Tag Archives for A-

Sinai Vessel – “profanity [ep]”

(Photo Credit: bandcamp)

Grade: A-

Key Track: “cuckold”

The guys in North Carolina’s Sinai Vessel were once approached after a show by someone, who may or may not have enjoyed the show, who called their music “punk for sissies.” The phrase “punk for sissies” is now draped across the band’s bandcamp page, as a source of inspiration. Taken in a non-derogatory way, the phrase fits the band – they’re punk, but one that’s smarter and more personal than most. There are hints of emo in their music, often in place of punk energy. Their new EP, “profanity,” is a solidly well-rounded listen that examines maturity and confusion, in a manner that switches from angry to introspective.

The EP doesn’t exactly start with any punches. Opener “cats” aligns itself a little closer to some twinkly emo than to punk, even if it’s examining small town religion. The vocals, as they are across the EP, are forceful, but the more midtempo music sets the tone of the EP – melodic and reflective, not always going for volume. The second track, “greatham,” is simply a forty second interlude. “cuckold,” possibly the EP’s best song, is a little louder and packs a secret punch in both it’s power and it’s poetry.

“drown around” matches the melodic and powerful nature of “cuckold,” with it’s screamed vocals and honest lyrics. Sinai Vessel are not focused on pulling intense punches, but the EP’s midpoint is it’s most forceful and loudest section. “flannery” is a very honest track, with the line “good country people with bad city hearts” repeated throughout. It serves as a slower song, and possibly the most developed on the whole EP. And “index on the oval” is a heavy and drawn-out finale, one that fits the EP well.

The band, consisting of Caleb Cordes on guitar, bass and vocals, Nathan Larson on drums and David Wimbish on horns, can easily create an atmosphere of cerebral and vulnerable punk, a largely untapped market. Sinai Vessel can be loud when they want to, and can even stretch themselves in post-punk (like on “index on the oval”). But they don’t overdo anything – they’re content playing midtempo and melodic rock most of the time. “profanity” is an eclectic work, one that shows Sinai Vessel have different intentions than most punk bands. Where the vocals are often intense, the music isn’t necessarily, and it’s a blend that entirely works. Sinai Vessel might be “punk for sissies,” but it’s punk for smart and despairing people, too.

You can stream and download the EP here.

If you like this, try: For the sound of Sinai Vessel, the emo-punk blend of Sleep Weather that I happened to have just reviewed. For the idea of Sinai Vessel, check out the band Swearin’, a relatively calm and poetic band that still qualifies as punk.

Human Kitten – “Manic Pixie Dream Boy”

(Photo Credit: bandcamp)

Grade: A-

Key Tracks: “San Diego” “Gender Bronoun”

Elijah Llinas’, aka singer-songwriter Human Kitten, second full-length album deals with struggling with cultural, societal and gender identities and the hushed lines between opposites. Llinas operates like Paul Baribeau – just a person with a guitar, using it more as a weapon to bring the lyrics home than as a lead instrument (although it’s not as almost abysmally basic as Baribeau’s playing). “Manic Pixie Dream Boy” is an honest look inside someone struggling to figure out exactly who they are.

Llinas has a voice fit for folk-punk, clear and strong, while still honest and raw. The vocals accurately reflect the varying emotions in the lyrics and add a very honest element to the music. And for one person with a guitar, Llinas has a firm grasp on songwriting. Whether lyrically or musically, the thirteen tracks on the album can differentiate themselves from each other. They all fit together, but Llinas employs tonal and volume shifts to keep it interesting. “San Diego” starts the album off on a reflective note, where “Share What Ya Got” ends on a guitar-heavy climax.

As mentioned, this album is lyric-focused. Llinas channels frustration with punk culture, and stresses with gender identity and acceptance. On opener “San Diego,” Llinas sings, “What have punks really done for the world?,” where later confessing to being a part of punk culture. And Llinas sings about gender on “Nature v. Nurture,” singing, “I told my doctor today that I am not a man / I am not a woman / Hell I don’t know what I am.” Later, on “Gender Bronoun,” “I’m caught between two separate identities and I can’t even decide on which one’s me.” Llinas’ poetry is more than honest, it’s a direct outburst. The songs are an inward portrayal at questioning one’s gender (and also, I just want to say, it’s 2014 and we still haven’t created a societal safe space for people questioning their gender. It’s very real and very prevalent). Llinas’ deeply poetic lyrics extend to depression, too, as on “I Still Don’t Want to Be Sad,” where Llinas sings, “I am sad most of the time but you can’t see it ’cause I keep it inside.” It’s heavy, deep, and relatable in one sentence, as folk-punk often is.

