2012 Bid Adieu Is Building A Digital Purgatory In New Music Video by Maxwell Young

Remember the brouhaha surrounding the end of the Mayan calendar and the ending of the world as we knew it? Various predictions surfaced from the occultist community all the way to the top channels of mass media. Cataclysmic or transformative events would occur on December 21, 2012 and astronomical alignments would initiate spiritual ascension that would mark the beginning of a new era. That was almost seven years ago, and although I didn’t notice anything tangibly different when I woke up on December 22, 2012—or any morning thereafter—the music collective 2012 Bid Adieu proposes the idea that we have in fact died, this is hell, and we oscillate in an alternate reality that they have dubbed “digital purgatory.”

“All animals from near and far who find shelter underneath the stars, who once trotted woodlands and berms, now find paths in ones and zeroes,” says the narrator of “Weird Place,” 2012 Bid Adieu’s opening track off their debut album We Died in 2012: This Is Hell. It’s a whimsical piece as a keyboard harmonica accompanies the beginning soliloquy that makes me nostalgic of the Busy Town computer game I played on the translucent, technicolored iMac’s in kindergarten. Like an eight-bit nursery rhyme, the song serves as an introduction to 2012 Bid Adieu’s imaginary world.

Vocalist and producer Jordan Clark is the star of this fantasy the collective builds upon in the music video to “Weird Place.” Donning a blonde wig, which is a character trope among older videos, Clark provides comic relief ninja running and walking a cat on a leash through a metropolitan park. Such strange behaviors amplified by Prashant Thapan’s animations create “a world aimed at laughing at the awkward and absurd realities of our lives,” Clark said over e-mail. “We are using music as a tool to restore the listeners for a moment of tranquility.”

Learn more about 2012 Bid Adieu via The Washington Post or head to their website.

Songs for a Mosh Pit at Creatives Drink 10 (Playlist) by Alex Young


Pittsburgh could have a rage on its hands. The city’s hottest rappers have a chance to rock a notable venue with mosh pits and good energy from a packed audience. Music will motivate people to attend the show on July 25, 2019, thanks to Creatives Drink 10— a free-of-charge culture consumption fair.

Cody Baker and Chancelor Humphrey, the founders of Creatives Drink, repeatedly create environments conducive to positive interactions with cool people and businesses to consumers.

With music at the forefront this time, they partnered with music sharing database Songlink for a local artist showcase where Pittsburgh hip-hop has a place to celebrate. Other local aspects of C.D. 10 are compelling, like the event’s sponsorship by streetwear stalwart Shop412, or the funny hosts Drinking Partners. The potential energy already emanating from this event just off the musical star power highlights here though.

Flyer by  Hounds

Flyer by Hounds

Rappers like Pk Delay, My Favorite Color and Slicky Williams should navigate their catalogs to present themselves and excite the crowd. Fans should hear Choo Jackson’s upcoming hit, “Chevy.” LiveFromTheCity has an opportunity to back up his statement as the best rapper in the ‘Burgh. Benji., Clara Kent and Mars Jackson should create a winning streak tying together sold-out hometown shows at acclaimed venues such as Stage AE for C.D. 10. The co-founder of Soulection Andre Power will headline a DJ set too.

Listen to this playlist to anticipate the event. The selection is charged with a party in mind where mosh pits open up and we all smash together in a ring of fun when the bass drops. Every C.D. 10 artist in the showcase features on the playlist, so let the party ensue.

Rome Fortune Ft. Masiwei - Can't be the one (Music Video by Glasshead) by Alex Young

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Music videos by Glasshead are like theatric sets built in RuneScape universes where the Internet exists as heaven with heart emojis fluttering through your face when walking through the gates.

Glasshead continues their line of work with rapper Rome Fortune. Previously creating a video for Rome Fortune and Toro Y Moi on the “Hoodrich Disco” single from their partner EP self-entitled “Toro Y Rome Vol. 1,” Glasshead now presents visuals for Fortune, a Chinese rapper named Masiwei of The Higher Brothers group, and lauded producer Kaytranada. Their song “Can’t be the one” is admittedly sad in its honesty. “I can’t be the one for you. I wish I could, but it’s not true,” Rome Fortune sings in the chorus. The music is a club tune though, which listeners could gather from the playful metaphysical scenes pairing with the track.

