Knife The Symphony/Swear Jar split lp - Phratry Records

In the press release for the Knife The Symphony/Swear Jar split lp they note their influences to be "Amphetamine Reptile's noisiest and most abrasive work, NoMeansNo, Shellac, Minutemen and Crucifucks." which is all fine and good, however the one band not mentioned as an influence  by Knife The Symphony is At The Drive In and for some reason they are the first band that came to mind upon hearing  Knife The Symphony, it's likely the shouted vocals that are drawing that comparison for me. The bass playing on the other hand has a definite heavy Shellac feel. Overall Knife The Symphony are an energetic unit that should appeal to anyone who is a fan of the bands stated influences.

Swear Jar remind me a bit of bands like Bastro and Rodan just for a reference point and they deliver their music with much of the same intensity and power that Knife The Symphony brought to the A side of this Lp.

Over the past few years I have often complained about the lack of bands who just blow it out in the 90's way that bands like Drive Like Jehu , ATR, Rodan etc did. It sometimes feels to me that there is a lack of bands who draw their influences from the heavier aspects of the 90's indie scene. Yeah there are a ton of punk hardcore bands playing the 80's style, but sometimes it feels like the kids of today only recognize and emulate the wimpiest aspects of 90's indie rock and they forget that there were actually heavy, aggressive, energetic bands releasing amazing records in the 90's...Thank you Knife The Symphony and Swear Jar for showing me that the best part of the 90's indie music scene hasn't been completely forgotten...Dave G.

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Thinning the Herd, Cinema Cinema and Some Shots of Jack Daniels Highlight My First Trip to Brooklyn's Grand Victory

Each year as the weather gets warmer and the days longer I find myself escaping to Brooklyn. Though I was born in Queens, New York. Brooklyn holds a special place in my heart. How could it not? Having gone to school there and worked my first "Suit Related" job just a few miles away. (Hey, my Mother was born and raised in the storied borough...)
On this particular night my reason for getting on to the L train had nothing to do with nostalgia or family values. It was to celebrate the hell out of the fact that two of my favorite heavy hitters (Thinning the Herd and Cinema Cinema) were playing the same bill. A show that would bring together two very heavy bands that though similar in their decibel levels. Take different routes and speeds when making deliveries.

This would mark my first trip to Brooklyn's Grand Victory. (I attempted to drive there once last year to see Cinema Cinema and got completely lost.) When I first heard of the place, the clubs name had me thinking of a larger club the size of perhaps Bowery Electric or even the Bowery Ballroom. A place that would featured thick necked bouncers with form fitting black shirts and flashlights. Luckily for me, that vision was more of a hallucination. In truth, if it were not for the small crowd outside the bar. We would have walked right past it.
Though it is quite nondescript exterior, the venue itself quickly became my new favorite watering hole. As I headed to the bar I found myself surrounded by some friendly characters. When I told the shaved head next to me that he reminded me of a young
Jimmy Drescher. (Murphy's Law) He raised his glass to me and ordered us some shots of Whiskey. I'm glad he took it as a compliment. The night was officially off to a good start.

As far as first shows go Pocket Pool raised the bar pretty high. Their high energy set featured everything from dancing and sing alongs from the attending crowd to partial nudity from the band. While sitting at the bar earlier the bands drummer explained to me the hidden meaning of the bands name. "It's about masturbation" he said. I looked up from my glass shocked from this revelation. "Really?" "That's downright salacious." In every possible way, their set was a fun and upbeat start to the night.
Pocket Pool

If you're anything like me, when you find a band you really love you want to see them live as much as possible. When putting that plan into practice you often run the risk of burn out. Sure, you love the band, that's already a given. However seeing them perform the same set numerous times within a six to eight month period can wear down that favorite band status. Fortunately for me, Ev and Paul (Cinema Cinema) keep their sets fresh and somewhat unpredictable. Many is the time I've heard them perform the song "Lady Abortion." Funny thing is I feel I'm hearing it differently each time. In seeing them numerous times I find one of my greatest rewards is watching the reactions and expressions of the faces in the crowd. That in itself is an experience. Cinema Cinema is playing with the legendary Black Flag at Brooklyn's Warsaw. Go, get out, get fucked.
Cinema Cinema

The band has had its share of personnel changes and personal struggles marked by the death of their drummer and beloved friend.... They since soldiered on releasing a new album
"Freedom from the Known" and playing shows with new drummer Garth Mackaleavey.
The band played an excellent set featuring much of the new albums material.
Gavin Spielman makes for the perfect frontman. The singer/guitarist/founder has an incredible stage presence.
Focused and ferocious, I can see him easily winning a stare down contest with Metallica's James Hetfield. The songs from the new album sound incredible to say the very least. Seeing them perform made me realize how much I've really missed these guys in the past year. Upon hearing their set, I felt assured that it wouldn't be long before our paths crossed again. I'm really glad I had the chance to see these two bands play a show together.
Thinning the Herd

Closing the night were Bbigpigg. I had never heard or heard or heard of these guys and did not have the slightest inkling of what I was about to experience. As the band assembled, one of the band members placed a studio flood light just adjacent to the front of the stage. I thought to myself "Okay, this is going to get weird." Luckily for me and everyone present at
Grand Victory that night, it did.
Noisy, experimental, loud and unexpectedly excellent. The bands style and performance could be best explained as a tribal ritual, a possession of not only the ears but the soul. Influences ranging from the Melvins to Jesus Lizard could be felt but their sound and style was one that was really all their own.
BbigPigg

I left fulfilled, exhausted and exhilarated all at the same time. Grand Victory is a great spot that seems to gather an excellent crowd of interesting and varied crowd. I plan on returning on a regular basis.

Until then,
James Damion

Manipulation - ST Lp Sorry State Records 2013

This damn Manipulation Lp bursts out of your speakers like a bat out of hell and I'm not talking about that fatso from the 1970's. The bat out of hell I am referring to is the Manipulations who are one lean mean hardcore pummeling machine on this their self titled debut Lp for Sorry State Records. If you like raw unrelenting hardcore then this records is definitely for you.

I heard a lot of great things about Manipulation over the past few years and in all honesty I didn’t fully appreciate their previous releases, but this Lp changes all of that for me. I'm adding this album to my repeated listening pile right now...Dave G.

