Throughout the course of this site’s almost 10 year history — holy shit, 10 years! — I’ve spilled quite a bit of virtual ink covering the critically applauded and commercially successful Minneapolis, MN-based hip-hop act […]
Tag: Atmosphere Mi Vida Local
New Video: JOVM Mainstays Atmosphere Release a Gorgeous and Cinematic Visual for Shimmering and Introspective “Love Each Other”
I’ve written quite a bit about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act and JOVM mainstays Atmosphere over the course of this site’s almost 10 year history. Formed over 20 years ago, the Minneapolis-based JOVM mainstays have a long-held reputation for pushing the boundaries of what hip-hop should sound like and concern itself with thematically — especially as its founding (and core) duo Slug and Ant find themselves with adult responsibilities and concerns, and inching towards middle age.
2018’s Mi Vida Local thematically found the pair grappling with their own mortality — and more importantly, the anxiety and fear of one’s powerlessness in a mad and dangerous world. Now, as you may recall, the duo closed out last year with the surprise release of their seventh and latest album Whenever. The new album thematically finds the duo continuing to struggle with their mortality and frailties, while figuring out what it means to grow up and grow old gracefully within hip-hop, as well as the need to balance protecting your enemies and soul without glowering and bitter cynicism.
Whenever’s first single “Bde Maka Ska,” sonically continues in the vein of Mi Vida Local: centered around a bluesy and dusty production featuring twinkling keys, fuzzy wah wah pedaled guitar and a gospel choir-like backing vocal, the song’s narrator takes tock of his own life an decisions, while yearning for peace and serenity in a mad, mad, mad world. And at its core, is the profound realization that in life, sometimes have to stop pushing, stop forcing and stop fighting against the tide, and accept that the universe lets things happen (or not) at their own pace. “Lovely,” the album’s second single continued with the bluesy productions but paired with anxious and skittering percussion, looping blasts of bluesy guitar, big boom bap beats and Nikki Jean‘s soulful hook. Throughout Slug’s conflicted narrator speaks about feeling the swooning sense of hope of love while confronting his own insecurities, frailties and heard-earned (and rarely wanted) cynicism.
“Love Each Other,” Whenever’s third single is centered around a soulful, J. Dilla-esque production, featuring shimmering guitar, twinkling keys and boom-bap beats while Slug rhymes about love and its complications through the eyes of a conflicted and dysfunctional narrator, full of anxieties, self-loathing, self-doubt and uncertainty. His doubts are ironically emphasized through a confusing and uncertain affair in which love and lust are hopelessly intertwined — and throughout the song, the song’s narrator wonders if they even know or like each other. (If you’ve been there before the feelings of confusion, shame, uncertainty and discomfort the song evokes should feel familiar.
Directed by the band’s long-time visual collaborator Tomas Aksamit, the video stars Atmosphere’s Slug and Ant, Dawson Ehlke and Brielle Carmichael. Shot in a gorgeously cinematic black and white, the video follows a young man at a swanky gathering, desperate to find love. But is it all a dream? A figment of his imagination? We’ll let you decide.
New Video: JOVM Mainstays Atmosphere Return with a Symbolic and Cinematic Visual for “Lovely”
I’ve written quite a bit about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act and JOVM mainstays Atmosphere over the course of this site’s nine-plus year history. Formed over 20 years ago, the Minneapolis-based JOVM mainstays have a long-held reputation for pushing the boundaries of what hip-hop should sound like and concern itself with thematically — especially as its founding duo Slug and Ant have inched towards middle age with adult responsibilities and concerns.
Last year’s Mi Vida Local thematically found the pair grappling with their own mortality — and the anxiety and fear of one’s powerlessness in a mad and dangerous world. The duo’s seventh and latest album Whenever was suddenly released last week, and the album thematically finds the duo continuing to struggle with their morality and frailties, figuring out what it means to grow up and grow old gracefully within hip-hop, the need to balance protecting your energies and soul without glowering and bitter cynicism.
