Click image to download full album

Folk crooner William Elliott Whitmore’s Animals in the Dark is an album of anarchy, pain, and hope. The Iowa native’s raspy voice can make the most beautiful lyrics graceful and tender or the most painful words tug at your heartstrings.

Known for keeping a bottle of whiskey on hand during all of his shows, Whitmore’s voice is raw and sounds nearly burnt to a crisp. With a banjo close at hand, Whitmore’s Americana-folk tunes are relatable to anyone.

Growing up on a farm, Whitmore’s songs predominantly focus on the theme of small town life. Similarly, his music is stripped down to the absolute necessities. Many of his songs are only one instrument — a banjo or guitar — and his voice. His music is pure and filled with emotion.

“Mutiny” is the album’s opener, and thrives with pounding drums and devilish beats. Yelling at authority, the song leads into a chant: “We don’t need no water, let the motherfucker burn,” to top off the ultimate anarchy tune.

“Hell or High Water” nearly reaches the direct opposite side of the spectrum. The lyrics describe missing a loved one, yet wishing them the best in a hopeful, simplistic way. It pairs perfectly with an ice cold beer.

Now say a cheer, take a swig, sit back, and relax.

myspace | myspace.com/williamewhitmore]]> http://www.indieshuffle.com/william-elliott-whitmore-animals-in-the-dark/feed/ 2 http://www.indieshuffle.com/black-joe-lewis-the-honeybears-tell-em-what-your-name-is/ http://www.indieshuffle.com/black-joe-lewis-the-honeybears-tell-em-what-your-name-is/#comments Mon, 23 Aug 2010 16:49:53 +0000 Kelly Scott http://www.indieshuffle.com/?p=10663

Click image to download full album

Part of the reason Amy Winehouse’s Back to Black album annihilated the music scene at the end of the last decade was because behind her unbecoming, off-color glaze was unquestionably sterling production. The sweeping/rueful strings, crisp horn section, and mild syncopation arrangements deposited the album right back into the heart and height of Stax/Volt, 1965. A resurgence of the era in design proved extremely curative for the dismal music environment of 2007, generating much needed dashes of spirit.

A resembling ethic was applied to Black Joe Lewis & The Honeybears’s Tell “Em What Your Name Is! (2009), leveraging the band onto an advantageous platform.

It’s not custom for blues and soul in the millennia to accrue withstanding interest.  The loyalist will remain ardently comparative and the mainstream will downplay any significance because it rings irrelevant.  Black Joe Lewis, however, could care less. With his Honeybears in tow, Lewis gains traction across the country by embodying the pulse of a well-worn generation.

Echoing seminal artists Otis Redding and James Brown, Lewis and his band survive comparisons by coughing up the grit and raw glamour that set the classics on fire. I couldn’t tell you the last time a record inspired such free flowing enthusiasm.  “Sugarfoot” and “Get Yo Shit,” without fail, will inflame your hips into a frantic state of groove.

What we have with Tell ‘Em What Your Name Is! is a core-rattling, quick and dirty infection. Nothing you wouldn’t expect from a potent soul and blues production that continually reaches the mark.

myspace | myspace.com/blackjoelewis]]> http://www.indieshuffle.com/black-joe-lewis-the-honeybears-tell-em-what-your-name-is/feed/ 1 http://www.indieshuffle.com/alex-vans-alex-vans/ http://www.indieshuffle.com/alex-vans-alex-vans/#comments Tue, 15 Jun 2010 23:53:01 +0000 b aiken http://www.indieshuffle.com/?p=8419

Click image to download full album

The Shuffle may be based in San Francisco now, but its roots in the Nation’s Capital are still strong, and I’m here to bring some Washington DC vibe to the discussion.  A metro area local, Alex Vans is a guitarist/singer/songwriter who, according to lore, has attempted and failed at engaging in deviant liaisons with at least 7 different members of Congress. A bungle in sexual policymaking, perhaps, but what Vans lacks in “Hill Climbing” skill, he more than makes up for with his musical chops.

Vans’ self-titled debut brings a raw groove and bluesy vocals to bare, a coup d’hendrix, if you will. Now, before you go on saying I just called Alex Vans the next incarnation of Jimi, let me set the record straight; Vans is no Hendrix. He is however, a talented musician bringing a jazz background and pop sensibility to his music, obviously influenced by Hendrix, Vaughn, Page, and the like.  Vans doesn’t stray too far from a standard equation of soulful vocals laid over a guitar driven backdrop, with plenty of meandering solos and a jam styled feel. The formula works and it works well.

