BLEU DOPE's T-BRUIN teams up with Ron Shaw for VI, a six-track collaborative EP between the rapper and producer.  Only GVVAAN NURAS (also of BLEU DOPE), and Ngan features vocals outside of BRUIN and Shaw.  A few of these songs were first performed with a live band, as a part of “The Bruinski Experience”, a series of shows Bruin played this past year with a live band.  Together, Shaw and BRUIN work to create a digestible project built on a steady confidence that holds together a variety of textures and highly-personalized sounds.   

Shaw has worked with Atlanta representatives Key! and Curtis Williams of Two-9.  And while he caries traces of the geography, each track capitalizes on sonic nuances to develop a diversity of genre explorations.  He uses blistering synths to ignite strings, wincing keys to pluck the sensibilities of a deep bass, waxes boom-bap airiness, wavers stretched keys, captures the subtleties of live music with restful subtleties, and irks a flute to tramp around aggressive swipes.  Beneath the surface of each track, Shaw suspends a thoughtfully dense drum swell.  With this substantial motivator, BRUIN maintains his poise over each highly-variant terrain.

BRUIN tells the story a man frantically holding onto his sense of calm.  Rushing to the finish line, careening vivaciously around a romantic expedition, boasting a hearty character to the tune of an Outkast reference, an ode to a special lady, loudly declaring his presence, or he crams a discombobulated peace into sonic dissonance, BRUIN’s systematic blitz retains the force of the tape.  BRUIN stands out as the guiding force for these tracks, constantly pushing his content in order to express distinct attitudes.  



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Word around town this wasn’t supposed to leak.  Young ThugFreddie Gibbs, and A$AP FERG maneuver “Old English”, produced by Salva and Nick Hook.  The trio hasn’t made an appearance together ever, and gather the South, Mid West $ide, and the East, respectively.  Collectively, each contributor develops a critical aspect of the silently-exuberant instrumental.

Salva and Hook knead a viscous, churning instrumental that pops aggressive impurities to buckle a flinching unpredictability throughout.   The density drudges through a sharply-curbed drum-bass, ushered away by a twinkling flute and an equally corrosive set of gun shots.  Protruding through this gloss is a hankering for snares and gut-punching synth progressions.  These two treatments give an understated grandiosity to the soundspace, and invite the versatility that Thugger, Gibbs, and FERG break down.  

Surprising as ever, Thugger filters into a hollow strength, and tames his squeaks to an absolute minimum.  With sharp extensions of his own, he matches the flinches in the instrumental.  Gibbs follows full of gruff force, rubber-on-cement-stuttering his footsteps to overcome the gravity that surrounds him.  FERG, on the other hand, channels the pink leather era, frantically burning all stray sounds with an unfocused extravagance.  The tension that Salva and Hook create to drown Thugger, Gibbs, and FERG, emerges with equal force from the vocals.  



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Gucci Mane and Chief Keef release “Top In The Trash”, produced by Mike Will Made It.  The 1017//Glo Gang connection takes on this single as an introduction to Gucci’s Trap House 4, set for a release 07.04.14 [this coming Friday].  The pair have worked together on a few tracks before, such as “Darker”, “So Much Money”, and “No Patience" (alongside OJ Da Juiceman), and take this latest collaboration as an opportunity to work over a playfully haunting piece of production by Mike Will.  
Opening with 8-bit imprecisions, Mike Will offers a disjointed soundspace from the first to the last note.  Momentarily settling down, he drudges around deeper keys, nudging darkness over his scantily-performed 8-bit static.  His metallized bass drum crashes the soundspace, bearing the load left behind by the sharper sounds meant to aggravate an arid atmosphere.  With these conflictingly smooth and abrasive sounds, Mike Will negotiates fault lines into a cohesive, restricted set of asymmetrical sounds.  
Gucci and Keef use this asymmetry to stack gwalla, drink straight out of the bottle, and extend invitations to check out their new gear.  Guwop channels his turnt self, intervening energetically to flexx gains, racks, and overstuffed safes.  Keef ends off with a [mumbled] verse about stunin, killing scenes, and po’in up pints.  Not much surprising going on here in terms of content, but hearing this pair simulate the smooth//abrasive relationship that supports them makes for a satisfying venture into their artistry.  
LISTEN : 



-CUTT CZAR (HERONALD REAGAN)
FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Gucci Mane and Chief Keef release “Top In The Trash”, produced by Mike Will Made It.  The 1017//Glo Gang connection takes on this single as an introduction to Gucci’s Trap House 4, set for a release 07.04.14 [this coming Friday].  The pair have worked together on a few tracks before, such as “Darker”, “So Much Money”, and “No Patience" (alongside OJ Da Juiceman), and take this latest collaboration as an opportunity to work over a playfully haunting piece of production by Mike Will.  