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Filling in the Blanks; An Interview withNew Jersey's Eastern Anchors

Eastern Anchors had just wrapped up a rare Monday night show at Hoboken's Maxwell's.
At the time I was feeling kind of lucky getting to see a band whose recent album
"Drunken Arts and Pure Science" had become a recent favorite by a band I honestly knew little to nothing about. It wasn't until the bands singer/guitarist Walter Verde handed me two CD's from the band Aviso'Hara that the pieces of the puzzle started to fall into place.
As I listened "Goodnight Sweetheart" and "Our Lady of the Highway" I thought to myself, "How did I miss this?" I mean I've lived in New Jersey for most of the 21st Century.
What could I have been doing with my life? So with more questions than answers I decided to go right to the source to fill in the blanks and find the answer to just what the hell is this thing they call "Dad Rock"? James Damion

James: Can you fill me in on lineage between Aviso'Hara and Eastern Anchors? What was time frame and evolution between the two bands?

Ken: We had all played in the same scene together for a while, but I think the link originally formed between Aviso Hara and a band I was playing in with Aviso drummer Benny Rodriguez called Clydesdale. We asked Walter to record some demos for us. Soon after we recorded our singer/guitarist Bill wanted to move to a pure vocalist role, so we asked Walt to step in and fill the guitarist spot. Clydesdale broke up about a year later and Walter and I decided to keep things going with a new band, which became Eastern Anchors.

Walter: To piggy back off Ken, it took a few years and lapses in activity till we came to this version of the band.  We were a 4 piece with Dave on second guitar.  Dave left for a while and we became a 3 piece, which is where we switched up our direction and I started using different tunings to make the new material work better with one guitar.  Then our bass player left, but by then Dave was available again, so he came back in on bass.  And that’s how we got here today.

Dave: It's a totally muddled path but somehow we came back together as this rock unit. When Aviso' Hara broke-up I had a band called The Slow Wire and put out two records and toured a little. Then when that fizzled out eventually it made sense to me when I got the rock-bug to look for something else. Not to mention after Aviso broke-up we played a bunch of re-union type shows up until last year with Ken on drums! So in reality it's been the same group for some time. Just different songs in different keys and tunings with years in-between.

James: You've been quite busy writing new music and playing shows. What inspired the rise in activity and creativity?

Walter: Well, we put out a record in October of last year, so the increase in shows was definitely in part to sell Cds.  When we did the record, it was basically everything we were playing live as well, so you start to want to be able to switch up the setlist, which leads to more songs.

Ken: As far as the writing goes, I think we get pretty restless playing the same songs over and over.

Dave: Yes, it's true we go through booking spurts and in turn writing sessions that sometimes manage to be super productive. I'm already thinking of the fall. Right now we're in that writing stage again because somehow we don't have any shows until end of May at Asbury Lanes. So we're taking advantage once a week to build up a "new" catalog of tunes so we can try them out and mix them in the set. We're constantly throwing down ideas at home and then when the time is right and we've done some self editing we bring a tune to practice.  Sometimes it's really just a miracle with our schedules that we can even fit a practice in before a show.

James: In writing songs, do you have a certain approach? What's the building process like?

Dave: We're trying to demo everything.
I think we officially have a back-log of songs we're trying to write this summer.

Ken: I think the writing process differs from song to song. Sometimes Walt or Dave will come to practice with a new riff and the song comes together almost instantly. Other    times, we could labor on a riff for months until something comes of it.         

Walter: It varies, sometimes songs come in pretty complete, sometimes we play through a bunch of ideas and see what works. I try not to be too precious about anything because I think we have a sound as this band, so not everything is going to work.  I probably dump more stuff than I keep in this band just because it might not work in the context of a really loud and noisy three piece.  But what ends up an Eastern Anchors song, could only be an Eastern Anchors song.

James: Can you offer a little insight into the CD's title "Drunken Arts and Pure Science? It sounds like an inside joke. Or the secret answer you have to give to get into a club or retrieve your online password.

Walter: It came out of a term that I heard during a city architecture tour, Drunken Architecture.  Then I was thinking about the whole process of writing, recording and finally performing an album.  So, it’s this blend between the science of how it all works, and the drunken art, which is the sense of abandon I think you need to let songs kind of write themselves.  Now that I look at my explanation, it sounds like a bunch of bullshit, doesn’t it?  Ok, it just sounds cool.

James: The album art "Robot in the woods" looks vaguely familiar. What was the idea behind it?

Dave: This is a actual color by numbers painting by our good friend Neil O' Brien. who used to play drums in The Van Pelt and now has a band Ribeye Brothers with Tim from Monster Magnet. Neil also plays in a more experimental group called Wands. I actually won a copy at a benefit auction years ago and when i rediscovered the piece I proposed it to the band as the album art. I think walt came-up with the title as he was ease dropping on a conversation on a train or something.

Ken: We actualIy kicked around a lot of ideas for the album art. But, we all knew as soon as Dave showed us the painting that we should use it as the cover. We also used artwork from Neil O’ Brien for our first CD.

Walter: I just want to add that in addition to Neil’s awesome painting, the rest of the design and layout was done by Stu Wexler at Meat + Potatoes.

James: Can we expect a new record soon?

Walter:  I can’t say how soon, but we’re definitely writing.  I’m finally to the point where I can record the band at home.  We just did a track for a tribute comp to benefit the family of Jason Molina (https://www.facebook.com/songsmolina?fref=ts), which is the first full band track we recorded completely in my house.  Unlike the last record, where we recorded everything we had, I want to demo a lot of songs on our own this time, and then go into the studio to record the actual album. That being said, I plan on making the demos release quality, so that whatever does not make the record can be used for comps, b-sides, etc.

Dave: I would love for us to start tracking in the fall but first we need a big swath of songs to choose from and we're 1/4 of the way there. Which is a good start and we just need to put the blinders on and keep writing. I'm pretty sure we'll have another record out before the Wrens do. We challenged them last year when we heard there was movement in their camp that would get a record out before them. Charles conceded and we won the gentlemen's duel.

James: I had the pleasure of watching the documentary on the band. How did the idea to do the doc come about? Do you think it paints a good picture of the band in general?

Dave: I just had finished doing a web documentary series for Ogilvy & Mather  where I was recently working for the past four years and they asked me to make another piece of original content for the One show awards. So I decided to use some of those resources and all my producing skills i learned over the past couple years and apply it to a story I wanted to tell. So luckily it lined up with the release of our record. So many bands have regular rock videos and in the spirit of documentary film making we wanted toe true about the story and not be all glory. Some of the dark side I left on the cutting room floor and you'll just have to ride in the van with us to hear those stories.
I do have a follow-up planned but we're gonna have to track down all our old drummers and some old band mates to make it happen. Who knows maybe with the next record we'll do part two!

