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Subject: "Mach-Hommy - Pray For Haiti (2021) ...AOTY" Previous topic | Next topic
jaymack
Member since Oct 30th 2003
1044 posts
Sat May-22-21 05:18 PM

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"Mach-Hommy - Pray For Haiti (2021) ...AOTY"


  

          

Man. This guy is consistent.

  

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Topic Outline
Subject Author Message Date ID
Obviously I’m biased (look at my name)
May 22nd 2021
1
Solid...but AOY?
May 22nd 2021
2
^ in this line
May 24th 2021
10
      right behind you
May 27th 2021
21
I’m at the point of
May 22nd 2021
3
His “I’m rich and you’re not” rants have gotten real old
May 26th 2021
13
His shit is as much a gimmick as a commercial rapper
May 26th 2021
15
      He’s made some great projects with great production
May 26th 2021
16
           I honestly thought he had a really dope 2020
May 27th 2021
19
                Pray for Paris was dope and that came after HWH7
May 27th 2021
23
Westside Gunn might be one of the worst rappers alive
May 27th 2021
17
Been waiting for him to dumb it down so i could show folks how lyrically...
May 23rd 2021
4
I hope you do. His shit very subtle
May 26th 2021
12
im soooo happy sampling is back in
May 23rd 2021
5
Straight fire. I need to hear his older stuff
May 24th 2021
6
Well, then I hope you have an extra $10,000 at your disposal
May 24th 2021
7
You gotta check out HBO
May 24th 2021
9
      thanks to both of yall on the recs. i am diving in
May 24th 2021
11
      Wide Berth…with the God Fahim, is one of my favorites
May 27th 2021
22
Yeah, this is really good
May 24th 2021
8
One of the best of the year
May 26th 2021
14
im too old for this and the god fahim. i dont get it the appeal of this ...
May 27th 2021
18
Really enjoying this, hadn't really gotten into Mach before
May 27th 2021
20
Damn.okay..this is actually really good
May 31st 2021
24
He’s Griselda-adjacent? I like this more than Griselda’s usual stuf...
Jun 01st 2021
25
Years ago he was a Griselda affiliate
Jun 01st 2021
26
Sheesh, this is good…
Jun 10th 2021
27
the beat on Folie A Deux had me like...man.
Jul 20th 2021
30
...wtf you thinkin? I put that biscuit to your tee like its england
Jun 28th 2021
28
exceptional
Jun 28th 2021
29
HBO now on streaming BTW
Aug 17th 2021
31
Late for this- it’s very good
Oct 07th 2021
32
Mach-Hommy: The Man Behind the Mask (swipe)
Dec 28th 2021
33
my whip talk for me / my bentley wheels been spoke
Dec 29th 2021
34

DaKidFromHaiti
Member since Feb 19th 2006
1211 posts
Sat May-22-21 05:40 PM

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1. "Obviously I’m biased (look at my name)"
In response to Reply # 0


  

          

But this joint is really good, his best since HBO in my opinion. Wish a couple songs were longer or had more verses but I’m being picky, shit is great

  

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KnowNaim_X
Member since May 14th 2005
2531 posts
Sat May-22-21 08:40 PM

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2. "Solid...but AOY?"
In response to Reply # 0


  

          

It's aight...

Maybe I need to give it more spins. So far a few songs stick out but that's about it.

"When I'm on the mic, a nigga throw down his blunt just to hear what we say...up in this bitch..."-Baatin

  

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mista k5
Member since Feb 01st 2006
16404 posts
Mon May-24-21 02:48 PM

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10. "^ in this line"
In response to Reply # 2


  

          

  

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grey
Member since Apr 04th 2003
2219 posts
Thu May-27-21 10:54 AM

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21. "right behind you "
In response to Reply # 10


          

  

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Anonymous
Charter member
23220 posts
Sat May-22-21 09:35 PM

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3. "I’m at the point of"
In response to Reply # 0


  

          

Whenever I hear Westside Gunn...I turn that shit off yo

I can’t fathom how people listen to him.

I did like what I heard otherwise though.

  

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DJR
Member since Jan 01st 2005
18574 posts
Wed May-26-21 04:35 PM

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13. "His “I’m rich and you’re not” rants have gotten real old"
In response to Reply # 3


  

          

If he’s just spitting, I can listen. But the rants where he’s not even rapping....heard one, you’ve heard them all. Not entertaining whatsoever.

