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Free Souls In A Trapped Environment... punk, metal, hardcore

We've heard it all in hip-hop before. Things regurgitate themselves all the time. Addiction kills hip-hop literally.. street military imagery & actions, whether literal or metaphorical, also suffocates a lot of the climate, no matter the era. It DOES get old, right? My point is that Backxwash isn't that. Backxwash is what we haven't heard in hip-hop. If & when you keep searching for something new, something to renew the sparks, the angle might come from perspectives you'd never consider. As a hip-hop fan, that's the point I'm trying to make. I think hip-hop can be a very insecure medium, an insecure culture at times. I don't hear insecurity in Backxwash.. ya know what I mean? GROWN PEOPLE biznez. Not kids in skinny jeans doing stupid shit. Make sense? Backxwash presents some scarey shit.. threatening even. Safe spaces are often created from chaos. Do your bit. Whatever it takes. Breathe. Live. Burn it down. I'm listening.


https://backxwash.bandcamp.com/album/god-has-nothing-to-do-with-this-leave-him-out-of-it

https://backxwash.bandcamp.com/album/i-lie-here-buried-with-my-rings-and-my-dresses




01. God Has Nothing To Do With This Leave Him Out Of It (Produced By Backxwash) - 00:00
02. Backxwash feat. Ada Rook - Black Magic (Produced By Backxwash) - 01:52
03. Backxwash feat. Devi McCallion - Spells (Produced By Backxwash) - 05:30
04. Black Sheep (Produced By Backxwash) - 07:50
05. fatherfake - Hell's Interlude (Produced By fatherfake) - 09:53
06. Backxwash feat. Malldate - Into The Void (Produced By Backxwash) - 11:25
07. Adolescence (Produced By Backxwash) - 14:47
08. Amen (Produced by Backxwash) - 16:10
09. SKIN - Heaven's Interlude (Produced By SKIN) - 18:34
10. Backxwash feat. Will Owen Bennett - Redemption (Produced By Backxwash + Will Owen Bennett) - 19:34




00:00 PURPOSE OF PAIN
01:21 WAIL OF THE BANSHEE feat. SurgeryHead - Prod. by Backxwash
03:27 I LIE HERE BURIED WITH MY RINGS AND MY DRESSES feat. Ada Rook - Prod. by Backxwash
08:24 TERROR PACKETS ft. Censored Dialogue - Prod. by Backxwash
13:24 IN MY HOLY NAME ft. Lauren Bousfield - Prod. by Backxwash
16:59 BLOOD IN THE WATER - Prod. by clipping.
18:39 SONGS OF SINNERS ft. Sad3 and Ada Rook - Prod. by Backxwash
23:24 666 IN LUXAXA - Prod. by Backxwash
26:03 NINE HELLS - Prod. by Nowhere2run
29:01 BURN TO ASHES - ft. Mike Go - Prod. by Backxwash + Will Owen Bennett
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Chris Connelly.

I've been trying to explain the depth and breadth of Chris Connelly related musics lately. YES I'm a fan. YES I listen to and discover new Connelly stuff all the time. There's a lot of music. Finitribe, Ministry, Revolting Cocks, Wax Trax! Records, folk music, avant garde soundtrack stuff.. you name it. I've explained that decades worth of music has largely been all very consistent if you're a Chris Connelly fan. The catalog has been curated, no matter the delivery - amplified to minimal sonics. There's always a sense of humor to aspects of what he does. And I guess that's something that has translated from the 1980's, Connelly, Wax Trax! Records affiliated material. It is never stagnant, imo. I find it very interesting that Connelly has done a few collaborations along the way with local Chicago emo greats as Tim & Nate Kinsella (Cap'n Jazz, Joan of Arc, American Football, Owen, etc. ). With the amount of music that both Tim & Nate Kinsella have released themselves since the early 90's Chicago emo days as teenagers, in a way it makes sense that local Chicago musicians with an ear for improvisation like the Kinsella brothers and Connelly would meet. Obviously Connelly has been a fan of their work. And that meeting of worlds sort of blows my mind.

