An Indomitable Spirit and Hunger: “Beware of the Monkey” by MIKE Reviewed

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by Luke Modugno

Art will always be a haven for the ambiguous and the obscure. No matter the medium, art provides grounds for creatives to test the status quo, borrow from the past and amalgamate it with a progressive future. From the onset of his career, Brooklyn’s resident underground hip-hop vanguard MIKE has found himself at home within his experimental niche.

Bursting onto the underground scene with the elusive New York collective sLUms, MIKE’s undisputable mic presence fused with a uniquely warped production style has turned heads since day one. Augmenting his pen, wordplay, introspection and skill as a producer with each release, MIKE has silently become one of the most talented acts in rap’s avant-garde sector. Beware of the Monkey, his latest project, only solidifies the emcee as one of his generation’s most powerfully forward thinkers.

Courtesy of HYPEBEAST

Preluding the release with a slew of notable singles and a three-track EP with Wiki and The Alchemist, those who were paying attention to MIKE’s trajectory could see what lens Beware of the Monkey was peering through before its arrival. A continuation of so many of the idiosyncrasies that made 2021’s Disco! a dense and head-swirling composition, Beware of the Monkey picks up the pieces of MIKE’s despair and refigures them, recontextualizes them, harbors them in his pen and hands them off to the listener in the form of 13 comprehensive tracks.

While usually borrowing a page of Some Rap Songs’ burned and tattered blueprint of confessionary, gut-wrenching writing focusing on crumbling, crushing depressive states, MIKE has a unmistakable hunger for more on this record. Sure, his drab tonality and lyrical content are here, but there’s an ambition and boldness to Beware of the Monkey. If MIKE was asking questions on projects like MAY GOD BLESS YOUR HUSTLE and War in my Pen, he’s moving significantly closer to the answers on Beware of the Monkey. The result of astute solitary observation and theorization, MIKE’s growing up with his music. “Live like it’s my all, gotta give a bunch/Sit tight through the fog it be bigger floods” he spits on the stunning opener “nuthin I can do is wrng.” MIKE’s moved past allowing the vapid dystopia he occasionally inhabits affect his outlook on life, a sentiment that’s backed by the follow-up track “As 4 Me.”

Stating his intention to showcase why he should be consider amongst the greatest rappers in the world, MIKE lays down a viscous flow over a intoxicating beat. This craving is demonstrated by his clever one liners, existential psychology and technical ability throughout Beware of the Monkey. Perhaps the most potent illustration of MIKE’s intricate commentary comes in the form of “Tapestry.” Struggling to make a distinction between complacency, success and converting his passionate hobby into a lucrative business, MIKE’s mind state leads him right back to his greatest asset as a writer: asking alluringly pertinent questions about himself and the world around him. “We in the crib making classics/It be hard making a living in catastrophe/At our darkest this shit be hidden in fallacies,” MIKE raps. “Tapestry” and the commentary it makes regarding MIKE’s past, present and future as a rapper is an absorbing example of his maturation as a writer and human being.

Sonically, Beware of the Monkey is utilizes a decisively brighter palette. Sticking to the use of distorted vocalizations as the backbone of his production, MIKE’s skill behind the board is boundless. MIKE uses this inherent skill to convey a broad range of feelings and moods. Utilizing his features in the same vain as a sample, “Stop Worry!” is pushed along by a head bopping chorus from dancehall legend Sister Nancy. From the determined and nearly motivational horns of “No Curse Lifted (rivers of love)” to “Ipari Park’s” haunting piano loop, MIKE has continually proven that the some of the most inventive production from this batch of avant-garde rap producer emits from his discography.

With Beware of the Monkey, MIKE has proven that he has all he needs. He has the raw feel of a contemplative writer. He has the ear and mind of a producer capable of baroque sonic tapestries. And he certainly has the ability to merge it all into a sweeping hip-hop masterpiece. At this point, all he needs is your attention, and more importantly, your respect.

favorite tracks:

nuthin i can do is wrng

As 4 Me

Ipari Park (feat. Klein)

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Luke Modugno is the editor-in-chief.

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An Ode to the Rebellious: Odd Future’s Impact a Decade Later

By Luke Modugno

Courtesy of The Independent

Odd Future members pictured: Tyler, The Creator, Earl Sweatshirt, Frank Ocean, Syd, Jasper, Taco, Domo Genesis, Hodgy, Left Brain.

perhaps the most influential rap collective of all time, we examine odd future’s profound effect on the music industry

Every rap purist remembers the first time they heard the expression “Odd Future Wolf Gang Kill Them All.” Beside the fact that LA’s divergent hip hop collective Odd Future’s moto was blasphemous on its own, it could be argued that their unavoidable presence in the early 2010’s rap scene was just as abrasive. For some, the group and their work was akin to that of a petulant child. For others, Odd Future’s polarizing brilliance was simply a continuation of the long-celebrated musical trope of the industry outcast, which has only been further reinforced by their individual excellence in the past decade since their meteoric rise to stardom. 