“Manic Pixie Dream Boy” is a proper folk-punk work; it’s acoustic but often fast, and lyrically devastating at almost every turn. Llinas is conflicted, and that’s something that maybe shouldn’t be analyzed and graded in a review, but it comes through in an honest and affecting way. The album looks at some societal standards in a confounding light and questions some fundamentals. But first and foremost, it’s an honest and inward release, one that’s, at times, all too easy to relate to. Folk-punk is often meant to disturb in some way, and Llinas takes the emotional route with a thought-provoking look into identity crises.

The album is available for purchase and streaming here.

If you like this, try: Paul Baribeau’s “Grand Ledge,” another completely solo and poetically affecting folk-punk release. (And I know I criticized Baribeau earlier but I truly love “Grand Ledge”)

-By Andrew McNally

The Menzingers – “Rented World”

(Photo Credit: Noisey)

Grade: A-

Key Tracks: “I Don’t Wanna Be An Asshole Anymore” “Rodent”

*** Let me start, as I have a few times before, by saying that this review should be taken with a grain of salt, as my love for the Menzingers runs deep enough that it’s impossible for me to stay unbiased as I shriek and clap listening to their new album. ***

The only downside to releasing a heralding, magnum opus of an album is figuring out how to follow it. Look at the most magnum opus-y album of this generation: Titus Andronicus’ “The Monitor.” (Okay, it’s probably “Yeezus,” but for the sake of conversation). The band followed it up with a significantly more straightforward and approachable album, “Local Business” (that’s just as good and I do and will always defend it). But this is tougher for pop-punk group the Menzingers, because 2012’s “On the Impossible Past” is simply a “magnum opus” because of how good it is. Listening to it for the first time is as memorable as graduating or getting married. The band accidentally created a masterpiece. So the only way to follow up an album as good as it is to just stick to the formula.

“Rented World” opens with a track called “I Don’t Wanna Be An Asshole Anymore.” It starts with a shrieking guitar and frantic energy, as any pop-punk opener should. But the song seems to slowly cool down, giving way a few times to just vocals. The follow-up, “Bad Things,” is strong but a lot more moderately-paced. This is how the Menzingers operate – their energy often feels forced, like they don’t quite have the heart to give it their all. And it fits them well, given their often lackluster-y existential lyrics. The album still has a ton of energy to it, but as with “Past,” the emotion comes first. Pop-punk has changed. This isn’t pizza, jorts and hating this town, this is death, addiction and overwhelming apathy.

For those playing along at home, the second track is indeed called “Bad Things.” “Past” had “Good Things” and “Nice Things,” and even those ironically-named times have taken a turn for the worse. While the album isn’t as interesting musically – it’s straighter, and it isn’t self-referential – it might just be even darker lyrically. “Past” was a cohesive album, because it told reflective stories. “Casey,” “Freedom Bridge,” “Nice Things” and “Gates” all tied specific memories to specific, lost people. But where that album was outward, this one is inward. There’s exceptions on both albums, of course, but “Rented World” is a look at all that’s wrong inside. The album is peppered with beautifully devastating lines like “I am only bad news / For you,” on “Rodent,” and “If everyone needs a crutch / I need a wheelchair” on first single and Key Track runner-up “In Remission.” “I know where your heartache exists,” “Nothing feels good anymore.” If “Past” was a sad look at a memory that can’t be relived, “World” is an honest look at a present that can’t be changed.

The Menzingers need to stop hogging talent. Sure, they’re a pop-punk band, they’re not the most talented group. But the band shares two great, similar singers in Tom May and Greg Barnett, and somehow, sharing rough lyrics between two singers deepens their impact. This album’s only real fault is lacking the arc that made “On the Impossible Past” the overnight success it is. But again, it’s an extremely tough act to follow. They do branch out just a little – “Transient Love” is a legit slower song, and almost a minute longer than any song on it’s predecessor. And it’s followed by “The Talk,” a >2:30 kicker that, at times, sounds more like traditional early 00’s pop-punk than their own moody blend. Otherwise, “Rented World” is simply a collection of songs meant to beat you up inside, and it certainly succeeds. It’s going to forever be compared to “Past,” but it doesn’t need to be; it’s a separate, confident and viable album that’s going to be remembered nearly as fondly. It’s crisp and concise; inspired and emotional, and loud as all hell. Effortlessly great songs like “Hearts Unknown” and “In Remission” prove that the Menzingers know exactly what they’re doing. So don’t fear a mediocre follow-up, and prep your heart and stomach in advance.