Opening with 8-bit imprecisions, Mike Will offers a disjointed soundspace from the first to the last note.  Momentarily settling down, he drudges around deeper keys, nudging darkness over his scantily-performed 8-bit static.  His metallized bass drum crashes the soundspace, bearing the load left behind by the sharper sounds meant to aggravate an arid atmosphere.  With these conflictingly smooth and abrasive sounds, Mike Will negotiates fault lines into a cohesive, restricted set of asymmetrical sounds.  

Gucci and Keef use this asymmetry to stack gwalla, drink straight out of the bottle, and extend invitations to check out their new gear.  Guwop channels his turnt self, intervening energetically to flexx gains, racks, and overstuffed safes.  Keef ends off with a [mumbled] verse about stunin, killing scenes, and po’in up pints.  Not much surprising going on here in terms of content, but hearing this pair simulate the smooth//abrasive relationship that supports them makes for a satisfying venture into their artistry.  

LISTEN : 



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Long Beach’s Boogie finally drops his tape Thirst 48, after building anticipation with ”NUMB”//”F.L.I.P.”, “Bitter Raps”, and “West Side" (alongside A$ton Matthews).  He gathers production from Caleb Stone, Dream Panther, Pyramid Vritra (of Odd Future's Jet Age of Tomorrow as Hal Williams), DK The Punisher, Sweetestlove, Alexander Spit, DezzieGee, TheRealRaw, Qreamybeats, Strider Hiryu, and Beewirks.  Only A$ton Matthews and Epicmustdie feature vocals on the 11-track tape, which formats into a simultaneously digestable and authentically-balanced body of work for Boogie’s debut.  
Boogie’s comfortable thuggery on Thirst 48 revives the relaxed power of an era built on the efforts of experience.  The hyper-real [read : delusional] character of rap’s contemporaries has divorced rappers from the realities that created them (regardless of where they’re actually from).  Not Boogie though.  Nothing about committing genocides on the streets of L.A., or selling enough yay to stack a million, or having run through a gang of groupies.  No outrageously-played drums, EDM headaches, or unrecognizable progressions.  
And that’s not shade cast on any artist who expresses their work with those tools; it’s to say that Boogie’s impact comes from his stability as an artist who’s ground  the stories he lives to tunes that fluctuate a learned calm.  Thirst 48 reaches an essential portrait of his L.A. truth told through these highly-attainable sounds.  Boogie negotiates his work by calmly grasping the ambience that grew from early Odd Future/Main Attrakionz into a bundle alongside the resonance of DJ Mustard.  Boogie reps his heritage over the alien consonance that arises, finding his way through the inevitable violence of his wherabouts, the irrelevant trivialities of people who front heavily, and absolution for his past.  Boogie doesn’t create his character through his music, he explores it in real time in front of his listeners.  
GET THIRST : 




-CUTT CZAR (HERONALD REAGAN)
FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Long Beach’s Boogie finally drops his tape Thirst 48, after building anticipation with ”NUMB”//”F.L.I.P.”, “Bitter Raps”, and “West Side" (alongside A$ton Matthews).  He gathers production from Caleb Stone, Dream Panther, Pyramid Vritra (of Odd Future's Jet Age of Tomorrow as Hal Williams), DK The Punisher, Sweetestlove, Alexander Spit, DezzieGee, TheRealRaw, Qreamybeats, Strider Hiryu, and Beewirks.  Only A$ton Matthews and Epicmustdie feature vocals on the 11-track tape, which formats into a simultaneously digestable and authentically-balanced body of work for Boogie’s debut.  

Boogie’s comfortable thuggery on Thirst 48 revives the relaxed power of an era built on the efforts of experience.  The hyper-real [read : delusional] character of rap’s contemporaries has divorced rappers from the realities that created them (regardless of where they’re actually from).  Not Boogie though.  Nothing about committing genocides on the streets of L.A., or selling enough yay to stack a million, or having run through a gang of groupies.  No outrageously-played drums, EDM headaches, or unrecognizable progressions.  

