FME announces the venue showcase lineups for the 2025 edition.
Tag: experimental hip-hop
New Audio: 17 Year-Old Nevi Outlyr Shares Deceptively Breezy “Stuck”
17 year-old, emerging artist Nevi Outlyr started rapping in church when he turned 15. Originally, he didn’t take either seriously. But that changed after he started college and a particularly difficult breakup. “I was hitting open mics everywhere, partly trying to get her attention, mostly trying to prove to myself I was worth listening to,” the young artist explains.
As for his name, there’s a story behind that: “I ask my mom to give me an artist name. She says, ‘Inevitable.’ Long, but it felt like,” he recalls. “After a few versions, I landed on Nevi. That Outlyr part came from, believe it or not, a math class. I learned about how one number way off from the rest can shift the whole average, an ‘outlier.'” He says, “It stuck. Never thought I’d relate to numbers, but somehow that felt like me.”
Gradually for the young artist, his efforts became less about being heard and more about being honest. “Every track I make is just me trying to make sense of whatever’s going on in m head,” he says, “Anxiety, joy, the awkwardness of being all — it’s al in there.” He goes on to describe his sound as “ambivalent, experimental hip-hop with a hint of toxic positivity. Think ‘Hey Ya,’ by OutKast for reference. People tell me that I give Chance the Rapper, Andre 3000, Smino, sometimes even Mac Miller, depending on the track.”
“But most of the time,” he adds, “I feel like a character stuck in an episode of Seinfeld. At the end of the day I make music for people like me, the overthinkers, the soft-spoken loud minds, people trying to laugh through the heavy stuff. My songs might not save the world, but they might make you feel like you’re not alone in it.”
His latest single “Stuck” is a deceptively upbeat and breezy track that features the young artist’s remarkably Andre 3000-meets-Mac Miller-meets-Chance the Rapper-like flow darting around carnival ride in hell-inspired production featuring an eerily twinkling synth melody, a breakneck and propulsive synth bass line and a lysergic break and guitar solo. But underneath upbeat and breezy vibes, the song describes a familiar sensation for anyone who’s a go-getter — the feeling that you’re somehow stuck in place while everyone else around you is racing past you.
Honestly, even in my 40s I’ve felt this! And I’d bet that many of you readers have felt the same at various times, including now. But with age, there’s occasional moments of wisdom that reminds you that it’s usually just perception, ego and your stupid brain.
New Audio: JOVM Mainstays L’Eclair Team Up with Pink Slifu on Jazzy “REPLICA M001”
With recorded output that includes 2018’s full-length debut, Polymood, 2019’s Sauropoda, 2020’s Noshtta EP and 2021’s Confusions, the acclaimed Swiss-based group L’Eclair, founded and led by Bulgarian-born siblings Stef and Yavov Lilov firmly established themselves as masters of mind-bending, cosmic-leaning groove.
Along with two live sessions for KEXP, which amassed over 900,000 views combined, the Swiss-based group have built up an international following, while landing on the playlists of adventurous listeners and DJs seeking deep grooves.
The acclaimed JOVM mainstays, highly-anticipated fourth album Cloud Drifter is slated for a June 20, 2025 release through Innovative Leisure. Meticulously crafted over the last four years, Cloud Drifter is a decided and radical departure from the group’s long-held instrumental approach, with teh album’s material featuring vocals from a wide and eclectic array of frequent collaborators that they’ve worked with over the past handful of years, including Pink Slifu, Girl Named GOLDEN, Gelli Haha, A Ghost Column, and more.
Having toured with The Cinematic Orchestra and W.I.T.C.H. — including writing and recording W.I.T.C.H.’s 2023 effort Zango and The Cinematic Orchestra’s forthcoming album this year, as well as production work with Varnish La Piscine and Maston, the Lilov brothers have assembled a vast network of likeminded musicians. And across the entire album, they keenly curate a cohesive vision incorporating many disparate contributions.
In the lead-up to Cloud Drifter‘s release later this month, I’ve written about two of the album’s previously released singles:
- “ODESSOS,” which featured Phoebe Coco‘s and A Ghost Column’s ethereal vocals paired with twinkling and oscillating synths and a dub-inspired motorik groove. While being one of the most club friendly songs the acclaimed Swiss outfit has ever released, “ODESSOS” is a bold, sonic left turn that retains the group’s long-held penchant for crafting mind-bending, expansive grooves. And perhaps more than ever, the track manages to convey the freewheeling, improvisation-driven and infectious energy of their live shows.
- “VERTIGO,” a synth-driven, deep house instrumental that sounds like a synthesis of the material off 2021’s Confusions, Larry Levan-era house and krautrock, anchored around the Swiss unerring knack for hooks and mind-bending groove.