If you like this, try: This is a tough one, but as mentioned before, I defend Titus Andronicus’ “Local Business” to death. It’s another example of capitalizing on an insurmountable predecessor in a more straightforward but equally inspired manner.

-By Andrew McNally

The Creeping Ivies – “Ghost World”

(Photo Credit: bandcamp)

Grade: A

Key Tracks: “Ghost World” “The Creeps”

An immediate comparison between the Creeping Ivies and the Black Keys or the White Stripes might be unwarranted, but tough to ignore – the Creeping Ivies are a guitar and drums duo, making loud and fuzzy garage-blues-punk that calls back to their idols. But that’s only a jumping-off point, because the Creeping Ivies harken back to an entirely different era of music. “Ghost World,” their second full-length, sounds more like an album that would fit right in at a dark NY punk club in 1979.

The Scottish band – consisting of Becca Bomb and Duncan Destruction (real names, I’ll continue to pretend) – use bluesy-garage rock to channel some of the more inventive 80’s punk. Becca’s wide vocals dominate the album, often booming over the guitar and drums. It’s almost impossible not to be reminded of Poly Styrene of X-Ray Spex and Exene Cervenka of X, two 80’s punk bands that often incorporated blues and jazz into their music. And like Styrene and Cervenka, Becca’s vocals determine the song, especially on trippier songs like the excellent “Ramona Wolf.” Alternately cool, standard and hollering, Becca’s vocals are disarmingly decisive, and go against the rather lackluster vocals of most other garage bands today.

While other blues-punk bands often use blues as the center of their music, the Creeping Ivies tend to gravitate more towards punk and, in the aftermath, volume. The garage and blues elements help to pump the songs up and differentiate them, but are background parts. Songs like “The Creeps” sound ripped out of a Cramps album, not from a garage somewhere in Tennessee. And it helps give the songs energy. Even if the album is bluesy, it isn’t moody or too into itself, like the Black Keys can sometimes get. Instead, it’s loud and fun, never taking itself too seriously.

So whether the Creeping Ivies would qualify more as “blues” or “punk” I think would go to the latter. Penultimate track “What Would Johnny Ramone Do?” brings forth angst about MTV and the radio while channeling, again, an idol. “Ghost World” packs a bigger punch than first expected, and sounds very original in the midst of some bands that are starting to sound too similar. It’s loud, fun, distorted, and over not too long after it begins. It’s an album for a couple different eras, as long as it’s turned up.

The album is available for streaming and purchase here. (Bandcamp has a money conversion)

If you like this, try: As mentioned, I was reminded of the Cramps, so the Cramps’ classic 1980 debut, “Songs the Lord Taught Us.”

-By Andrew McNally

Phooey! – “Hello, Doubt” & “End End End”

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(Photo Credit for both: bandcamp)

Grade: A-

Key Tracks: Hello, Doubt: “Little Boy (Who Dreams)” “Not a Day Goes By” / End End End: “Laughter Guns” “Teenage Kids”

Let me start by breaking character for a minute and saying that I recently received an interesting submission for this blog. Nikita, a man slightly younger than myself and residing in Ukraine, sent me a link to the bandcamp page for his band, Phooey!, and asked me to review something on the more recent side. Phooey!, very much led by Nikita, has four times as many releases as years that the band has existed – 12 releases, including seven EP’s. Seven EP’s might seem troublesome for a young group, but each is drastically different than the next. Their only two full releases are an LP that is not on the more recent side of their discography, and a collection of cut tracks that are self-described as “very awful,” so I chose two of the EP’s – “Hello, Doubt,” released this past February, and “End End End” from August 2012.

“Hello, Doubt” is their most recent solo release (second to a split they contributed two songs to), an offering of six, though really five, songs that fall somewhere between indie-pop and punk. The EP’s first four songs are all guitar-heavy, fast bits of fun pop/punk. All four, although especially “Not a Day Goes By,” mix catchiness, volume and harmonies into enjoyable jams that immediately get stuck in your head. The last two songs are more calmed and laid back, with “Cheetah” as a partially acoustic track and “The Elevator Song” a quick outro.