You think of 90's emo as this time capsule, sometimes insular, primitive in approach and dissemination, before the internet, mail order, read about in zines etc. Often obscure depending on the subject at this point. And yes, there's renewed old discoveries all the time. There's a huge chapter of music and influence that persists to this day. It doesn't have to be obscure. It doesn't have to be nostalgia either. I search constantly for new, old inspirations. A lot of people don't talk about the Chris Connelly collabs with the Kinsellas. Imo, I think it is amazing.

Why wouldn't folky Connelly offerings work over Joan Of Arc, American Football vibes, & noodling jazziness?

I like this very much. Everyoned lp, 2003 as via discogs


https://www.discogs.com/release/1572108-Everyoned-Everyoned





00:00 Glass Shall Wake
02:24 Knife Audition
07:51 Friends of Mine
12:40 First to Know
16:50 Curtains
20:06 Dancer's Legs
27:05 Low End Flight
32:36 You Wear It Like Smoke

As posted via Kenneth Edmonds youtube channel:

Members:
Liz Payne
Brent Gutzeit
Ben Vida
Chris Connelly
Tim Kinsella

Everyoned is an experimental group of sorts; it features some Chicago music-scene heavyweights from bands such as Pigface, Revolting Cocks, TVPow, Joan of Arc, The Owls, Town & Country and Central Falls- and that's just to name a few. The collaboration had been in the works for years- it seemed like everyone wanted to work with everyone else at some point and had been talking about it for years until they were finally all brought together in one space and began work.

Songwriting for Everyoned began in the spring of 2002, but labeling the creative process of Everyoned at the time as songwriting is perhaps something of a misnomer. Everyoned was a creative process that grew in fits and starts. Part of this had to do with the simple logistics of getting together: at any given time, as many as three of its members were recording or touring with one of their other bands. Another part of this process had to do with a deliberate move away from the structured, rehearsed song as each member had previously experienced it.

When the planets aligned and everyone was in the same place at the same time, the creative experimentation and sound of Everyoned grew like something akin to algae on a pond- patches would amorphously form here and there...these patches eventually grew and shifted around a bit, swallowing smaller patches until the entire surface had been transformed into some larger organism with a new identity. Listeners can identify the hand of each of Everyoned's members in little bits and pieces scattered about the record, but they would be hard pressed to claim that any of the members' sound or personality has risen to assume the identity of the record. Even something as identifiable as Chris Connelly's singing has been transformed into something perversely different.

Tim has said that when the song writing began, their approach was something that had become something counterintuitive to all of them. Instead of writing a finished piece of music and then deconstructing it (or piling on the layers) until it had become that original song in its finished form, Everyoned worked the other way around. They purposely intended to write write no more than 2/3rds of a song- insisting on an emphasis on improvisation in their performance to define the song. Ben has suggested that the driving, almost jazz-like pulse of the songs is a direct product of the nervous creative energy that went into filling in the blanks of these songs as the members performed them on the spot. The results are gorgeously lush constructions of delicate guitar harmonies, swimming bass lines, textures of strings and keyboard sounds and only the simplest percussion. Combined with Connelly's beautifully warbling voice, the songs impart a dark, delicately driving moodiness.

Everyoned was formed as a collaborative effort, each member bringing their particular flavors to a series of recorded performances inspired by the magnificent Astral Weeks by Van Morrison and in part, by Miles Davis' In A Silent Way. These records have a few things in common: they feature an impressive lineup of professional musicans- each musician established in his/her own right and enjoying his/her own respective career; these records were recorded over a very short period of time in just a few intense sessions, focusing on the live, collaborative performances of the musicians set around a predefined structure of songs they were to perform. As a result, these records have a presence which marks them as powerfully unique in the careers of their collaborators.
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