativity have been blazing
over the last while, providing full attention and focus on laying down your
forthcoming album titled ‘Pale Horse’. Can you give us insight into how these
tracks took shape, the sentiments behind this current music and whom you have
been collaborating with?
Jan – ‘Pale Horse’ was a trip. Most of the tracks I began as sketches and ideas between July and October 2018 while my mother was in the hospital and then recovering from a pretty bad case of cancer. It was also a reasonably turbulent time personally for me away from that, so this was me trying to express feelings and ideas I had through the only real outlet I had……
After I got back and rested a bit after the IDAs, and the dust began to settle, I began to compile and finish the tracks, which seemed to fit together. Initially, it would have been an EP, but it turned out at 12 tracks.
As far as collaborations, I have had a few people working on vocals for certain tracks which I may release later with a few remixes.
Miff – Over the last while you have been providing excellent
tasters to certain tracks from your forthcoming album over on, Nadacorp social
media page, tracks that demonstrate a gripping selection of samples. Can you
shed some light on the choice of samples you have extracted, spliced &
diced for the album, and is there a running theme of expression throughout this
body of work?
Jan -The idea behind Nadacorp was a sort-of pastiche of a big soulless corporation. To appear gloomy and corporate, but the message behind it is to the contrary.
Nada – No, Corp – Death = LIFE. I admit I did not do Classics at predatory school.
Rather than solely musical output, I have some other plans for other multimedia and artistic projects I will put out through there. I’ll also have some other non-musical enterprises starting soon, so keep ’em peeled over @thedjnada social media FB page.
Miff – When is the album set for release? And will there be
a launch party?
Jan – It’s my father’s birthday on the 17th February and would ideally like to have launched the album on that date, however, the reality Is, I shall be out celebrating with him on that day, Haha! So, I am shifting the release date to sometime next week.
Miff – I understand that each creative project can bring its
own unique revelation or challenge. What has been the most significant, most
notable transformation, revelation or challenge to this particular creative
process this time around?
Jan – Life, death, heartbreak, abyss, rejection, paranoia,
deception, mistrust, depression, anxiety, pain, catharsis, magic, spirituality,
God, tribalism, journeys, love, hate, good, evil, angels and demons. I’m still
working a few of those out but I’m amazed at the way life, love and art can
brighten up the darkest and bleakest of times.
Miff – Regarding, Nadacorp, do you hope to bring various
creative elements under the one umbrella of Nadacorp? For example,
collaborations/ DIY label/ production/remix work?
Jan – Yeah, pretty much. I have a few ideas and other things
I like to do, so it’ll all probably be put out through there for the time
Miff – What have been the best, most memorable events you
have been part of?
Jan – Playing Rave to around a thousand people every week was nice, even though I can’t call myself Jan-R to this day. Hardcore 4 life n’ aw that. When I first started playing in clubs, at 17, I got a residency playing on a Thursday night. It was mostly empty but that meant I got to play for a few hours on a big system every week until it got busy enough for the main residents to want to play. Sometimes I’d play all night to only a few people, but it taught me a lot about set structure and programming music over windows of time.
Miff – I understand that you are thinking about setting up
your own music event in Glasgow very soon. Can you announce the date, venue,
and name of the nights you are working on hosting?
Jan – You just reminded me I need to make some phone calls, cheers Miff! I’d say people will probably know before me though, so let me know. Always so happy to spin, and I think people know by now I’m proficient in many disciplines. So, trust Nada.
I am playing at a new Turntablist-oriented night organized by the Frogbeats crew at the Flying Duck, 17th May. I’m working on a few new sets/routines so I may try them out there. http://www.frogbeatscollective.co.uk/
Miff – How long have you been tour DJ for the incandescently
talented emcee, Ciaran Mac? How would you best describe your creative
relationship with Ciaran? And do you have any forthcoming tour events lined up
with the Mighty Mac?
Jan – A few years now, we met at college years ago and caught up a few years later. Our first gig was a sold out, Machine Gun Kelly show, and we’ve had a couple decent ones in the years since; Bishop Nehru, Dabbla, Fliptrix and, of course, The Girobabies. As for forthcoming things, you’d need to ask Ciaran, I just turn up if there are turntables to make it awkward for other “DJs”. Always ready to throw down though – I think we’ve rehearsed once or twice.