“REPLICA M001,” Cloud Drifter‘s latest single features experimental rapper Pink Slifu audaciously spitting swaggering yet breezy bars over a lush, dreamy bit of film score-meets-jazz club jazz that opens with a swelling and swooning, cinematic strings before quickly morphing into a slow-burning, late night swing that effortlessly follows the ebbs and flows of his unique cadence. While recalling Digable Planets and Ishmael Butler‘s various other projects, “REPLICA M001” reveals a supremely talented band that can seemingly play anything — and at any time.
Live Concert Photography: Sound Type Festival at Asian Arts Initiative 7/2/24: Centenny Gzz with YATTA and sub.tle
Live concert photography of the third installment of Asian Arts Initiative’s Sound Type Music Festival.
Throwback: Happy 53rd Birthday, MF DOOM!
JOVM’s William Ruben Helms celebrates the 53rd anniversary of MF DOOM’s birth.
New Audio: Angry Blackmen Team up with Fatboi Sharif on Brooding and Nihilistic “Dead Men Tell No Lies”
Chicago-based hip-hop duo Angry Blackmen — Quentin Branch and Brian Warren — features members, who individually spent their time stretching their creative arms and tapping into different sounds for a couple of years, before Warren suggested that they collaborate together as a duo towards the end of 2016.
Branch and Warren exploded into the underground and experimental hip-hop scenes with their debut single “OK!,” a track that showcased the pair’s adept ability to spit bars. Their second single “Riot!” was a near-complete shift in sound that remained tethered to the sonic foundation that they’d first built.
Their debut EP, 2019’s Talkshit! was released to attention and acclaim, before eventually catching the attention of Philadelphia-based progressive label Deathbomb Arc, known for its avant and eclectic roster featuring releases from Death Grips, JPEGMAFIA, JOVM mainstays clipping., Julia Holter, U.S. Girls and others.
Deathbomb Arc went on to release the duo’s full-length debut, 2020’s HEADSHOTS! and its follow-up EP, 2021’S REALITY!, both of which saw the duo expanding their range sonically while further honing their craft.
The Chicago-based duo’s highly-anticipated 11-song, Formants-produced sophomore album The Legend of ABM is slated for a January 26, 2024 release through Deathbomb Arc. The album reportedly sees Branch and Warren spinning tales of depression, existentialism, self-reflection, tragedy and survival that are unvarnished, lived-in and downright ugly paired with soundscapes that seem to come from a dystopian, apocalyptic future, informed by our hellish present. The result: Two talented emcees providing a passionate yet introspective look at the world at large, with their raw, pathos-infused lyrics educating the listener of our increasingly dystopian, fucked up, apocalyptic world — from the eyes, hearts and perspective of young Black men.
Clocking in at about 30-minutes, the album thematically is a coming of age narrative centered around Black men navigating America, inspired by Richard Matheson’s 1954 post-apocalyptic horror novel I Am Legend. “For us, this album is kinda like our villain origin story, a bedtime story and introduction to those who have and haven’t heard of us yet. Black men have historically been the boogie men of America, so I think it’s fitting that we tell our own legend.”
Late last year, I wrote about two of The Legend of ABM singles:
- “Stanley Kubrick,” a song that featured Branch’s and Warren’s dizzyingly rapid fire, dexterous, braggadocio-filled bars and verses over a minimalist, industrial-like production that paired skittering trap beats with stormy and uneasy bursts of feedback and distortion. Sonically, “Stanley Kubrick” seamlessly meshed trap with the slow-burning and creeping dread of There Existed an Addiction to Blood-era clipping.‘
- “Sabotage” a song that featured Branch and Warren trading rapid fire, dexterous, densely worded yet introspective and deeply personal bars and verses describing their love/hate relationship with modern, American capitalism and their struggles with mental health and the struggle to survive in a mad, mad, mad world. The song sees its emcees vacillating between righteous outrage and heart wrenching despair over a glitchy and woozy production featuring tweeter and woofer rattling 808, skittering beats and noisy arpeggiated synth glitch.
The Legend of ABM‘s third and latest single “Dead Men Tell No Lies” is a brooding track featuring industrial clang and clatter, menacing and buzzing synths paired with skittering beats. And in this uneasy, hellscape Angry Blackmen’s Branch and Warren, along with rising New Jersey-based emcee Fatboi Sharif share trade hauntingly nihilistic verses, which both describes the existential hopelessness, despair and rage of living in a brutally inequitable, corrupt, racist society while adding upon the album’s overall themes of nihilism, tragedy and survival.
New Audio: Angry Blackmen Share Woozy “Sabotage”
Chicago-based hip-hop duo Angry Blackmen — Quentin Branch and Brian Warren — features members, who individually spent their time stretching their creative arms and tapping into different sounds for a couple of years, before Warren suggested that they collaborate together as a duo towards the end of 2016.
