New Releases: 9th April 2021
Ben brings you all the new releases and reissues to arrive at The Vinyl Whistle this week, featuring releases ranging from indie, rock, experimental, hip-hop, electronica, folk, jazz, funk, dance, alt-rock and pop. To order, you can find the items on the links below. Here's Ben's roundup of his Top 10 Picks of the week:
Five tracks from Andy Bell’s debut solo album The View From Halfway Down reworked by Pye Corner Audio, with one re-edit by Andy himself in his Glok guise.
Album opener John L backed with b side Despair, has a massive sound, driven by some gutsy Discipline-era King Crimson thrust, and energy wrought by the inclusion of Jerskin Fendrix on violin. The group tease the raging track to the point of nonexistence before leading it through caverns of reverb and gauzy snareskin landscapes, just for it to return, hitting hard as hell once more. The story painted is a jet black comedy about what happens to cult leaders when their followers turn on them.
Not unlike the supernatural deities from which they take their name, Djinn - the Swedish collective featuring members of Hills and Goat in their ranks - have proven themselves a potent and mysterious force. Their first release for Rocket Recordings was a portrait of open-minded explorers foraying into the realms of free and cosmic jazz, but never overly reverential or in thrall to their own influences.
Following the ‘Avant De Servir’ tape which was released on Swedish label Zeon Light last year, Transmission is a still more intrepid step into new terrain for Djinn - the mantric rhythms are hypnotic here, the freeform extrapolations hit new peaks of vivid abandon, and the moments of calm are blissfully meditative. Yet their sound palette extends into refreshing collisions of intent and metaphysical intensity that echo across the psychic landscapes of Sunburned Hand Of The Man-style freak-folk, as well as the polylingual fusion of jazz, European and Asian music that Don Cherry essayed on 1969’s Eternal Rhythm and 1973’s Organic Music Society.
Amidst these intoxicating and richly eclectic soundworlds, the band are just as comfortable invoking Popol Vuh (as on the mellotronabetted title track) Art Ensemble Of Chicago and the lineage of Swedish underground music that found epiphanies in the radical folk-psych of Arbete Och Fritid whilst also sounding - crucially - like no-one but themselves.
For all the far-reaching explorations of altered states by which Djinn set out their stall, this collection of mystical headspaces - in all its fearless and feral glory - is proof positive that the band’s journey has only just begun. This transmission is set to ring out across dimensions unknown.
The highly-anticipated second album This Is Really Going To Hurt. Recorded in LA last year with collaborators Justin Raisen (Angel Olsen, Yves Tumor), Andrew Sarlo (Big Thief, Bon Iver) and mixing engineer Ali Chant (Aldous Harding), the record is a lucid documentation of lead singer Will Taylor’s formative breakup, and follows the ending of a relationship through the stages of grief and acceptance. The title is evocative of knowing the decision you are about to make will change your life forever. The first singles from the album, ‘Easy Tiger’ and ‘Losing You’, served as stunning introductions.
Teenage Terrified is the debut EP by Hamburger, a Bristol band formed over a chance meeting at a vegan fast food joint. Consisting of six friends, Hamburger have mixed the raw, immediate feeling of home/bedroom recording with the poppier sound of studio recordings with Dom Mitchison of Humm Studios. Teenage Terrified takes in a range of flavours, from the sing-songy, slacker pop of Zebulon, to the more ethereal, dreamy and melodic Seafood, to the intensely personal, stripped back and introspective Agatha. Every time you try to define Hamburger’s sound, they will surprise you and take you somewhere a little different. Having said that…one can definitely hear the sonic influence of Elliott Smith, Alex G, Sparklehorse and Built to Spill.
Late Night Tales celebrate their 20th anniversary with the release of multi-instrumentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, it comes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song. It includes cuts from Connan Mockasin, Alfa Mist, Puma Blue, C Duncan, two exclusives Jordan Rakei covers of Radiohead and Jeff Buckley and an new original and much more.
“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei.
For fans of Sarah Records, Even As We Speak, The Field Mice, Blue Boy, The Clientele and early Belle and Sebastian. From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco - during one of its fluctuations as an untenable place for musicians and artists - and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.
How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.
Here are the best reissues coming out this week at The Vinyl Whistle:
Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25th anniversary in 2007.
In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.