Miff – Every music aficionado has their own intense
relationship with their record collection, how would you best describe yours?
Jan – I love them all dearly, but I probably have too many already. Each one is somebody’s dream and I cherish them like that… Except when I’m cutting them up. For a while, I was completely digital, but vinyl just feels better. It’s alive! If I’m doing more Turntablism-oriented stuff, I will usually rip stuff from vinyl and play on Serato. Trying to get into that habit to reduce my vinyl footprint.
Miff – What is your current favorite piece of music making equipment? and who are your current favorite artists/sounds/labels? (Specific recommendations)
Jan – ‘Pale Horse’ was completely “in the box” as I had fuck-all else except an Akai MPD for pads and a Novation Midi keyboard. I try to create the sonic elements myself though unless there’s a specific sound I’m looking for to give a certain tone or mood. I always go by Pensado’s Law – “It’s the ear, not the gear!” So, cotton buds to keep your ears clean!
Music-wise, I kind of mostly buy old stuff but recent stuff I enjoy is on my most recent mix. Tracklists should be on my Mixcloud; I’m currently putting up my other mixes so check em here – https://www.mixcloud.com/thedjnada/
Other labels I like are… Favourite, PPU, Razor N’ Tape, Clone, Stones Throw, Mood Hut, Pacific Rhythm, Expansions, Athens Of The North.
Usually, I just pick by what I like, if it speaks to me or has that kind of quality to it that I know when I hear or feel.
Miff – Describe your overall relationship with music, how does music affect your mind and body? can you define the healing aspects of creating music and the effect that has had on your life?
Jan – It’s a life-saver and has got me through times I really wouldn’t have otherwise. The process of DJing and creating music itself is something sacred to me and I always play and create from the heart and soul. It’s a powerful medium, medicine, and therapy.
Miff – Thank’s so much for taking the time to answer these mind probing questions, you have provided great insight. Revel is super stoked to highlight your awesome talents. 🙂
Jan – You’re so welcome and thanks so much for asking me and I really appreciate all the support, from you and those out there who do keep me keepin’ on… Be good!
Rousing news from Minneapolis, industrial-based trio, Zwaremachine as they announce, ‘Code Blue’ a co-headliner tour with Polish, electronic/industrialist, I Ya Toyah, which means the dual outfits are set to hit the road March 1st touring America’s mid-west. Zwaremachine is currently engaging in Spring/Summer bookings in the U.S and are also working on fixing more dates in Europe before the end of the year. D.I.Y based, I Ya Toyah is a powerful solo force who is currently based in the city of Chicago, her debut, full-length album titled ‘Code Blue’, which is currently set for tour alongside Zwaremachine, was released back in October 2018 and demonstrates a cathartic intimate insight into inner darkness and self-struggle. The album was shaped by real-life traumatic events in I Ya Toyah’s life as she adroitly channels her story through arresting vocals and emotively haunting electronic synth, groove-laden beats and hypnotizing guitars. Artfully conjuring a moving concoction of submersible sound that creates an enigmatic atmosphere.
Eagerly, Zwaremachine has extracted the first single track ‘Code Blue’ from I Ya Toyah’s album and has focused on creating, in conjunction with the Code Blue tour a bonus single track featuring Mach Fox and I Ya Toyah, titled “Smile That Killed A Country”. This track will be officially released on February 18th, 2019 over on Bandcamp and will also include an extended remix, with the single track being exclusively performed on their tour dates. Zware Bassist D-Bot has worked on the current remix and will be joining them on the road to add that extra dynamic to their already impactful sound. Check out a taster of their tour sounds below.
Zwaremachine’s most recent release was a cranky noise cyber darkwave track titled “Remain Unseen” and can be found on the following link – https://zwaremachine.bandcamp.com This was a single released as a “name your price” item over on Bandcamp on December 10th, 2018; prior to that Zwaremachine’s full-length ‘Be a Light’ album was released on April 11, 2018, which I highly recommend you lock into. In regard to European dates Zware have just confirmed, LIEGE NEW WAVE FESTIVAL in Belgium for September 21st, 2019 and will book more dates in that region also. Follow the link for more details on this festival event. https://www.facebook.com/events/2007474669316172/
Stay attentive and keep up to date with future tour date announcements for the U.S.A & Europe and also the latest music releases from both Zware and I Ya Toyha. Let’s hope they make the UK sometime soon!