The EP is well put together, albeit a tad disjointed. I’d like to hear a bit more synergy amongst the tracks if and when an LP is released. I’m enjoying the sound though, and it’s poppy enough to appeal to a wide audience while satiating the snobs among us. Its a well rounded offering of catchy licks and lyrics, backed by inspiring guitar playing, clearly well educated and orchestrated. There is plenty of solid listening enjoyment to exact here, and I’d suggest it to just about anyone.

myspace | myspace.com/alexvansmusic]]> http://www.indieshuffle.com/alex-vans-alex-vans/feed/ 1 http://www.indieshuffle.com/the-booze-rebirth-of-the-cool-4/ http://www.indieshuffle.com/the-booze-rebirth-of-the-cool-4/#comments Tue, 15 Jun 2010 01:58:59 +0000 b aiken http://www.indieshuffle.com/?p=8356

Click image to download full album

The garage rock resurgence, forefronted most popularly by The White Stripes, has permeated indie rock and doesn’t seem to be drying up any time soon.  The Booze represent the more folk/blues/southern rock side of the movement, combining a number of tracks ranging from upbeat to a bit sullen. This is displayed right off the bat, with the first two tracks spanning the musical thrust of the entire album.  That isn’t to say, however, that you should stop listening after those two tunes. ”Rebirth of the Cool” continues on melodically and keeps the listener’s attention throughout.

As mentioned, this is pretty standard southern-tinged garage rock, which makes sense, I think, considering the band hails from Georgia.  It’s certainly an easy listen, much of it recalling  the sound of The Rolling Stones.  Nostalgic? I don’t know; I’m not a baby-boomer. But, given the litany of rock from the 60′s and 70′s forced (comfortably) upon me by my loving hippie parents, it definitely conjures up a reminiscence to this musical era.

There isn’t much more I can say about this album or this band.  Its not a big band, big sound, nor does it leave a big impression. But, and thats a big but, I’m recommending it. It just sounds right. Its not forced and doesn’t give the impression they’re trying too hard to simply replicate the sound of bands past. It’s not groundbreaking but it doesn’t need to be. That’s why I like it. A great summer album, pick it up, take a listen, and enjoy.

myspace | myspace.com/thebooze]]> http://www.indieshuffle.com/the-booze-rebirth-of-the-cool-4/feed/ 2 http://www.indieshuffle.com/the-dead-weather-sea-of-cowards/ http://www.indieshuffle.com/the-dead-weather-sea-of-cowards/#comments Thu, 10 Jun 2010 01:57:32 +0000 Taylor Fife http://www.indieshuffle.com/?p=8196

Click image to download full album

I’m sure I don’t have to be the one to tell you—you’ve probably heard it from dozens of publications, musicians, friends, and critics. Hell, my dad doesn’t even listen to much new music, but even he knows that Jack White is nothing short of a musical genius. But genius doesn’t go far enough; Jack White is the messiah of Rock and Roll who has come to save us all from the iniquity popular rock music has been committing since before I was born (OK grunge heads, I suppose we can call Cobain a prophet or something).

White’s newest release “Sea of Cowards”, a second full-length from The Dead Weather, is a throbbing, grinding, bluesy rock album with more punch and panache than anything I’ve heard since, well, The White Stripe’s release earlier this year. White and Allison Mosshart, who co-fronts the band, steer far clear from a sophomore slump and hit the nail right on the head with this one. “Horehound”, their first album, was fantastic, but The Dead Weather have really taken off into the stratosphere with “Sea of Cowards”. The groove starts right away with a funky distorted bass on the first track, Blue Blood Blues. Soon the guitars start shredding, the Hammond organ starts ringing, and soulfull background vox float over grinding guitar. Mosshart takes over vocal duties for the second jam, Hustle and Cuss, a rocking track reminiscent of the final single from “Horehound”, “I Cut Like A Buffalo”. Even with such a strong intro the group finds a way to get better, adding dynamic vocal interchanges and electronic sounds for the third track, “The Difference Between Us”.

