This Tuesday, May 16, Gabriel Garzon-Montano is performing at The Crocodile in Belltown. Gabriel Garzon-Montano’s Jardin, released early this year, intricately melds together notes of soul, pop, hip-hop, and funk, ultimately creating a vibrant sound owned solely by him. Hailing originally from Brooklyn, Garzon-Montano’s interest in music was sparked in childhood by his mother, a musician in the Philip Glass Ensemble during the ‘90s. Though most commonly recognized as the creator of the sample featured in Drake’s Jungle (check out his original Six Eight), Garzon-Montano is so much more than that. Weaving together bright funk notes and unlikely time signatures, Garzon-Montano’s Jardin is a powerful collection of music that insights both introspection and pure dancing fun and will undoubtedly be a memorable experience live.
In case you couldn’t tell by the album’s title, Joey Bada$$ is not merely dropping a typical rap album. Inspired by the late Capital Steez’s AmeriKKKan Korruption, Bada$$ has decided to follow in the footsteps of Pro Era’s former great. Exactly five years to the date after Steez’s album, Bada$$ has delivered a project strongly rooted in the “korruption” in present day America.
ALL-AMERIKKKAN BADA$$ features a departure from Bada$$’ typical boom-bop New York sound, favoring a tracklist highlighted by bright production and jazz rap. Long-time producer Statik Selektah produced only two of the twelve tracks on his new album, compared to four on B4.DA.$$. This time around, Bada$$’ producers implement horn sections and electric guitar on a number of tracks, elevating them from decent to fantastic, as well as displaying Bada$$’ adaptability by stepping in a new direction of melody. The middle of the tracklist includes what might be the grooviest sequence of production on an album this year, with “TEMPTATION”, “LAND OF THE FREE”, “DEVASTATED”, and “Y U DON’T LOVE ME (MISS AMERIKKKA)” following one after another. The transition from these four tracks to the next two, “ROCKABYE BABY” and “RING THE ALARM”, is completely jarring, but a welcome shift back towards Bada$$ embracing his ruthless lyricism.
The subject matter is surprisingly heavy compared to the albums upbeat production. Much like Common’s Black America Again, ALL-AMERIKKKAN BADA$$ addresses issues plaguing American’s African Americans, such as police brutality, racism, and inequality. “Y U DON’T LOVE ME (MISS AMERIKKKA)” is reminiscent of an homage to 50 Cent’s “21 Questions”, except Bada$$ questions America’s lack of acceptance towards African Americans. He spits, “Tell me why you don’t love me/Why you always misjudge me?/Why you always put so many things above me?/Why you lead me to believe that I’m ugly?”. Bada$$ doesn’t hold back, and it pays off. The last two minutes of the album are when Bada$$ is at his strongest; he effortlessly dismantles the U.S. government, accusing them of trying to start a civil war between its black and white citizens. He encourages his listeners to unite and fight back, rather than fight each other like he believes the government wants.
Bada$$ hits the mark on every aspect of this album. The production is solid, the guest appearances burst each track into flames, and the themes present relevant issues that need to brought forth time and time again. The focus of ALL-AMERIKKKAN BADA$$ is much tighter than B4.DA.$$, and its production more versatile. Bada$$ has shown great signs on improvement on his sophomore effort and has proved himself deserving of the national spotlight alongside industry titans like Kendrick Lamar and Drake. Listen to ALL-AMERIKKKAN BADA$$ here.
You might not know his name, but it is likely that you will recognize Gabriel Garzón-Montano’s voice. Garzón-Montano was pulled into the spotlight after Drake sampled his track “6 8". But he is determined not to let that define him. “I don’t want to be that guy that got sampled on ‘Jungle’,” he said, “I don’t want that to give me my value”.
I think those concerns have been effectively erased with the release of his full-length debut Jardín. As the primary vocalist, instrumentalist, and composer for Jardín, there is no doubt left about this man’s talent.