James: Did you have to bribe Jim Testa to say all those nice things about you?

Dave: I've known Jim since 1991 or so. He really does not need too much coaxing; if he has fond memories or at least what his subconscious might not of wiped out. Cool, because our old band certainly had our shitty nights and for some reason those are good memories. He seriously is a pro though. He was saying off camera to me when we were shooting that he had just taken part in a Yo La Tengo documentary and some other one and was not sure if they would ever see the light of day. If it weren't for people like him we would have no idea what it was like as a fan. He wrote about aviso at least a dozen times. He did ignore the first Eastern Anchors record and came through solidly on Drunken Arts like a champ. Although he did see us play he has not been able to catch this version of the band live as of yet but he will.

James: I was living in New York City in the 90's and apart from the occasional Hardcore show or touring band playing Maxwells. New Jersey Rock was pretty much a mystery to me. Can you paint a picture of what the Jersey scene was like then. The bands, the venues, the energy?

Walt:  Wow, early 90’s and late 90’s feel like two different lifetimes for me. Maxwells was always a major spot, and that is where I saw most of the shows that really influenced me.  Well, there and City Gardens in Trenton.  We were mostly associated with New Brunswick, which was great, from the city, to the venues, to the bands and labels that were active at the time, all great.  Then there was the shore scene around the Brighton Bar, where you had Monster Magnet, Godspeed and a ton of other great bands, as well as Heat Blast Records documenting the whole thing (I recommend the Holier than Seattle Comp, if you can find it). Oh yeah, and the Fastlane in Asbury!  I think people might forget how most great indie bands used to actually play in Asbury Park at that time.

James: Tell me about the term "Dad Rock"

Dave: For the record I'm the only dad in the band. Although Ken has cats. It's another way to say we're "experienced".
In term "Dad Rock" made me think of age and playing in bands as we're older and have more responsibilities.

James: Does it get harder to get out and play with the responsibilities of adulthood. Does it make it a little harder to sell and promote your record when you can't play out every week and don't really tour?

Ken: I think it takes a lot more planning in terms of scheduling things like shows and recording time. Even getting together to practice can be a challenge. As far as being able to promote the record goes, I think that using social media and having our record available on sites like "Bandcamp" and "Spotify" helps to make up for the lack of touring.

Dave: I would add to this that our Tumblr site http://easternanchors.tumblr.com has led to new fans and sales as well. It's basically part of our virtual store-front along with twitter and Facebook we use it all when we can to help promote us and our friends.

Walter: Touring isn’t a good option for us, we just do not have that time anymore, but I do think we can and will do some quick weekenders. We just have to make sure that when we do, that it is worth the time. As far as the internet and social media, etc., I do not think it makes up for not touring. But it does offer a ton of possibilities that were not there in the old days. We put this out on our own label, so I see everything that comes through.  I was really surprised by the amount of foreign sales we have, mostly Europe.  I don’t know where that comes from.  Maybe from the Rolling Stone thing helped some, but we were getting them before that.  So, thank you Internets!

Eastern Anchors  Band Site

Upcoming Event Asbury Lanes Show Details

Moon Tooth and Archie Alone Play Dingbatz

After an early night of sushi with my old buddy Chris we headed up to Clifton's Dingbatz for a little a little live music and a what we imagined would be full blown inebriation on our parts. As we headed to the club Chris recalled the last time we ventured to the Clifton dive bar together. It was to see the Reverend Paul Bearer's Joe Coffee. On that particular night the Markers Make was flowing like the Niagara Falls and we had to cool our heals late into the morning at a local Dunkin' Donuts in order to clear the cob webs from our drunken noggins before attempting to head home.

Moon Tooth Guitarist Nick Lee

As we arrived it seemed we could get no attention from the waitress behind the bar.
Funny considering there were less than ten people in attendance at the time. Dingbatz can be really hit or miss on most nights. I've been to Dingbatz at times when the place was filled with music loving party goers. Where as at other times the bands would have to make a long distance call to the bar in order to get the six or so attendees to come enjoy the music they just may have paid to come see. On this particular night the latter seemed to be the case.

It had been over a year since I had seen
Nick Lee perform with the bands Thinning the Herd, Exemption or Rice Cultivation Society.
So when I heard his newest music endeavor, Long Island's Moon Tooth were coming to a town anywhere near my zip code. I knew if was time to gas up the car and get my ass to their show. The band, like any other Nick's been involved with has been playing a storm of shows throughout the five borough and beyond.
As we headed past the bar I had caught a glance of Nick and reintroduced myself. I noticed the much shorter hair and found myself asking "Has Nick Lee gone soft on us?" Lucky for me and anyone else in attendance, that was not in the cards.

As the band took the stage and began setting up to an almost empty venue. I couldn't help but think of how much hard work it goes into playing in a band. Jawbreakers "Tour Song" began playing in my head. The lyrics "Two cool people came / they're hiding by the door" came to mind. It mattered not because the band was there to play. People started to move forward to see what was about to happen...
and then it happened. Moon Tooth launched into their manic set as singer John Carbone seemed to roll himself into a barrel and launch himself onto the dance floor and the unsuspecting crowd. It was like all hell breaking loose at the church congregation's annual picnic. Bodies scattered and ran for cover as the band put Clifton on notice. It was a jaw dropping set that took my jaw right out of it's proper place and to the clubs unwashed floor. As I was watching I couldn't help but think "I wish more people were here to see this, to hear it and to be fully involved in it. I really appreciated the chance to finally see the band and will definitely be more inspired to head out of my area and my own little comfort zone to see them next time they play even remotely close to my home base. Be sure to go check out their site Here

Guitar Hero Cindy Ward of Archie Alone

Having never heard of Belleville NJ's Archie Alone
I came in with zero expectations. Pretty cool for me considering the simple idea that the one of the best things about going out to shows is having an band (unknowns to your ears) completely blow the fucking screws out of the hinges.
I've been having this experience a lot lately and I'm happy to say I've got a new band to follow around and occupy my time. The self described Melodic Punk five piece played a energetic set that, at least to my ears blended a lot more musical elements than their Facebook bio offer us. Nicole Mesce's shows a lot of emotion and range as a singer. One can only hope that I'll be seeing her step away from the mic stand more in the future. Though, in the meantime it does nothing to take away from her ability or performance. AA's Cindy Ward looks and plays as if she's channeling the ghost of recently departed Slayer guitarist
Jeff Hanneman. I noticed a lot of people cocking their heads in awe as she delivered riff after tasty riff.I was really impressed with this band and look forward to seeing them again in the upcoming weeks which include tonights show at Montclair's Meatlocker.  Click Here for info and next weeks show at my home away from homes ABC No Rio. Click Here for more info on the band.