Released in 1985, Back To The Future has been a staple for fans of classic 80s movies. Travel back in time with the iconic soundtrack with songs like “Earth Angel,” “Johnny B. Goode,” and Huey Lewis and The News’ “The Power Of Love."
The LP captures a slice of the early days of the festival, and the band as a psychedelic rock powerhouse with tracks from The Black Angels 1st two LPs - with 6 tracks recorded at Austin Psych Fest 2010, 2011 and 2012.
The Black Angels - Live at Levitation has been given deluxe treatment on mind melting vinyl.
More than any other album in the canon of Art Blakey & The Jazz Messengers, 1958’sMoanin’ — featuring the great drummer with trumpeter Lee Morgan, tenor saxophonist Benny Golson, pianist Bobby Timmons, and bassist Jymie Merritt —was the perfect crystallization of the band’s bluesy, soulful sound, and it still stands today as perhaps the most quintessential hard bop recording of all-time.
Originally self-titled, the album was later renamed Moanin’ due to the popularity of Timmons’ unforgettable opening track. The album also introduced several indelible Golson compositions that would become standards of the jazz songbook including “Along Came Betty” and “Blues March.”
This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
In the four years after The Clipse dropped their sophomore classic Lord Willin' the duo was able to build a legacy that had fans hungry for new material. After the smoke cleared and they hit the studio the Virginia brothers recorded the confidently mature sophomore effort, Hell Hath No Fury. Best known for their unconventional radio smash Grindin, Clipse are no strangers to taking risks with the boundary-pushing Neptunes, who return as trusted co-pilots for Hell Hath No Fury. As always the duo is right at home over The Neptunes crafted beats which perfectly embrace Pusha's inventive drug-game metaphors and Malice's soul-baring confessionals. From the bouncy lead single Mr. Me Too and the Slim Thug assisted Wamp Wamp to the oddly haunting Keys Open Doors to Momma I'm Sorry, Hell Hath No Fury represents some of the duo's best work. On the hypnotic Keys Open Doors, over the eerie mix of screwed-up angelic voices, chimes and congas, the brothers run circles around the competition, while the spine-tingling boom-bap of Ride Around Shining sets the stage for Pusha's hilarious boasts. Whether rhyming over distorted, lo-fi guitar plucks (Dirty Money) or overblown 808s (Trill), the brothers come with colorful references and inventive word play that easily places them in a lyrical class of their own. Get On Down now proudly issues this Neptunes produced favourite on LP for the first time ever.
Theon Cross strides confidently forth from his crucial role alongside Shabaka Hutchings in the award-winning Sons Of Kemet to unleash one of the vital sounds of 2019. Irresistibly inventive, while at once both serious and witty - Theon Cross plays Tuba like no-one else. An enormous, swaggering bass emanates from Theon’s magnificent horn, evoking sweaty clubnights where dance floor bangers sit side by side with intricate arrangements. Nubya Garcia and Moses Boyd, London’s Jazz golden generation illuminaries, feature heavily. Wayne Francis of Steam Down also guests. Refusing to be shackled by the confines of Jazz, the album draws on London’s vivacious cutural heritage, dipping in and out of grime, afrobeat, electronic, dub, dancehall and Jamaican roots music. Theon featured recently on the much lauded Makaya McCraven’s Where We Come From album. He’s also performed with the likes of Kano, Moses Boyd, Jon Batiste, Pharoahe Monch, Courtney Pine and is a founding figure in South London-based collective Steam Down.
taipu, written by American composer Philip Glass, were commissioned by the Atlanta Symphony Orchestra and Chorus. Along with The Light (1987), they marked Glass’s continuation of a symphonic trilogy of “portraits of nature” as he had recently turned to making orchestral music. The composition pays a beautiful homage to the Itaipu Dam, which is the world’s largest hydroelectric dam built on the Paraná River between Paraguay and Brazil. The text was written in Guaraní, and translated by Daniela Thomas. The piece was first performed in 1989. This LP also includes The Canyon on the D-side, which was first performed in 1988 and commissioned by the Rotterdam Philharmonic Orchestra.
