Album (EP) Review “Mind the Gap” by Raleigh Ritchie

Raleigh (like ballet) Ritchie (like Lionel) took fans by surprise when he announced the release of his new EP last November. The EP, Mind the Gap, was released on December 16th, 2016 and it’s devastatingly good. Raleigh Ritchie (real name Jacob Anderson) is newer to the music scene, having only just released his debut album You’re a Man Now, Boy earlier last year. Yet, he’s not an entirely unfamiliar face, fans of Game of Thrones might recognize him as Grey Worm, the leader of the unsullied. This is where I discovered him, looked him up one day because I thought he was cute and google let me know he had a few songs floating around at the time (thanks google). Gave one of his singles, “Bloodsport ’15”, a listen and I was instantly in love. It was fate. I’ve been a fan ever since and I am personally so stoked about the recent release of Mind the Gap which is what we are here to talk about.


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Start listening while you read: click HERE to go to Mind the Gap on soundcloud!


This EP is an organized clusterfuck of self-deprecation and heartbreak mixed with upbeat instrumental and fast paced lyrics, producing a fantastically odd dichotomy of feelings. The album has a sound that feels derived from R&B but somewhere along the lines it picked up heavy pop influences, with a light peppering of the occasional rap or spoken word. It’s not too much of a departure from his debut album (which I HIGHLY recommend you listen to), there’s a lot of similarities between the two pieces. Raleigh even said himself that he felt the EP was more of a bridge between his debut album and the next, rather than a totally independent piece. I won’t quote him on that because it was in a tweet from a few months back that I won’t even bother to search for. He tweets a lot. (One time, he favorited my tweet – but that’s a story for another time).

Something I love about the sound of this album is the deeper electronic feel with the background vocals. You’re a Man Now, Boy was very flowly and floaty in the background vocals – almost choir-like. Almost fantastical. Whereas Mind the Gap is mostly background vocals that are tuned bytes of Ritchie singing drawn out “ahs” or “ohs” (excuse my inability to quantify music). The subtle electronic qualities are pretty much thrown in your face in the first track off the album Motions, which begins with a brief audio of a Robot fight/break-up. We hear two Siri-esque voices argue about how they feel about each other, resulting in the end of their robot relationship. This persists through the song with brief one liners from either robot voice. It’s pretty rad, if I do say so myself.

Mind the Gap totals 5 songs: “Motions”, “Sicko”, “Liability”, “StraitJacket”, and “Unicron Love” (don’t ask me why its spelled like that – I have no idea). Each song is unique, but they all flow very well together. My favorite example of this is the transition between “Motions” and “Sicko”; “Motions” ends with the Male robot saying “I love you”, only to have the female reply “I know, but you are sick” – and then sicko immediately begins with “Maybe I’m just sick”. Hell yeah. Well, I mean, that’s pretty sad and heartbreaking lyrically, but 10/10 transition. Speaking of lyrics, Ritchie gives the listener a lot to think about as far as sanity and heartbreak go. “Motions” and “Unicron Love” both focus on two different sides of a relationship. Since we know that Motions isn’t the brightest view on love, we can probably guess how “Unicron Love” portrays it.

“Sicko”, “Liability”, and “StraitJacket” all focus more on an introspective view. “Sicko” plays off “Motions” and outlines the chaos of a mind trying to diagnose an internal sickness. There’s a lot of self-doubt and confusion present in the lyrics of this song, ending in the simple conclusion of “Maybe I’m just sick”. Liability is all about feeling bad for yourself. The musical composition of this song is diverse and beautiful, it ranges from flowy and floaty (both technical terms) to harsh and brittle (if that’s a word people use for describing music). The song feels like it’s been written out of a place of anger and defeat, it screams “why me?!”. I’m a sucker for this song, self-pity, now that’s something I can rock to. The song ends with a beautiful, whispered, “oh, fuck off” directly at his own thoughts.

Now, we arrive at “StraitJacket”, my favorite track off the album – this one is just an Ode to Mania, a sweet sweet embrace of the craziness that is our mind. It’s a fast paced, rollercoaster of a song, and there are no seatbelts. Every time you think you’ve reached the climax (not sexual) of the song, you find yourself surprised by even more faced paced energy. At the real, destructive, climax (might be a little sexual) of this song you can practically feel Ritchie screaming in your face. It also showcases one of the best things about Ritchie’s music; his sexy voice and crazy good spoken word influenced rap style. The song ends with a jarringly slow verse of spoken word that asks the listener if any of us (especially Ritchie) are sane; “Fight amongst the foot soldiers, but the war is in my mind”. Not only is the song super fucking cool, there’s a super fucking cool music video that accompanies it. Check it below, it really adds to the song and shows what Ritchie is trying to say with it (basically, that he’s just crazy).