Until the next time.
Yours Truly,
James Damion

Additional Show Images of Moon Tooth and Archie Alone at Dingbatz

Here are a few extra shots you might enjoy from theDingbat'z show 

Archie Alone's Tony Mastrolia and Nicole Mesce

Moon Tooth guitarist Nick Lee

Moon Tooth bassist Vin Romanelli

Moon Tooth vocalist John Carbone

Barge - No Gain EP

Since starting the blog  a few years back,  Dave and I have savored each and every release from the VA's Grave Mistake Records label/distro. Bands such as Deep Sleep, Big Eyes, Government Warning,
The Shirks and
Sectarian Violence went from complete unknowns
(at least to us) to earning permanent residence on our turntables. The labels consistency and penchant for releasing some of, if not the best Hardcore and Punk out there.

Richmond, VA's Barge add to that lineage on their debut EP "No Gain" with eight songs of blistering Hardcore. If you love raw, fast and uncompromising Hardcore this EP is right up your alley. Eight songs delivered in just under nine minutes. It's no frills, no bullshit style reminded me a lot of early eighties Hardcore and particularly Infest. Though each of the eight tracks here were quite impressive. It was "Plague Me", the records last track that really had me shitting my pants. The breaks on this one had me running for cover. With this kind of raw intensity it will be interesting to see where Barge take things in the future. Better wear a diaper kids. James Damion

Grave Mistake Records  Get it Here

Night Birds - Maimed For The Masses

On "Maimed For The Masses" the Night Birds continue to churn out uptempo old school Cali style punk rock. Actually, very little has changed in their sound since the release of their full length Lp "The Other Side of Darkness", so here's what I had to say about the Lp...Hey, if the shoe fits wear it, and this shoe still fits.

"To my ears the Night Birds have always sounded like a modern day hybrid of Agent Orange and the Adolescents, and on their first full length album "The Other Side of Darkness" they have done nothing to change my opinion. In fact, they have maintained the surf punk twang of Agent Orange and upped the speed, catchiness and snottiness that always brought the Adolescents to mind, however they have modernized everything and thrown in so many hooks that it will make your head spin...in a good way." ...Dave G.

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Chase This City - Everything I Never Told You

"Everything I Never Told You" offers a sneak peak to  Chicago's Chase The City's full length, "Life Stories" currently scheduled for a sumer 2013 release. But for all I know this just as easily could have been the lost tracks from
Taking Back Sunday's debut "Tell All Your Friends".
I say that in the highest of praise, considering the feeling this little sampling of the band gave me.
Excellent Pop Punk with a little more bite than I've come accustomed to hearing  from this sub genre in recent years. Songs relay a certain warmth along with a sense of honesty and urgency. I felt an instant connection to each of the three songs. With the opening track "I Could Just Cave Right In" being my favorite. I look forward to hearing what "Life Stories" has to offer. Hopefully it won't be a long wait. Until then... James Damion

Chase This City  Facebook

Courtesy Tier Debuts New Video for the Song "Cold"

Brooklyn's Courtesy Tier debuted a video that was so good, I couldn't help but share.

Official Music Video for the song "Cold" by Courtesy Tier From the Holy Hot Fire EP 

Recorded and Produced by Jeff Berner at Galuminum Foil Studios in Brooklyn, NY
Available here: Courtesy Tier
Courtesy Tier is;  Omer Leibovitz - guitar/vocals Layton Weedeman - drums/vocals

Directed by - Cameron Zonfrilli & John Welsh III
Produced by - Cory Choy & Silver Sound http://silversound.us/
AD/Producer - Reed Adler
Editor - Adam Abada
Colorist - Vladimir Kucherov
Director of Photographer - Andres Cardona

Production Assistant - Evan Zonfrilli
Production Company - Parlay Films

Gaffer - Terra Gorman
Grip - Brian Patierno
Art/Props/Swing - Danielle Pruden
Art/Swing - Peter Dodenhoff
Hair & Makeup - Sabrina De La Torre
Playback/Swing - Louis Gordon & Alex Portilla

Filmed at Parlay Studios http://www.parlaystudios.com/

The Courtesy Tier  Official

Modern Chemistry - We'll Grow Out of This

Back in High School there was no fear quite like the fear of chemistry class. Year after year I struggled with the subject to a degree where it almost kept me from graduating my senior year. I'd long since put the subject on the back burner and focused on subjects I can conquer without the help of cheat sheets or lowering myself to any other devious levels. So when I was sent this new offering with a note attached that read "No testing required". Let just say I was up for the task.

On "We'll Grow Out of This"
the sophomore release from New Brunswick's Modern Chemistry. The band delivers a six song EP that builds on all the strengths and promise "An introduction" offered. Guitar driven post core that features emotive vocals and inspiring harmonies. And though the recording is tight and professional sounding. It manages to maintain a certain edge and grit that is evident throughout;
Giving it somewhat of an intimate and personal feeling. The EP's third track"Remember this Bridge" stands out with it's tasty guitar parts and Geoff Rickly (Thursday) inspired vocal delivery. While the following, "Part Two" is an emotional acoustic that just might get the ladies panties wet. Kind of a "Hey there Dellilah" for the Jersey kids. Overall, it was a good listen that offered a little bit of everything to this listener.  James Damion

Modern Chemistry  Facebook

In My Coma - Magnets and Miracles

When I was twelve years old
I was in a coma for eight days. My parents had been notified less than a month prior that, due to an inoperable brain tumor, I only had a month to two months to live. Looking back at the prognosis, I don't think many people felt I would ever return from that deep sleep. Somehow I made it out that coma and even lived years beyond that emotionally and trying episode.

Fast forward thirty years and Canadian Alt Rockers
In My Coma finds it's way into my review box.