“Bde Maka Ska,” the first single off Whenever sonically continues in the vein of Mi Vida Local with the track being centered around a bluesy and dusty production featuring twinkling keys, fuzzy, wah wah pedaled guitar, a gospel choir-like backing vocal — with its narrator taking stock of his own life and decisions, while yearning for peace and serenity in a mad, mad, mad world. But at its core is the profound realization that in life sometime we have to let go and stop pushing, and accept that the universe will let things happen at its own pace.
“Lovely,” Whenever’s second and latest single pairs an anxious and skittering percussion with a dusty and bluesy production with arpeggiated synths and organs, looping blasts of bluesy guitar and big boom bap beats and Nikki Jean’s soulful hook while Slug rhymes about stumbling upon a profound love but while feeling the swooning sense of hope it brings, his narrator also confronts his own insecurities, frailties — but also hard-earned (and rarely wanted) cynicism of life experience.
The recently released video for “Lovely” continues the duo’s ongoing collaboration with director and filmmaker Tomas Askamit. And much like its immediate predecessor, the video is cinematically and symbolic: we see a coffin floating into a church, Slug being fitted for a black suit, heartbroken and grieving friends and family at a funeral, Nikki Jean dressed in white as a fellow mourner. The video ends with a grave being dug and Nikki Jean throwing a handful of dirt over the coffin. Ultimately, the video is a commentary on life, death, loss and grief.
New Video: JOVM Mainstays Atmosphere Returns with the Contemplative “Bde Maka Ska”
This month will be a rather busy month in my world — and in the world of JOVM: I’m currently in Syracuse, NY for a wedding. I return back to New York sometime tomorrow, shoot a handful of shows and then head off to Montreal for the M for Montreal Festival (more on that later, of course). In fact, instead of getting ready for the wedding, I fired up the ol’ laptop to work . . . So let’s get to the business at hand, right?
Throughout the course of this site’s nine-plus-year history, I’ve written quite a bit about about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act and JOVM mainstays Atmosphere. Initially formed over 20 years ago under the name Urban Atmosphere, the JOVM mainstays have developed and maintained a long-held reputation for pushing the boundaries of what hip-hop should sound like and concern itself with thematically, especially as its founding duo Slug and Ant find themselves inching towards middle age.
2016’s Fishing Blues continued a string of insightful, mature material reflecting men that have seen and experienced more than they could possibly put into words. That album’s material found the duo transforming from wild and untamed road warriors and settling into a hard-fought and peaceful cocoon of family and art. And while that seems ideal, we all know that over the past few years, the world we inhabit has fundamentally changed in a frightening fashion. In fact, last year’s Mi Vida Local thematically found the pair grappling with their own mortality — and the anxiety and fear that comes from the painful acknowledgment that you’re completely powerless and can’t protect yourself, let alone your loved ones from the dangerous of our world. Sobering stuff, indeed. And yet, that effort, much like its predecessors was largely centered around the duo’s deep and abiding friendship.
The duo’s latest single “Bde Maka Ska,” is the first batch of original material since the release of last year’s Mi Vida Local and interestingly, the track sonically and thematically continues in the vein of its immediate predecessor: centered around a bluesy production featuring twinkling keys, fuzzy, wah wah pedaled guitar, a gospel choir-like backing vocal, the song finds its narrator yearning for peace and serenity in a mad, mad, mad world. And while also taking careful stock of his own life and decisions, the song’s narrator coming to a profound realization: that sometimes we have to let go and let the universe and karma handle it — and that more important, that he has a loving relationship that gives him a respite from the world.
New Video: The Cinematic and Lonely Visuals for JOVM Mainstays Atmosphere’s “Earring”
Throughout the course of this site’s nine-plus-year history, I’ve written quite a bit about about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act and JOVM mainstays Atmosphere. The act formed over 20 years as at trio featuring Slug, Spawn D and Ant under the name Urban Atmosphere — and interestingly, whether as at rio or a duo, the JOVM mainstays have developed and maintained a long-held reputation for pushing the boundaries of what hip-hop should sound like and concern itself with thematically — especially as its members find themselves inching towards middle age.
2016’s Fishing Blues continued a string of insightful, mature material reflecting men that have seen and experienced more than they could possibly put into words. And while settling down into the much-deserved and peaceful bliss of family and art seems ideal, the world we inhabit has fundamentally changed in a frightening and uncertain fashion.