On the surface, Odd Future simply shouldn’t have worked. For some, the lyrical content of rap music is repugnant as is. For those people, head-huncho and founder of Odd Future Tyler, The Creator’s early material made the ears bleed and the eyes melt. From provocative cuts like “Tron Cat” to grotesquely seminal visuals of the “Yonkers” music video, Tyler and his crew weren’t exactly on good terms with mass music media. “Odd Future and the acts from which they’ve descended make us confront a kind of disgust that is mercifully absent from our everyday lives,” said GQ staff writer Zach Baron back in 2011. “Nobody wants to talk about this stuff, nobody feels comfortable talking about this stuff, because this stuff is awful.” 

With slogans like “kill people burn shit fuck school” it was nothing short of hilarious to see bloggers and writers fall into the same trap set for them by predecessors of provacutering like Eminem. While OF was ruffling feathers in the industry and nationwide, the rap collective resonated deeply with younger listeners. There wasn’t a single day in my middle school experience in which I didn’t see the emblematic donut on a shirt, pair of Vans or “OFWGKTA” scribed via Sharpie onto a rancid bathroom wall. 

Courtesy of Wallpaper Access

For some reason, it makes perfect sense that Odd Future’s sound connected with middle schoolers. Beside catering directly to the mind-numbingly dull middle school brain through profane lyricism, OF’s art had a profound psychological effect on their target market: the youth. Researchers at the University of Glasgow and the Scottish Music and Health Network found that the music children identify with is profoundly influential in helping them develop a sense of identity. “Music can support and enrich the development of a positive self-identity as well as provide confidence, motivation and a sense of belonging,” reads the study. “Music can enhance creative, social and emotional skills. Music can be both a sense of self-preservation and fundamental wellbeing, providing a source of support when youth feel stressed, troubled or lonely.” Adolescence can be a confusing time. In many ways, Odd Future was making music as weird as their audience felt, allowing for a cult community of fans to bloom. 

Enemies of the industry and of society at large have always held a special place in the hearts of music fans. Odd Future is simply a perpetuation of the trend. Seattle punk legends Nirvana had a knack for snatching the ears of the youth via their nihilistic lyricist and leader Kurt Cobain. Cobain’s life pushed him to say things like “I'm a product of a spoiled America,” messages that reverberated with socially awkward 90’s teens and their frustration with society. Although a near 15 year gap exists between their apex’s, the nihilistic messages of Nirvana and Odd Future display the universal appeal of a group fixated on catering to the societally uncatered. “Ultimately the function of art is to express something and move an idea from one person to another, and the tools of that can include revulsion and discomfort,” said Steve Albini, esteemed producer for Nirvana, Sonic Youth and more. It doesn’t stop there, a target market for those who feel disenfranchised by society at large has always existed within the music industry. From the anti-war and hippie teachings of music acts like Jimi Hendrix, Pink Floyd and The Smiths, music has been a historical haven for the societally shunned. While the agendas of these musical icons spanned a diverse blend of issues such as racial equity, capitalistic systems and pointless wars, the central motif of their sonic art was simple: challenging the status quo and questioning if what we consider “normal” really is normal. Although conveyed in a slightly more elegant, albeit less humorous manner, “Another Brick in the Wall, Pt. 2” off Pink Floyd’s legendary 1979 project “The Wall” transmits many of the same sentiments found in Odd Future’s catalog. A fiercely anti-education ballot, Roger Walters and David Gilmour’s critiques of traditional societal expectations and uniformity are only temporally separated from Odd Future’s commentary. 

While many wrote Odd Future’s early success off as a fluke, the transcendent individual talent of OF alumni Frank Ocean, Earl Sweatshirt and Tyler have validated the group’s unique talent for connecting with the human experience beyond being an awkward teen. From the painfully gnarled and distorted production down to the heart-crushingly honest bars, Earl’s 2018 album “Some Rap Songs” sounds what it feels like to be in a dismally depressive state. Earl’s raw and overwhelming poetry on “Some Rap Songs” produced a project that has been widely used by listeners as a musical outlet to their suffering and mental health struggles. “Some Rap Songs” doesn’t have a happy ending, there’s no pot of gold at the end of the black and gray rainbow representative of the albums brief 18-minute run time. It’s simply a 24-year-old going through hell, an anxious cacophony of solace-seeking tracks that are painfully real. 