“End End End,” meanwhile, has distinct punk/noisepop qualities to it, a far cry from the band’s original acoustic recordings. The EP is a fun kind of punk – like some of Japanther’s more recent albums. It’s fast and loud, without taking itself too seriously. And it has some lo-fi elements of muzzled vocals and fuzzy guitars, usually uncommon in punk (although growing in popularity). The EP is structured like a full-length album, actually having a distinct beginning of three energetic songs, a middle of two shorter songs that form an interlude, and three slightly longer and more developed songs to close out. It’s surprisingly cohesive for a band that seems to want to dabble in everything.

And dabble they do – the follow-up to “End End End” was a sadder and more twee-based EP, “Girl Songs,” coming out only a month later. So it’s understandable why the band is focused on EP’s – they offer samples of all the different ways Nikita wants to go. The music on these EP’s can be a lot of fun, the work of a man who enjoys experimenting instead of settling down. I can’t say where Phooey! might go next, and they might not know either. But these two EP’s are two quick and fun releases, and show the diversity that Phooey! is about.

Hello, Doubt is available here and End End End is available here.

If you like this, try: Since I guess this is a band review, I’ll just say listen to Japanther. They’re more experimental but there were remnants of their music on these EP’s.

-By Andrew McNally

Daniel hales, and the frost heaves. – “Contrariwise: Songs from Lewis Carroll’s Alice’s Adventures In Wonderland & Through the Looking​-​Glass”

(Photo Credit: bandcamp)

Grade: A-

Key Tracks: “Jabberwocky” “Contrariwise”

“Contrariwise” is, in a very loose term, a companion piece. The album was first performed (in my home state of Massachusetts) during a production of “Alice In Wonderland,” and was later released as an album. All but two of the seventeen tracks on the album are musical versions of Lewis Carroll’s poems found within the Alice works. The other two songs, “Contrariwise” and “(Push Them Into the) Wishing Well” were written by Daniel Hales, and co-exist in Carroll’s world. This album certainly isn’t for a commercial audience – it’s an ambitious and dense work that seeks to add more musicality to Carroll’s writing, and it’s largely successful.

Given that Carroll’s poems are often totally fantastical and even, at least in the case of “Jabberwocky,” total gibberish, you can’t exactly place this album under any one genre of music. At times it’s experimental, other times folksy, other times indie. The album’s one long song, “The White Knight’s Song,” feels like a 60’s folk song where the focus was on storytelling. “Beautiful Soup” is almost a ballad, while “Father William” brings guitars into a noisy ending, and “‘Tis the Voice of the Lobster” is almost a little psychedelic. Carroll’s words are usually reflected through the variety of music, although some songs are more straightforward. “Jabberwocky,” for one, leads off the album with a surprisingly straightforward indie ditty, but it is still one of the best songs on the album.

The band, in this iteration, consists of Hales on vocals, guitar, banjo, harmonica and ukelele, James Lowe on bass, Ivan Ussach on drums and Anna Wetherby on viola. Daniel Kasnitz sings back-up vocals, and also credited are “the Looking Glass Creatures,” which happens to include Jeff Steblea. The band is swift throughout the album, often effortlessly switching between genres. The album, in many ways, feels similar to Steblea’s recent Mystics Anonymous, often blending straightforward indie/folk songs with more experimental works.

The band does a standout job at bringing Carroll’s words to life, and a great job expanding beyond their usual indie-folk sound into something more unpredictable. “Contrariwise” is a fun and ambitious album, if you’re looking for something like it. It won’t be something for everyone, but Carroll fans should take notice.

The physical and digital album and tracks are available here, and live videos, dates, merch and more are available here.

If you like this, try: As mentioned, the album loosely resembles the Mystics Anonymous album I recently reviewed, even having Steblea involved.

-By Andrew McNally

Grammer – “Awesome Knifes”

(Photo Credit: bandcamp)

Grade: A-

Key Track: “Quit (Your Job)”

“Twinkly emo” is a terrible name for a genre, but it’s impossible to ignore the almost meteoric rise of emo’s fourth-wave. (It’s practically founded this blog). Fourth-wave emo has risen like drug rock did in 1967, thanks largely to now-defunct bands Snowing and Algernon Cadwallader channeling Midwestern second-wave bands. Since then, pop-punk and punk bands like the Menzingers, Dads and Modern Baseball have fallen inline with the genre, as have more creative bands like the collective The World is a Beautiful Place & I Am No Longer Afraid to Die’s discordant six minute songs about volcanoes. But bands like Grammer – properly from the Midwest – invoke a simpler, 2011 sound that’s somehow now a throwback to a throwback.