On "Magnets and Miracles", In My Coma live up to their gag inducing name by delivering a shit fest of instantly forgettable songs that are part Nickleback, part Disney. The bands style mixes airy ambiance with an attempt at soaring rock n' roll importance. (Just look at the cover. The figure seems to be debating on whether to go to heaven or get a taco.) Singer, songwriter, guitarist Jasper James (If that's your real name) provides some decent guitar riffs here and there, but they seem overmatched by unbearable singing and song structure. Thus washing away any of the bands promise (as if there ever was) like only the strongest female douching product can. In My Coma really live up to their namesake on this fifteen song (Yes, I sad fifteen songs) album. Listen and you will find yourself in your very own coma. James Damion

In My Coma Band Page

Fuck the Heartless - Bluebeard

Having been blessed with a very short attention span.
I'm more than equipped to handle single and shorts bursts of energy, creativity and pure power. So when some old friends asked me if I would share my thoughts and a few words on a recent burst of fury.... Let's just say, I was up for the task.

F.T.H. features three quarters of the band My Rifle.
With Hobi Klapuri being the only absentee on this track.
And though one can't help but draw comparisons to My Rifle. "Bluebeard" takes on an even darker, heavier approach. Driving guitars and pounding rhythms compliment dark, heavy and powerful vocals.
Unlike a lot of the heavier stuff I'm hearing these days, these guys don't rush through things. The mid paced "Bluebeard" decides to stick around a while. Coming in at 5:26, it does a good job of leaving a lasting impression.

Though the future of My Rifle remains questionable. The pieces assembled for this particular track really deliver. "Bluebeard" was recorded and mixed by Andy Guida at Six III studio in Forest Hills, Queens. It features Lewis Dimmick on bass and guitar. Andy Guida on drums and Jason O'Toole on vocals. James Damion

Bluebeard Download

Empire - Shedding Skin

On "Shedding Skin", Raleigh North Carolina's Empire waste no time introducing themselves.
The five song EP opens with "Set in Stone" A gripping track that introduces itself with a vocal attack that almost perfectly describes the EP's title. Painfully stark vocals that evoke feelings of pain and loss. Screamo vocals complimented by a sweeping emo inspired guitar sound that adds an element of beauty while forging a dissonance. It's a common thread throughout the five songs that give the EP a nice balance. Though "Shedding Skin" is delivered in just over eleven minutes, it left me with a lasting impression. One that had me looking forward to more in the future.
James Damion

Empire  Facebook

Toothgrinder - Vibration / Colour / Frequency

After catching Toothgrinder at Montclair's Meatlocker last month I was given the bands latest CD to take home and remind myself of what I had just witnessed.
A follow up to the bands official 2011 debut "Turning the Tide". This three song EP is a tormented mental patient who's been looked away with a sign on the door the reads "Tormented by nightmares.
Do not attempt to resuscitate." "Vibration", "Colour" and "Frequency" are heavy ragers that have a sense of collusion that I found interesting. I found "Colour" to be the most impressive of the three tracks with it's progressions and changes. The songs vibe is epic, making me feel as if I was caught up in a battle for the soul itself. It beautiful, dark, evil and to say the very least, moving. The EP itself is highlighted by deep guttural vocals belted out over hammering guitars and a punishing rhythm section. It's heavy, evil and gripping. Toothgrinder may prove to to be more heavy and damaging than anything that's hit this coast in recent years.
As harsh as that may sound, it just might prove to be true. James Damion

Toothgrinder Bandcamp

Pity Party, Young Ladies, Feral Babies and Rubrics at Greenpoint Brooklyn's LuLu's

As I headed to the bar to order a drink. The guy next to me looks over and says,
"Hey, didn't I meet you at that show the other night?" Somewhat confused, I took a moment to do the math before replying "You're going to have to be more specific."
"I've been to four in the last five days." At the moment, I became fully aware of how much I had been going out lately and how the late night, early mornings had begun to take their toll on me. Turns out the enquiring mind was none of than Fid from the band Pity Party.
Me and Fid met just a few nights before at the Knitting Factory. Shortly before that show we bonded over our love of vinyl records and our favorite record stores.

Greenville, South Carolina's Rubrics got things started on a frantic note. This was my first exposure to the touring band. They always say, "Don't judge a book by the cover."
But if lead singer/guitarists "Fifteen"shirt wasn't a clue of what was to come. I don't know what was.
There were a few stop, start moments where the singer guitarist would go into a
1, 2, 3... 1, 2, 3... miss-launch that had the feel of a North Korean missile launch. He had the super hyper personalty that made it feel like he was running a few blocks ahead of his band on the way to the candy store. At times, it felt like a show within the show or an after school special about the kid who takes meth to get that extra edge for the SAT's. It all worked out in the end as the trio ripped through a set of fast, raw punk with a socio-political edge. Though that style of preachy, unoriginal copy and paste lost my interest years ago when "Save the Children" and "Greenpeace" began setting traps on the streets of Hoboken. The Rubrics seemed to deliver a more focused and simple message in tune with my basic beliefs. "Respect yourself and others." "Don't be a Douche bag." Keep it simple, rock out, have fun. Mission Accomplished!
Rubrics  Facebook

I was really stoked to see the Feral Babies return to the area. They've been a steady presence on the blog since day one, being featured in record reviews, a show review and an interview. Getting to finally see them perform live within the cramped, yet intimate space of Brooklyn's Stolen Sleeves Collective was enough to file papers to have the Tampa Band become official citizens of our tristate area. On this night they played what seemed like an all too short set. The bands fast, aggressive sound finds inspiration in a lot of the straight up Hardcore acts of the 80's with a little more musical punch. Justin Arnold attacks each song with a noticeable passion and energy. Pacing the stage like a caged lion often growling towards the ceiling. A great set but like I said before. It all went by so fast. At this point, one can only hope it won't be an entire year before they return.
Feral Babies  Facebook

Initially, I didn't really know what to think about the next band. Young Ladies (they're actually not so young men)
At first they sounded like just about every other nondescript bar band. Good Rock and Roll with Hard Rock edge. But nothing that would make them particularly stand out. These locals feature Pat Schramm of The Latterman / Bridge and Tunnel and Ryan Seagrist (Discount / Monikers)
I remember seeing
Bridge and Tunnel on Record Store Day a year or two back. At the time I remember thinking the same thing. "Good band but nothing I'd write home about."
Young Ladies  Bandcamp