This EP is phenomenal, and you bet I’ll be listening to it pretty much once a day. The title of the EP (Mind the Gap, if you somehow forgot) is really validated by the content of the songs. It’s about watching out for the mental leap in logic from sanity to insanity, it’s fitting for how much attention the tracks give to being not-so-sane.  Raleigh Ritchie is an amazing and talented new artist that deserves a lot more attention than he gets. On the plus side, he’s so unknown that he’ll favorite/retweet your tweets if you tweet at him. But seriously, check him out, between the amazing album art, magically sexy vocals, and make-you-think lyrics there’s nothing not to love. Make sure to check out not only the Mind the Gap EP, but also his debut album You’re a Man Now, Boy! Thanks for reading, I’ll see you back here next week for the rediscovery of Sir Sly

Zach Krieger

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Jacob Banks heats up Barboza

There was nothing like soul-infused Tuesday night when Jacob Banks hit the stage at Barboza.
Watching flashes his fans a stunning white smile, while shyly saying “Hi, I’m from
London,” we felt nothing but warmth for the soulful artist as he sang a cover
of Corinne Bailey Rae’s infamous “Put
Your Records On.”

Originally from Birmingham, England, the British
singer-songwriter first became active in 2012, when he was the first unsigned
act to ever appear on BBC Radio 1 Live Lounge. Influenced by a multitude of soul,
R&B, and hip-hop, Banks first recorded his debut EP The Monologue, released in 2013, with his top hit “Worthy,” a popular
play on various stations. A tall, brooding man with a bright smile, Banks cites Jake Gosling, Bondax, and Knox Brown as some influences and reminds us of a combination of Benjamin
Clementine, Seal,
and Jack Garratt.
Soft smooth vocals always seemingly complemented by melodic piano, Jacob Banks
is crossing genres often acoustic singer-songwriter ballads, like tracks “Homecoming”
and “Hostage” on his EP The Monologue.
Yet, the man has range, both vocally and emotionally, demonstrated in “Something
Beautiful,” also seen on his EP The
Monologue.
On his newest EP The
Paradox
, Banks delves more into
soul and R&B, experimenting with melodies in his vocal range, seen in “Home,”
and “All Mine.”

Playing fan favorites from his newer EP, Banks succeeded at demonstrating
a mix of softer vocals and instrumentals in Unknown,” while demonstrating a
hard, grittier audible aesthetic in “Sink or Swim.” Highlighting the soul aspects
of his set list, the British artist catalyzed a complete feeling of union and
communal love, as the audience swayed in unison to “Home,” a song similar in
feeling to any calmer Stevie Wonder
track

a nice complement to the upbeat and diverse sounding track “Monster.”

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Finally ending his set with new single “Unholy War,” the
audience vibe completely shifted as we all came together and empathized together
with the emotion in Banks’ vocals as he glided on the stage and crooned chorus “Let
love lead you home, oh no/ Let redemption keep you warm.” And just as Banks climaxes
as he reaches as the height at the bridge taper off, the audience in parallel also
drops.

We stop, we sway, we close our eyes, and we dance as the
rest of the chorus plays out.

Jacob Banks has reached a new level of soul, and it’s dipping
into funk—and we’re sort of hoping he continue only to reach new heights with
his artistic creativity.

And if we can’t convince you with our words to fall in love
with Jacob Banks, just let his music persuade you himself.

-Ariana Rivera

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Show Review: Noname and Ravyn Lenae Slay at The Crocodile

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I saw Noname perform at The Crocodile this past Wednesday. Ravyn Lenae opened for her, and needless to say they were both incredible. I had been anticipating this concert for quite some time now (I ordered the tickets in November), and the night had finally arrived.

First things first, I had also bought meet and greet tickets for my lovely girlfriend in an effort to blow Valentine’s Day out of the water. For the most part I think it was a success. She was excited to meet Noname, as was I, of course. Unfortunately, we both had different reactions to talking to her in person. She was so nervous that her mind started racing, asking Noname-whose real name is Fatima-question after question. This was a godsend, because I was so nervous that my mind drew a blank and stood there sheepishly, only mustering the courage to introduce myself and say “yes” a few times. 

After a photo op with Fatima, it was time for the concert. Unbeknownst to me, there was an act before Ravyn Lenae. Local Seattle rappers Nyles Davis and Mo Money got the show started, but not exactly as I had expected. Noname and Ravyn Lenae’s musical styles both exude peacefulness and don’t try to be in your face. Davis and Mo Money were both accurate reflections of what rap is becoming: repetitive lyrics over bass-heavy beats. Their music reminded me a lot of Lil Uzi Vert, my least favorite rapper in the game right now. Mo Money also got really sweaty and it was flying everywhere, so that didn’t help his set improve.

Finally, the time came for the actual concert to start, and Ravyn Lenae came out. And let me tell ya, her voice was jaw dropping. I knew it was good when I listened to her music on Spotify, but it was probably even better live. Each song she performed had multiple vocal inflections where she would change the note while she belted out a single word or sound. My previously hefty expectations had been exceeded somehow and I was witnessing an angel on stage. 

Lenae also took the time to explain the meaning behind each song before she performed it. I had listened through her Moon Shoes EP multiple times, but had never taken the time to thoroughly listen to it and pull the meaning from each song. I found myself listening much more intently, trying to connect the lyrics to the explanation she had given just a few minutes earlier. Also, she put the mic in front of my girlfriend to sing a part of a song, but evidently the pressure was overwhelming and she could only sing for a split second before laughing it off. To be fair, I would’ve done the exact same thing, and Ravyn probably would’ve gotten the whole crowd to make fun of me because I can’t sing as well as her. That may have been why she did it in the first place.

