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| R E L E A S E D E T A I L S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ----------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| YUNGMORPHEUS_and_Fumitake_Tamura-Mazal-(LR155)-WEB-2019-SOUNDz |
| --------------------------------------------------------------------- |
| |
| Artist______________ YUNGMORPHEUS & Fumitake Tamura |
| Title_______________ Mazal |
| Label_______________ Leaving Records / LR155 |
| Genre_______________ Hip-Hop |
| Year________________ 2019 |
| Release Date________ 2019-12-27 |
| Street Date_________ 2019-08-09 |
| Source______________ WEB |
| Encoder_____________ MP3 / Lavf |
| Quality_____________ CBR 320kbps 44.1kHz |
| Size________________ 117.8MiB |
| Playtime____________ 0:51:20 |
| URL_________________ https://play.google.com/store/music/album/ |
| ?id=Bnvh3rck46j7pef3trdveyqq3vi |
| |
| |
| 01. Blunted 03:08 |
| 02. Last Days // Ashtrays 02:57 |
| 03. Combustion 03:24 |
| 04. Top Notch 01:27 |
| 05. Stray Thoughts 01:15 |
| 06. Quantum Leap #4 03:26 |
| 07. Stay Twistin 01:00 |
| 08. Watch Me 02:46 |
| 09. General Barca 02:24 |
| 10. Samson 03:04 |
| 11. Blunted (Instrumental) 03:45 |
| 12. Last Days // Ashtrays (Instrumental) 02:55 |
| 13. Combustion (Instrumental) 03:21 |
| 14. Top Notch (Instrumental) 01:27 |
| 15. Stray Thoughts (Instrumental) 02:31 |
| 16. Quantum Leap #4 (Instrumental) 03:23 |
| 17. Stay Twistin (Instrumental) 00:58 |
| 18. Watch Me (Instrumental) 02:51 |
| 19. General Barca (Instrumental) 02:21 |
| 20. Samson (Instrumental) 02:59 |
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| R E L E A S E N O T E S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| YUNGMORPHEUS and Fumitake Tamura (aka Bun) present Mazal, their first |
| collaborative album for Leaving Records. After meeting online through |
| a mutual respect for each others' work (YUNGMORPHEUS' 44 Laws of |
| Mentalizm and Fumitake's Mudai releases with Dakim for Leaving), the |
| two linked up at a brief 2017 Low End Theory performance and then |
| began trading files back and forth over the next two years. Mazal, |
| its title taken from a Japanese word meaning "a mixture of things," |
| is the result, a cohesive yet varied album documenting stressful |
| trials, psychedelic endeavors, and copious inhalations of marijuana. |
| Veering from violent fantasies of societal upheaval to blunted |
| musings on religion and politics, YUNGMORPHEUS' lyrics uncannily |
| inhabit the twisted, pitch black backdrops that Fumitake conjures. |
| Hypnotic chants materialize as blunted hooks which weave through the |
| abstract beats like sun rays in a thick fog of smoke. |
| |
| Fumitake's artfully experimental beats provide an exquisitely warped |
| foundation for the project. Of his composition process, Fumitake |
| writes "I wanted to make music that I haven't made before. For |
| example, I would subtract some sounds to make the song unbalanced or |
| unstable, and then I would look for new sounds to re-balance the |
| track in a different way. Also, because the rapping is dynamic, I |
| wanted to keep the beats minimal. I tried to make a new kind of |
| feeling by balancing those two elements". |
| |
| YUNGMORPHEUS writes "There's a lot of different sonic textures in |
| there that I usually don't find myself gravitating towards, but it |
| felt fire to step outside of a lot of unnecessary comfort zones." |
| With a nimble flow and a simmering mistrust, YUNGMORPHEUS adapts to |
| each new lawless atmosphere with trenchant lyrics full of cutting |
| observations on American life. The album's first half is steeped in a |
| persistent, paranoiac dread in tracks like the spaced, densely packed |
| "Blunted" and "Lastdays Ashtrays," while the back half tackles more |
| earthly matters on funkier cuts like "General Barca" and the jazzy, |
| tranquil interlude "Stay Twistin'". |
| |
| Mazal stays grounded by the struggles relayed by YUNGMORPHEUS. He |
| writes, "I feel like most of these joints are snapshots of moments |
| from that time period; some joints get recorded during days where you |
| feel real flexed up and others when you're burdened by the nature of |
| maneuvering a social situation that was inherently built to your |
| detriment. My grandmother passed during the period of recording of |
| this project and that shaped a lot of content unintentionally but |
| naturally. Shit like identity politics ... most especially in |
| relation to being a Black person in Amerikkka ... disillusionments, |
| triumphs, you know, life 'tings". |
| |
| |
| YUNGMORPHEUS: Shout out & respect to all the black people before me, |
| Rawshit, and my grandmother Gail, who passed away during the process |
| of this album coming to fruition. Thank you Fumitake for working with |
| me to create the body of work. Big ups Leaving Records. |
| SALUTE to those who listen! |
| |
| FUMITAKE: Special thanks to YUNGMORPHEUS, Matthewdavid, Ayako, Hashi, |
| and my two dogs. |
| |
| Vocals were recorded in Brooklyn and Los Angeles between 2016-2018 |
| using a Tascam DR-40. |
| |
| All tracks produced and mixed by Fumitake Tamura. |
| All tracks mastered by Zeroh. |
| Art direction by Fumitake Tamura. |
| |
| |
| YOU KNOW YOU HAVE TO BUY THIS SHIT IF YOU LIKE IT RIGHT?! |
| |
| |
| . . |
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