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    Featuring production from 2% Muck, “Flameburger” is taken from Minneapolis-based emcee BOTZY’s latest mixtape, I’ll Be Underground When I’m Dead (Vol. 1), which will be available for free download next Tuesday via In addition to some aggressive Artemis-style facelicking, the clip for “Flameburger” showcases BOTZY’s elastic delivery and uncanny ability to match his hair to his jammies.

    In a busy year for the artist that has already seen the release of multiple projects (VAYNS, £¡bel) and a nomination for Best New Band on Vita.MN, IBUWID will serve as the appetizer for BOTZY’s forthcoming 20-track LP, Still Not Dead Yet.

  2. jose gonzalez + ymusic at #lcoutofdoors jose gonzalez + ymusic at #lcoutofdoors
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    jose gonzalez + ymusic at #lcoutofdoors


    The video for “Thieves,” a standout track from 2013’s Troubadour, intersperses shots from a day in the life of Rickolus with vintage Americana stock footage. Rick kills time playing drums in his backyard studio, sipping Tecate and vegging out on PlayStation, all activities preferable to attempting to do anything outside in the bastard humidity of July.

    Rickolus and his band The Little Books will be touring the east coast in August alongside Ceschi before Rick heads out to Europe in September. Catch the dates over at URB.


    Today Poliça dropped the deluxe edition of 2013’s Shulamith featuring a 4-song EP of new material which will be available on 10” vinyl in August. The EP’s lead track, “Raw Exit,” is easily one of my favorite songs of the year and its video is every bit as creepy, ethereal and immediate as the song itself.


    As Saintseneca kicks off a tour in the east and Son Little does the same out west, check out SL’s remix of “Happy Alone” and view each act’s trek over yonder.


    Last month we brought you the premiere of Moodie Black’s full-length debut NAUSEA, a noise rap banger which SYFFAL described as “that record for punching your boss in the nuts to” and “that record that syncs up with cars flying off cliffs.”

    Today we have the premiere of “Christ,” the second video from NAUSEA, directed by Greetings From Tuskan (of Bike For Three!). Watch the clip above and catch Moodie Black on tour later this month with Ceschi.



    “Just cuz Macklemore said it doesn’t mean it’s not true,” B. Dolan relayed to the Le Poisson Rouge crowd after performing “Which Side Are You On?“, the non-sanctimonious answer to “Same Love.”

    Along with Brooklyn-based Metermaids, Dolan served as opening support for Sage Francis’ first major tour stop in NYC since 2010. He performed standards from Fallen House, Sunken City in addition to a brilliant spoken word piece he had finished writing the night before the show about Rick Ross, Iran-Contra and America’s infatuation with the drug dealer archetype.

    “…The secret of the enlightened / Is to preach against whatever it is they practice in the dark / We’re all born free, we die by the shackles we adopt / Enjoy your buoyancy right up until the very last drop” – Sage Francis (“Dead Man’s Float”)

    Uncle Sage took to the stage backed by B. Dolan and Lord Grunge (of Grand Buffet) in his traditional wig and cape for an hour and a half performance spanning Personal Journals all the way up to his new LP, Copper Gone, which drops tomorrow. With just three days prior to the show to soak up the new record streaming on SPIN, Le Poisson Rouge patrons seemed to know every word. Highlights of Sage’s thematically-unified set included “Dead Man’s Float” and “Grace.”

    Catch Manny Garcia’s photos of the Epic Beard Men at Le Poisson Rouge below and read on to view the remaining US dates on the Copper Gone tour.


    June 2 – Toronto, ON @ Opera House
    June 3 – Pittsburgh, PA @ Altar Bar
    June 5 – Chicago, IL @ The Abbey
    June 6 – Madison, WI @ High Noon Saloon
    June 7 – Minneapolis, MN @ First Ave
    June 9 – Englewood, CO @ Gothic Theatre
    June 10 – Salt Lake City, UT @ Urban Lounge
    June 11 – Missoula, MT @ Palace Lounge
    June 12 – Vancouver, BC @ Fortune Sound Club
    June 13 – Seattle, WA @ Neumo’s
    June 14 – Portland, OR @ Alhambra Theatre
    June 16 – San Francisco, CA @ The Independent
    June 17 – Solana Beach, CA @ Belly Up Tavern
    June 18 – Los Angeles, CA @ The Troubadour
    June 20 – Phoenix, AZ @ The Crescent Ballroom
    June 21 – Albuquerque, NM @ Sunshine Theater
    June 22 – El Paso, TX @ Tricky Falls
    June 24 – Dallas, TX @ Club Dada
    June 25 – Austin, TX @ Mohawk
    June 26 – New Orleans, LA @ Southport Hall
    June 27 – Baton Rouge, LA @ Spanish Moon
    June 29 – Atlanta, GA @ Terminal West
    July 1 – Washington, DC @ U Street Music Hall
    July 2 – Philadelphia, PA @ Union Transfer
    July 3 – Portland, ME @ Port City Music Hall
    July 4 – Providence, RI @ Fete Ballroom


    As Bike For Three! (Buck 65 + Greetings From Tuskan) prepare to release the single for “Full Moon,” one of the standout tracks from So Much Forever, we’re proud to bring you the premiere of the single’s exclusive B-side, “There Is A Need To Be.” Featuring GFT’s signature uptempo electronic production and Buck’s abstract prose, the song is a frenetic counterpart to their sophomore LP, released earlier this year on Fake Four.