A major HEADS UP! For the peerless melodic hard-rock quintet, UPROAR who are set to headline Glasgow’s G2 (Garage) Saturday 23rd of February alongside collaborative band buddies, Neshiima and Darkness Divine. Formed in 2017, Uproar is a collective of creatives who have gained enriched live performance experience with former projects and have found themselves supporting Limp Bizkit, Alter Bridge, Bon Jovi, and Skindred. The band are extremely passionate and demonstrate a high level of expertise on all music creative levels, as each individual brings forth their distinct talent and unique experience into the fold, forging a sound that is hard-driven in alignment with having strong anthemic tendencies, as well blending whispers of Nu Metal into the caldron of musicality, ultimately showcasing their collective influences with the likes of Sevendust, Breaking Benjamin and Shinedown to name but a beasting few. Uproar released their supremely driven debut EP ‘Forever Burning’ in 2017 alongside a first-rate music video for the bands second single which you can view below.
Support band, Darkness Divine is also the relatively new heavy metal band formed in 2017 who provide catchy, riff-driven tunes that blend melodicism with both elegance and ferocity. Female vocalist, Bones, provides a powerful dynamic range with her exceptional voice and throws down a heavyweight blend of ensnaring vocal clarity and gripping lyrics, alongside infectious tightknit riffs, thriving basslines, and solid concise beats. Tune into & enjoy ‘Digression’ an official music video released by them in the summer of 2018.
Without a doubt, the mighty, Nu Metal influenced, Neshiima shall be throwing down their current fresh material at this forthcoming live show, tracks extracted from their present Ep, ‘Orange’, Neshiima has gone from strength to strength in 2018 with much success after an extended break writing new material. They released Ep’s ‘Purple’ and ‘Orange’, both of which they express their self-satisfaction, which lead them to play all over the country, including an awesome show alongside, Man With A Mission, as well as fastening under their belt an exceptionally fun tour with brothers for life, Titan Breed. Neshiima’s music was played and featured on Kerrang! TV and Radio, Scuzz TV, as well as Metal Hammer magazine and they amassed over 120k Spotify plays, capping off the year with a Scottish Alternative Music Awards nomination alongside some of the best bands in the country! Lock into their current official music video titled ‘Feel It’ which is taken from their current Ep ‘Orange’.
Irrefutably this live show is going to be a real feast of raw talent and one that’s not to be missed! Please head down to the gig and show your support for these dedicated group of bands. Tickets are available from the Ticket-Scotland link below or directly from any of the bands.
Casting our undivided attention to the far side of the globe with this next EP review as we are thrilled to highlight Australian, Brisbane based, Joel Glazebrook aka, Edith Thomas Furey, who has launched his solo debut, six-track Ep ‘Sleep Well, My Love’ at the beginning of the month on independent cassette label, Valley Heat Records. Joel is the sole remaining member of ETF who initially was a 3-piece band who parted ways in 2014, however, this did not diminish Joel’s creative passion and kept the project as a solo venture and emanation of his unique artistic expression.
This body of work is currently launched through the medium of limited edition cassette and digital download over on Bandcamp, as well as on the, Valley Heat Records website, offering a highly atmospheric lo-fi, post-punk Ep which is loosely based around a structure that references the historical circularity of James Joyce’s epic hyper-text, Finnegan’s Wake, with songs expressing concern with the nature of return to beginnings in both enlivening and decadent senses. The sense of renewal possible in the wake of literal and figurative death and the categorical connection of all being finds aural expression in a series of songs that attempt to combine the abrasive with the ethereal, considering the aleatory nature of live looping and recording.
All songs on the EP were recorded in single takes on the mighty Yamaha MT4X tape machine which brings authenticity and rawness to the comprehensive feel of the music, each individual track is week-day titled from Saturday through to Wednesday with the final song on the Ep named ‘Riverrun’. Tune into the vocally gothic, instrumentally methodical ‘Wednesday’ which has an air of early, Interpol’s vocal style, however, has the bass-driven, melodic nuance of a Joy Division track.