  

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Anonymous
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23220 posts
Wed May-26-21 08:49 PM

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15. "His shit is as much a gimmick as a commercial rapper"
In response to Reply # 13


  

          

The sound effects, the rants, the annoying voice.

It’s all done on purpose.

Dude said “I’m on the beach! When’s the last time yo feet was in the sand!”

That shit has got to be the weakest flex of all times son.

  

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DJR
Member since Jan 01st 2005
18574 posts
Wed May-26-21 09:39 PM

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16. "He’s made some great projects with great production"
In response to Reply # 15


  

          

and I respect his hustle with everything he’s built and root for him in general.

But yeah, he’s gotten beyond repetitive to listen to with some of that stuff.

  

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mrhood75
Member since Dec 06th 2004
44687 posts
Thu May-27-21 02:27 AM

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19. "I honestly thought he had a really dope 2020"
In response to Reply # 16


  

          

He put three top notch projects last year (especially Pray For Paris), and he very much toned down his schtick for those albums.

Before that, the only solo albums of his that I really connect with are the o.g. Flygod and Supreme Blientele.

-----------------

www.albumism.com

Checkin' Our Style, Return To Zero:

https://www.mixcloud.com/returntozero/

  

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DJR
Member since Jan 01st 2005
18574 posts
Thu May-27-21 05:32 PM

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23. "Pray for Paris was dope and that came after HWH7"
In response to Reply # 19


  

          

which I LOVED - though it was primarily the production.

The Flygod Is an Awesome God 2 and Who Made the Sunshine didn’t do a ton for me. There’s a couple cuts but other than that I doubt I’ll go back to those.

FlyGod, Supreme Blientele, HWH7, and Pray For Paris are all great to me though.

I’m not sure I want to hear 3 albums in a year from anyone though. Even Conway - I haven’t even given his latest much time at all. I’m still on From a King to a God.

  

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guru0509
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45302 posts
Thu May-27-21 12:45 AM

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17. "Westside Gunn might be one of the worst rappers alive"
In response to Reply # 3


  

          

>Whenever I hear Westside Gunn...I turn that shit off yo
>
>I can’t fathom how people listen to him.
>
>I did like what I heard otherwise though.


One of the most annoying voices ever, besides Action Bronson.

-------------------
I wanna go to where the martyrs went
the brown figures on the walls of my apart-a-ment...

  

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nativesun07
Member since Mar 28th 2004
3620 posts
Sun May-23-21 12:11 PM

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4. "Been waiting for him to dumb it down so i could show folks how lyrically..."
In response to Reply # 0


  

          

....superior he is. I been tryna tell folks and they don't hear wtf yo putting down.

he simplified himself so people could say "ayoooo! rewind that!!!"

I might fill this post with quotables myself if yawl don't keep this on the 1st page

**********
I should put that in a song

@nategoodness
www.nategoodness.com

The avatar is old. And, no, that hat was not a groovy style back then, either.

  

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T Reynolds
Member since Apr 16th 2007
42754 posts
Wed May-26-21 08:48 AM

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12. "I hope you do. His shit very subtle"
In response to Reply # 4


  

          

  

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tomjohn29
Member since Oct 18th 2004
16800 posts
Sun May-23-21 07:15 PM

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5. "im soooo happy sampling is back in"
In response to Reply # 0


  

          

I cleared the sample for the 2nd song
Griselda is paying my bonus the past few years

______________________________________

Navem nu, cuando sol
Tutu nu, vondo nos nu
Vita em, no continous non
Nos nu ekta nos sepe ta, amen

When the sun shades the ship
We sweat and life is not safe
To swim or to touch not
When we unite we hedge amen

  

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BrooklynWHAT
Member since Jun 15th 2007
84997 posts
Mon May-24-21 11:27 AM

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6. "Straight fire. I need to hear his older stuff "
In response to Reply # 0


  

          

<--- Big Baller World Order

  

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mrhood75
Member since Dec 06th 2004
44687 posts
Mon May-24-21 12:31 PM

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7. "Well, then I hope you have an extra $10,000 at your disposal"
In response to Reply # 6


  

          

Nah, my bad, I'm just being a jackass. Some of his older stuff is out there.

Haitian Body Odor, the album that put him on the map and probably his best, is still on Soundcloud.

Mach's Hard Lemonade (his project from last year), Fete Des Morts (his EP produced by Earl Sweatshirt), Bulletproof Luh, and big albums he did with Muggs are up on most streaming service. Plus two EPs he did with Tha God Fahim.