Headlining the intimate gathering were Brooklyn's Pity Party. Now, the only exposure I had to this band prior to tonight was the little Fid, the bands guitarist, had relayed to me a few nights before at the Knitting Factory. For whatever reason, perhaps the feeling they weren't completely foreign to me. I was somewhat excited to see them. In a sense, Pity Party's performance almost mirrored that of The Unlovables (The band I saw a few nights before at the Knitting Factory.)
An energetic female singer (Cassady) who spent the entire set on the dance floor engaging the crowd with songs that perfectly conveyed bratty pop punk angst with a sense of inner strength. The only notable difference was that the band itself looked and played like they could be headlining a local Hardcore show. With guitarist Fid often launching in the air as if was the second coming of Youth of Today's Porcell. Add to that bassist Joel who mirrored a younger Matt Warnke (BOLD). The band also features local legend Mikey Erg on drums. Add that to your checklist and you've got everything you really need.
Pity Party Facebook

Tampa's Feral Babies; L to R Sulynn, Justin, Andy, Marc

I really enjoyed my first trip to LuLu's. The place has great drinks, good prices and free personal pan pizza. (Believe it) The bartenders are laid back and despite it being a really nice place. It still manages to maintain the vibe of a good dive bar. There are lofts on either side of the bar with seating and a vintage Galaga video game. There's also a pool table on the way to the stage in the back. All of that nestled in the deep of Greenpoint Brooklyn. How can you go wrong? James Damion

Invisible Lines Return to Headline Maxwell's

Keith Laviola "Touch me, I'm sick."

If it were a perfect world, a musically perfect world. All rock related shows in New Jersey would take place at Maxwell's. For me personally, there is no better place to play or experience music. Now, of course, we would have have to extend twenty four hour days to thirty six and me might have to fiddle around with that three hundred sixty five day year thingamagig. There would be work to be done. Things like turning the entire street into a "Maxwell's Only" event space with numerous areas to accommodate various stages and such. It sounds difficult; But we are talking about a perfect world. Work would have to be done. Sacrifices would have to be made. The simple truth is, the is no better club, bar, stage, sound, door man, ticket taker, bar or booking guru.
I've seen everyone from The Avengers to X
play there. It is one of the reasons I moved to Hoboken. It is the only reason I still live in Hoboken. If it were not for Maxwell's, I would be musically homeless.

On this particular Friday night I headed to Maxwell's in order to play catch up with both
Meet Pause and Invisible Lines while reintroducing myself to the band Lost Romance.
On top of that I'd get the chance to see what New York's Face the King had to offer.

Jimmy Hot Pants (Meet Pause)

If my calculations are correct, it's been about a year since I've seen those meatheads known as Meet Pause perform live. To be painfully honest,
I had almost forgotten just how good these guys really are. My last encounter was about a year ago at Jersey City's Lamp Post and though I thoroughly enjoyed myself. Seeing them wedged between the kitchen and the bars bathroom wasn't quite the way I like to experience music. This time around there would be no chicken cutlets and fries emerging from the drum set.
No dodging Blatter challenged bar goers. I was amped. I was ready.I would not be let down.
Meet Pause really fired on all cylinders. I really can't say enough about any opening band plays like a headliner. There were so many highlights to the set which covered both familiar and new tracks from their upcoming record. Though I've thought it to myself many times I may not have put it out there. Keith "Hotpocket" Laviola is one of the best guitar slinger the Jersey scene has to offer. Add to that the often effortless vocal delivery and story telling lyric style of Scott Thompson and you're just floored. On this particular night it was Erik Lindstrom and Jimmy Haidacher that really grabbed my attention. Erik, who seemed to be on his feet for the entire set doubling on drums and keys was candy for both the eyes and ears. While Jimmy Haidacher's bass lines were tighter than his skinny boy jeans. It was an exceptional set. One that defined the night for me.
Meet Pause Facebook

Face the King "This scarf's for you."

Now I won't go as far as saying I have any psychic powers but... whenever I see a group of hot young women dressed for sin gather around the stage to check out a band. There are too two things one can almost guarantee.
1. That band will most definitely suck.
2. You will not see any of those women once that sucky bands leaves the stage. Though I won't go as far as saying these guys sucked. Excellent musicianship and a big rock sound go a long way. The bands arena rock sound just didn't match the vibe of the room or the scant amount of people in attendance. After one or two songs I found myself looking for anything else to occupy my time.
Face The King Band Site

Gerry Perlinski of Lost Romance "Jersey Strong"

Lost Romance followed bringing somewhat of a breath of much needed fresh air to the room. While I've been keeping tabs on the bands steady climb through their Facebook page for some time now. I find it strange that I haven't seen the band since they played NYC's
Bowery Electric during the
CMJ festival in the fall of 2011. The New Brunswick trio have since kept very racking up their share of trophies, awards and praise from the New Jersey music press and beyond. Gerry, Tony and Amine play a style of alternative rock that often reminds me of the pre MTV Power Pop boom.
I had put seeing Lost Romance on a high priority for 2013. Getting to see them perform just a short walk from my home couldn't have made it easier.
Lost Romance Official Site

Invisible Line ; Will and Geoff match skills

Closing an already stellar night were Kearny, New Jersey favorites Invisible Lines. I first fell in love with these guys when they performed at the Brick City Sound Riot Music Festival back in 2011. Since that time they've become one of my favorite acts on the Jersey scene and beyond. The bands 2010 E.P. "Wise Up" helped in turning Killing Horse records and the Tiny Giants Artist Collective into household names here at United By... The band has been laying low as of late, writing and recording new material due for release in 2013. One can only hope we'll be hearing something sooner than later in the year. The band played a high energy, climactic set that mixed both old and new tracks. It's been quite a while since I'd seen them live and I couldn't help notice
Will Acevedo singing lead on more songs than in the past. It also cannot go without noting the addition of Geoff Bennington. Though he's been a member of Invisible Lines for over a year now; this was my first time seeing him perform live with the band. I really like his energy and he sure knows how to play that guitar.
Invisible Lines Facebook

I really enjoyed catching up with the bands and seeing so many familiar faces on this particular night. The Spring and the coming Summer are sure to bring us many shows, events and chances to quench our endless thirst for live music. I'll definitely be seeing you. Until then... James Damion

Plow United, Iron Chic and The Unlovables Play Brooklyn's Knitting Factory

As I entered Brooklyn's Knitting Factory I almost immediately spied my comrade in arms Jim Testa of Jersey Beat. He invited me out to the show earlier in the week with the promise of good music merriment and a free pass for the night. As I met up with Jim we immediately started communicated in our shared language of music. The man stands as a testament of why Jersey Beat has stood the test of time for over thirty years. His knowledge of and understanding of music and the people who make it is astounding. Though our taste in music often differs. I feel that since my musical palette and knowledge has grown considerably since I initially became an occasional contributor to Jersey Beat and NJ.com. After buying Jim a beer and briefly meeting Mikey Erg and Pity Party's guitarist Fid, we headed to the ticket booth to get our free passes. Alas, Jim Testa was clearly printed in thick black marker on the second page. However, yours truly, his supposed +1 was mysteriously absent. Light on cash from my prior alcohol consumption and a little pissed about my exclusion, I looked at Jim like a man stepping up to an ATM. Jim gazed back with eyes as empty as his pockets. As to say, "Don't look at me." I was on my own. I sucked it up and paid for my ticket. I was on my own.

