Secondhand Setlists

A new month in a new year and I’m back at it.

Bandcamp recently revealed that through their service, fans have raised over $600 million dollars for artists. At this point in time, these music sales are of utmost importance for most artists, who aren’t getting amazing licensing deals or have the ability to tour. As in any industry, Black folks are hit the worst by the hardships the music industry faces today, hardships that existed before but are now exasperated by the pandemic.

For example, for #MWE, I’m focusing specifically on massive and/or classic records that I’ve conspicuously never listened to. In my search for records that always slip my mind, I arrived at this Reddit-compiled list of the Best Albums of the 2000s; of the top 26 albums featured, only three are by Black artists (and only one album by a woman). Often it can seem like canon is something rigidly constructed by stuffy critics and not something fans play a part in as well. Fans, myself included, have a duty to broaden our tastes.

So, I’m doing what I’ve done before and highlighting a few Black artists I’ve enjoyed recently whom you can support on Bandcamp. As a person in writing and music work, this is the very least someone like myself can do.

Quinton Barnes

I came across Quinton in Bandcamp’s January roundup with As a Motherfucker, a confident statement for what is an assured piece of art. His tenor is soft on the ears but strong with conviction, backed up by production that is likewise tender yet tough. At least when he sings – the aptly named “Switch” pivots into a full rap number, where he wears the typical MC bravado with flair: “You go stage left / I go center stage.” Just as versatile are the synths, which either hum in soothing tones, sway in a hip-hop tempo, or wail like a chorus (“Visuuur – ei” is a great example of this). “At least I got hits / I feel another coming” – so do I.

A pleasant thing to note – all proceeds from tape sales go to CACTUS Montreal, an org dedicated to preventing and educating folks on blood-born and sexually transmitted infections.

Kunt Pills

Kunt Pills hails from Dayton, Ohio, and I’m always here for an artist from my home state. Don’t just take my word for it – Backxwash and Moistbreezy both shared their love for their latest project, Oneiric. In what is becoming a cliche thing to say, Oneiric has a sound that’s hard to classify: dreamy electronica with nebulous vocals and squelchy sound effects, something like the sound of primordial sound slowly pulling itself together. Whereas that record is more enigmatic in genre, something like Crosswatcher + Dreamcatcher offers a more straightforward, drum n bass sound that’s no less catchy or emotive. And for those who can’t get enough, Kunt Pills just released a new project, Diamond Trees, featuring an automatic standout, the drum-heavy “Planning.” Plenty to sift from and enjoy from a very talented Ohioan.

Cktrl

Because I play saxophone, woodwinds always get my attention. Cktrl is one such wind player who sets his reed instruments against very sparse soundscapes. The name might conjure electropop, but Robyn falls on the more soothing side of sonics. The title track is a gorgeous 5 minutes of tenor sax wailing into space, with Duval Timothy providing warm, aching production beneath him. As reverently somber as that song gets, “Will The Feelings Leave” follows with a striking response from Cktrl’s clarinet, which shouts questions that perhaps can’t be vocalized, at least not easily. This is a great album for a high bpm, high energy music-consumer like me, who often needs a reminder of the power of taking things slow and wallowing in the depths of crushing, engrossing emotion.

x.nte

Thanks to Suzi Analogue’s mix for DJ Mag, x.nte was brought to my attention. Had I been familiar with last year’s Antifreeze Criminal with Junglist Vampire, I’d have likely included it in my roundups. x.nte crafts songs that begin in one form, cocoon in the middle of the track, and reemerge as something entirely new. On Crumbling, there’s the sound of a jazz horn smashed against what can only be described as malfunctioning drum n bass (“Impact Implant”) or what I envision is a video game theme turning itself inside out (“Over It”). On a more melodic note, Antifreeze‘s closer, “Why Bother,” begins on a pinched, rushed production that slowly irons out into a quiet, calming piano. Never expect something to stay constant with x.nte, except the excellent quality of it all.