His other projects can be found out there, you just gotta look in the right places.

-----------------

www.albumism.com

Checkin' Our Style, Return To Zero:

https://www.mixcloud.com/returntozero/

  

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High Society
Member since Oct 13th 2003
7374 posts
Mon May-24-21 02:09 PM

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9. "You gotta check out HBO"
In response to Reply # 6


          

Haitian Body Odor
It’s on SC & YT, not on Spotify, tidal, etc.
It’s my favorite MACH-HOMMY album.
He’s also got a few new albums with god Fahim and your old Droog.
I was surprised YOD wasn’t on PFH

-----
Cameo
Soundshape Records

  

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BrooklynWHAT
Member since Jun 15th 2007
84997 posts
Mon May-24-21 06:44 PM

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11. "thanks to both of yall on the recs. i am diving in"
In response to Reply # 9


  

          

<--- Big Baller World Order

  

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Dstl1
Charter member
56190 posts
Thu May-27-21 04:06 PM

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22. "Wide Berth…with the God Fahim, is one of my favorites "
In response to Reply # 9


          

.

...I'm from the era when A.I. was the answer, now they think ai is the answer - Marlon Craft

  

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mrhood75
Member since Dec 06th 2004
44687 posts
Mon May-24-21 12:51 PM

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8. "Yeah, this is really good"
In response to Reply # 0


  

          

I'm not sure if its his best, or the best album of the year so far, but I really enjoy it. Beats are banging and Mach's verses are murderous.

-----------------

www.albumism.com

Checkin' Our Style, Return To Zero:

https://www.mixcloud.com/returntozero/

  

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Ishwip
Member since Jun 10th 2005
19953 posts
Wed May-26-21 05:28 PM

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14. "One of the best of the year"
In response to Reply # 0


          

I don't believe he's Griselda "proper", but I've enjoyed this more than any of their recent releases (which I've liked too).

__
I don't like the beat anymore because its just a loop. ALC didn't FLIP IT ENOUGH!

Flip it enough? Flip these. Flip off. Go flip some f*cking burgers.(c)Kno

Allied State of the National Electric Beat Treaty Organization (NEBTO)

  

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guru0509
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45302 posts
Thu May-27-21 12:47 AM

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18. "im too old for this and the god fahim. i dont get it the appeal of this ..."
In response to Reply # 0


  

          

>Man. This guy is consistent.


ill just stick to benny.

-------------------
I wanna go to where the martyrs went
the brown figures on the walls of my apart-a-ment...

  

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Oak27
Member since Apr 17th 2005
13181 posts
Thu May-27-21 10:54 AM

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20. "Really enjoying this, hadn't really gotten into Mach before"
In response to Reply # 0


  

          

When I first heard him on some guest spots on a Droog album a few years ago I wasn't enjoying him as a rapper, though I dug his production. Might have to go back and see if he's just clicking for me now or if this album is just an exception.

  

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tully_blanchard
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6902 posts
Mon May-31-21 11:15 AM

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24. "Damn.okay..this is actually really good"
In response to Reply # 0


  

          


*************************************

Fuck aliens

-Warriorpoet415

#2dopebrothersandastackofwax

https://www.instagram.com/bobgeorge87

https://www.instagram.com/thirtythree.three/

  

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Tiger Woods
Member since Feb 15th 2004
18362 posts
Tue Jun-01-21 06:47 AM

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25. "He’s Griselda-adjacent? I like this more than Griselda’s usual stuf..."
In response to Reply # 0


  

          

I find I like the idea of Griselda more than I like their actual output. They suffer from what a lot of tradition-based rappers struggle from...cool concepts and delivery but the songs aren’t there.

This Mach album however is an exception. This is really strong, and the references are like little Easter eggs sprinkled throughout. It’s fun when you get one

  

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DJR
Member since Jan 01st 2005
18574 posts
Tue Jun-01-21 09:29 AM

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26. "Years ago he was a Griselda affiliate "
In response to Reply # 25


  

          

and worked heavily with Westside Gunn as he was making his name. Then they went their separate ways and didn’t work together for years.

But yeah, this album is on Griselda Records, and WestSide Gunn executive produced it.

  

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Dstl1
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Thu Jun-10-21 02:40 PM

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27. "Sheesh, this is good…"
In response to Reply # 0


          

I haven’t even been able to get to Syzoo, yet. So many good tracks. Folie A Deux is my joint…I could play that repeatedly. Makrel Jaxon feels like it could have been on Donuts. Marie is hard as hell. Au Revoir is probably my second fave. Good ass album, man.