Itaipu and The Canyon are available on vinyl for the first time. It comes a in deluxe heavyweight sleeve with gloss laminate, and includes an insert with linernotes as well as the Philip Glass catalogue with info on the MOV Philip Glass series.
the jungle brothers’ 1988 debut, straight out the jungle, was important for many reasons.
it was sloppy and goofy but had moments of real focus and social consciousness. it was a true “kitchen sink” record, that caught a rap fanbase enraptured by eric b. & rakim, public enemy and boogie down productions a bit off-guard. also of note, beyond the excellence of the album itself, the jungle brothers were the fulcrum for what would become the native tongues movement – they came first, de la soul and a tribe called quest followed, under their guidance. by 1989, the group had even more confidence, plus a warner bros. contract and advance in their back pocket. they used it to great advantage on the self-produced and criminally underrated done by the forces of nature, expanding their sonic palette and continuing their afrocentric approach to music and life. singles like “what ‘u’ waitin’ 4” and “doin’ our own dang” (with de la and q-tip, alongside monie love) showed the group’s fun side, which has also lead the way in the “hip-house” movement. but things weren’t all fun and games, as deeper, more pensive album tracks like “black woman,” “beeds on a string,” and “acknowledge your own history” show. it was another accomplished mix of fun, frolic and knowledge-of-self, proving that you could be serious in the rap game but still let off steam and fill the dancefloor. done by the forces of nature stands as one of the most cherished hip-hop documents of the late ‘80s among true-school heads, and this edition is the perfect way to revisit this classic thinking-man’s (and woman’s) rap platter.
On August 21, 1976, Lynyrd Skynyrd took the stage at Knebworth Park in England as part of a daylong festival that also included among others Todd Rundgren’s Utopia, 10CC and headliners The Rolling Stones. With Ronnie Van Zant’s all-in vocals and their famed triple guitar attack featuring Gary Rossington, Allen Collins and Steve Gaines, Lynyrd Skynyrd delivered an electric performance in front of a crowd estimated between 150,000 and 200,000, which has gone down as one of the band’s greatest performances. Their entire performance from that day is here for you to witness the classic Lynyrd Skynyrd in all its glory.
Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.
The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.”Soul Station endures as a jazz classic for the ages..
This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
1977 original soundtrack LP for the horror sequel - music composed by Ennio Morricone. In one of his first forays into big budget Hollywood, Ennio Morricone handed in one of his weirdest, eeriest scores.
From the beautiful to the absolutely demented, while still playing in the same sandbox. Once you get to the deranged Satanic prog rock of “Magic And Ecstasy,” it hits you: this is the craziest we’ve ever heard Morricone. And it’s amazing.
One of the greatest jazz voices of all time teams up with Gearbox Records. His final ever recording - a must have for fans. A true audiophile recording that has wowed the hifi world. His legendary vocal style (that Ella Fitzgerald claimed was every bit as good as her own) is playfully, flirtatiously close in your ear, taking you through the deeps and shallows of emotion.
Previously only available as a vinyl release on John Peel's and Clive Selwood's Strange Fruit label during a brief period in 1988, this four track vinyl EP was the first of two sessions Nico performed for John Peel (the second was in 1974), and was recorded live for BBC Radio One's Top Gear on 2nd February 1971 and broadcast the following week. This haunting session features Nico at the height of her creative powers as testified by those who saw her solo concerts accompanying herself on harmonium around this time.
20th anniversary vinyl re-issue of The Offspring’s Conspiracy of One, featuring Original Prankster, Want You Bad. The products will all include a new bonus track, Huck It.
This 3 track EP from the legendary Lee Perry brings together new and unreleased tracks recorded at Mad Professor’s Ariwa Studio in South London. The EP kicks of with This Is The Upsetter, which sees Lee chanting and philosophising over a rollicking bass, underpinned by understated guitar and perfectly placed hats, and continues to the straight up dub, Lion Share Dub. And on the flipsideis the title track, Game Of The Throne, with brass section and backing vocals belting out soul fire, with Lee offering his words to Selassie.
The Pianist is a 2002 biographical drama film, directed by Roman Polanski. It is based on the autobiographical book The Pianist, a World War II memoir by the Polish-Jewish pianist and composer Szpilman. The film was a co-production between France, the United Kingdom, Germany, and Poland.
The Pianist was met with significant critical praise and received multiple awards and nominations. It was awarded the Palme d’Or at the 2002 Cannes Film Festival. At the 75th Academy Awards, The Pianist won Oscars for Best Director (Polanski), Best Adapted Screenplay (Ronald Harwood), and Best Actor (Adam Brody), and was also nominated for four other awards, including the Academy Award for Best Picture. It also won the BAFTA Award for Best Film and BAFTA Award for Best Direction in 2003 and seven French Césars including Best Picture, Best Director, and Best Actor for Brody.