And that’s not shade cast on any artist who expresses their work with those tools; it’s to say that Boogie’s impact comes from his stability as an artist who’s ground  the stories he lives to tunes that fluctuate a learned calm.  Thirst 48 reaches an essential portrait of his L.A. truth told through these highly-attainable sounds.  Boogie negotiates his work by calmly grasping the ambience that grew from early Odd Future/Main Attrakionz into a bundle alongside the resonance of DJ Mustard.  Boogie reps his heritage over the alien consonance that arises, finding his way through the inevitable violence of his wherabouts, the irrelevant trivialities of people who front heavily, and absolution for his past.  Boogie doesn’t create his character through his music, he explores it in real time in front of his listeners.  

GET THIRST : 



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Levii Ru$$ell cuts his teeth on a Tommy Kruise instrumental for “CRYSTALLINE”, after the pair met up at SXSW.  Both artists have full bodies of work coming out soon (TOMMY MCGUIRE and Vi$ionz, respectively), which is a doubly-exciting prospect.  The Houston born-and-bred rapper chooses to work into a much more stable soundspace here, with Tommy Kruise poin’ a healthy serving of drawling drums and soothing flashes.  

Tommy Kruise is no foreigner to molasses-driven sounds that fuel slabs around Houston.  He’s created an important body of work that moves slowly, and accumulates force through the clarity, density, and depth of his sounds.  And this is no different.  With poignantly-flickered shines prodding metallics and snares shot into solitude, he creates a sharply-extended soundspace.  With few subtleties, Kruise hisses, claps, and quivers sounds effortlessly on the back of a plucked bass.  A majestic voyage calmly exerts itself, and Ru$$ell surges forward.

Never payin for pussy, pullin up, buck-50s, Dhalsim references, bars in Italian, and going to the Poconos with your main ho, Ru$$ell just about covers any category the violence-saturated youth of our generation might mull over.  Usually, Ru$$ell’s presence on a track captures his deeply volatile compulsion to be unpredictable.  And while he does maintain his elastic presence on this track, he garners a much more permanent strength by taming some of his more hesitant-to-explosive vacillations.  Ru$$ell steps outside of himself just enough to grow, but not far enough to leave his grit behind.  Loyalty and strength above all, that’s Levii Ru$$ell.  



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

.L.W.H. drops his third [mostly] instrumental mixtape, UNTITLED TAPE 3 (Courageous Celibacy), having composed it in its entirety, calling on Squadda B (of Main Attrakionz) & Moon Ratus forEP input, and ISSUE (of E-40's progeny) for guest vocals.  This is the third in a series of tapes by the Green Ova Records producer (SHOPLIFTER and A.N. 2013 - INFINITY preceded this third, concluding chapter), with each one charting a new iteration of his instrumental dimensions.  A traditionally unlikely character for rap production (both in terms of his passage into rap and his particularly surprising aesthetic), .L.W.H. has made a habit of challenging vocal artists to integrate polyrhythmic soundspaces.  But with no vocals to be spoken of in any meaningful sense here, we’re left with an authentic display .L.W.H.’s varied influences that themselves serve to challenge a greater view of auditory aesthetics.

Potentially punk, caustically ambient, and at times traditionally patterned, .L.W.H.’s own musical interests can seem obstructive to one another.   We hear  many artists make claims to certain unexpected interests, but these are often translated only into photo-ops and made-to-customize rapper merch.  Rarely do listeners face an artist whose interests and follow-through carry the process of genre-braiding into their music.   And throughout the seemingly trackless progress of Courageous Celibacy, listeners are invited to do just that.  

A disjointed atmosphere emerges as a result of this invitation, crumbling from each unexpectedly-sealed track.  .L.W.H. doesn’t invite us to hear how a vocalist could enter his sounds, nor even does he ask us to peer directly into his agglomeration of influences.  Through his stringed operatics, to flightily-choraled chants, to sharply-curbed stomps, to Texas-drawled pings, to funk-clapping hand drums, to an acid jazz seethe, .L.W.H. embeds his asymmetry.  

But it’s not as simple as “Oh look, he makes a lot of different sounds and puts them together on a tape.”  Each track, while never resembling the previous one (in terms of sounding similarly), rejects many conceptions of rhythm and composition to an equally challenging  degree.  Here, .L.W.H. scoffs at the way(s) in which compositions develop an idea, focusing on reformatting the comforts listeners often glean from these, all the while forgoing the perils of noise music.  Just as ISSUE’s croaks are frazzled into an unrecognizably nightmarish refrain of growls and cobbling drums, so are the blisteringly pacemakered breaths that fluster an ordinarily calm ambience on a preceding track.  