The entire album continues on in a flurry of distortion, guitar virtuosity, and songwriting craftsmanship. Every song is a fist-pumping anthem that will get your body involuntarily moving (in a good way). While not as musically groundbreaking as other Jack White projects, or even the previous Dead Weather release, this album is serious fun and about as perfect for rocking out as it can get.

myspace | myspace.com/thedeadweather]]> http://www.indieshuffle.com/the-dead-weather-sea-of-cowards/feed/ 2 http://www.indieshuffle.com/the-black-keys-brothers/ http://www.indieshuffle.com/the-black-keys-brothers/#comments Mon, 26 Apr 2010 01:32:37 +0000 el gringo rico http://www.indieshuffle.com/?p=7149

Click image to download full album

Sounds like: Dan Auerbach, Danger Mouse

It comes then with great regret that I announce my wavering opinion of this album. After four or five listens, I like the album, I really do. After all, no self-respecting band can play the exact same style of music forever, no matter how perfect or awe-inducing that sound may be (tear…). The Keys HAD to move in a new direction. And this new direction isn’t bad. Your main man Brian “Danger Mouse” Burton steps in for his second Keys album (DM also produced “Attack & Release”) and it certainly shows. Almost every song is layered with two or three guitars, all of which I have to presume are played by Dan and thus incapable of being played live. For the best examples of DM’s production quality, listen to the organ backing on “The Only One,” or the keyboards and Dan’s howls on “Too Afraid to Love You.”  If anything, this album seems much more… sad… than any other Keys album. Almost every one of these songs is about heartbreak or regret. It’s a classic blues album with an incredibly distinct spin courtesy of the Mouse. The song “Sinister Kid” is one of my favorites because it has some great backing vocals (Jessica Lea Mayfield, I think) and some of the only guitar solos of the album.

So what’s my main issue with the album? It’s slow. With one or two exceptions, there are no thrashers…no raw energy. All the songs are about love gone wrong. It’s missing the classic Keys touch. The album resembles more of Dan Auerbach’s solo release “Keep it Hid” than any other past Keys album.

I suspect Keys enthusiasts like myself will have one of two reactions to the album: 1) (akin to my reaction) “But I was expecting more classic Keys!!! All I want to hear are ripping guitar solos and drums until my ears bleed.” or 2) “They had to make this album. They had to move on. They didn’t want to fall into the classic trap that musicians all too often fall into. Jack Johnson can play the same style of music forever and still sell billions of albums, but do we respect him for it? We respect musicians who evolve and push boundaries, guys like Bob Dylan who went electronic when the whole world loved him for his folksy guitar. (Not trying to compare the Black Keys to Bob Dylan here, please don’t freak out).”

To all those whose first exposure to the Keys is indeed “Brothers,” aren’t they great? If you like this album even a little bit, and wonder how these two might sound unleashed and less produced, start with disc 1 of the discography (The Big Come UP) and set yourself free….

One parting thought: maybe they were sick of the White Stripes comparisons? If anything, this album should put those comparisons to rest.

Elsewhere on the Web:
myspace | myspace.com/theblackkeys

Click image to download full album

Sounds like: Bob Dylan, Cat Stevens, Matt Pond PA

What’s so good?
In such a fast paced and often times soulless city, DC area native Justin Jones has composed a refreshingly soulful and genuine collection of tunes on his latest blues-influenced Americana album, “The Little Fox EP.” Straight from his blatantly huge heart come six bluesy tracks addressing the ever relevant themes of heartbreak, redemption, disappointment, and the long mysterious road ahead. In his opening track, “Little Fox,” Jones makes no effort to hide the fact that he is (or has been) a troubled man, something that many artists do but in a much less genuine fashion. In the tightly composed premiere track, he repeatedly alludes to “second chances”, “haunting memories” and “hopeless feelings.”

It’s also in the opening track that we first hear Jones’ Dylanesque harmonica scream a first whistle of agony, immediately before Jones himself proclaims that he’s “gotta get out of here.” Where exactly he desires to escape to is up to us. One good guess is DC itself – in track three, “The Gutter,” Jones’ feelings of discontent pervade seemingly nearly all elements of his life, including his home city, which he calls (if he’s referring to DC) the “city of swine.” Slightly slower, but equally powerful, “The Gutter” very blatantly refers to a sadder time in Jone’s life, a time when he was “soaking, freezing” with his “mind beyond reason.” It takes a very humbled and modest man to talk about his misfortunes or troubled history, let alone compose songs about them! Kudos to Jones for releasing such powerful and reflective auto-biographical songs.

