Cerca:plan b

Sometimes, space is the perfect catalyst for intense creativity. Following the release of their fourth LP, 2019's Your Church On My Bonfire, PAWS - the Scottish DIY indie rock songwriting partnership of Phillip Jon Taylor and Joshua Swinney, toured briefly, and as the world began to shut down, they slipped out of sight. Phillip retreated north to the Highlands where he focused on his painting, solo work and the rewarding demands of fatherhood. Josh headed south to London, pursuing his other passion as a chef at the highly acclaimed Plimsoll. It would have been easy for both to settle into their new lives, but PAWS never died…and neither did the tie connecting the two friends. Having missed playing together for too long, a plan was set and in October 2022 Josh travelled to Phillip's home studio in his crofters cottage where work began on the band's fifth self-titled LP. Relying on a set of phone demos and chemistry honed after years on the road the songs came together surprisingly fast. Having recorded previously with both Blink 182’s Mark Hoppus and Frightened Rabbit’s Andy Monaghan, the band once again seized control of production duties as they had on their sophomore release Youth Culture Forever. Utilizing all they had learned and adding their own DIY ethos into the mix, the music was done in a week. Josh headed home and Phillip set to work on lyrics. The resulting record finds the band as grounded and assured as they ever have been. Marrying the deafening assault of youthful abandon with the whispered reasoning that comes with getting older; swaying from anger and exasperation to wide eyed optimism. PAWS is a succinct, razor wire encased documentary chronicling the pains of modern living. Delving into the dark underbelly of 90s alternative rock, painting with evocative instrumentals and reveling in celebratory indie punk, the band also embrace sordid pop and ambient electronics. And while it pays homage to where they have come from, it also signals a clean slate for the pair. Two friends united over distance. After some time apart, all they needed was a spark.

From Northern Ireland and the South of England hail Jetplane Landing - which, for the last two decades has been variously composed of: Jamie Burchell (Bass/Vocals), Raife Burchell (Drums), Andrew Ferris (Vocals/Guitars), Cahir O’Doherty (Guitars/Vocals) and Craig McKean (Drums). Big Scary Monsters are releasing their debut album Zero For Conduct on vinyl this January as well as putting their entire back catalogue back on streaming services. Their debut album ‘Zero For Conduct’, was recorded on an 8-track tape machine in Jamie's parents' garage in Bognor Regis and mixed during engineer Sean Doherty’s downtime in a London studio owned by a diamond mining company. Hailed a 'masterpiece’ (5Ks - Kerrang!) upon its release in 2001 - it contains fan favourites ‘This Is Not Revolution Rock’ and ‘Summer Ends’ and perfectly encapsulates the vitality of the 00's post-hardcore DIY scene that inspired its creation. Deriving their name from the moment a blissed-out Burchell/Ferris witnessed At The Drive-In perform ‘One Armed Scissor’ on their debut British TV performance - “Fuck me Ferris, they sound like a jet plane landing!” - ZFC channels that riotous energy across its heart-felt eleven cuts. Delicate acoustic confessionals sit alongside full-throated math-rock experimentation; this is an album as varied as it is ambitious. Jamie: “We initially set out to track the record during a two-week period Andrew had off from work. At the end of those two weeks, we didn’t even have all the drums recorded let alone the overdubs. So the idea emerged that Ferris and I would drive down every weekend from London to my parents’ house and we would make the album that way. Cut to… one year later…” Andrew: “When I listen back now, I can physically feel the conversations we had on those long drives, all those micro-decisions - getting the songs to be… right. It was a long process, but truthfully I’d have been happy to let it go longer. Jamie gave me so much confidence and pushed me to places I didn’t know I had or even needed to be. It was a really special time.”. Jamie continues, “There was this weird fusion between us musically which seemed to just work.” Fans of Elliot Smith, Nick Drake, J Mascis, and Stephen Malkmus will feel right at home with this lovingly crafted set. Spoiler alert: heavier sounds and bigger rooms were to come for Jetplane but on Zero For Conduct their musical universe feels at once expansive and deeply personal.

Living on such a chaotic planet, tossing and turning is inevitable. It’s hard to sleep in the midst of uncertainty. That’s why Sundressed was born. Lead vocalist and songwriter Trevor Hedges began his project in 2012, with the initial purpose of maintaining his sobriety. Now, 10 years later, Hedges has refocused the project’s mission, writing songs that tackle mental health issues for others to take solace in. His confessional lyrics and punk-infused melodies inspire hope in listeners to continue moving forward, determined to make a positive impact, one lyric at a time.