...I'm from the era when A.I. was the answer, now they think ai is the answer - Marlon Craft

  

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LeroyBumpkin
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Tue Jul-20-21 10:26 AM

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30. "the beat on Folie A Deux had me like...man."
In response to Reply # 27


  

          

https://digife.com

  

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nativesun07
Member since Mar 28th 2004
3620 posts
Mon Jun-28-21 10:54 AM

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28. "...wtf you thinkin? I put that biscuit to your tee like its england"
In response to Reply # 0


  

          

**********
I should put that in a song

@nategoodness
www.nategoodness.com

The avatar is old. And, no, that hat was not a groovy style back then, either.

  

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bearfield
Member since Mar 10th 2005
8046 posts
Mon Jun-28-21 04:15 PM

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29. "exceptional"
In response to Reply # 0


  

          

mach says he's on his 50 cent dumbed down flow but it's still really intricate and dense. the only track i didn't like was "folie a deux." the rest was superb. hard pressed to come up with any criticisms of this project. phenomenal beats and bars. world class stuff

  

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Oak27
Member since Apr 17th 2005
13181 posts
Tue Aug-17-21 12:10 PM

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31. "HBO now on streaming BTW"
In response to Reply # 0


  

          

  

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makaveli
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Thu Oct-07-21 01:09 PM

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32. "Late for this- it’s very good"
In response to Reply # 0


  

          

Is that Kings of Leon sampled on Au Revoir?

“So back we go to these questions — friendship, character… ethics.”

  

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A Love Supreme
Member since Nov 25th 2003
3045 posts
Tue Dec-28-21 03:45 AM

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33. "Mach-Hommy: The Man Behind the Mask (swipe)"
In response to Reply # 0


          

https://www.gq.com/story/mach-hommy-balens-cho-interview

Mach-Hommy: The Man Behind the Mask
He's your favorite rapper's favorite rapper, and released two stellar albums this year. Now, he's giving a rare peek into his interior life.
BY PAUL THOMPSON

December 9, 2021

The car is not unmarked—in fact, it’s very conspicuous. It’s about 8:30 in the morning, and I’ve been told to meet the Haitian-American rapper Mach-Hommy at a cafe east of downtown Los Angeles. The moment I find a patio chair, however, my phone rings. A woman’s voice: “Change of plans. Mach’s friend is there; he’ll take you to where Mach is.” A slender man of about 70, wearing a surgical mask and grey hair down to his shoulders, appears above my table. He tells me to follow him into a yellow Volkswagen Beetle with bold black stripes and, he says, a much more powerful engine than I’m expecting. “I only care about three things,” the man tells me as we buckle in: “God, dentistry... and cars.” We peel out of the arts district and careen toward I-10.

Without going too far into detail, the dentist’s methods are unconventional. His theories about what many commonly-used materials do to the bloodstream and nervous system are distinctly Californian: at once outlandish and full of intuitive sense. He says he blends his own alloy for his patients’ fillings and speaks like a Pynchon stoner (“Guys these days, they’re whacking off, looking at their iPhones… there’s no more Howard Hughes”). An hour into our drive—I eventually realize we’re going to, or maybe past, Malibu—he pulls off the highway to show me the buildings that house HRL Laboratories, the opaque aerospace research firm Hughes founded in the ‘40s.

We finally arrive at a secluded property that overlooks the Pacific Ocean. The only building on the expansive lot is a custom-built studio which belongs to a well-known film composer. This is surrounded by a moat for koi fish who have a Pavlovian attachment to a large gong; the interior walls, an assistant shows us with Vanna White flair, move on tracks fixed to the ceiling. There’s a piano signed by those who have written or recorded here, everyone from Ariana Grande to Fran Drescher. Toward the back—toward the ocean—in a white Martin Brodeur jersey is Mach-Hommy, his startlingly tall frame folded into an office chair, staring patiently at a mixing board.

Mach is here to listen to an early mix of his new album, Balens Cho, which was released last week. (The title means Hot Candles in the Kreyol he frequently lapses into on record.) Even in its unfinished state, Balens Cho is full of warmth: horns and sampled vocals that provide spines in the mix, touches of soul, rich drums. Despite this, I tell him, it sounds like a winter record. Mach—in the Devils jersey, smirking against the California sun—nods. “That’s seasonal depression,” he says. “You know what it is.”