Because backup musicians behind brilliant singer-songwriters often go under-appreciated, I’d also like to mention how tightly composed and powerful the backup musicians are, including the piano, bass, rhythm guitar, drums and whoever it is that rips the awesome solo on track six, “Dry River,” without a doubt my favorite track on the album. If you (like I) find yourself too often bogged down with an over-saturation of abstract indie-electro-synth-hop-pop, Justin Jones just might be your remedy. Especially on a rainy day. His relentless screams for satisfaction will leave you relating to him just enough to want to hear more. Keep it up Justin.

Elsewhere on the Web:
myspace | myspace.com/justinjones

Click to download full album.

What’s so good?
Citizen Cope (or Clarence Greenwood and co.) isn’t exactly indie music. If anything, the band’s second album “The Clarence Greenwood Recordings” launched them into relative mainstream pop success. Songs like “Sun’s Gonna Rise” and “Bullet and a Target” remain anthems for many a bar, night club, or sorority girl iPod. Nonetheless, I admit I always enjoyed the hell out of Citizen Cope and was particularly surprised when I found out that for “The Rainwater LP”, they passed up a major record label and decided to launch independently. Passing up the big bucks for an independent release — that’s something we at Indie Shuffle commend, right? Therefore, by definition, “The Rainwater” is an indie album, and not too shabby of one either.

While it’s no “Clarence Greenwood,” the album depicts the softer, more mellow side of Cope’s music; a side that never really got a lot of exposure to the world. I suppose this album will not be reviewed that highly, nor will it get much attention on the charts, but if you are looking for a nice calm blues influenced folk album to pass the time with, throw this one on and give it a whirl. Cope’s unique style never disappoints. Highlights here include “Healing Hands,” a nice little broken heart montage, and “I Couldn’t Explain Why,” a good example of classic Cope blues-funk rock.

PS. For all you DC folks, Cope is set to make a 2 night stand at the 930 club on 4/30 and 5/1.

Sure, many fading artists speak of “opting” to release their music themselves, but most don’t really have a choice. With the decent amount of mainstream exposure he’s had, Cope likely did. After all, he’s been featured on a Carlos Santana album, and his signature single, 2004’s “Bullet and a Target,” remains a beloved commentary on self-loathing and addiction. The self-produced Rainwater, then, is an opportunity to present his uncorrupted vision. Perhaps predictably, the results are often self-indulgent, but there are moments of unvarnished grandeur. His vocals dominate the mix, backed by acoustic guitars and modest percussion. This was a smart decision, as his granular, slightly affected drawl is as memorable as that of the Counting Crows’ Adam Duritz, if not so pandering. The tunes themselves feel especially bluesy, not in terms of chord progressions or repetitive structures but in themes and moods. – Washington City Paper

Elsewhere on the web:
myspace | myspace.com/citizencope

Click image to download full album

Sounds like: North Mississippi All Stars, Squirrel Nut Zippers, Alvin Youngblood Hart

What’s so good?
Music fans love to sit around and muse about what it would be like for long-dead artists to jam with current performers, or how current stars would fit in if they found a time machine and rocked out with musicians in the past. Members of the South Memphis String Band must have had some of these thoughts on their minds as they sat down to record a dozen arrangements of traditional songs, folk-blues standards, and at least one original.

This supergroup, comprised of Alvin Youngblood Hart (Grammy Winning Bluesman), Jimbo Mathus (Squirrel Nut Zippers), and Luther Dickinson (North Mississippi Allstars, The Black Crowes), masterfully channel jug bands of the past with expertise, passion, and giant helping of jamming soul. There doesn’t seem to be a jug player, but like any good skiffle or string group, the band features mandolin, banjo, and guitar, with touches of kazoo, fife, harmonica, washboard, and other simple percussion. The instrumentation helps the band get their old-timey feel, but the arrangements and attitude in the recordings are what evoke images of roaming the northern Mississippi hills during the great depression. The music itself recalls a time and place long gone, but the lyrics add another dimension to the romance of the past with songs about bootlegging, Jesse James, and Bloody Bill. Call-and-response work songs, fiddle jams, and spirituals all get a nod on the album, as well.