Love for the Unlovables

The Unlovables opened and got the show off to a good start, igniting an already full house and setting the tone for the entire night. Lead singer Hallie spent the entire set on the dance floor firing up the enthusiastic crowd. Though this my first exposure to Hallie and the band, I found myself dancing with a sense of wild abandon to each and every song. The bands upbeat, party pop sound was so addictive; Even this old, bitter and jaded old man couldn't help but be overcome by the musics warmth. Song titles like "Dance Party", "Being in Love" and "If you were here"wouldn't be my normal choice of themes to rock out to; But for Christ's sake, who wants to be normal? Later, as the show wound down. I headed over to the merch tables where I spotted the bands tasty looking colored vinyl. Unfortunately for me, I had spent my last chunk of cash earlier on other spirits. Regardless, I loved the Unlovables and hope to catch them again soon.
The Unlovables

The night moved along quickly as Long Island's Iron Chic took the stage.
The oft desribed super group features members of Latterman, Small Arms Dealer and Capital to name a few. The band played an rousing set that had the crowd singing in unison.

 Long Island's Iron Chic

Their sound blends punk and hardcore with emo influenced guitars and anthemic vocals. Vocalist Jason Lubrano prowled the stage as he worked up a very active crowd. It's always a personal pleasure for me, seeing the crowd become part of the show. I seem to have gotten used to witnessing people so involved with their electronic devices and distancing themselves from the stage to post about how much fun they're having at the moment. Iron Chic definitely kept that energy level high and kicked the adrenaline up a notch. Iron Chic

It had already been a stellar night of diverse sounds and positive energy by the time the nights headliner  Plow United launched into their set.

Plow United 

Like The Unlovables and
Iron Chic, this was my first time seeing Plow perform live.
To say they exceeded any expectations would be a major understatement.
The Unlovables and Iron Chic may have ignited the crowd. Plow, on the other hand, brought the gasoline can.
The trio, for lack of a better term, plowed through a set of sweaty, testosterone filled Punk Rock excellence.
Along the way the band was joined on stage by Unlovables vocalist Hallie Bulleit and drummer Mikey Erg playing guitar. Personally, my favorite moment came when drummer Sean Rule switched instruments with bassist Joel Tannenbaum. It added an extra notch to an already perfect night. Plow United

This was my first Brooklyn show of the year and a long overdue return to the Knitting Factory. As the weather warms I will surely be spending a lot more time in this storied borough. Until then, James Damion

Bad Pilgrim - Self Titled 7 Song EP

Ska music has had a way of weaving in and out of my life unexpectedly decade after decade since I was a wee boy who fell in love with the Specials, English Beat and Madness. Since then, various revivals and sprinklings of the genre have popped up, keeping the beat and making happy feat while paying homage to both it's originators and the ones who put their own stamp on it along the way. Though the genre rarely strays from the original game plan. It still manages to maintain my loyalty and serves as a "go to" style of music that never fails to bring out the goof in me.
Though this north New Jersey trio refers to  their style as punk. Bad Pilgrim come off sounding more like 90's Ska revivalists like Operation Ivy and Reel Big Fish than anything. The trio (sorry, no horns) offer upbeat, quick pace songs with skank inspiring riffs.
All of which are delivered in short form with each of the seven tracks being delivered in around two minutes or less. The band has a handful of local New York, New Jersey and Pennsylvania gigs scheduled to support the EP's April 3rd release.
Check them out here. Bad Pilgrim Official  James Damion

Bad Pilgrim  Bandcamp

Kevin Egan - Kevin Egan is a Jerk

"Kevin Egan is a Jerk"
the latest musical endeavor by singer/author Kevin Egan. Though you may know Kevin best from his late 80's / early 90's work with NYHC's Beyond and 1.6 Band. His newest release is reflects more on his later recordings as
Rules of the Fort and most recently, his work with the Country act
Twenty Four Thousand Dollars.

"Kevin Egan is a Jerk" features nine tracks of folky acoustic storytelling that is both laid back and heart warming.
The stripped down approach highlights the fact that life and at times music, is about the simple things. "High over Queens" and the somewhat airy
"A Shitload of Songs" were standouts for me. In listening to "Kevin Egan is a Jerk". I felt that each song built on the previous one. It just felt as if this EP got better with each song. Though I think Mr. Egan's voice will never get him to the lightning round of American Idol or The Voice. It's good to see the evolution his music and sound have gone through over the years. James Damion


Kevin Egan is a Jerk  Bandcamp

On the Wheels of Steel with DJ Laytonic

I've always been interested in the art of spinning records. Turntable science, mixing, the flow of hands from record to record and of course, the unique sampling I always found joy in. The ability to, not only move the crowd, but to control it's movement. My early childhood included an education from some of the very best. Afrika Bambaataa, Grandmaster Flash, Jam Master Jay, Erik B. and Terminator X too name just a few. As I got older my interest in DJing grew and though I did my share of DJing in the CD format. It never came close to the joy and authenticity of putting the needle to the record and exploring the grooves on the vinyl. I hope that talking to some of my favorite current DJ's will bring me closer to that. Thanks Layton, James Damion

James: How did you get into DJing?

Layton: I've always wanted to DJ since I was a kid.
I grew up listening to a lot of cassette tapes my older cousin would give me when he wasn't using them anymore. Most of the tapes were from LL Cool J, Run DMC, and
the Beastie Boys. This would be my intro to hiphop music. From there I got more in tune to other artists like A Tribe Called Quest, The Roots, De La Soul, and Mos Def. I always had a love for hiphop and hiphop culture since I was a kid, but was only a fan and avid listener.