    The “Full Moon” single b/w “There Is A Need To Be” drops digitally on June 3 and features instrumentals of both tracks.


    The debut full-length from Sisyphus, an amalgamation of three disparate indie forces (Sufjan Stevens, Serengeti, Son Lux) commissioned by the Walker Art Center, is grounded in a thesis Sufjan relayed in a prerelease interview on the Asthmatic Kitty site: “We are all working towards nothing.” As much as Sisyphus is inspired by the abstract art of Jim Hodges, whose recent Walker retrospective coincided with the album’s release, it is also a reflection of Sufjan and Geti’s years spent on the brink of the abyss. “I am hardly hanging on” and “I’m prepared for death” are two of Sufjan’s more memorable mantras on the record.

    Sisyphus is not the sum of its parts. Sure, you have your Son Lux electro trip-hop beats, your Sufjan falsetto and flute flourishes, your Geti character study, and that vague enduring sadness that seems to carry through the bulk of the latter two vocalists’ catalogues, but the whole is something few would have predicted coming in, especially after the group’s uneven 2012 debut EP, Beak & Claw. On Sisyphus, the trio has mercifully discarded the auto-tune elements that plagued the EP while keeping its whimsy and adding a layer or two of existential malaise. Geti and Sufjan play off each other well, as the sublime back-and-forth choruses of “Rhythm of Devotion” and “Lion’s Share” attest to, and Lux sews it all up with a composer’s eye.

    The grandiose nature of Sisyphus called upon Serengeti to rev up his delivery and pull deep from his bag of tricks. There are some scattered throwaway lines antithetical to his M.O. that one could imagine rose out of the record’s wine-fueled three-week window of creation, but he delivers more often than not. The palpable anger in his delivery (e.g., “Rhythm of Devotion”) is mirrored by the fragility shown with couplets such as “Dishes in the sink, roaches in the wall/ Ain’t around my son so I bought the boy a ball” and the dramatic closing shift of “Calm It Down,” which finds Geti crooning “I’m on my own two feet/ But I’m not standing upright.”

    Continue reading at San Diego Reader


    "All We Got" marks deM atlaS’ first official single on Rhymesayers Entertainment. Catch him on tour alongside Atmosphere and PROF beginning May 14. Dates below.

    May 14 - Saskatoon, SK - O’Brians Event Centre
    May 15 - Calgary, AB - Flames Central
    May 16 - Calgary, AB - Flames Central
    May 17 - Edmonton, AB - Union Hall
    May 18 - Regina, SK - The Exchange
    May 20 - Winnipeg, MB - Garrick Centre
    May 25 - Shakopee, MN - Canterbury Park (Soundset)
    May 28 - Kitchener, ON - Wax
    May 29 - London, ON - London Music Hall
    May 30 - Toronto, ON - Phoenix Concert Theatre
    May 31 - Montreal, QC - S.A.T.
    June 1 - Ottawa, ON - Ritual Nightclub
    June 4 - Halifax, NS - Marquee
    June 6 - Portland, ME - State Theatre
    June 7 - Clifton Park, NY - Upstate Concert Hall
    June 11 - Pittsburgh, PA - Mr. Smalls Theatre
    June 12 - Pontiac, MI - Crofoot
    June 13 - Cleveland, OH - House of Blues
    August 29 - Morrison, CO - Red Rocks
    September 5 - Los Angeles, CA - Hollywood Palladium (SOLD OUT)
    September 6 - Los Angeles, CA - Hollywood Palladium 


    Flying Lotus has shared an befittingly dreamlike video for “Phantasm,” a cut off his 2012 release Until the Quiet Comes which features stirring vocals from Long Lost’s Laura Darlington. Shot by Mark Hofko, it follows a sort of woolen, mop creature and a bandage-wrapped, holographic humanoid as they trek through an arid stretch of New Zealand. “Nice and simple,” Hofko writes on Vimeo, “And complicated.”

    via fader


    Atmosphere celebrated the release of their 8th album, Southsiders, with a sold out show Tuesday night at the Highline Ballroom. The record marks a return to form for Slug and Ant following the lone mediocre LP of their career, 2011’s The Family Sign. The live instrumentation that served Atmosphere so well on the road briefly grew to overshadow Ant’s contributions in the studio, but they’ve thankfully reverted to an older formula on Southsiders. Veteran producer Ant’s signature keys and soulful samples are back in the mix, and Slug sounds right at home, riding the beat to familiar themes of love and death as well as newfound perspectives attained from being a father of three comfortable with his place in hip hop and life.