Stepmother ist ein australisches Power-Trio und spielt zu gleichen Teilen Motor-City-Proto-Punk und Feedback-durchdrungenen Fuzz auf Psychedelia-Basis mit Einflüssen von Blue Cheer oder The Pink Fairies. 'Planet Brutalicon' ist voller dunkler Melodien, beschreibt textlich ein nukleares Armageddon, Folter und übernatürliche Wesen. Die LP wurde von Robert Muinos bei Rat Shack (Saskwatch) aufgenommen und von John Davis (The Damned) bei Metropolis Mastering gemastert. Sie erscheint auf dem Tee Pee-Label und auf sumpfig-grünem Vinyl!

Our upcoming album, titled "Helichrysum," delves deep into the human experience, exploring the wounds we carry and the transformative power that lies within us. It serves as a culmination of the countless creative and personal choices we have made, leading us to a place of greater harmony within ourselves, with each other, and with our collective intentions. Musically speaking, the new album is a testament to our commitment to delivering a sonic experience that is unapologetically raw, adventurous, heavy, groovy and psychedelic. The choice to name the album after the Helichrysum plant, holds a significance as the plant symbolizes endurance, healing, immortality, and the power to overcome adversity, which mirror many of the themes throughout the record."

Olive green vinyl, limited to 500 copies. "Our upcoming album, titled "Helichrysum," delves deep into the human experience, exploring the wounds we carry and the transformative power that lies within us. It serves as a culmination of the countless creative and personal choices we have made, leading us to a place of greater harmony within ourselves, with each other, and with our collective intentions. Musically speaking, the new album is a testament to our commitment to delivering a sonic experience that is unapologetically raw, adventurous, heavy, groovy and psychedelic. The choice to name the album after the Helichrysum plant, holds a significance as the plant symbolizes endurance, healing, immortality, and the power to overcome adversity, which mirror many of the themes throughout the record."

Jenny from Thebes begann, wie viele Alben der Mountain Goats, mit John Darnielle am Klavier, bis ein Text entstand. Dieser Text, "Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief", wurde zu "Jenny III", einem Song, der eine Herausforderung darstellte, der er sich nie zuvor gestellt hatte: eine Fortsetzung zu einem seiner beliebtesten Alben zu schreiben.

Der Katalog der Mountain Goats ist voll von wiederkehrenden Charakteren_Jenny, die ursprünglich in dem ihren Namen tragenden Stück All Hail West Texas auftaucht, sowie in "Straight Six" von Jam Eater Blues und dem Transcendental Youth side two jam "Night Light", ist einer von ihnen, jemand, der unerwartet in einen Song eintritt und die Ohren der Fans spitzt, die darauf erpicht sind, die verschiedenen Erzählstränge fortzusetzen, die sich durch die Diskografie der Mountain Goats ziehen, bevor sie im Nebel verschwinden.

In diesen Liedern wird Jenny weitgehend durch ihre Abwesenheit definiert, und diese Definition wird ihr von anderen Charakteren gegeben. Sie läuft vor etwas weg.

Diese Merkmale sind betörend, sowohl für die Figuren, die ihre Geschichte bisher erzählt haben, als auch für den Zuhörer. Sie laden zu bestimmten Fragen ein: Wer ist Jenny wirklich? Wovor läuft sie weg? Nun, sie ist eine Kriegerin und eine Diebin, und da es sich um ein Album der Mountain Goats handelt, ist es eine sichere Wette, dass das, wovor sie flieht, etwas Schlimmes ist. Etwas katastrophal Schlimmes. Jenny from Thebes ist die Geschichte von Jenny, ihrem Haus im südwestlichen Ranchstil, den Menschen, für die dieses Haus ein Ort der Sicherheit ist, und der westtexanischen Stadt, die sich mit ihrer Existenz nicht anfreunden kann. Es ist eine Geschichte über das Individuum und die Gesellschaft, über Sicherheit und Schutz und diejenigen, die sich dafür entscheiden, sich um sie zu kümmern, wenn es sonst niemand tut. Aufgenommen im legendären The Church Studio in Tulsa, Oklahoma, mit der Grammy-prämierten Produzentin/Technikerin Trina Shoemaker, ist Jenny from Thebes eine üppige Sammlung von Songs, die Darnielle als Sängerin und die Mountain Goats als Band vorantreibt, indem sie ihre klangliche Palette wieder einmal erweitert und sich an Einflüsse wie Godspell, Jim Steinman und The Cars anlehnt. Getragen von den Bläser- und Streicherarrangements von Matt Douglas, der verträumten Gitarre der Bully-Leaderin (und Bleed Out-Produzentin) Alicia Bognanno und den Backing Vocals von Kathy Valentine von den Go-Go's und Matt Nathanson, ist Jenny from Thebes ein Musical von großem Ausmaß, ein Melodram mit detailreichen Charakteren und mitreißenden Emotionen.

