nvr mnd blog
Photo by Suzannah Herbert
Everyone remembers Cities Aviv, Gavin Mays born in 1989; for his productions Digital Lows (in 2011), Black Pleasure; Black Pleasure through streetwear company Mishka NYC‘s record label before signing to Young One Records – 2012), and after then the album; titled Come to Life (2014), now his fourth release, a brand new iteration into Memphis Tennessee producers’ mental, an album titled Your Discretion Is Trust (2015).
Cities Aviv has been featured in both Spin, as well as Pitchfork. This album sort of presented me with the problems of an individual facing the loss of his time; from either spending to much of it on-with-or-for some particular person, or object, or identity [even], or possibly through aging, or as a maturing problem or person, but that the blocks on which social & natural dictated thoughts, & personal affirmations indicate feelings of unrest & desires for more affection through that which has programmed itself or ourselves with, & is or will become apart of us.
The first four tracks, are amazing and the most unique, the fifth is an interlude, and by no means deserves to be skipped over. I want you to feel those and a few others out for yourselves. (Lets talk about a few, full listen below)
Classic Cities (6.Earth Signs (feat. RPLD GHSTS); 1:46) reminding me of how his raw percussion two-stepping hardcore progressiveness influences me in such a way, I cannot stop listening. Such awesome production, the bells and whistles are really clean on that one, and again Aviv has excellent vocal styles, you cant really get tired of listening to him talk about things you relate to so well such as a song on the album; like 8. Discrimination; 2:43. A track that attempts to tackle the corruption of the media, events in Baltimore, relationships or the inverse of such regarding white rappers. Chanting, “Discrimination, Turn The Page”. It’s wicked, and it such a clear depiction of pop-culture. The tracks that follow this recipe on this LP are going to be timeless pieces for this young artist, who is often times channeling a sort of guerrilla revolutionary,
Eventually we Interlude, (14. Survival Fit; 03:53), to a woman (I’m assuming, is a companion of Gavin’s or relative. Im not quite sure. At first I thought it was a little kid, but I do not know. I enjoyed what they said rather anyhow,) but she goes on to describe something call “Nature-ology“. The unknown context to which I am stricken by and feel as though I don’t need an explanation for what it could be defined as, yet I would want to the author of the terminology to explain to it to, to correspond if I even knew it myself. Truly it is a tale, of survival. Never let anyone stop you from doing what you want to do in your life, “live freely…”, he says, “until we sleep in those boxes”. This lyric is featured in Survival Fit is the last track on the Album, but also my favorite, along with the very industrial psycho noise of the Nico Interlude, a very wishy-washy gargle of angsty distortion,
It’s process is completed once its stifles our self-governing skills, and not having the power true have the true understanding of being programmed by the a hateful system, or one that doesn’t wish you to fulfill yourself. . Our powers must be activated from within ourselves, the world must be be altered, to fill voids in the minds of many desperate people including ourselves. A new spectrum of expression as an artist whose validity is uncanny, for the pure fact that he is reflecting his understanding of these faces he sees are unfortunates parodies of what they could or should have possibly become in turn.
A big diss to what society on the “upper crust” believes, is the only American society that exists. Due to it sheer unintelligible behaviors & the size of the consensus and popularity of itself, while it destroys multiple platforms of the rest of the worlds ability or option to invoke their helpful or demonized controversial suggestions. His latest genre bending No Wave, Power World Nature, Anti-Pop Post-Violent album has reached the entrance to our mind on pop-counter pop-cultics and post-anti-socialistic systems programed into us. There are some dark elements, and there some very playful elements in not only the production of the instruments, but overall. I highly recommend this album. Whether you are an avid listener of Cities Aviv or otherwise, this piece is 14 tracks deep, including the brief minute or so long interludes. There are only a few. It’s a great experience, and am most likely going to return to it a quite a bit to listen to.