Grammer’s debut EP is five songs and roughly thirteen minutes, and really feels like the EP’s of the subgenre’s two origin bands. All five songs are midtempo and are grounded by those (ugh) twinkly guitar rhythms that dominated pretty much every song Snowing ever recorded. Opening track “Astronaww, Man” even sounds a little like Snowing. They seem to channel a few different specific influences throughout the EP. “Coy Wolf” matches Algernon Cadwallader in it’s harsh vocals ugly pairing over clean riffs. “Quit (Your Job)” sounds a little like Dads, with more of a chord-based punk sound. But this isn’t copying predecessors, because Grammer have their own sound. They’re a little grittier, and their lyrics about childhood and life eschew complaining for apathy.

The people in Grammer – Maxx on vocals, Dakota and Miles on guitar, Grady on bass, and Alex on drums, are good musicians and songwriters. This EP fits nicely into the ever-increasing qualifications of fourth-wave emo, without sounding like it’s trying to. It hints at indie and punk, and hints at some emotions and lyrics thematically different than most emo bands. And there are surprises – like the great false ending to “Cigarette Regimen.” “Emo” has become an umbrella term over the last year, for any sort of sad, poetic, relatable, twinkly, fast, slow, loud, soft combination desirable. Grammer are more straightforward than most, and “Awesome Knifes” is a promising EP for a proper, no-frills, Midwestern group.

The EP is available for stream and downloading here.

If you like this, try: It should be obvious here that I’ll mention one of two bands. So try any releases by Snowing, if for some reason you haven’t already.

Perfect Pussy – “Say Yes to Love”

(Photo Credit: Pitchfork)

Grade: A

Key Tracks: “Driver” “Interference Fits”

“Stop me if you’ve heard this one before,” Meredith Graves coyly sings on “Advance Upon the Real.” But there’s no stopping Perfect Pussy – there isn’t anything quite like this. In fact, it’s one of the only decipherable lines on the album. Perfect Pussy’s raw, cheap and ferocious punk energy is breathing life into music. The noise-punk band came together after Graves was asked to form a fake band to play in a scene of the 2013 film “Adult World,” and they ended up recording. They released their first EP, “I Have Lost All Desire For Feeling,” rather unceremoniously. But it was quickly picked up by major markets and by the time this debut LP came out (which wasn’t long), it was already hotly anticipated.

The first EP was four songs and roughly 13 minutes long. “Say Yes to Love” is double that – eight songs and 23 minutes. The whole album is characterized by relentless and chaotic energy and teasing intros and fade-outs. The volume is pushed to the max throughout, surrounded by reverb, power chords and lo-fi production. The chords themselves are deceivingly pop-punk, but Perfect Pussy are far too riotous to be considered it. The only song that isn’t all-out is the keyboard-prevalent closer, the ominously named “VII” (ominous because the EP’s song titles were in Roman numerals, suggesting parts V and VI exist). Even then, it’s a booming closer. The band’s intensity is thanks in part to the muffled production. It’s like the medium between Melt-Banana and Potty Mouth, recording with the production quality of Teen Suicide.

Fade-outs, reverb and tempting intros are a large part of this album. The opening song, “Driver,” waits a very teasing eleven seconds before the opening chords. “Big Stars” and “Interference Fits” have long periods of reverb at the end of the song, as if providing a quick break for the listener. And “Advance Upon the Real” has a little over three minutes of tape delay, at the end, in which some notes and chords in the background are just barely audible.

The vocals are improved on this album. On “Feeling,” Graves’ voice was so buried under the music that it was barely audible. They’re at least audible here, although the lyrics are almost entirely unintelligible. They might be taking a Lightning Bolt approach, burying the lyrics under fuzzy vocals to add a shroud of mystery. One of the album’s only other truly unmistakable lines is in “Interference Fits” – “Since when do we say yes to love?” – just intelligible enough to let the listener know what a red herring the album’s title really is. What follows, is Graves dubbed twice over herself, singing three different things at once.

Perfect Pussy have been one of the biggest bands to watch for 2014 and, no, they’re probably not going to become a household name, but they’re making waves in the music world. “Say Yes to Love,” even in its lighter moments, is intense. 23 straight minutes of vicious energy, fronted by Graves’ shout-singing (and Garrett Koloski’s machine-like drumming). Perfect Pussy have emerged from an otherwise empty Syracuse scene, and they’re here to stay.

If you like this, try: Potty Mouth’s “Hell Bent.” It’s not half as intense, but it matches PP’s pop-punk chords and lo-fi production.

