Tag: nedarb

“Amity” by Nedarb reviewed by Ian Miller

Indie hip-hop icon Nedarb Nagrom is arguably one of the most influential people in the underground scene. Even if you don’t know the name, you’ve probably heard his music if you’ve ever opened the soundcloud app. Not only has he served as the producer of big-name artists such as Lil Peep, but he is also a member of emo hip-hop supergroup Misery Club, not to mention the cult-famous Goth Boi Clique. Ned has become somewhat of a tastemaker, breaking artists and connecting with people that have genuine star-power. Part of this comes from his love of hip-hop and emo culture, which shines through on his solo debut Amity.

Amity is a banger. The production doesn’t stray far from Ned’s usual sound, featuring pulsating 808s, plenty of lo-fi high hats, and dark synth textures that are the staple of most trap music. The first section of the album showcases Ned’s emo-rap style that he’s helped create. The songs feature many of his usual collaborators from the Goth Boi Clique crew and associates: Wicca Phase Springs Eternal, Lil Tracy, Horsehead, Mackned, and fellow Misery Club members Lil Zubin and Fantasy Camp among many others.

Album highlight “Feeling” (feat. Horse Head, Lil Lotus, and Jon Simmons) encapsulates the emo aspect of Ned’s sound very well. The track begins with a lo-fi guitar sample, calling to mind the pop-punk ballads of the mid-2000s. In comes Horse Head with a bubblegum pop-punk melody for the hook, almost fooling you into thinking you’re listening to a pop-punk record, but when Lil Lotus takes over the verse and the hi hats and drums kick in, you remember that it’s 2019 and not 2009. It sounds very punk (in a 2020s way), and hilariously emo.

Nedarb switches gears around the middle of the album, opting for a real rap sound. The juxtaposition is a tad bit jarring, but still works because of the similarity in the production choices. The guitar samples are absent, but the lo-fi beats and booming bass remain. I had never heard anything produced by Nedarb that fell outside of the emo-rap domain, and it was refreshing to hear him do something different, as on the track “2003” (feat. Big Baby Scumbag & Little Pain), dispelling all myths that Nedarb only makes music for sad white kids.

The greatest strength of Amity is the successful combination of emo and rap culture, which many have cringed at.  It is a sound that’s not for everyone. Prior to the 2010’s, the two scenes were often thought to be mutually exclusive. In the mainstream-eye, rap was for the tough and emo was for the sensitive. As someone who has taken a lot of inspiration from both subcultures, it is refreshing to see an artist who successfully resolves the two, showing that they can co-exist in a natural way, like two friends from different neighborhoods just hanging out.

What keeps the album from launching to the next category is its lack of musical diversity. Although it features both emo and rap songs, by the end of its 16 tracks, it can begin to feel a bit monotonous. If there had been a bit more variety, it might make the record more listenable to casual fans. However, this does not keep it from its biggest success: being a celebration of one end of the soundcloud universe from one of the people at the center of it. If anything, this release is further evidence that this brand of hip-hop is here to stay for the next few years.

Score: 7/10 (Stand Out)

For info on how we score albums see Our Rating Scale

Underrated Albums: Club Misery EP by Misery Club

Misery Club is an emo-rap supergroup comprised of Wicca Phase Springs Eternal (founder of hip-hop collective Goth Boi Clique), Lil Zubin (lauded by many as the Soundcloud Weeknd), Fantasy Camp (renowned underground producer and songwriter), and Jon Simmons aka Coward (former vocalist of Balance & Composure). The group quietly released their debut EP this past summer, and it’s probably been one of the most addicting releases of the year.

Produced by underground hitmakers Nedarb and Foxwedding, each of the four tracks sounds sleek, effortless, and catchy. The clean guitar samples are overlaid flawlessly with tightly constructed beats, which are some of the best produced I’ve heard this year in the underground. They do not go out of their way to pull off anything groundbreaking or abnormal, but provide the perfect soundscapes to let the vocalists shine.

And man, do they shine. Perhaps the strongest aspect of Misery Club is the diversity of singing/rapping skills and delivery. The lyrical, emo drone of Wicca Phase’s sing-rapping contrasts wonderfully with the pristine melodies provided by Lil Zubin. Fantasy Camp’s understated, soft delivery makes Simmons’ harsh auto-tune pop out in a way that would not be possible without the other. The four take turns in the spotlight throughout the EP; there is no definitive star in Misery Club. Each member gets a first verse on the project, setting their own unique mood on each track.

“River of Blood” kicks off the album as Zubin’s haunting voice floats over a detuned keyboard, “Oh the river of blood in my veins went dry / last night I went to sleep and died / ghost of Zubin / bring me back to life.” The line is hilariously self-aware (and EPIC) in how dramatic it is, and when the beat drops, it’s the first “oh shIT!” moment on the record. The other three members trade verses on the rest of the track, with Zubin coming back to offer a hook before Simmons closes it off. It’s a total banger, the type of funny, sincere, and incredibly ear-wormy writing that instantly gets you hooked.

“Left Side” is the Wicca Phase fronted track, beginning with a melancholy guitar riff and a slowed-down, minimalistic beat. His monotone vocal delivery fits perfectly with the vibe of the track, as the gloom sets in, “And one time I was so drunk off of red wine / so I could talk to you and with honesty / the problems only come up when I come down / and yet I’m fine when I finally get sleep.” He is interrupted by Simmons, who’s soaring melodies contrasts beautifully with the previous verse, running right into Fantasy Camp’s smooth flow, finishing off with Zubin’s trademark vibrato, leaving the listener totally satisfied and sufficiently bummed out, but in a “yeah I’m sad but I still like to party” kind of way.

“Bad Mood” begins similarly, this time with Simmons providing the hook, “Never leave you in a bad mood / girl, I promise if I had you / I’ll never leave you in a bad mood / all my life I wish I had you,” bringing Misery Club the closest to Backstreet Boys territory they have come yet. The song flows by with a similar mid-tempo, breezy feel to the previous track, but this does not serve to harm the record, building the consistency.

The final track, “Lifesaver,” starts off with nearly a minute of ominous droning and 808 hits, standing out from the slow build of the previous tracks. What follows is Fantasy Camp’s lead off verse, one of the most haunting lyrical moments on the album, “Now I’m lying on the ground, foreign objects in the sky / they shower me in blood while I try to rest my eyes / I see you in a vision and you slowly start to cry / I’m going far away now, and I always wonder why.” It closes off with Wicca Phase asserting himself as the king of darkness just before the 808s begin to fade, “I’m a high priest, I come from the fourth world / I come up with new words, even you don’t understand, no.” The EP concludes with the ghost of Zubin once again floating over the chaos.

Although this release is not necessarily groundbreaking either lyrically or sonically, it stands as one of the strongest testaments to emo-rap as a sustainable genre, and begs the question of whether emo as a whole will go in this direction in the next decade. The potential for popular appeal in this release is absurd. Between the addicting beats, #relatable lyrics and charisma, Misery Club could be America’s next boy band. With another EP on the way, and all of the members releasing their various solo music, I’m excited to see what they come up with over the next few months as this sub-genre continues to grow and evolve.