There is a hugely nostalgic feel about this Ep, embracing the atmosphere of the ’80s in its musical style and carrying through a hauntingly authentic one-take approach on an old tape recording system that aids in delivering an impressionistic, tailored exploration of new wave musical expression. In tracks such as ‘Monday’, it’s evident that the arrangement is emotionally charged and blends both vocal and instrumental elements tightly so that there is no space which feels all-consuming and cascades along like an unstoppable river, demonstrating an outpouring of emotion in sadness yet shines through an unwavering persistence.
The wobbly nature of these recordings most certainly adds to the fragility and melancholy of each tracks atmosphere. My favourite song on the Ep is ‘Riverrun’ as it comes across as a moody, gothic gem, almost industrial in its driven methodical beat. This track could easily be Depeche Mode inspired with its angular drum machine and haunting reverberated guitar, combined with hints of, The Cure in its tone and melody. This track carries a wonderful surrendering of vocal encryption and forwards a more heartfelt, clarified lyric to follow. The song also owns a beautifully moving melody with textural tones to lose yourself in.
Most certainly, this is a brilliantly executed home-studio recording from Joel that exhibits complete creative control. His talented dynamic within instrumental and production is evident throughout this Ep as he also shows great skill in directing and channeling the whole mood and style of the project. We look forward to following more of his music in future months ahead, however, in the meantime, make sure to keep up to date with his creative endeavors on the links below.
Fusion architects, Conor Moore & Ross McCann are the dynamite Scottish duo, Hessian Renegade who draws tailored influences together into their alternative sound from both their love of Hip-hop, electronic music and general crossover styles, alongside Ross’s absolute passion for music production, both are highly experienced in their creative field due to past band projects and collaborative production work. The bold and energetic, Hessian Renegade confidently strides to the forefront this coming Friday 18th to emboss their fresh and inventive sounding debut Ep ‘Oral Spiel’ into our psyche with a crossover/fusion EP that delivers a remarkably well-channelled demonstration of their musical range, as well as exuding a purposefully vehement, yet fun atmosphere to their overall style. The EP is set for release under the boutique independent label, Esquimaux Records and shall be a FREE download available on Bandcamp and all other major digital music media distributors.
Alongside this exciting new music release, the duo shall also be launching a music video for their third single off the Ep titled ‘Scratchings’. The first single debut was, ‘Bread & Circuses’ which was picked up by Glasgow based professional wrestling company ‘Insane Championship Wrestling’ as the entrance theme for their former Zero G Champion Andy Wild. The single was initially released as a free download back in November 2016, however, a freshly remastered version currently sits on this beasting forthcoming EP. The second single was ‘Renegade’ which was dropped in August of last year along with music video which can be viewed on the following YouTube video below.
The Ep ‘Oral Spiel’ in its entirety, explodes with energy, combining both flare and appreciation for fusing musical elements, along with imperatively expressed social commentary which is charged with frankness, intensity and laced with black humor. ‘Scratchings’ for example is a gorgeously textured synth track that holds an emotive melody and carefully thought out dynamic that expertly presents a captivatingly alluring dub/ska saxophone section that sits as the hook and is incredibly moving in its intricately formed structure, as lead protagonist, Conor delivers a powerful vocal impact, lyrically expressing socially acute circumstances about fear driven society, the injustices of equality, tribalism, capitalism, the political media circus and it’s negative effects. This is such a beautiful sounding, thoughtfully implemented track that hits straight to the heart of the matter.
The title track ‘Oral Spiel’ opens with a vocal interaction between Conor and Ross which signifies their complete creative synchronicity and delivers a hard-industrial sounding electronic dance track that will have you reeling from the outset. This track assigns itself to offer a maximum vent of frustration as Conor’s lyrical outpour highlights topics such as the absolute annoyance of social media, the music industry and a general lack of authenticity and truth. There is a buoyant, mechanical flow to the track that is bursting with resilience and attitude, and for sure will peel the paint straight off the walls of any live venue situation.
Download ‘Oral Spiel’ Ep for FREE this coming Friday & make sure to follow and support this resolute and highly creative duo in the future months ahead.