Music became part of Garzón-Montano’s life from an early age. Gaining the foundations of classical training from his mother, he learned violin as a child before moving on to guitar, drums, bass, and piano. His resulting musical career has incorporated his experiences with urban electronic and hip-hop, as well as influences from his French-Colombian heritage.
It’s actually quite a feat to locate Garzón-Montano’s sound on the wide map of his influences. I would place it somewhere between chill funk and neo-soul, balanced with a touch of psychedelia and a hard penchant for groove. On Jardín, this has culminated in a luxurious ode to life, beauty, and romance. The layered vocals and lush instrumentals across each track are irresistible.
Opening with “Trial”, Jardín eases the listener in with soft harmonies laid across a restrained string performance. The next few tracks build up to soulful vocals from Garzón-Montano, punctuated by the funky rhythms of “The Game” and “Crawl”. From this point onward, Jardín somehow feels like its own microcosm. It’s minimalistic at times, yet eerily moody in a world that seems very much separate from ours. Garzón-Montano is quite aware of this. He closes the album with the gentle, soothing melody of “Lullaby”, perhaps as if to delicately deposit the listener back into reality.
I’m very impressed with this release. The intricacies and details in Jardín seem to indicate that we can expect more great things from Garzón-Montano. He is certainly surpassing his time in the spotlight as “the guy that got sampled on ‘Jungle’”. He is making his own name for himself, and I look forward to what he will bring us in the future, perhaps with a bit more polish if nothing else.
The upcoming show is on November 22nd at the Showbox, Seattle and is part of R&B and soul artist SoMo’s current U.S. tour. He’s touring with singer Stanaj, and the show will hopefully be an amazing showcase of the two R&B singer/songwriters. Both artists are signed with Republic Records, and have released new music lately. SoMo recently released a single, “First” in August 2016, and also released another single “Control” earlier this year.
Stanaj had a lot of hype before releasing his first EP, The Preview, in August 2016. He’s gained much of his notoriety leading up to the actual release of his original music through his popular YouTube covers and talk of collaboration with big industry names like Drake.
Personally, I’m mostly looking forward to Stanaj’s incredible vocals, and I’m extremely curious to hear him live. If The Preview is any indication of how the show is going to go, I will not be disappointed.
After years of anticipation, Rihanna has finally released
her 8th album, “Anti”. The first single off the album: “Work”
featuring Drake. The song is available to stream here on Tidal, and below is the official “Anti” promo clip:
To be honest, I was a bit underwhelmed in the beginning. I
mean, this is Rihanna we are talking
about. She sells out arenas, she has been on the cover of every magazine. She’s anicon. So to hear her first single sound so minimal was almost a
But then I listened a second time.
I don’t know what it was about the second listen, but I
started to come around to “Work”. I began to really listen to the sounds
in the track
– the little ambient notes in the back playing over Rihanna’s raspy
voice. And I got really into it. Let me tell you, the island vibe is omnipresent in “Work”. From the
get-go, the “Sail Away Riddim” influence is as clear as Caribbean water, and
the track sounds like the rhythm of Barbados in a glass bottle. I absolutely love how Rihanna adopts
a kind of emotionless rasp for this single; I can only describe it as a half-baked, drawn out patwa. It’s lazy
but it’s fitting, and in my mind I can see a boozy beach party on the Virgin
Islands (picture the speakers playing the tune in sync with the gentle waves and swaying palm trees).
Rihanna doesn’t sound like she’s trying too hard, and that idea in itself is enough to sell the single; it’s like she’s making a statement: “I’m Rihanna. I don’t
have to try hard.” And she doesn’t. After just three hours of its release, “Work” hit #1 on iTunes in over 40 countries, and by now it has reached #1 in over 80
countries. Also, I would like to point out that this “hardly trying” effort at a song has
made a track that is undeniably seductive, smooth, and addictive.
Check out the track on Tidal, and make sure to give it
that second listen.