Love and heartbreak are two emotions that are ingrained in the human condition. The universally recognized sound of heartbreak is Frank Ocean’s 2016 magnum-opus “Blond.” What is there to say about this project that hasn’t already been said? Tracks like “Self Control,” “Ivy,” and “White Ferrari” speak for themselves, as Frank channels his heartache and despair over a love lost. You can palpably experience Frank’s splitting emotions, as his sheer disappointment and shame bleed through his angelic vocals. 

Resonating with listeners in many of the same ways as “Blond,” Tyler’s 2019 project “IGOR” is a toxic relationship personified. Across 12 retro-futuristic synth-pop anthems, Tyler depicts his romantic relationship with a man who is dating another woman. The harmonious bridge powered by Solange and Charlie Wilson on “I DON'T LOVE YOU ANYMORE,” the blood curdling scream near the climax of “ARE WE STILL FRIENDS?,” and the desperate confusion that is expressed on “PUPPET.” All of these gorgeously vivid musical moments on “IGOR” proves Tyler’s ability to transmit human feeling through his pen and MPC.

Whether it’s the oddity of being a teen, dealing with feelings of rejection, heartbreak, depression or love, the solo work of Odd Future’s big three has only elevated their ability to detail our feelings as we navigate the gamut of life. The rebellious are always remembered. Such is the case for Odd Future and their predecessors. However, their staying power has been demonstrated time and time again by their acute understanding of what it means to be a human being. As long as there are musicians that push people's buttons, making the media feel uncomfortable and ultimately connecting with the human spirit, the essence of Odd Future will live forever.  

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Luke Modugno is the Editor-in-Chief. Follow him on Twitter: @lmodugno5

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Albums to Ride Out Quarantine 2

By StereoVision Staff

Last year, the Stereovision Staff compiled a list of some of our favorite records for our readers to enjoy while indoors safely riding out Covid-19 (also known by its government name, Coronavirus). Since then, it seems like this Covid business has only gotten worse, with the emergence of an anti-mask brigade, negligent partygoers willing to risk their lives to see The Chainsmokers, and more new strains than a PDX dispo. Here we are, a whole year since the world shut down, and we’re still stuck inside. We at Stereovision commend those that have spent the past year living responsibly - either by social distancing and/or simply maintaining a sacred love and respect for their fellow neighbor. Let this article deliver you a handful of records for you to revisit - or potentially discover - as we all wait patiently for life to go back to normal. With multiple vaccines in production, let’s all hope this is the last article of its kind. -Carter Fife

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What’s Going On (1971) - Marvin Gaye

On what is probably my favorite record of all time, Marvin Gaye takes his confusion and frustration with the current state of the world and focuses it into 40 minutes of the best R&B/Soul music you’ll ever hear. At the time of its release, America didn’t look quite so different to how it appears today - multiple wars were being fought overseas, racial discrimination was plaguing the sociopolitical realm like a moral rot, and barely 3-weeks prior a massive march on Washington D.C. took place condemning the Vietnam War. In what can only be described as musical catharsis, the next month Marvin Gaye released a collection of ethereal and sentimental tracks that would forever alter the lives of many - including himself. Though What’s Going On did not end a war on its own, or achieve universal racial equity and justice, what it did do was offer a lifeline of hope to those struggling, letting people know that things would get better and that they were not alone. While stuck inside in the midst of a deadly pandemic, we could all use another album like this one. -Carter Fife

Favorite Tracks: Flyin’ High, What’s Going On, Mercy Mercy Me

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Madvillainy (2004) - Madvillain (RIP)

Being back home has its perks, but for the most part, it is hard not to feel like you’re stagnating. Sleeping in my childhood bed has actually made me feel as if I had been reverting into my past self, filled with existential terror that 7 years have passed since I was 16. This has led me to revisit some of my high-school favorites while safely-nestled in the protective cotton of my old comforter and low thread count sheets. I should probably start talking about the record though - we’ve all heard it, we know it’s a classic. Already-nostalgic samples paired with some of the oddest and most infectious rapping heard on a record to this day, DOOM and Madlib did not have to snap like this. Hearing of DOOM’s passing was one of the lowest points of the past year, but it was a healthy and sobering reminder to appreciate the legends around us while they’re still here. Even though DOOM may be gone, his influence will never be forgotten. -Carter Fife