And that’s the .L.W.H. experience.  The integration of his abstracted musings work together to challenge the body of musicality that sources each piece, tearing new openings into how these sounds work together.  There’s something for nobody [yet].  So everybody should listen.  

                *WARNING this tape ends with an unplugged .L.W.H.*



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Rome Fortune catches the game off guard alongside an exclusively DunDeal-produced tape, Drive, Thighs, & Lies.  On this six track semi-EP, Rome and Dun call up Junglepussy, Relly Jade, PeeWee Longway, ShoMo, and Young Thug.  On every level, this is the type of project more artists need to be putting out.  Focused, digestable, emphatic, and works that display a finely-tuned aura, the pair give us a closely-calculated project.  Airily forceful with mushy accents, Drive, Thighs, & Lies is the grumble that coerces Rome’s branded tautness to the cushions left behind in Dun’s [fairly] raucous sounds.  
DunDeal takes Rome on a slightly-bumpy ride through these six tracks.  He opens with the elasticity of a bounce house, pinging disparate snares, noncommittal keys, and static seethes against a treacherous bass.  This germinates into a choking [PAUSE] attack for the Junglepussy and Relly features; robotic keys gasp as they’re smothered by a barking drum bass. Dun slows things down for “Waterfall”, though, fluting a delicately-erroded series of strings and sampled cries.  And that’s the first half : settled and serene.  ”Move Your Body” begins the more disjointed tracks with a brisk set of modified horns, buckled dribblings, and string-rhythmed metallics.  As I already wrote about the PeeWee feature, Dun cobbles “…shimmers that aggravate strings headfirst into the hollowed ruptures, cleaved by flutes”.  Which finally leaves us with “Smokin Alladin”, that features Young Thug’s tone-dismissing squeaks over an almost-cinematic set of horn jumps, tuned to hollowed bass, wispy protrusions, and a creeping xylophone.  
And in this sea of varied riot, Rome Fortune expresses his force as a scene-setting artist.  Other than Future and Chief Keef, Rome is one of the only artists whose presence is aggressively-affixed to the atmosphere of his sounds.  In no way does Rome sound like either Future or Keef, but his positioning on songs as an instrument for a completed atmosphere is undeniably powerful in some key ways.  And this project might be the best example from Rome’s repertoire.  Occasionally parallel to the calm around him, occasionally equalizing a volatile soundspace, Rome finesses the strength of his aesthetic choices.  In either case, Rome throttles his atmosphere with both hands, serving listeners with a full plate, six-course meal.  And while you could enter Rome into the “Oh but is he lyrical though??” conversation, his organic poise on tracks removes him from the question in a unique way.  
And that’s rap progress from Rome Fortune.  
STREAM/DOWNLOAD : 




-CUTT CZAR (HERONALD REAGAN)
FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Rome Fortune catches the game off guard alongside an exclusively DunDeal-produced tape, Drive, Thighs, & Lies.  On this six track semi-EP, Rome and Dun call up Junglepussy, Relly JadePeeWee Longway, ShoMo, and Young Thug.  On every level, this is the type of project more artists need to be putting out.  Focused, digestable, emphatic, and works that display a finely-tuned aura, the pair give us a closely-calculated project.  Airily forceful with mushy accents, Drive, Thighs, & Lies is the grumble that coerces Rome’s branded tautness to the cushions left behind in Dun’s [fairly] raucous sounds.  

DunDeal takes Rome on a slightly-bumpy ride through these six tracks.  He opens with the elasticity of a bounce house, pinging disparate snares, noncommittal keys, and static seethes against a treacherous bass.  This germinates into a choking [PAUSE] attack for the Junglepussy and Relly features; robotic keys gasp as they’re smothered by a barking drum bass. Dun slows things down for “Waterfall”, though, fluting a delicately-erroded series of strings and sampled cries.  And that’s the first half : settled and serene.  ”Move Your Body” begins the more disjointed tracks with a brisk set of modified horns, buckled dribblings, and string-rhythmed metallics.  As I already wrote about the PeeWee feature, Dun cobbles “…shimmers that aggravate strings headfirst into the hollowed ruptures, cleaved by flutes”.  Which finally leaves us with “Smokin Alladin”, that features Young Thug’s tone-dismissing squeaks over an almost-cinematic set of horn jumps, tuned to hollowed bass, wispy protrusions, and a creeping xylophone.  