Unsurprisingly, Atmosphere’s seventh album Mi Vida Local thematically finds the pair grappling with their own mortality, the anxiety and fear that comes from the painful acknowledgment that you’re completely powerless and can’t possibly protect yourself, let alone your loved ones from the dangers of the world. And while arguably, the most thematically sobering of their growing catalog, their seventh album much like the bulk of their creative output is largely centered around Slug’s and Ant’s deep and abiding friendship.
The Minneapolis-based JOVM mainstays spent the bulk of the past year touring to support their seventh album, including a Brooklyn Steel stop last year with labelmates, collaborators and fellow Minnesotans The Lioness and deM atlaS. Continuing a lengthy run of touring, the duo will be headlining the Wild Waters Music Festival, an effort to save the Boundary Waters at Bayfront Festival Park in Duluth, MN. But just before that the duo released Mi Vida Local’s latest single, the pensive “Earring.” Centered around an eerie, Ennio Morricone-like production featuring looping and shimmering guitars, and soaring vocal sample that’s spacious enough for Slug and Musab to trade deeply reflective bars, focusing on their troubled relationships and their roles in their relationships. And as a result, the song is imbued with the weight of adults honestly looking at themselves and taking stock of themselves and their lives.
Directed by Colin Floom, the recently released and gorgeously cinematic visual for “Earring” is set the snowcapped peaks of Colorado and shows the song’s two emcees taking a lonely and arduous trek across the frigid terrain — and in the midst of such loneliness and beauty, it seems only natural that they would be forced to reflect on their lives and their decisions.
New Video: JOVM Mainstays Atmosphere Teams Up with Cashinova The Lioness and deM atLas on Moody and Contemplative “Drown”
I’ve written quite a bit about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act Atmosphere over this site’s eight-plus year history — and as you may recall the act initially formed over 20 years ago as a trio featuring Slug, Spawn D and Ant under the name Urban Atmosphere. Interestingly, whether as a trio or a duo, Atmosphere has developed and maintained a long-held reputation for pushing the boundaries of what hip-hop should sound like and concern itself with thematically — especially as the members of the act age, and find themselves inching towards middle age.
2016’s Fishing Blues continued a string of insightful, soulful and mature material reflecting men, who evolved from tortured hedonists into settled down family men, who have seen and experienced much more than they can put into words. And while setting down in a much-deserved and peaceful bliss of family and art seems ideal in almost every circumstance, the world we currently inhabit has fundamentally changed in a frighteningly uncertain fashion. Certainly, if you’re a sensitive, thoughtful person, you can’t help but be aware that while you may have your own little paradise, hate within a mad, mad, mad, mad, mad world, that sense of paradise won’t (and can’t) last; that “nothing lasts forever,” as a song says.
Unsurprisingly, Atmosphere’s seventh album Mi Vida Loca thematically finds the pair grappling with their own mortality, and the anxiety and fear that comes with the painful acknowledgment that you’re powerless — and that you can’t possibly protect yourself, let alone your loved ones from the dangers of the world. Although thematically sobering, the album much like the bulk of their creative output is centered around the duo’s deep and abiding friendship.
“Virgo,” Mi Vida Loca‘s first single may arguably be the most intimate and urgent song they’ve ever written and recorded — and just because the song evokes (and focuses on) the anxieties and fears of our moment, it isn’t completely dark and hopeless. The song proudly and sincerely says that as a man, it’s okay to admit that you’re scared shitless and not know what the fuck to do about anything; that when you’re uncertain and afraid that there are friends and loved ones, and music; small joys and small victories; and sweet and tender moments that we need to cling to and cherish with every fiber of our beings. Sonically, the song featured a bluesy production centered around strummed guitar, twinkling old-timey keys and eerily buzzing synths that nodded at Everlast’s Whitey Ford Sings the Blues but somehow starker. The album’s second single, album opening track “Jerome” continues in a similar vein — centered around a production consisting of a looped sample of boozy and woozy buzzing power chords, rumbling and thumping percussion, brief blasts of twinkling and shimmering synths. Throughout Slug rhymes about the weight of familial history, aging, death, the vapidity and insincerity of social media and a bevy of other things with an incredibly dexterous rhyme scheme but underneath the swaggering self-assuredness of Slug’s delivery is a vulnerability and aching, world weariness. “Graffiti,” found Slug rhyming about the painful slings and arrows of life; the small pleasures of friendship, family and music; the inevitable heartache of lost love and death; that life is ultimately about people coming and going without anyone really knowing why or how — and goddamn it, does it hurt. And yet, as our ancestors did, we move on somehow, and so will our descendants. We all have the same tale: born, loved, hated, dreamt, longed, lusted, died — and yet almost always alone. Much like its predecessors, the song’s production evokes a deep, religious-like yearning as it was centered around a soaring choral sample, backed by twinkling keys, boom bap beats and a looped, bluesy guitar line.