Jenny from Thebes begann, wie viele Alben der Mountain Goats, mit John Darnielle am Klavier, bis ein Text entstand. Dieser Text, "Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief", wurde zu "Jenny III", einem Song, der eine Herausforderung darstellte, der er sich nie zuvor gestellt hatte: eine Fortsetzung zu einem seiner beliebtesten Alben zu schreiben.

Der Katalog der Mountain Goats ist voll von wiederkehrenden Charakteren_Jenny, die ursprünglich in dem ihren Namen tragenden Stück All Hail West Texas auftaucht, sowie in "Straight Six" von Jam Eater Blues und dem Transcendental Youth side two jam "Night Light", ist einer von ihnen, jemand, der unerwartet in einen Song eintritt und die Ohren der Fans spitzt, die darauf erpicht sind, die verschiedenen Erzählstränge fortzusetzen, die sich durch die Diskografie der Mountain Goats ziehen, bevor sie im Nebel verschwinden.

In diesen Liedern wird Jenny weitgehend durch ihre Abwesenheit definiert, und diese Definition wird ihr von anderen Charakteren gegeben. Sie läuft vor etwas weg.

Diese Merkmale sind betörend, sowohl für die Figuren, die ihre Geschichte bisher erzählt haben, als auch für den Zuhörer. Sie laden zu bestimmten Fragen ein: Wer ist Jenny wirklich? Wovor läuft sie weg? Nun, sie ist eine Kriegerin und eine Diebin, und da es sich um ein Album der Mountain Goats handelt, ist es eine sichere Wette, dass das, wovor sie flieht, etwas Schlimmes ist. Etwas katastrophal Schlimmes. Jenny from Thebes ist die Geschichte von Jenny, ihrem Haus im südwestlichen Ranchstil, den Menschen, für die dieses Haus ein Ort der Sicherheit ist, und der westtexanischen Stadt, die sich mit ihrer Existenz nicht anfreunden kann. Es ist eine Geschichte über das Individuum und die Gesellschaft, über Sicherheit und Schutz und diejenigen, die sich dafür entscheiden, sich um sie zu kümmern, wenn es sonst niemand tut. Aufgenommen im legendären The Church Studio in Tulsa, Oklahoma, mit der Grammy-prämierten Produzentin/Technikerin Trina Shoemaker, ist Jenny from Thebes eine üppige Sammlung von Songs, die Darnielle als Sängerin und die Mountain Goats als Band vorantreibt, indem sie ihre klangliche Palette wieder einmal erweitert und sich an Einflüsse wie Godspell, Jim Steinman und The Cars anlehnt. Getragen von den Bläser- und Streicherarrangements von Matt Douglas, der verträumten Gitarre der Bully-Leaderin (und Bleed Out-Produzentin) Alicia Bognanno und den Backing Vocals von Kathy Valentine von den Go-Go's und Matt Nathanson, ist Jenny from Thebes ein Musical von großem Ausmaß, ein Melodram mit detailreichen Charakteren und mitreißenden Emotionen.

DELUXE 8LP BOXSET FROM THEIR ‘CAPITOL YEARS’, WITH STUDIO ALBUM HALF-SPEED MASTERING, LP OF BONUS TRACKS, 60 PAGE BOOK, POSTERS & NUMBERED CERTIFICATE

Currently on the 40 Years Live World Tour and sounding better than ever, W.A.S.P. is one of the most consistent and reliable forces in rock music - unstoppable and unassailable, like a heavy metal juggernaut sent back in time from a long, distant galaxy. Frontman Blackie Lawless is undoubtedly one of rock’s everlasting figures – someone’s whose attitude and vision changed the musical landscape around him, in the process bearing fruit to some of the biggest anthems of their time.