Over the past five years, Mach has made some of the strangest, most incisive, most tantalizingly intertextual rap music in the world. Until recently, only a modest percentage of it was widely available on streaming platforms: After selling his breakthrough LP, 2016’s Haitian Body Odor, through Instagram, he proceeded to list many of his albums for hundreds of dollars on Bandcamp and other websites. This scarcity helped create an aura of mystery that stood in for traditional press hype, but the records themselves hold up to careful scrutiny. He has a pliable voice that effectively communicates contempt (often) or longing (selectively); his writing seems like collage until it doesn’t, breaking from interpolated lyrics and allusion into richly rendered scenes from his own memory. His album from this May, Pray for Haiti, is his most acclaimed and widely-heard to date, an ecstatic burst of ancient wisdom and Vetements linen. In person, he sounds much as he does on wax, speaking in a blend of cryptic wisdom and joking asides.

He is also, at least for now, completely anonymous. There are few pictures of him without a mask—or more often, a Haitian flag fashioned into a bandana to cover his face—and a Google search for “mach-hommy real name” does not even return bad guesses. (This elusiveness is evidently a quality he appreciates in others. “I couldn’t find your face anywhere,” he says to me shortly after I arrive at the studio. “I got people who wanna see you. They’re like, ‘You’re gonna talk to this guy? Find a picture for me.’ I told them, ‘I can’t—he worse than me—I’ve gotta talk to him.’”)

In keeping with this spirit, he grants few interviews. His decision to speak on the record now has less to do with album cycles than with the trust fund he established earlier this year, in conjunction with Pray for Haiti’s release. Moving into the philanthropic world “requires me to gain control of the narrative,” he says. “It’s a different level of responsibility.” According to Mach, the fund will prioritize education and emerging technologies. “We’re focused on building opportunity—that means to build a school, physically,” he says. “I want to build a technology institute that focuses on Web 3.0, blockchain, AI, and eventually robotics. I want to even the playing field and give the Haitian children a chance to compete in the competitive markets that have yet to fully develop.” In November, he dropped a Kaytranada collaboration called “$payforhaiti,” its title the Cash App tag for the fund.

Though Mach grew up in Newark, he also spent significant time in Port au Prince. “I was programmed,” he says. “Cultural programming. Familial programming.” He developed early on a belief in what he calls the “unshakable firmament” of the Haitian social fabric. He cites the superb education he received there, and cultural differences that he concedes might sound “ridiculous” to outsiders. “You don’t have to worry about stealing, basic shit like that,” he says. So Newark represented a serious culture shock. “It’s like, ‘Yo, what the fuck—people steal shit?’ I don’t come from that! Or, I didn’t—I do now,” he says, laughing.

It’s only a little bit of a joke: Mach adjusted. “Regardless of who my family is, or what they did or didn’t do, I always was going to get to a point where I had to get to know my surroundings,” he says. But as he was adapting to America, he witnessed his people being used as the butt of jokes and punchlines on the rap records he began to consume. “One day I woke up and it like, ‘Oh, Haitians will do all kinds of crimes for you for pennies on the dollar. Get your Haitians!’”

It is not hard to see how this would galvanize a pride in one’s heritage. Haiti’s GDP, Mach points out, is more dependent on remittance than any other country in the Western hemisphere—and by a wide margin. “These people really do rely a great deal on the contributions of the diaspora,” he says. “So at the end of the day—we’re talking about a trust fund—if I really want to do what I’m saying, then I have to give something substantial to the fund in perpetuity. That’s how the big dogs do it. They take land and then give it in perpetuity to this place, that thing. I’m starting with this land: this is my intellectual property that I’m giving as a down payment. Hopefully it’ll inspire others—maybe not to give that to me, but to see a different way of affecting change.”

The investor and philanthropic classes do not necessarily share this vision. “I deal with a lot of tech people,” Mach says. “I don’t want to name names, whatever, but I know people. And we have conversations. There are certain points I bring up that make the room fall silent. They’ll say, ‘Wouldn’t it be better if you focused on agriculture or afforestation?’ That’ll be a part of the curriculum, clearly. We need that. But before the land can have any meaningful healing, the people have to heal. Because they’re the custodians.”