The Minneapolis-based duo close out a successful 2018 with the release of “Drown,” one of the few songs of their catalog with features — but it features some equally dope labelmates and tourmates The Lioness and deM atLas trading bars on an eerie yet modern production that evokes anxiety, uncertainty and confusion as its centered around plinking keys, shuffling beats and a soulful hook sung by Cashinova. Each of the artists offer an unflinching and unguarded look into troubled and dysfunctional relationship and heartache, of loss and the difficulties in moving on with your dignity and sanity intact.
Directed by Tomas Aksamit, the recently released video is features Slug, Cashinova, The Lioness and deM atLas in a dramatically shot black and white and intimate close ups, to catch the emotion of each artist.
New Video: JOVM Mainstays Atmosphere Release Eerie and Haunting Visuals for “Graffiti”
Throughout the bulk of this site’s eight-plus year history, I’ve written quite a bit about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act Atmosphere, and as you may recall the act initially formed over 20 years ago as a trio featuring Slug, Spawn D and Ant under the name Urban Atmosphere. And whether as a trio or a duo, the Minneapolis-based act have developed and maintained a long-held reputation for pushing the boundaries of what hip-hip should sound like and concern itself with thematically — especially as the members of the act find themselves inching to middle age, as well as for relentless touring.
2016’s Fishing Blues continued a string of insightful, soulful and mature material reflecting men, who evolved from tortured hedonists into settled down family men, who have seen and experienced much more than they can put into words — and while settling down in a much-deserved and peaceful bliss of family and art seems ideal in almost every circumstance, the world has fundamentally changed in a frightening and uncertain fashion. If you’re a sensitive, thoughtful person, you can’t help but recognize that while you may have a little paradise, that within a mad, mad, mad world, it won’t (and can’t) last; that “nothing lasts forever,” as a song says. Unsurprisingly, Atmosphere’s recently released seventh album Mi Vida Loca thematically finds the pair grappling with their own mortality and the anxiety and fear that comes with the painful acknowledgment that you’re powerless and that you can’t possibly protect yourself, let alone your loved ones from the dangers of our world. Thematically sobering, indeed; but the album much like the bulk of their creative output has long been centered around the duo’s deep and abiding friendship. “Virgo,” Mi Vida Loca‘s eerie first single may arguably be the most intimate and urgent song they’ve ever written and recorded — and just because the song evokes (and focuses on) the anxieties and fears of our moment, it isn’t completely dark and hopeless. If anything, the song proudly and sincerely says that as a man, it’s okay to admit that you’re scared shitless and not know what the fuck to do about anything; that when you’re uncertain and afraid that there are friends and loved ones, and music, small joys and small victories, and sweet and tender moments that we need to cling to and cherish with every fiber of our beings. Sonically, the song featured a bluesy production centered around strummed guitar, twinkling old-timey keys and eerily buzzing synths that nodded at Everlast’s Whitey Ford Sings the Blues but somehow starker. The album’s second single, album opening track “Jerome” continues in a similar vein — centered around a production consisting of a looped sample of boozy and woozy buzzing power chords, rumbling and thumping percussion, brief blasts of twinkling and shimmering synths. Throughout Slug rhymes about the weight of familial history, aging, death, the vapidity and insincerity of social media and a bevy of other things with an incredibly dexterous rhyme scheme but underneath the swaggering self-assuredness of Slug’s delivery is a vulnerability and aching, world weariness.