The Chopin pieces are played by Polish pianist Janusz Olejniczak and the original score piece is composed by Wojciech Kilar. In 2003, the music won the César Award for Best Music Written for a Film, and was also nominated for the BAFTA Award for Best Film Music.
His self-titled third album (1971) finds the “Swamp Fox” tempering his bluesy rockers with a handful of introspective, soul-dripping ballads and introducing horn and string arrangements for the first time. The addition of the Memphis Horns and other Muscle Shoals session men really worked well for the album. Many of the songs will remind the listener just how turbulent the cultural climate of the late 60's and early 70's was in the U.S. Songs like “The Change”, “Black Panther Swamps” and “I Just Walked Away” (the album's first single) are testament to the era.
Here are the best of the rest of the new releases arriving at The Vinyl Whistle this week:
On Driver, co-produced by Stevie Knipe and Kyle Pulley (Shamir, Diet Cig, Kississippi), Knipe delves into the emotional space just beyond a coming-of-age, where the bills start to pile up and memories of college dorms are closer than those of high school parking lots. Ultimately seeking the answer to the age-old question posed by every twenty-something; what now?
Over the course of 10 tracks, Knipe sets out to soundtrack the queer rom-com they’ve been dreaming of since 2015. Driver incorporates an expert weaving of sonic textures ranging from synths and shakers to ‘00s-inspired guitar tones which convey a loving attention to detail. Lyrically, Knipe radiates an unmistakable honesty mixed with a level of wit and a sense of humour producing intimate yet relatable indie pop songs. Adult Mom began as the solo project of Stevie Knipe at Purchase College. Adult Mom now falls between the playful spectrum of solo project and collaborative band with beloved friends and musicians Olivia Battell and Allegra Eidinger.
Since forming in 2012, Adult Mom has released five EPs and two full-length albums; Momentary Lapse of Happily, and Soft Spots. Knipe writes clever and intimate indie pop songs that offer a glimpse into the journey of a gender-weird queer navigating through heartache, trauma and subsequent growth.
Following on from last year’s album AurAA, Ellen Allien proudly unveils the first remix package, featuring four fresh takes on her original productions. AurAA was the techno queen’s ninth album in as many years, as she continues to channel her creative energy into full-length releases, as well as various other projects. Staying active and positive through the difficulties of the past year, Ellen has maintained a constant presence, sharing live DJ sets from her balcony, or astonishing settings around Berlin, and a continuous flow of new music, supporting artists through her labels and keeping the spirit of our culture alive.
With this first batch of AurAA remixes we get a sizzling selection of reinterpretations, straight out of the labs of some of the techno scene’s finest. This first instalment kicks off with France-based Hadone, who takes on ‘True Romantics’ adding a muscular layer of percussion along with gothic atmospherics and a sense of urgency that increases the dynamism ten-fold. Wait for the mind bending rave riff and grizzly bassline in the latter part of the track, peak!
Next up we have Keith Carnal on the remix for ‘Walking In The Dark’. Carnal spins this one on its head, breaking it down and rebuilding it from the ground up. A bulbous kick drum pounds and thuds as numerous components come together in a menagerie of rave-drenched neon stabs and melodies. Matrixxman steps up after Carnal with his rework of ‘I Can’t See You’, which pumps ominously, while a twis- ted vocal clip lurks in the background. This minimal cut taps into your psyche with its insistent rhythm and swirling, deconstructed vocal which keeps threatening to emerge from the shadows...
The raw inspiration for Vague Tidings came from a 2006 DIY tour of the 49th state. It was a trip that went off the beaten path sometimes a bit too far for comfort. Now, over a decade later, listeners find Joe O’Connell aka Elephant Micah stationed at a creaky spinet piano, singing about the Alaskan sky. Throughout, his lyrics take a new angle on a pet theme: human encounters with the natural world. Vague Tidings places these encounters in the American West and, at times, in its sci-fi corollary, outer space. Its imagery draws from the allure of Alaska, the idea of Western prosperity, and the human relationship to wilderness more broadly. Often, O’Connell sings about the goal of capturing and commodifying nature. In poetic sketches of resource extraction industries and dark sky tourism, frontier lust runs amok. Pipelines catch fire and stars disappear, all to the tune of a stark, uncanny Americana.