Favorite Tracks: Curls, Accordion, Eye

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Honest (2014) - Future

Because of the intense listening fatigue that is inevitable when you’re a music junkie in a global pandemic, going back and combing through the catalogs of your favorite artists is an absolute COVID essential. Very few deep dives were as enjoyable as that of Future Hendrix and while listening I was reminded of all the amazing drugged-out atmospheres I hadn’t explored since high school. If there’s one obvious observation I made during these sessions though it was that Future’s 2014 sophomore studio album Honest was the peak of the first act of his career and is without a doubt the most underrated thing in his discography. From the moment you press play on the intro and hear Pluto preach over the infectiously epic “Look Ahead” instrumental you can tell you’re in for a wild ride. Honest is so special because it’s the moment that Future evolved from a gifted young trap-rapper to one of the most influential artists of our generation. He takes countless risks over the course of the 66-minute run time and every single one results in an exciting moment that plays its part in moving the genre forward and cementing Fu as a true visionary. All this goes without even mentioning the legendary list of features that includes the likes of Kanye West, Drake, Andre 3000, Pharrell Williams, Lil Wayne, and many more. Honest is an absolutely essential piece of Future’s legacy and is home to some of his most prolific songs ever. -Spencer Lobdell

Favorite Tracks: Look Ahead, Special, Benz Friendz

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Some Rap Songs (2018) - Earl Sweatshirt

An album with endless layers, Odd Future alumni Earl Sweatshirt’s sophomore record Some Rap Songs is best listened to with an attentive ear. With stripped-back, minimalist, and oftentimes rugged production, the beat palette allows Earl to be cathartic, grieve, and mourn across an extremely tight 24 min runtime. Frankly, the raw emotion displayed on Some Rap Songs is something that millions are going through during a time like this. It’s nice to know that you aren’t alone in misery at times, and Earl does just that. -Luke Modugno

Favorite Tracks: Nowhere2go, Eclipse, Riot!

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Donuts (2006) - J Dilla

School, exercise, sleep, repeat. For many people, quarantine has been a constant cycle of repeating the same day over and over. If you want an easy way to break that, give J Dilla's classic beat tape Donuts a spin. Donuts keeps you on your toes, relentlessly throwing extravagant, intricate beats at the listener through the project. Besides being a quintessential classic in hip hop, with no lyrics, it’s the perfect background music for any quarantine activity. -Luke Modugno

Favorite Tracks: Workinonit, Time: The Donut of the Heart, Gobstopper

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Control System (2012) - Ab-Soul

For many people (including me) quarantine is accompanied by a perpetual boredom and lingering anxiety that we frequently evade but is always there. For these moments I found myself grasping for a record that could capture me entirely and allow me to escape my reality through vivid storytelling and profound ideas for my mind to explore. Over the past year, no album has been able to consistently hold my attention like Control System by Ab-Soul. Over the course of the record, Ab-Soul is strikingly honest which results in him finding something he had yet to discover prior to the 2012 release: His sound. This psychedelic sound he’s able to pull on sounds nearly biblical and his unique perspective on these emotions as someone with a foot in the streets makes his music powerful. Well tracks like “Terrorist Threats” and “Pineal Gland” showcase Ab-Soul’s cryptic mind, he doesn’t forget to have fun on his sophomore project, and songs like “Mixed Emotions” and “Illuminate” allow him to flex his ability as a generational rapper and can be added to playlists intended for lighter listening sessions. The prophetic project is Solo’s best work and should definitely be included in the conversation about the best TDE releases of all-time. -Spencer Lobdell

Favorite Tracks: Mixed Emotions, Illuminate, The Book of Soul

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Is It Selfish If We Talk About Me Again? (2020) - Kacy Hill

To be honest, I don’t have a long-winded explanation for why I’ve listened to this record so much since its release last July, or even why I recommend it to those struggling in quarantine. Kacy Hill’s sophomore record is a beautifully written and performed meditation on romance, growing up, and becoming the person that you are - and though I can only speak for myself, quarantine has really fucked my shit up. Let's be real, staying inside in your early 20’s can not be a good start to some of your most formative adult years. Perhaps it is for this reason that I find myself circling back to this record so frequently, for it offers me a rare dose of perspective and serenity that other albums lack. Yeah, things are borderline terrible right now, and I know that things will get better, but in the meantime, I want to be able to feel the reality of it all - all in hopes of avoiding age’s jaded numbness that quarantine seems to be catalyzing. Anyway - listen to this record. Cashmere Cat produced one of the tracks and it is god-tier music. Maybe I did have a long-winded explanation after all. -Carter Fife

Favorite Tracks: Palladium, Everybody’s Mother, Unkind.

