As experiments go, I’d rate this as a highly successful one: nothing feels like it’s been crowbarred in, and this respect for the material has reaped genuine rewards.
USA
“The adrenaline that rushes through your body when the crowd reacts to you is something special. There’s nothing like controlling the emotions of thousands of people at the same time.”
Undoubtedly one of indie music’s best kept secrets. Escapism in its most pure and uninhibited state.
Effected vocals detail an intimate and somewhat harrowing story-line, laying bare a mid-album Nirvana vibe in many ways – these short phrases, rhyming couplets that kick hard and leave plenty of space for reflection in between.
A superb show of musicianship and composition combined. A pleasant, entrancing journey, which accompanies late night deep thinking as much as a quiet commute through the countryside.
There’s a creative heart here, one that sees Pac Marly toy with the very structure of the music, moving seamlessly from melody to rap; meeting a slight dance-hall bounce with the darkness and integrity of authentic hip hop.
Headphones on, volume up – the whole thing works its magic with intimacy and realness in an upfront, fairly addictive manner.
It’s a tremendous, accomplished slice of nostalgia-drenched songwriting that puts a big smile on my face.
Tthis track is utterly individual, compelling and worthy of listening time and discussion. It’s merits are thought-provoking, visceral and genuinely interesting.
There’s a dreamlike, natural-world quality to the entire arrangement. It’s a busy set-up, but it doesn’t feel that way – the in-the-moment jam session presents a level of unity, which lends its oneness to the listener from afar.
A heavy beat and dashes of distortion are balanced beautifully with the emotional and skillful playing of the violin.
“There is no music scene whatsoever on the Big Island of Hawaii and it is horribly depressing! This place really needs a scene and I hope to influence the younger kids to eventually break one open.”