And in this sea of varied riot, Rome Fortune expresses his force as a scene-setting artist.  Other than Future and Chief Keef, Rome is one of the only artists whose presence is aggressively-affixed to the atmosphere of his sounds.  In no way does Rome sound like either Future or Keef, but his positioning on songs as an instrument for a completed atmosphere is undeniably powerful in some key ways.  And this project might be the best example from Rome’s repertoire.  Occasionally parallel to the calm around him, occasionally equalizing a volatile soundspace, Rome finesses the strength of his aesthetic choices.  In either case, Rome throttles his atmosphere with both hands, serving listeners with a full plate, six-course meal.  And while you could enter Rome into the “Oh but is he lyrical though??” conversation, his organic poise on tracks removes him from the question in a unique way.  

And that’s rap progress from Rome Fortune.  

STREAM/DOWNLOAD : 



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Rome Fortune calls up PeeWee Longway to bless a DunDeal-produced track entitled “Get That”.  Full disclosure, I’m partial to the track in large part because I did the original artwork for the track [above].  But whatever.  Branded as #FingerPop, Fortune and PeeWee experiment on this single, forcefully mounting production whose lightly-grazing subtleties churn the prodded depth of a bass//runoff rumble.

DunDeal serves a tall double cup, thick with a syrupy bass, lightly-dosed with fluted mollies, disorienting xannie strings, and blinding oxy shimmers. Each sound tumbles around, amplifying these deflated sounds with the muted rattle of an overwhelming bass.  The result is a sun-bleached high, brightly-piquing listeners’ relaxation to the tune of shimmers that aggravate strings headfirst into the hollowed ruptures, cleaved by flutes.  And under this addled supervision, Rome Fortune and PeeWee Longway collect stacks on racks on gucci backpacks.

Both artists had to adapt to this raspily-textured production.  Rome Fortune just dropped Beautiful Pimp II, a hyphy-inspired tape that softly weaves through depleted sounds.  PeeWee Longway, on the other hand,  is more adept in the art of geeked-up aggression.  For this effort together, both artists had to explore unfamiliar territory.  Rome’s usual diffusion is replaced with a buckling aversion to sonic dispersion.  He stirs a groaning verse to embalm the track with his corrosive calm.  Longway follows up, matching the sputtering snare, exhaling his blitzing energy into a relaxed presence here.  Starting at two distant ends, both Rome and Longway manage to pilot themselves over a tensely-cooled track.  

 



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

Tommy Kruise remixes Ballout, Yung Gleesh, and Capo's “What U Got”, originally produced by Zaytoven.  Check out the original, in all of its geeked hesitance, right here.  Kruise has spent a significant amount of time amplifying the work(s) of others, constructing his  vision of hits that range from Quebecer Rap to soulful reappropriations to saddened reimaginations.  Regardless, it’s hard to genre-type what Kruise does in general.  It’s probably hard to do that in general, and I’m tired of trying to understand rap in terms of genre splicing.  

And to be honest, it’s sounds like this one that make that conversation obsolete.  Here, where Zay left trails of sunctioned hyphy functions, Kruise propels a swollen anxiety.  He forgets genre in the interest of character.  You could hear the different genres//sounds that source Kruise’s work, but their collision(s) is[are] what defy the idea of genre at all. here.  By droplet-maneuvering metallic percussions, exasperating snare knocks, and thumbing a flatlined bass, Kruise creeps his sound into existence.  He validates Ballout, Gleesh, and Capo alongside these daunting sounds, without having to weave a mashup.  

Kruise affixes a new atmosphere for the track, bringing the trio out of a genre conversation, and into one that understands rap as a raw state of being.  



-CUTT CZAR (HERONALD REAGAN)

FORMERLY KNOWN AS : FRANKLIN WEATHERFIELD AKA DENZEL SPLASHINGTON AKA PATOIS VUITTON AKA CHUCKDEGAULLE

CUTTINGPRACTICE@GMAIL.COM










Cutting Practice

Promote Your Page Too

view archive



INTERVIEWS/FEATURES

Artist Profiles

EXCLUSIVES/PREMIERES

Ask me anything