Branch and Warren exploded into the underground and experimental hip-hop scenes with their debut single “OK!,” a track that showcased the pair’s adept ability to spit bars. Their second single “Riot!” was a near-complete shift in sound that remained tethered to the sonic foundation that they’d first built.
Their debut EP, 2019’s Talkshit! was released to attention and acclaim, before eventually catching the attention of Philadelphia-based progressive label Deathbomb Arc, known for its avant and eclectic roster featuring releases from Death Grips, JPEGMAFIA, JOVM mainstays clipping., Julia Holter, U.S. Girls and others.
Deathbomb Arc went on to release the duo’s full-length debut, 2020’s HEADSHOTS! and its follow-up EP, 2021’S REALITY!, both of which saw the duo expanding their range sonically while further honing their craft.
The Chicago-based duo’s highly-anticipated 11-song, Formants-produced sophomore album The Legend of ABM is slated for a January 26, 2024 release through Deathbomb Arc. The album reportedly sees Branch and Warren spinning tales of depression, existentialism, self-reflection, tragedy and survival that are unvarnished, lived-in and downright ugly paired with soundscapes that seem to come from a dystopian, apocalyptic future, informed by our hellish present. The result: Two talented emcees providing a passionate yet introspective look at the world at large, with their raw, pathos-infused lyrics educating the listener of our increasingly dystopian, fucked up, apocalyptic world — from the eyes, hearts and perspective of young Black men.
Clocking in at about 30-minutes, the album thematically is a coming of age narrative centered around Black men navigating America, inspired by Richard Matheson’s 1954 post-apocalyptic horror novel I Am Legend. “For us, this album is kinda like our villain origin story, a bedtime story and introduction to those who have and haven’t heard of us yet. Black men have historically been the boogie men of America, so I think it’s fitting that we tell our own legend.”
Last month, I wrote about “Stanley Kubrick,” a song that featured Branch’s and Warren’s dizzyingly rapid fire, dexterous, braggadocio-filled bars and verses over a minimalist, industrial-like production that paired skittering trap beats with stormy and uneasy bursts of feedback and distortion. Sonically, “Stanley Kubrick” seamlessly meshed trap with the slow-burning and creeping dread of There Existed an Addiction to Blood-era clipping.
The Legend of ABM‘s second and latest single “Sabotage” features Branch and Warren trading rapid fire, dexterous, densely worded yet introspective and deeply personal bars and verses describing their love/hate relationship with modern, American capitalism and their struggles with mental health — which of course, is often largely informed by one’s own struggle to survive. And as a result, the song sees its two emcees vacillating between righteous outrage and completely despair over a glitchy and woozy production featuring tweeter and woofer rattling 808, skittering beats and noisy arpeggiated synth glitch.
New Video: Chicago’s Angry Blackmen Share Eerie and Unsettling “Stanley Kubrick”
Chicago-based hip-hop duo Angry Blackmen — Quentin Branch and Brian Warren — features members, who individually spent their time stretching their creative arms and tapping into different sounds for a couple of years, before Warren suggested that they collaborate together as a duo towards the end of the 2016.
The Chicago-based duo exploded into the underground and experimental hip-hop scenes with their debut single “OK!,” a track that showcased the pair’s adept ability to spit bars. Their second single “Riot!” was a near-complete shift in sound that remained tethered to the sonic foundation that they’d first built.
Their debut EP, 2019’s Talkshit! was released to attention and acclaim, before eventually catching the attention of Philadelphia-based progressive label Deathbomb Arc, known for its avant and eclectic roster featuring releases from Death Grips, JPEGMAFIA, JOVM mainstays clipping., Julia Holter, U.S. Girls and others.
Deathbomb Arc went on to release the duo’s full-length debut, 2020’s HEADSHOTS! and its follow-up EP, 2021’S REALITY!, both of which saw the duo expanding their range sonically while further honing their craft.
The Chicago-based duo’s highly-anticipated 11-song, Formants-produced sophomore album The Legend of ABM is slated for a January 26, 2024 release through Deathbomb Arc. The album reportedly sees Branch and Warren spinning tales of depression, existentialism, self-reflection, tragedy and survival that are unvarnished, lived-in and not always pretty paired with soundscapes that seem to come from a dystopian future — informed by our pre-apocalyptic world. The result is two emcees providing a passionate yet introspective look at the world-at-large, with their raw, pathos-infused lyrics educating the listener on our increasingly dystopian, apocalyptic world.
Clocking in at about 30-minutes, the album thematically is a coming of age narrative centered around Black men navigating America, inspired by Richard Matheson’s 1954 post-apocalyptic horror novel I Am Legend. “For us, this album is kinda like our villain origin story, a bedtime story and introduction to those who have and haven’t heard of us yet. Black men have historically been the boogie men of America, so I think it’s fitting that we tell our own legend.”