Balens Cho is in many ways an extension of Pray for Haiti’s themes and sonic approach. Three of the new album’s five producers also worked on Haiti, and the writing mines similar material: the hostility of governments, the ingenuity required to work around them. Both albums feel alive in ways so many by his contemporaries do not. Its knots of references are surprising (one memorable run culminates in a stray shot at Smilez & Southstar) and deployed through that voice that bounces between the sneering and the heartfelt. As on his other work, Mach seems intent on flattening certain things in a way that enhances, rather than dulls their effect (casual references to Porsches and phone taps on “Labou” are entrancing precisely because he seems to hold them in similar regard). And the verses, once again, are dotted with irresistibly clever turns—a bar about DMCA takedowns and chain snatchings in particular comes to mind.

Balens Cho includes portraits of several family members, but Mach doesn’t reveal much about himself. Aside from the omission of key details, the biography he does write is not in longform: moments from his past, even crucial ones, are fragmented, taken out of order. Early on the album, Mach interpolates lines from Jay-Z’s “Can’t Knock the Hustle”; doing so primes the listener to receive a bar from the tender “Wooden Nickels”—“I saw the same thing happen to my pops”—as a direct reference to Jay’s “I seen the same shit happen to Kane.” And just like that, Mach’s father is recast not only as a patriarch, but as Big Daddy Kane—a star, and maybe a tragic one.

Despite that caginess, a close reading reveals a sort of shadow history of the man behind the raps. You can hear trace amounts of Atlanta and other Southern rap, and while characters seldom recur, some—the relatives urging him to eat on Pray for Haiti’s “Kriminel,” for example—linger over his albums like spectres. “I’m one of those people who is who they are,” he says. “I’ll claim that.” But if a listener is “tuned in to the nuances,” he or she might catch the subtle variations. “There’s a stark difference,” he says, “a .05 percent margin where they difference is. If you can hear it, you’ll be like, ‘I wonder where he is.’” So instead of rolling narrative, the throughlines of Mach’s music, aside from the markers of style, are emotional: the feeling of being doubted and then vindicated, the irresolvable loss of family members.

These feelings often sound as if they’re bleeding out of Mach, rather than being the product of careful calculation. On “Lajan Sal,” he croons about sidestepping parole officers; his vocal on album closer “Self Luh,” which includes a nod to his dentist, is so gentle as to be nearly a whisper. This, like his anonymity, comes from a folk tradition. While his grandfather was a patron of Haitian jazz musicians (“I was around 30-piece orchestras,” Mach says of his childhood), his father was a folk guitarist, and his singing style influenced Mach’s. “Kreyol is real folk,” he says. “It’s not about the notes, it’s about the expression. If you sound good, you lucky—you’ve been blessed.”

A couple of weeks after the studio session, I meet Mach in Leimert Park, the South Central neighborhood that has been a hub for Black art in Los Angeles going back nearly a century. (In the ‘90s, it birthed Project Blowed, the open-mic night that permanently changed the aesthetics of underground rap on the West coast.) Mach is here to shoot a video for the “Magnum Band” remix, which was produced by Ras G, the prolific heart of L.A.’s beat music scene who passed away near this very spot in 2019. Before the shoot begins, I step into Mach’s SUV to hear the final mix of Balens Cho. This time, different lines pop out: the flip of lyrics from Jays “Threat” on that “Magnum Band” remix, the quip, on “Labou,” about deals that close “before the Pellegrino stop bubblin,” which evokes Ghostface’s “Diet Coke meetings with the rich.”

As the album wraps with “Self Luh,” I think about something he had told me days earlier: “I can’t base everything I’m doing on the inevitable fact it will decay. The evil of tomorrow is suffice to the day thereof.” The second half of the quote is a slight paraphrase of something Jesus said during his sermon on the mount. (Of course Mach flipped it a little bit.) Tomorrow will bring new challenges, including ones we can’t imagine today. Illness, death, natural disaster, coups d’etat. Those inevitabilities, Mach would argue, are no excuse to avoid building something durable in the meantime.

On the curb outside the SUV, Mach’s white sweats and glimmering jewelry stand in stark contrast to the twilight and industrial grey of his surroundings. He speaks intently about the decision to include a particularly long instrumental section in the middle of Balens Cho, then pivots on his heel to talk to video production staff with the same degree of focus. There are no fans crowding around, no entourage, no security. He offers a few notes to his collaborators, making minor variations on minor variations of a guiding idea. Then he slips inside a building and is gone.

  

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nativesun07
Member since Mar 28th 2004
3620 posts
Wed Dec-29-21 10:48 AM

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34. "my whip talk for me / my bentley wheels been spoke"
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**********
I should put that in a song

@nategoodness
www.nategoodness.com

The avatar is old. And, no, that hat was not a groovy style back then, either.

  

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