I’ve come to understand that the band isn’t particularly interested in having their music spread around the blogosphere, but this is the sort of album that is so good it would be a disservice not to tell everybody possible about it. This album does nothing less than cut
straight to the soul; the South Memphis String Band bring you back to a time you’ve only read about and seen in movies, a time before commercialization and profit in music, when songs were performed to praise, mourn, forget, remember, unite, and rejoice. Of course, I may be a touched bias—my predilection for folk music should be obvious if you’ve seen my Woody Guthrie tattoo. It seems that the three gents in this group are already well on their way to becoming the stuff of legend and lore, and I imagine even casual fans of folk and blues will agree. The album is a masterpiece the whole way through, and the only reason I felt remorseful after my first listen was because it was over. Oh, and I was hoping for a good ol’ “come a cay, cay, yippee, come a cay, cay, yippee, yippee, yippee, yay,” but I suppose I’ll have to see a live show for that.

Elsewhere on the web:
myspace | myspace.com/southmemphisstringband

Click image to download full album

Sounds like: The Black Keys, R.L. Burnside, Black Diamond Heavies

What’s so good?
Grab your whiskey and get ready to rage. I’ve never heard a more powerful and gritty blues rock duo than these guys. Left Lane Cruiser is a two man outfit out of Ft. Wayne, Indiana. They’re a couple of thrashers that can play the hell out of some punkesque garage blues. Think along the lines of a possessed Black Keys, Jack White without his cute peppermint outfits, or even ole’ R.L. Burnside fresh off divorcing his sixth wife and a four day bender. These guys don’t F around.  Brenn “Sausage Paw” Beck plays the ever lovin’ shit out of some drums (no joke, dude broke his hand 5 songs into a set a couple years back) while Freddy J IV tears you apart with insane licks off the slide. I dare you to try and listen to these guys and not immediately want to stay up all night slamming shots of Old Crow.

Been listenin’ to these fellas for a few months now and regret nothing. Definitely check out their older albums too: “Bring Yo’ Ass to the Table” and “Gettin’ Down On It.” Both contain equal amounts of energy and are phenomenal in their own right.

Somewhere there’s a world where Left Lane Cruiser is blasting out of every ’72 Chevy Nova and broke-ass VW van, the road a bleared smudge in the rear view mirror. Drums that burn down bridges full of oil and fire, a guitar fucked into submission with god shining his face across six strings of hillstomptrash skull-fuckery. Above it all a voice all cracker-ass kick and wail…”feed me, baby, and I’m yours.” It’s filthy Delta swamp debris, washed ashore and hitchhiking it’s way to the heart of last night’s ramble. – Big Rock Candy Mountain

Elsewhere on the web:
myspace | myspace.com/leftlanecruiser

Click image to download the single

Sounds like:The White Stripes

What’s so good?
I stumbled upon this quartet of lady rockers on MySpace, and after about 20 seconds of listening I knew that what they were producing was some legit-ass, bluesy, Jack White sounding stuff. Another 30 seconds was all it took to scroll down an inch or so and see that this was indeed something Jack White had his hands in, having discovered the Belles and bringing them into Third Man for some recording, and perhaps some extracurricular activities. I wont jump to any conclusions just yet.

This might sound a little too much like the Stripes for some, but I for one can’t get enough of the simple kick drum smashing backed by some textured electro-organ, crunchy guitar, and female vocals. I can’t say too much more regarding this sound or album, because a) its just a two-track single, and b) this damn band is an enigma. The mighty internets can’t even come up with any information, other than a black and white photo and a sketchy MySpace page. If I had to bet the house though, Mr. White will make sure the ladies come out with a vengeance, and hopefully at least an LP we can sink our ear-teeth into sooner than later. For now, take a listen to the title track from the single, and enjoy something you can stomp your foot to.
Elsewhere on the web:
myspace | myspace.com/blackbelles

Click here to download full album

Sounds like:The Black Keys, Led Zeppelin, Jimi Hendrix, Ten Years After

What’s so good?
Ethan Kennedy is the new Black Keys. He is better than the Black Keys. The Black Keys ruined themselves by following up a mediocre Attack+Release with an even worse Blakroc. Ethan Kennedy is so fresh that he can’t possibly ruin himself yet. He is the Black Keys to the power of Led Zeppelin, The Beatles and Jimi Hendrix. He is intricately more interesting and far more exciting. The world needs to hear this stuff. (Note: Some of this is hyperbole. The Black Keys can’t really be upstaged – they created a niche and epitomized it. Further, the songs I’ve put up aren’t nearly as raw as the Black Keys or as reflective of their similarities).