The Legend of ABM‘s first single “Stanley Kubrick” features Branch and Warren spitting dizzyingly fast, dexterous, braggadocio-filled bars and verses over Formants minimalist industrial production that pairs skittering trap-like beats with stormy bursts of feedback and distortion. The result is a song that seamlessly meshes elements of trap with the slow-burning dread and horror of There Existed an Addiction to Blood-era Clipping.
Directed by Jon Le Vert, the video features the duo in empty, dimly-lit, parking garage. The result is a video that captures the chaos, unease and apocalyptic panic of our current movement.
Live Footage: Genesis Owusu Performs “Gold Chains” on “Late Show with Stephen Colbert”
2017’s Cardrive EP saw Ghanian-born, Canberra, Australia-based, 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly establishing himself as a perpetually restless, genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling in diverse forms. Cardive EP eventually garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NME, i-D, mixmag and others. Adding to a growing profile across Australia, Owusu has opened for Dead Prez, Col3trane, Sampa The Great, Cosmo’s Midnight, Noname, Animé, Ruel and others.
Back in 2020, Owusu-Anash released a handful of highly-celebrated singles including the fiery mosh-pit friendly banger “Whip Cracker” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and here in the States on KCRW, KUTX, The Current and Alt98. Those singles prominently appear on Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth.
“Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. Callinan, Touch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel.
In the lead-up to the album’s release, I wrote about three of Smiling With No Teeth‘s singles:
- “The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
- “Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.”
- “Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles.
Owusu-Anash capped off an enormous 2021 with the Missing Molars EP, a five-track accompaniment to his critically applauded full-length debut. Recorded during the Smiling With No Teeth sessions, the Missing Molars EP material didn’t make the album — but further continue the soul-baring narrative of his debut. “Missing Molars is an extension of Smiling With No Teeth,” Owusu-Anash explains. “A small collection of tracks from the SWNT sessions that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.”
Recently, Owusu-Anash made his Stateside, late night TV debut on The Late Show with Stephen Colbert, where he performed SWNT standout single “Gold Chains” along with his backing band.
New Video: Homemade Weapons’ Drum ‘n’ Bass Remix of Clipping.’s “Wriggle”
Throughout the course of this site’s 10-plus year history, I’ve managed to spill copious amounts of virtual ink covering the acclaimed Los Angeles-based hip-hop trio and JOVM mainstay act Clipping. The trio — production duo Jonathan Snipes and William Hutson and frontperson Daveed Diggs — have been busy over the past couple of years: they released two critically applauded albums as part of planned diptych — 2019’s There Existed An Addiction to Blood and 2020’s Visions of Bodies Getting Burned — that found the act developing an abrasive and downright messy take on horrorcore, centered around an industrial aesthetic while lovingly twisting familiar genre and sub-genre tropes to fit their politics and thematic concerns: fear, the absurd, the uncanny and the seemingly unending struggle for an antiracist, anti-patriarchal, anti-colonialist world.
But I need to rewind a bit: 2016’s digital-only release Wriggle EP featured six tracks that weren’t finished in time to make it on the JOVM mainstay’s 2014 Sub Pop Records debut CLPPNG. Since its release, the EP has become a fan favorite with tracks like “Wriggle” and “Shooter” becoming staples of their live set. Interestingly, the members of Clipping will release the Wriggle EP as a newly remastered and expanded nine-track set on vinyl for the first time ever on July 9, 2021 — with a 10 track digital version officially dropping today.
The expanded version of Wriggle features the original versions of “Shooter,” “Hot Fuck No Love” feat. Cakes Da Killa and Maxi Wild, and “Our Time” feat. Nailah Middleton, along with “Back Up 2021” featuring SB The Moor and a new verse of industrial rap experimentalist Debby Friday. Additionally, the expanded version features previously remixes by drum ‘n’ bass/breakbeat act Homemade Weapons, Classicworks label co-founder Cardpusher, Dave Quam (formerly known as Massacooramaan) and a vinyl-only version of “Hot Fuck No Love” by footwork producer Jana Rush.
The expanded EP’s latest single is Homemade Weapons’ remix of “Wriggle.” The original was breakneck banger centered around a sample of Whitehouse’s influential power-electronica song “Wriggle Like a Fucking Eel,” skittering, tweeter and woofer rocking beats and Diggs’ dexterous, rapid-fire flow and forceful commands to wriggle like a snake or an eel. The Homemade Weapons remix is a minimalist drum ‘n’ bass take on the song, reducing the song to a chopped up and screwed vocal sample and densely layered staccato beats.
Directed by Cristina Bercovitz and Clipping’s Jonathan Snipes, the recently released video for “Wriggle (Homemade Weapons Remix)” features daytime and nighttime footage on Interstate 110, edited in a way so that the cars more in a glitchy fashion to the propulsive beats.