Their first five studio albums (W.A.S.P., The Last Command, Inside the Electric Circus, The Headless Children & The Crimson Idol) contributed enough on their own for W.A.S.P. to be considered one of the greatest rock bands of all-time. Those LPs are all presented in this set, mastered half-speed at Air Studios, London, for a superior, sharper, more direct and engaging sound.

Packaged within a deluxe red leatherette effect double slipcase, The 7 Savage: 1984-1992 is completed on vinyl with two more LPs: 1987’s Live… in the Raw and new compilation Bonus Tracks & B-Sides featuring the controversial breakthrough anthem ‘Animal (F**k Like a Beast)’.

Compiled with the full cooperation of Blackie Lawless, the box set also includes a 60-page book with exclusive and rare pictures from legendary metal photographers (including Ross Halfin, Tony Mottram, David Plastik and Paul Natkin), along with extensive liner notes from Amit Sharma (Kerrang!, Planet Rock). Also included is an exclusive Blackie Lawless poster, plus an individually numbered circular saw shaped certificate.

The 7 Savage: 1984-1992 will be released Friday 27th October 2023 on Madfish and is strictly limited to 2000 copies worldwide.






















































[yb] L.2. Phantoms In The Mirror [04:36] D.3. The Eulogy

THIRTEEN WAH-DRENCHED ACID-FRIED HENDRIX-WORSHIPPING BLOWN-OUT FREE LOVE-FUELED BLACK ROCK JAMS THAT'LL CHANGE YOUR LIFE

[a] ROLLING LOVE [PART 2]











[m] RINGING BELLS (SWEET MUSIC) [PART 2]

LIMITED EDITION RED ON FOR THE DARKNESS VINYL. THIRTEEN WAH-DRENCHED ACID-FRIED HENDRIX-WORSHIPPING BLOWN-OUT FREE LOVE-FUELED BLACK ROCK JAMS THAT'LL CHANGE YOUR LIFE

[a] ROLLING LOVE [PART 2]











[m] RINGING BELLS (SWEET MUSIC) [PART 2]

British Sky Empire is back with their second album "The Shifting Tectonic Plates of Power - Part One". This time has Jeff Scott Soto (Yngwie J. Malmsteen, Talisman, Journey) taken over the position as vocalist, and he is doing a fantastic job. The album will surely appeal to fans of both 70´s, 80´s and 90´s eras of progressive heavy rock/metal, but also to the fans of the new age spotless equilibrism of prog-artists, like Tesseract, Haken or Vola.