The album’s latest single “Graffiti” finds Slug rhyming about the painful slings and arrows of love, the small pleasures of love, friendship, family and music, the inevitable heartache of lost love and death; that life ultimately is about people coming and going without anyone really knowing why or how. As our ancestors did, we will move on somehow, and so will our descendants. We’ll all have the same tale: born, loved, hated, dreamt, longed, lusted, died — alone. Interestingly, the song’s production is centered around a production that evokes a religious-like yearning: a soaring choral sample, backed by twinkling keys, boom bap beats, and a looped bluesy guitar line. The recently released video finds Atmosphere working with frequent collaborator, director Jason Goldwatch on grainy Super 8mm film, and visually it focuses on themes of yearning for freedom from worldly pain, insecurity, longing for something beyond daily concerns, of the desire to be wanted, and understood. It manages to further emphasize, the song’s underlying ache in a dramatic yet subtle fashion.
New Video: JOVM Mainstays Atmosphere Release Surreal and Gritty Visuals for Bluesy Album Single “Jerome”
Now, throughout the bulk of this site’s eight-plus year history, I’ve written quite a bit about the critically applauded and commercially successful Minneapolis, MN-based hip-hop act Atmosphere, and as you may recall the act initially formed over 20 years ago as a trio featuring Slug, Spawn D and Ant under the name Urban Atmosphere. And whether as a trio or a duo, the Minneapolis-based act have developed and maintained a long-held reputation for pushing the boundaries of what hip-hip should sound like and concern itself with thematically — especially as the members of the act find themselves inching to middle age, as well as for relentless touring.
2016’s Fishing Blues continued a string of insightful, soulful and mature material reflecting men, who evolved from tortured hedonists into settled down family men, who have seen and experienced much more than they can put into words — and while settling down in a much-deserved and peaceful bliss of family and art seems ideal in almost every circumstance, the world has fundamentally changed in a frightening and uncertain fashion. Naturally, if you’re s sensitive and thoughtful person, you can’t help but recognize that while you may have a little paradise, that within a mad, mad, mad world, it won’t last; that “nothing lasts forever,” as a song says. Unsurprisingly, Atmosphere’s soon-to-be released seventh album Mi Vida Loca thematically finds the pair grappling with their own mortality and the anxiety and fear that comes with the painful acknowledgment that you’re powerless and that you can’t possibly protect yourself, let alone your loved ones from the dangers of our world. Thematically sobering, indeed; but the album much like the bulk of their creative output has long been centered around the duo’s deep and abiding friendship. “Virgo,” Mi Vida Loca’s eerie first single may arguably be the most intimate and urgent song they’ve ever written and recorded — and just because the song evokes (and focuses on) the anxieties and fears of our moment, it isn’t completely dark and hopeless. If anything, the song proudly and sincerely says that as a man, it’s okay to admit that you’re scared shitless and not know what the fuck to do about anything; that when you’re uncertain and afraid that there are friends and loved ones, and music, small joys and small victories, and sweet and tender moments that we need to cling to and cherish with every fiber of our beings. Sonically, the song featured a bluesy production centered around strummed guitar, twinkling old-timey keys and eerily buzzing synths that nodded at Everlast’s Whitey Ford Sings the Blues but somehow starker.
Album opening track “Jerome” is the album’s latest single and it continues in a similar vein — featuring a production consisting of a looped sample of boozy and woozy buzzing power chords, rumbling and thumping percussion, brief blasts of twinkling and shimmering synths. Throughout Slug rhymes about the weight of familial history, aging, death, the vapidity and insincerity of social media and a bevy of other things with an incredibly dexterous rhyme scheme but underneath the swaggering self-assuredness of Slug’s delivery is a vulnerability and aching, world weariness.
Directed by Evidence, the recently released and incredibly cinematic video for “Jerome” begins with Slug and a homey taking a short ride to house down the street to the home studio, where two tow-headed little ones play with a hill of Legos, while the duo write and record — but some point, Slug quickly realizes that he may be too old for this shit and leaves mid-stream. It’s surreal yet rooted in a gritty reality.