But seriously, folks, the parallels are right there. Ethan Kennedy is a two man outfit; so are the Black Keys. They both play psychedelic blues rock like pros (though I’ll be the first to admit that the Black Keys use a shitload more distortion). They’re both as passionate as Saint Francis of Assisi was about the animals. They both kick ass. Hell, just take this song as an example:

Until I’d done my research, I wouldn’t have figured there were only two members to this band, with the multi-instrumentalism and layering being so diverse. But as it turns out, Ethan Kennedy and a gifted young drummer, Aeran Shabi, account for the myriad instruments heard on the album. [UPDATE: When playing live, the band has three members, with the addition of Sam Calvert on bass]

Ethan Kennedy endeavors to conjure this magic, not by a novel calculation of genre, but by energetically imparting his own unique character to his music. He belts out lyrics unencumbered with convention, though accessible through their earnest, yearning delivery. His singing is enveloped by music that is rock and roll in its heart and bebop in its brain. But it doesn’t stop there, it only starts there – Ethan Kennedy

Elsewhere on the web:
myspace | myspace.com/ethankennedymusic

Click here to get the full album

Sounds like: Widespread Panic, Moe, Led Zeppelin, Wilco

What’s so good?
Hailing from Hamilton, Ontario, Huron is a self-described rock and roll band, but I would say they are a bit more dynamic than being pigeon-holed into the massive genre of ‘rock and roll.,’ I’d define them as ‘real, good, music.’ It’s certainly clear that Huron stays close to their rock roots; with influences ranging from the Beatles to Neil Young and Pink Floyd, Huron spans both the psychedelic and southern rock musical spectrum.

Their 2009 self-titled debut is solid, combining big guitar driven riffs and melodic jams. I can’t be sure who is supplying the majority of the vocals, but they are reminiscent of Wilco’s Jeff Tweedy. Huron differs from Wilco however, shedding the painfully boring instrumentals for something with some get-up-and-go. Huron is the band I wish Wilco was. I’m sure Wilco fans will string me up a pole for saying that, but its true, Wilco sucks and so do you.

I’ve checked out the band’s website and myspace, and it appears they are only touring within Ontario, CAN, so I’ll be waiting to hear them live (other than Youtube) for most likely… ever. I can only hope they get heard down here in the land of the free and the home of the brave, because I’d certainly love to check this band out in person.

Elsewhere on the web:
myspace | myspace.com/huronband

Click image to download full album

Sounds like: Black Keys, Dangermouse, Mos Def

What’s so good?
I was too excited for this album to review it right away. The Black Keys…Mos Def…PHAROAHE MONCH!?!? Everything about this project made sense to me. the black keys have been experimenting more and more with each release, culminating in their collaboration with dangermouse on their 2008 LP “Attack & release“. Mos Def had experimented with rock production on his follow up to the classic “Black on Both Sides” and for what its worth, I think that album (called The New Danger) is absurdly underrated. But of course this project isn’t just Mos and The Keys, and that’s why I hated it.

After listening 2, 3, 4 times all I kept thinking was, “why so many collaborations?” They nail it on the two songs with Mos on vocals. I mean, both of these artists encapsulate the blues in their own unique ways, why not let them run with it for a whole album? What changed for me was when I tried forgetting who the hell was playing/rapping, and just listened to it for what it was. In actuality this album feels more cohesive than most hip hop records done by one person. When listened to as a whole, the personalities on the record become different characters in the same movie, all contributing something to the big picture.

One of the many sickeningly cool things about this project is that it was thoroughly documented through its website, where there are episodic videos (mostly of Jim Jones lighting up in every square foot of the recording studio and discussing ridiculous things), nicely done B&W photos, and news about the Blakroc Camero (wtf?)

As a side note: does Jim Jones go to sleep with a joint in his mouth? Does he sweat liquid THC?  If he has fish, do they catch contact highs in their bowl? Has Jim Jones ever failed at getting someone high? Ever? This man is not a pot enthusiast, he is a connoisseur, an artist, a pot wizard perhaps.

…for better or worse, it ultimately serves as both the floor and the ceiling. If you’re okay with “solid” being the main descriptor for a project boasting such well-known talent, BlakRoc won’t be a disappointment – Pitchfork