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Hell Hath No Fury (2006) - Clipse

Although the majority of modern listeners seem more ready to talk about Clipse’s classic debut Lord Willin’ due to its energy and bite, it’s really the darker tone of their 2006 sophomore album Hell Hath No Fury that’s been pushing me forward through quarantine. With palpable chemistry that could only exist between brothers, Pusha T and No Malice craft a cocaine classic jam-packed with punch-lines like daggers and dazzling wordplay. That goes without even mentioning the emotional depth that the duo explores across the entire project - something that Push credits to Pharrell’s consistent encouragement to push boundaries and go deeper well recording the album. Speaking of Pharrell, Hell Hath No Fury (which was executively produced by The Neptunes) contains production which was so unique and electric that it would inspire an entire generation of hip-hop producers. The true beauty of Clipse’s second classic is that it isn’t even about coke, but rather everything that surrounds life in the dope game, from shinning highs to sobering lows. -Spencer Lobdell

Favorite Tracks: We Got It For Cheap, Hello New World, Nightmares

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Finally, when writing this article I reached out to some people on Instagram to hear what they had to say about their favorite records to listen to in quarantine. Unsurprisingly, a lot of the albums were either extremely low-tempo or the exact opposite. Selections like Tame Impala, Solange’s When I Come Home, and Raveena’s Moonstone EP were juxtaposed against Ken Car$on’s TeenX, redveil’s Niagara, and Kanye West’s Yeezus. There were also a lot of guilty pleasure records like Nothing But Love by Just Friends and Bath’s Ocean Death EP, but above all, I saw a lot of artists responding with their newly-created records. Even Nashville Rapper $avvy took the liberty of recommending his own record - which actually warmed my heart for a moment. It was a nice reminder that despite all the shit that has plagued the past year, there has still been an inspiring amount of resilience, strength, and creativity from the artistic realm. Without artists - especially now - quarantine would have been somehow worse than it already has been, so for that Stereovision wants to shout out every artist that has not let Covid-19 fuck with your creative spirit. Keep doing your thing, as long as it involves staying indoors, and hopefully, we’ll see you all at a music festival safely later this year (fingers crossed). 

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Songs of the Week: Jan 13th

By Spencer Lobdell

Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior along with one throwback song of the week. To stay up to date on all new music, follow my Spotify playlist “What I’m Feeling” which is updated weekly to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly with whatever new songs I'm feeling at the time. Always 30 songs and in order with what I'm feeling the most at the top.

New Songs of the Week:

“Bad Guyz” by Foreign Jay

Bad Guyz, a song by Foreign Jay on Spotify

Foreign Jay ended 2018 with some serious momentum and if “Bad Guyz” is an accurate representation of how he’s coming in 2019, expect a big year out of the Ohio MC. “Bad Guyz” is groovy, catchy, and sure to be an underground hit. This infectious cut beat out all commercial releases as the best song released this week.

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“Silent Ride” by Boogie

Silent Ride, a song by Boogie on Spotify

The lead single off the Shady Records signee’s debut album is a slow, almost hypnotizing bop. Boogie has received some very notable co-signs from Kendrick Lamar to Eminem. On “Silent Ride” it’s easy to see where they are coming from as the Compton MC seamlessly spits bars that are clever, relatable, and extremely authentic.

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“Something I Did” by KetchyTheGreat (Feat. 03 Greedo)

KetchyTheGreat, member of Drakeo The Ruler’s Stinc Team, dropped a new mixtape last Monday titled Free Sauce. On the projects best song, 03 Greedo steals the spotlight early with an excellent hook and first verse. On the second verse Ketchy grabs it right back with out front delivery that compliments 03 voice better than I had ever noticed.

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Throwback Song of the Week:

“Sunday” by Earl Sweatshirt (Feat. Frank Ocean)

Sunday, a song by Earl Sweatshirt, Frank Ocean on Spotify

“Sunday,” the 4th track off Earl Sweatshirt’s 2013 debut Dorris, is a masterpiece that has steadily been in my rotation since its release. On this track we listen as two young and talented artists rap and sing from their perspective after a crazy Saturday of partying and drugs. The moment when Frank comes in is an easy highlight of an excellent album and the instrumental is interesting enough to be its own song.

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Thanks for reading! Check back in next week for three new hot songs and one new throwback! Follow us on Twitter and Instagram to get notified when we post:

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