Seeing the colorful graphic, digital edits by Glasshead and the great music to your ears is enough to absorb. People should be ready to attend the “Who’s Laughing Now?” album release show by Pittsburgh rapper Hippy Swizzy because Glasshead graces the performance bill along with DJ-producer Babyt33th and other artists. That show is July 27, 2019 in The ‘Burgh at 408 Finance Street.

Long Live Cap Jazzo

A Celestial Sound--Babby Releases Pleasure Demo by Maxwell Young

Babby  performing at  The Turn Around  at Eaton Hotel, 6/23/19. Polaroid by Maxwell Young

Babby performing at The Turn Around at Eaton Hotel, 6/23/19. Polaroid by Maxwell Young

Steven Holiday-Wilson Jr., aka Babby, is part of the long list of crooners who grew up in the church tradition of choral singing. It’s hard not to feel like you’re at a Sunday service when his voice crescendos. Yet, surprisingly so, Babby was prohibited from singing to congregations as his voice matured. “I wasn’t allowed to sing because they felt like I was taking people from the presence of God,” he said in between his performance for Uptown Art House’s live music series at Eaton Hotel. The word “Lamb” is tattooed down Babby’s neck in the font of early scripture like it was written with a quill pen. A sacrifice to the holy hymns, Babby is called to the masses.

The Maryland-based vocalist had just wrapped the brief 25-minute set, when one of the listeners asked me, “Where did you find him?” I hesitated before answering as if I had much to do with cultivating that ethereal experience. Babby’s talent is a gift from God. His voice would uplift spirits even if he were humming along the sidewalk. The stage is irrelevant when you hear him.

Babby’s latest offering, Pleasure, is the first grouping of tracks published since releasing “Mother” on his SoundCloud in 2017. A demo tape created from studio sessions recorded that same year, Pleasure explores themes of love loss and gained.

“The way we relate to the world around us is of a dark nature,” he said.

Babby’s interpretations of love are brooding. “Haunted by the need to love; the need to pleasure,” he speaks over a lost transmission on the opening narrative piece “Labyrinth.” There’s a palpable sense of hurt as Babby flexes his vocal chords on the remaining two tracks “Pound” and “Wound.” “My heart is blue and tender. I’ll bleed from the center,” he sings on the latter—vulnerable to the fear of loneliness while reconciling  self-worth with being in the company of someone he loves.

For day-one fans, Pleasure ameliorates the few Babby records circulating the internet. The artist’s output is intentionally restrained as he transitions from production-backed tracks to live instrumentation. Hear more depth in his sound now, with backing bass, guitar, and cello accents added to his performances. Until newer tracks drop, it’s imperative you catch a show.

The Pleasure demo is now available for listening on YouTube. We’ve pulled the audio for you below.

Tony Cruise debuts fan film for "Replica" by Maxwell Young

If Tony Cruise could perform his music anonymously, or better yet, have someone else perform it for him, I think he would choose the latter.

Courtesy of  Tony Cruise .

Courtesy of Tony Cruise.

The artist formerly known as Kill’s latest visual alludes to a sense of self-removal from his sonic output. Described as a fan film, it is not Cruise who commands the frame of the vintage camcorder, rather the armless mannequin who’s escorted around The LINE Hotel’s Los Angeles property. She/he/it embodies Cruise’s record, “Replica,” that debuted in November of 2018. “2 get the cash u deserve, run away; emulate and build a replica,” the DMV-based artist speaks over his production like it’s a 1980s infomercial. 

At the beginning of the film, viewers observe what looks like the replication process. The stairwell’s pipes and circuitry seemingly transmute Cruise’s energy into the mannequin, initializing Tony2.0. Programmed to attract fame and the white gaze, it is paraded around a Stones Throw Records pool party, with Cruise’s trademark motorcycle jacket hanging off its shoulders. Tony2.0 is a crowd-pleaser. New fans ask permission to take pictures but consent is skipped for a kiss on the cheek.

Is it an unwillingness to expose oneself to the trappings of stardom and success that make this duplication necessary? To be commoditized and sexualized at the expense of artistic merit. Or is it oneself who inhibits such trappings from being achieved? Internal and external perceptions obscuring artistic development. Regardless of the case, “Build your replica. Build it,” Cruise is adamant.