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Lenae’s set ended after about 45 minutes and it was time for the headliner, Noname. Her debut album Telefone was one of my favorite albums of last year. It was meaningful, perfectly produced, and it introduced me to a female rapper that I actually enjoyed (sorry not sorry Nicki Minaj and Iggy Azalea). Noname’s band was the first to come on stage, performing a few minutes of smooth instrumentals before Noname came out to open with “All I Need”. To my relief, she sounded exactly like she did on Telefone. The live band was a great addition; Davis, Mo Money, and Lenae all performed over recordings of the instrumentals to their songs (Davis actually rapped over recordings of his songs with the rap recorded too, so he didn’t have to work as hard). Noname performed Telefone in its entirety, as well as her verses for Mick Jenkins’ “Comfortable” and Chance the Rapper’s “Lost”. Ravyn Lenae joined her on stage and they performed “Forever” together, which was easily the best moment of the night. Noname’s discography still has some growing to do, because she ran out of music to perform after half an hour. Despite the short set, Noname was excellent on stage and had the audience captivated the whole time.

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The concert as a whole was great. The surprise openers got the concert off on a sour note, but Ravyn Lenae and Noname more than made up for the openers’ slip-ups. Both either performed exactly as in their recordings or far beyond what I had expected. Once they expand their discography there will only be more demand for them to go on tour again, and I look forward to when that day comes. Check out each artist’s music below.

Noname – Telefone

Ravyn LenaeMoon Shoes EP

Nyles Davis

Mo Money

Archie O’Dell

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Album Review: Syd Impresses As A Solo Act on Fin

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Only a week after her bandmate Matt Martians dropped his solo debut The Drum Chord Theory, Syd has come forth with her own solo debut, Fin. The former Odd Future member has been all over some of last year’s biggest releases, featuring on Common’s Black America Again, Kaytranada’s 99.9%, and Little Simz’s Stillness in Wonderland. The time has come for her to release new music of her own, and needless to say it was worth the wait. Fin is a smooth, sensual ride that may not take many risks, but lives up to the hype of what listeners have come to expect from Syd.

The album takes off with what might be one of the best tracks, “Shake Em Off”. Syd addresses feeling frustrated and doubted by her haters, choosing to shake them off rather than give into the criticism. Syd rides over bubbly production accompanied by hard hitting percussion. The standout factor, however, is her voice. Syd consistently sounds angelic over the course of the 12-track album, utilizing falsetto tones and slightly lower vocals to showcase her incredible range. Her ability to carry a song on her own is apparent, yet some tracks include background vocals, like “Insecurities”. On these tracks, Syd remains the primary voice, and the background vocals only tend to come in for the chorus. They weren’t necessary for any song, but the addition adds a certain lushness to them that is more than welcome.

The album’s tone is surprisingly sexy. Multiple songs detail Syd romanticizing about women (“Drown In It”, “Body”, “Know”) or describing a trip to the strip club (“Dollar Bills”). Other songs go in opposite directions, favoring heavy beats as the driving force (“All About Me”, “No Complaints”, “Got Her Own”). This album, like Matt Martian’s, lacks a concept; some songs share themes but none of them can be connected as a whole. None of the songs take many risks sonically either; most can be traced back to other artists and a few could be mistaken for b-sides from The Internet. Syd’s otherworldly vocals make every song feel refreshing and new, despite her borrowing elements from present day hip-hop and her band.

Fin is a prime example of why more artists in group acts should be pursuing solo careers. While she does not try to convey a complex message or theme, Syd creates a collection of songs that are just flat out fun. One can’t help but sway to every song. Her melodic voice lifts each track to another level of sensuality and bliss, leaving the listener foaming at the mouth for more. Syd did herself and her fans a favor by leaving Fin nearly empty of features (Steve Lacy on “Dollar Bills” and 6LACK on “Over”). It’s time for Syd to be in the spotlight, as she has proved on this album. Listen to Fin here and catch Syd opening for her band, The Internet, on March 17 at The Neptune.

-Archie O’Dell

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Khalid Releases New Single “Shot Down”

Khalid recently graced my list of five artists to watch this year, and he continues to impress with each new song he drops. His newest song, “Shot Down”, was released last Friday and has him at his most vulnerable to date. Khalid croons over a piano ballad about being shot down by love. The concept of the song sounds cheesy and kind of cliché, but Khalid’s vocals and delivery make the song’s content sound very genuine and emotional. Since the release on his first single “Location” in May of last year, Khalid has gained substantial ground in the underground music community, and is expected to burst onto the scene when he releases his new album American Teen on March 3 (did I mention he’s only 18?!). Expect more ballads and melodic R&B to grace his album when it releases. Check out the American Teen album cover below and listen to “Shot Down” here. The Fader also recently released a documentary about Khalid and his hometown of El Paso, Texas, which you can watch here.

-Archie O’Dell

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