-By Andrew McNally

Nepotism – “Black Sheep”

(Photo Credit: bandcamp)

Grade: A-

Key Track: “New American Drugs”

Nepotism are a very eclectic group from South Carolina, taking the best parts out of 90’s punk, modern rock, metal and more, to make a distinct alt-metal sound. The five track EP jumps all around, making sure each song is unique, nearly all of which are successful. What makes Nepotism immediately attractive is the catchy quality of their music. While a lot of louder guitar-based alternative bands aim for discord and noise, Nepotism look for harmonies and memorable rhythms within volume.

The album’s stand out is “New American Drugs,” the most punk-influenced of the five songs. The song has a speedy and relentless central guitar rhythm, that’s equal parts funky, catchy and angry. It wouldn’t sound out of place on your favorite 90’s throwback radio station, but that doesn’t mean it sounds old. Closer “Nobody Knows” is another great track, in the same vein. It’s ferocious and non-stop, but still comfortably accessible. The song is nuzzled in rock radio – fit for radio, but not fit for all of radio’s audience.

“In Disguise” might be the only weak song on the EP. It is the EP’s slow song (hesitate to call it a ‘ballad’) and although it’s a completely successful song in it’s own right, it sounds a little too close to 311’s “Amber,” in many ways. It also suffers from being placed too early on the EP. As the second song, it kills the momentum brought up from strong opener “Let It Out.” All that said, those criticisms are easy to ignore, and I found myself humming on the second listen.

Nepotism are like many alt-rock bands today, taking their inspirations from eclectic groups and genres. This EP shows hints of Incubus, Tool, the Stone Roses and many 90’s alt-rock bands. While those bands all created molds and became victims of their own product, bands like Nepotism are using the molds made by everyone from 311 to Green River and turning them on their heads. “Black Sheep” is five songs that are definitely recorded by the same band, but really don’t sound alike. And that makes for a pretty unique release.

The album can be streamed and downloaded here.

If you like this, try: Pissed Jeans’ “Honeys.” Not really all that related, but there were certain moments where I was reminded of the post-rock band’s excellent (and equally diverse) new LP.

-By Andrew McNally

Supastition – “Honest Living EP”

(Photo Credit: bandcamp)

Grade: A-

Key Tracks: “Honest Living” “Two Weeks Notice”

One of the criticisms of hip-hop that’s arisen over the past couple years is a disconnect with the audience. Drake said something recently – and accurately – about Jay-Z not being able to go four bars without referencing fine art. Jay-Z and Kanye may be at the top, but their tales of luxury and fine living have become off-putting. That’s what makes rappers like Supastition so important. “Honest Living” is dedicated to and directly inspired by the working class. The EP’s inspiration comes from North Carolina becoming the first state to eliminate federal unemployment benefits last year (come on, North Carolina, how evil do you have to be?). As the state’s economy crumbled further, Supastition himself was looking for work, documented in this release. “Honest Living” is a cohesive EP, about the pain felt through North Carolina and the discord felt between the comfortably rich and the poor that have been hurt by the state.

Although “Two Weeks Notice” starts with a a snarky bit of a businessman talking about golf, this EP isn’t exactly ‘angry,’ even though it easily could be. It instead has an aura of passive and informational aggression. Supastition wants to teach listeners, in a way that anger would not allow. He wants to teach listeners what it’s like “living in areas they won’t even deliver pizza to,” as he says in the song “Honest Living.” The EP retains a consistent, relaxed tone, even if the lyrics are thematically heavy and rightly emotional.

Rap that tells stories and has a serious sense of purpose like that on “Honest Living EP” is usually less focused on the skill and impressiveness of the rapper and more focused on the lyrics, but Supastition is an exceptional rapper. It might almost go unnoticed, with how important the lyrics themselves are. But he’s clear and concise, a no-frills artist. The EP’s producer, previous collaborator Croup, acts as the same. The EP is perfectly produced, filled with simple beats and no theatrics.

“Honest Living EP” is an inspired and honest work. There is no boasting, no violence, no NY vs. LA, and no Tom Ford namedrops. It is a vintage, down-to-earth release about economic struggles in North Carolina. Simple music for complex lyrics, and a cohesive EP from a man just trying to make a living. While there’s nothing wrong with big-shot hip-hop royalty, it’s so far removed from what rap used to be. “Honest Living EP” goes back to an old school sound, with lyrics of honest struggles.

The album can be streamed and downloaded for free on bandcamp, but doesn’t it deserve a few bucks?

-By Andrew McNally