Sound Like: Dream Theater, Threshold, Kings X, Rush

Das fing mit Superpunk Mitte der 90er vollkommen ambitionslos an. Plan war es, eine Band zu gründen, um auf Partys Kracher aus den Sixties zu spielen. Leider scheiterte die Band bereits an relativ simplen Garage-Rock-Klassikern wie "I need you" von den Kinks. Und wer hätte gedacht, dass "Friday on my mind" derart viele Akkorde hat? Das kann sich doch nun wirklich kein Mensch merken. Da erschien es erheblich einfacher, sich eigene Songs auszudenken, konnten andere schließlich auch. Aber erst mal musste ein Name her. Zur Auswahl standen "Fifi", "Schnellbus", "Hamburg Spinners", "Superminister Riesenhuber" und "Superpunk". Mit einfacher Mehrheit und wie immer ohne viel nachzudenken, entschied man sich für letzteres Mit den ersten eigenen Songs wurden dann richtige Konzerte gespielt, die zum Teil gut ankamen. Bei einem dieser Auftritte war auch Thies. Dem gefiel, dass die Band, jetzt aus dem Stegreif memoriert, "wie eine total zerkratzte Ray-Charles-Platte auf falscher Geschwindigkeit" klang. So gut gefiel das dem Thies, dass er fortan als Keyboarder dabei war. Und das ist auch wirklich eine treffende Beschreibung für den frühen Superpunk-Sound. So, jetzt aber: Es wurden fleißig eigene Songs gemacht und als genügend da waren, dachte sich die Band: "Die könnten wir eigentlich mal aufnehmen." Auf der Straße, irgendwo zwischen "Eis-Gerd" und "Pudel" trafen sie Bernd Begemann, der sagte: "Ich habe einen 4-Spur-Kassettenrekorder, ich nehme euch auf!". "Toll, danke, Bernd!" Und so brachte Bernd seinen Kassettenrekorder, mehrere Kassetten (die teuren, Chrome II), Mikrophone und eine seltsame Apparatur (ein Stimmgerät) mit in den Übungsraum im Bunker bei der Apostelkirche und nahm mit einer Engelsgeduld das Album auf. Auf der Straße, irgendwo zwischen "Heinz Karmer"s" und "Komet" traf die Band dann Bernd Kroschewski, der sagte: "Ich habe ein Label, ich bring euer Album raus!" "Toll, danke, Bernd", hieß es erneut. Und so erschien ziemlich genau vor 25 Jahren "A bisserl was geht immer" auf Fidel Bastro. Da waren, muss man zugeben, etliche Hits drauf: "Matula, hau mich raus", "Ich kann nicht nein sagen", "Das ist heute nicht Dein Tag", "Die Axt im Walde". Aus der ambitionslosen, verhinderten Partyband wurde dann doch noch eine (beinahe) richtige Band, mit Platte und Label und dem ganzen Schnick Schnack. Sogar auf Tour sind Superpunk mit dem Album gegangen, das war was, zwischen Hölle (null Zahlende in Kassel) und Himmel (ausverkaufter Pudel, Rekordgage von 300 Mark + gekühlte Freigetränke). Falls ihr noch nie "A bisserl was geht immer" gehört habt, stellt euch eine Mischung aus 39 Clocks, Cockney Rejects und dem Ramsey Lewis Trio vor. Zugegeben, leichte Kost ist das nicht, aber einer, wenn nicht der einzige Meilenstein des Hamburger DIY/ Outsider/Beats

Musical innovators, Red Snapper, have announced that they will release a new album on Lo Recordings on the 20th of October 2023.

‘Live at The Moth Club’, the follow up to 2022’s acclaimed ‘Everybody Is Somebody’ long player, features nine tracks from a vast and impressive back catalogue on Warp Records and Lo Recordings and captures perfectly the energy of their celebrated sold out London show from May 2022 in Hackney.

With an incredible and genre bursting career that spans nearly thirty years, the new album demonstrates the band’s ability to constantly rework classic and new tracks, keeping them impassioned, experimental and relevant. The collection includes a version of ‘Suckerpunch’ which originally appeared on their 1998 album ‘Making Bones’ and will now be released as a single on the 15th of September 2023.

Notorious for casting convention aside, and remaining one of the UK’s most forward thinking and rule breaking live bands, Red Snapper embrace a unique blend of live, euphoric Afro-Jazz, Future Funk, Dub, Dark Hip-Hop and fragile soundscapes.

Formed in 1994, the original line up of Rich Thair (drums), Ali Friend (double bass) and David Ayers (guitar) released three EPs on Rich Thair and Dean Thatcher’s label Flaw Recordings. The first EP ‘Snapper’ featured Beth Orton on vocals.

Over the initial years the band released the sonically pioneering albums; ‘Reeled and Skinned’, ‘Prince Blimey’, ‘Making Bones’ and ‘Our Aim Is To Satisfy Red Snapper’ (Warp records), touring globally and supporting the likes of Massive Attack, Bjork, The Prodigy, De La Soul and The Fugees. They also acquired a reputation for innovative and expansive remixing – reworking tunes by Trouble Funk, David Holmes, Sabres of Paradise, Garbage, Lamb, S-Express and Edwyn Collins amongst others.

Since then the band have released the eponymous ‘Red Snapper’ and ‘A Pale Blue Dot’ on Lo Recordings followed by ‘Key’ on V2 Records which featured the track ‘Spikey’ which was on the soundtrack for El Camino, the Netflix Breaking Bad film directed by Vince Gilligan in 2019.

In 2013 Red Snapper composed a new soundtrack to the 1970’s Senegalese, psychedelic road movie Touki Bouki which had been restored by Martin Scorsese. The band toured Europe performing the soundtrack live to the film, culminating in the celebrated sell-out show at The Queen Elizabeth Hall on London’s Southbank. In 2014 the album ‘Hyena’ was released on Lo Recordings featuring all the music from their original film score.