Recently I moved to Coney Island, away from most of the people I know that live in Williamsburg and Greenpoint. It's a lot less expensive and allows me to focus on my music more intimately. This time away from the circus of non-stop nightlife and music events gave me time to get back to things I always wanted to do. So I went out and bought a cheap set of turntables and a mixer and borrowed a lot of vinyl from my Dad's collection. Within a few weeks I piled up on all my favorite hip-hip singles from growing up and stuff I'd heard over the years. Exploring parts of New York City for record shops and building up a higher score on eBay, I soon became a vinyl junkie.

James: What was the learning process like?

Layton: You'd be surprised how much information is out there online. Even though I grew up watching a lot of DJing from music videos and DJ battles, I just tried to figure it out on my own. I've found a ton of videos on YouTube that have helped me setup my turntables correctly and learned to do a few mixes. I'm a big fan of Electronic and Techno DJ's. I watch and listen to a lot of guys like Jamie XX, Actress, Caribou, and Lone. These guys do a lot of blending and smooth transitions between songs so there's never a gap in the music. Like a stream of consciousness or a continual thought. This technique is something I try to incorporate into spinning hiphop instrumentals.


James: Tell me a little about Laytonic and what you do/offer. What makes you stand out / stand apart? Is there a specific genre or music style you focus on?

Layton: Laytonic is a nickname that stuck with me from college and now it's a way for me to explore the elements that make up hip-hop music. I focus a lot on the production that was coming out in the 90's. Producers like DJ Premier, Pete Rock, J Dilla, and Q-Tip are some of my heroes. Part of me feels like not enough people really embrace their music. So I started collecting all my favorite cuts on vinyl and made sure the singles I bought had instrumentals. There's a lot of jazzy and rhythmic beats made by these amazing producers and I wanted to really create that vibe as a DJ. Even though a lot of the stuff I play is from the 90's, to me it has such a classic feel that it can't feel dated. Aside from the hiphop instrumentals I play, I also spin a good amount of R&B/Soul records from the 80's like Sade, Anita Baker, and Michael Jackson.

James: Where do you spin?

Layton: You can see me spinning in Brooklyn and Manhattan. Right now I'm working on a special event at Pianos Sunday April 7th during brunch. It's gonna be real chill and a perfect way to relax after a weekend of partying.

James: You grew up in the age of compact discs and are currently in an age of digital downloads. How did you originally get into vinyl.

Layton: One day a good friend of mine was explaining to me the process of digital media vs. analog. He told me about binary code and how digital media is comprised of a series of 1's and 0's to make up the code. Even though this code is minute and too small for the average person to hear a difference, the binary code is something our brains as listeners has to compute and interpret, whereas when we listen to an analog sound like vinyl, there is no binary code. The sound waves move out of the speakers as air and our eardrums are being stimulated by the air. So its a more natural way of listening. Have you ever tried to turn up your favorite song on an MP3? It can be pretty painful especially if you're wearing headphones. This could be my imagination, but there are times when I feel like I can turn the volume up pretty high when listening to vinyl and only want more. Like Dilla said
"Turn It Up!" A Little Louder!".

James: You recently travelled to Philly for Dilla Day. What was your introduction to his music?
Did you come back with anything particularly special or unique from that trip?

Layton: This past February was Dilla month. My all time favorite and hands down best producer of all time is J Dilla aka Jay Dee. He's been credited for creating Neo-Soul and gained a lot of attention for the Detroit music scene. The production he's done for groups like
A Tribe Called Quest, Common, Erykah Badu, Slum Village, The Pharcyde, De La Soul, Madlib, and many more would not be who they are today if it wasn't for J Dilla. I first got exposed to his beats back in 1996 when I first heard
"Stakes Is High" by
De La Soul. I wasn't even a big De La fan at the time, but that beat was so compelling I had to have a copy. From there I started hearing his name on other amazing beats from Tribe, Busta Rhymes, and Janet Jackson. He soon became a household name for me and I wanted everything he put his mark on.

During my first year in college is when I first heard J Dilla's own group called Slum Village. He did all the beats for their first 2 albums and did his own emceeing for the first time. It was some of the greatest music I've ever heard. To this day I still listen to those beats and play some at my shows. Just a few years later from hearing that first Slum stuff I found out that he passed away from Lupus and rare blood complications that he'd been struggling with for years. He was born on February 7, 1974 and died on February 10, 2006. Since his death, fans from all over the world have embraced his legacy and have celebrated his life and music during the month of February. Now almost ever major city has an event in his name. This year I ventured down to where I grew up in Philly and attended Dilladelphia.
The place was packed with Dilla heads and there were performances and artwork shared that night in honor of him. The J Dilla Foundation was there as well and they have some of the best J Dilla merch where proceeds go to J Dilla's estate (his hospital bills are still being paid off). So I bought a couple t-shirts and a 7" single for my collection.

James: What's your vinyl collection made up of? What are the prized possessions?

Layton: All styles. I enjoy collecting a good amount of R&B/soul records from the Motown era. Artists like The Spinners, The Stylistics, Marvin Gaye, and Diana Ross can be found in my collection as well as rare and hard to find Hiphop singles like the underground hit
"Inner City Blues" by Rezidue (a New York artist featured on DJ Premier's NY Reality Check 101 Mixtape). A big supporter of Stones Throw, I own several of their releases including Jaylib, Madvillian,
Karriem Riggins,
Georgia Anne Muldrow, and Homeboy Sandman, all on vinyl. Through hiphop I got introduced to a lot of electronic music. I believe there's a time and place for all music. Listening to artists like Lukid or Lone really set a certain mood that can be atmospheric and up-beat. I also enjoy staying up to date with current trends in indie/alternative rock like Toro Y Moi and Atoms For Peace.
And I can't forget my college roots in jazz with my favorite Blue Note releases like
Miles Davis "Kind Of Blue", Grant Green "Street Of Dreams", and Lee Morgan
"The Sidewinder".

One of my prized possessions is a vinyl record by jazz guitarist Wes Montgomery.
This was a record owned by Dilla. I found out that his mother Maureen Yancey was starting to sell a portion of his record collection to fans through eBay. Each record mailed out included a certificate of authenticity and a letter signed by Ma Dukes herself. Even though Dilla might not of used this record for one of his beats, it's still feels amazing to own something that belonged to him.

Laytonic  Check out Laytonic Here