Uk based, Electronic expressionist, Paragraphs, aka Ryan Potts has recently released another spectacularly gripping album titled ‘Eat The Rich’ which offers a sonic landscape that is clean, bright and positively demonstrates a sophisticated depth to his arrangements. Paragraphs provide, yet another absorbing palette of gorgeous textures to delve into as this body of work feels like a perfecting of the art of space and simplicity alongside a contrasting complex tapestry of textural dynamic and measured cadences within his considerately infused styles. Notably, this album offers an even deeper structural craftmanship from Ryan than previous works, as he melds Downtempo with acid, as well as galvanizing elements of industrial and breakcore to create bewitching sonic alchemy that offers a gracefully elegant, yet at times brutally uninhibited electronic album to stir the soul and rattle the ribcage.
The first track on the album, Downer Squad eases in with an ethereal glow that creates an intermundium between floating lightly through an azure sky into a more grounded mathematical sonic structure that carries a density and abstractness to the track. A deep progressiveness radiates from the core beat of the composition, driving the heart of the track forward methodically which creates a beautifully calculated, richly dynamic juxtaposition between delicate ambiance and textural acid, forging a hypnotizing cosmic sway for the headspace.
Track two, I Will Write Peace On Your Wings And You Will Fly All Over The World, is an absolutely gorgeous expression of shifting tempos, melodic undercurrents and stimulating rich acid sounds that are melded in fine detail through an electro beat and carried gracefully down a ravine of ambient sonic bliss. This delightful piece of music feels positively gleeful and is bountiful in shifting textures, both the structural tempo and precision of this elevating soundscape is perfect.
See You Later, Crocodile, buoyantly delivers an all-embracing giddy atmosphere, stitching yet another rousing detail into Paragraph’s vibrational tapestry. This superbly executed track offers stunningly rich textures to delve into and there exists both playfulness and seriousness about this particularly gripping melding pot. An industrialized beat thumps home a sincerity and careers forth a driven purpose to the feel of the track, amongst a torrent of effervescent, luxurious acid textures which washes over and spruces up the senses, as well as, in the same breathe, tickling the mid-riff which is not too dissimilar to the feeling one gets when they are coming up on magic mushrooms ( For those who know!) And for those who do not, get to know, through embracing this gem of a luscious track.
Let’s Get Naked And Dance Through The Streets, But Only The Empty Ones Where No One Will See Us, stands as one of the most interestingly named pieces of music I have had the pleasure of tuning into. I feel embossed with the impression that Ryan owns a poetic mind and certainly the exceptionally crafted narratives he projects through his music owns the ability to express more profoundly than the limitation of words. This track is the embodiment of an elegantly graceful downtempo, acid-laced slow embrace as Paragraphs supplies his ethereal vocal in such a beautifully subtle way as he allows a consistently progressive track to unfurl around the listener. The marriage between soul enriching ambiance and bracing acid is most certainly a striking blend.
Stairway To Fuck All is an impossible title to believe as the contrary is carried out on every level, producing one of the most refined, soul-stirring tracks within this particular work. There is painfully beautiful attention to detail in this composition which owns the potential to paint vivid artwork within the mind’s eye. I feel this track is a slow cosmic sway that offers all the power, beauty and grace of floating through a portal into heaven, as well as cleverly, yet tactfully shifting the mood into a certain disorientation that tilts the transition between the journey through purity of light into the uncertainty of darkness, or what you are about to pass over into. This stairway most certainly leads my emotions to an otherworldly place, a trait of this outstanding album and talented artist whose works are undeniably moving.
Sitting at the last track on the album, Eat The Rich offers itself up as one of the most powerful in impact as a hefty mechanical bass grinds the gears and breakcore fluid spills all over the interior. This dramatic change comes as a pleasant surprise and I feel it was very clever of Paragraphs to leave such an assault on the senses to the very last, as sudden sharp changes like that leave a lasting impression. This brawny track is highly distinctive to the rest of the album and is full of angst, Ryan applies an intended amount of distortion in both his vocal and throughout aspects of the structural layers of the arrangement. There also is a wonderful rhythm and fluidity about the flow of this foreboding track that is strategically placed within controlled chaos.