WEB WEB führen mit ihrem fünften Album WEB MAX II die Kollaboration mit Max Herre fort, die auf WEB MAX (2021) begann. Dabei ist ihnen mit diesem neuen Album weitaus mehr gelungen als lediglich die reine Weiterführung einer Serie. WEB MAX II ist musikalisch und emotional die wohl vielfältigste Destillation dessen, was die ursprünglich im Spiritual Jazz verwurzelte deutsche Jazz-Supergroup in den sieben Jahren ihres Bestehens hervorgebracht hat.

Cleveland-based producer Tim Thornton makes music under the moniker Tiger Village. Thornton has carved out a niche in the American experimental underground through the wide-spanning releases of his own label Suite 309, as well as through his day job as a quality control supervisor at the Gotta Groove Records manufacturing plant — meaning that his ears serve as the finish line for a vast slate
of vinyl projects that hit the market every year. The Celebration, the fourth Tiger Village release on Hausu Mountain since 2014, joins a catalog that includes releases on Orange Milk, Patient Sounds,
and HausMo sublabel Blorpus Editions, along with a battery of music self-released through Suite 309.


Within the jittering IDM-adjacent networks of The Celebration, Thornton expands his craft on multiple concurrent trajectories, digging deeper into complex drum programming and labyrinthine synth arrangement while further exploring passages of vocal synthesis and non-recursive song structures that thrive on unpredictability and constant fluctuation. Thornton can’t help but bring a wide-eyed curiosity to anything he produces, as he rejects the dead-serious gun-metal intensity of many strains of contemporary electronic production in favor of bright tones and wonky rhythms.

Like fellow Hausu Mountain artists Wobbly and Moth Cock, Tiger Village revels in cheeky compositional about-faces and
carnivalesque synth lines. In all their staccato voices and peals of abstract texture, Thornton’s tracks blur the lines between harmonic electronic elements and drum patterns. The album morphs before our
ears every few seconds or so, allowing arrhythmic loops and alternating rhythmic grids to contrast against whatever might seem to be the bedrock of any given piece. By paying attention to the
trajectory of every dollop of sound, Tiger Village pulls off magic tricks in his pointillist arrangements in which nothing remains static — everything pushes towards a state of progressive complication.

Stockholm based The Nomads have always stood out from other garage rock revivalists because of
the intensity of their performances and the wide range of their influences, which extend beyond the
usual ’60s bands. The mini-LP Where the Wolf Bane Blooms still sounds as vital and exciting as it did
in 1983. 40 years down the road we celebrate this underground classic with a remastered reissue full
of extra goodies from one of the toughest bands to walk the planet

New Jersey, Brick City hip-hop legend Beneficence and UK based producer duo Jazz Spastiks unearth a timeless treasure with the release of their collaboration album "Summer Night Sessions". With a completely jazzy street feel and slick written, soothing, intellectual lyrics the Ill Adrenaline co-founder releases his 8th full length album. Over 25 years of successfully releasing independent music, Beneficence set the bar high by using lo-fi, jazzy boom-bap sounds masterfully. Following his most successful "Stellar Mind" (2021) release accompanied with a memoir ("Concrete Soul - The Memoir & Making of Ill Adrenaline Records") of his life and music journey, the close Artifacts affiliate delivers a personal collage of authentic hip-hop music with a brilliant Jazz Spastiks backdrop. Well selected guest appearances in these "Summer Night Sessions" include Skyzoo, Saukrates, Doodlebug (of Digable Planets), Awon, El Da Sensei (of The Artifacts), J-Live, Rakaa Iriscience (of Dilated Peoples), Kid Abstrakt, Shabaam Sahdeeq, and grammy nominated R&B singer Anthony David on a CD/digital only bonus track. On the first single "Do This, Do That" feat. Awon, Beneficence flows smoothly over simple but captivating horns reminiscing about his come up on the music scene. "At the time I was seated behind Diddy and Biggie, '95 Source Awards keys to the city". "Mic Epps" displays lyricism in its finest form when Beneficence playfully pans between a reference to comedian Mike Epps and microphone episodes. "Civilize 'em with a mic check, I get funny on 'em, Mike Epps, you coming ugly imma swipe left, what we giving you is priceless, the nicest!". The musical marriage between the beautiful sounds of Jazz Spastiks and the sharp pen of Beneficence is tactfully done with rich and hypnotic bangers for hip-hop lovers with an ear for certified dopeness