Vague Tidings is a sustained, hallucinatory rendering of this theme. In style, its eight songs follow a switchback path between foggy incantations and mountain anthems. Made with a small cohort of acoustic instrumentalists, the record is rough hewn, but easy on the ears. To put Vague Tidings down on tape, O’Connell assembled some of his favorite musicians in Raleigh-Durham, North Carolina area, where he’s lived since 2015: Libby Rodenbough (Mipso) bows and plucks a detuned fiddle, Matt Douglas (Mountain Goats) breathes life into various woodwinds, and Matt O’Connell (Lean Year) sets the pace on a two-piece drum set. Their loose, imaginative playing pushes Vague Tidings beyond the singer-songwriter genre into something richer in texture. Ultimately, this is foreboding but spacious music, with plenty of room for reconsidering life on earth.
For fans of Jason Molina, Bonnie Prince Billy, Bill Callahan, Damien Jurado.
Positions is the sixth studio album by Ariana Grande. The singer worked with a variety of producers on the album, including Tommy Brown, Anthony M. Jones, London on da Track, Murda Beatz, the Rascals, Scott Storch, Shea Taylor and Charles Anderson, accompanied by longtime co-writers Victoria Monét and Tayla Parx.
The Nashville-based artist’s full-length debut album is called Sunflower. Recorded between the summer of 2019 and early 2020 in LA with acclaimed producer John Congleton, Sunflower is “definitely a milestone,” Maroney admits. “I’d be lying to say I didn’t feel a little bit of that. And why not let yourself enjoy it?” It’s also a gut-punch of fuzzy power chords (“Sinkin”) and genteel acoustics (“Cinnamon”); deftly-composed pop songs (“Freeway”) and hard-charging rockers (“Rollercoaster”). “I put all of myself into it,” Maroney adds of the 10-track LP. In retrospect, he adds, “I definitely have this sense of calmness now. I did what I was capable of doing and I’m just glad I was around my friends and my people to help me get to this point.”
Amazonia is a music project with renowned award winning photographer Sebastiao Salgado about the Amazonian Forrest. The exhibition is commissioned for the Philharmonic Paris (starting there on April 7th) with 52 minutes of brand new music composed by JMJ especially to accompany the photos. The exhibition will then travel to other cities across the globe including Rome, Sao Paulo, Rio de Janeiro and London. More cities will follow in 2022. JMJ will deliver a Binaural Surround Sound Version on top of standard audio.
Arrivals features O’Rourke’s first new material in two years and brings us the most emotionally raw and affecting album of his career. Produced by Paul Weller at Black Barn Studios, Surrey, the sound is stripped back to Declan’s soulful and resonant voice, the virtuosic acoustic guitar playing for which he’s renowned and only the occasional sparse arrangement of strings and late-night drums bringing colour and light to the LP’s 10 songs. Weller, a fan of Declan’s song writing for some years, also adds his multi-instrumental abilities, including a beautiful piano accompaniment, to the closing track.
Building on the musical material of the first record, Voices 2 extends the musical language into a purely instrumental and abstract direction. Where the first part of the project is very focused on the text of The Universal Declaration Of Human Rights, the 2nd part opens up a musical space to let these words and ideas sink in.
Representing Bed Stuy Brooklyn, Tekomin "Tek" Williams burst onto the hip-hop scene in 1993 on Blackmoon's Enta Da Stage album. He has been a hip hop mainstay ever since. For nearly 30 years, Tek has delivered iconic albums and rocked crowds worldwide as one-half of the groundbreaking duo, Smif-N-Wessun. TEK continues to cement his star status in hip hop with his latest solo album, Pricele$$. From start to finish, this is a gem for hip hop listeners from Bucktown and the world over. The album features production from the likes of GQ Beats, Joe Milly, Drawzilla, Daringer, Don Notz, Music Mystro, and Wavy Da Ghawd. Guest appearances on the album include Sheek Louch, Statik Selektah, Conway the Machine, AZ, Roc Marciano, Sean P, General Steele, Buckshot, Lil Fame, Rome Streetz, Dark Lo, Drawzilla, Mitchellel, and Trife Diesel.