    The surprise opening guests for the evening wound up being none other than SFR’s gruesome twosome,Sage Francis and B. Dolan, who also headline later this month at Le Poisson Rouge. The Epic Beard Men performed “You Can’t Win” and Sage tore through a blistering rendition of “Vonnegut Busy,” the lead single from his forthcoming LP, Copper Gone, as well as staples “Damage” and “The Best of Times.”

    Following Sage and Dolan, Atmosphere and touring DJ Plain Ole Bill delivered a career spanning set culminating in a three-song encore from Southsiders. After performing the brilliant booze-soaked “Arthur’s Song,” Slug invited an eager audience member on stage to freestyle with him to close out the evening.

    “I truly hold sorrow in my heart / For every heart that never got carved into the bark / I wish that everyone could leave a mark / But every part wasn’t meant to be a piece of art” – Slug (“Arthur’s Song”)

    There was a familial vibe to the night, with a raucous sold out crowd rapping bar-for-bar with Slug and visibly losing their shit upon the beat drops to classics such as “Scapegoat” and “God’s Bathroom Floor.” After two decades in the game, few do it half as well as Atmosphere.


    Photo by April Siqueiros

    With his Ocean Death EP set for release on May 6, LA-based producer/vocalist Baths (Will Wiesenfeld) took to the Bowery Ballroom stage alongside his touring partner Morgan Greenwood for an explosive set of glitchy electronic compositions.

    Scottish alt-hip hop trio Young Fathers opened the show with unbridled, manic intensity, playing tracks from their anticon debut Dead as well as the two EPs that preceded it, backed by a solitary drummer. The energy of Kayus Bankole’s dance moves during songs like “Get Up” and “Rumbling” was worth the price of admission alone. Young Fathers are amongst the most exciting and original acts I’ve come across in the past two years, equally adept at harmonizing and rapping under a virtually uncategorizable soundscape.

    They closed with “I Heard,” and left the stage with a brazen drone blaring in the background as the sold out crowd sang along to a hypnotic, undulating chorus of “Inside I’m feeling dirty / It’s only cause I’m hurting.” The current run opening for Baths marks the group’s first official US tour. New York City won’t be forgetting the name anytime soon.

    “Tall rock shelf, are you maybe here to help me hurt myself? / Miasma sky, would you swallow me alive?” Wiesenfeld pondered on the set opening “Miasma Sky.”

    A sizable portion of Baths’ Bowery set was culled from Obsidian, the nihilistic follow-up LP to his buoyant debut, Cerulean. Inspired by a gruesome ordeal with E. coli that kept Wiesenfeld bedridden for months, Obsidian is a blunt confrontation with mortality and eroding relationships.

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    In places like Serbia and Dallas, there are anger rooms you can visit full of lamps, furniture and televisions that you can smash to smithereens for anywhere from $6-75. In Jacksonville, you can just go to the local junkyard with a sledgehammer and some beer and go on your own personal ragefest while making an oddly charming music video. I think it’s in that new tourism spot that airs during the commercials of Jaguars games (terrible offseason reference bro).

    What I’m getting at here, of course, is that indie folk OG Rickolus is getting ready to release the debut album from his band The Little Books, and we’ve got the premiere of their new video for “Bridges”. In the clip Rick inhabits the body of a parallel universe “Break Stuff”-era Fred Durst, wherein he makes good music and comes across as a likable human being.

    The Little Books launched an indiegogo campaign recently to help with the costs of mastering the album and pressing vinyl with perks including poetry books, limited edition prints and private performances. There’s a week left to donate over yonder.

    The indie pop duo of Rick Colado and Robin Rütenberg will release their debut LP, Bridges and Empires, on June 24.


    Once upon a time, about 10 years ago, it seemed plausible that Kanye West could appear on a song with the Minneapolis underground rap institution Atmosphere. Kanye was bringing backpack-rap aesthetics to the mainstream, and Atmosphere were, for a while there, the greatest and most popular backpacker group in the world. It didn’t happen. And now, 10 years later, Atmosphere have a new song called “Kanye West” on their forthcoming album Southsiders (which also features the single “Bitter“). The song isn’t about Kanye West at all; instead, as rapper Slug says, it’s about “loving something so much that you submit to the moment.” In classic Atmosphere, it’s a weirdly cathartic piece of emotionally incisive boom-bap, and you can hear it below.

    Southsiders is out 5/6 on Rhymesayers.

    via stereogum