Tag Archives: #BandcampGold

#Bandcampgold-Nostrum Grocers-Self-titled

Posted on August 25, 2018 | Leave a comment

#Bandcampgold-Nostrum Grocers-Self-titled

by Dan-O

Milo seems like a good dude. He lives in Maine with me and when Sorry To Bother You came here he bought out a showing so people could feel Boots Riley for the first time(get that feeling underground has had for years). The news made me feel bad that I don’t listen to Milo enough. He is a great rapper with a lot of interesting & diverse subject matter covered and he produces interesting beats but boy howdy it’s a lot to take in. Listening to Milo is like floating in space in your space suit with the air to breath but naked in the expanse looking for anything to hold onto. I always listen to new Milo albums once and overthink everything for the rest of the week.

This is what makes Nostrum Grocers such a great album. Elucid is a treasure. As a partner in rhyme to one of my favorite rappers (Billy Woods) in the group Armand Hammer they have blazed a fiery path through underground NY hip hop. Elucid is a special dude because he gets so much done with so little visible seam seen. As smart, introspective and personal as his verses get everything he does is grounded in the kind of effort Juggernaut put forth plowing through the Marvel universe. Just like Cain Marko he makes the impossible look easy.

Neither party has to move closer to one another to achieve balance, which just happens naturally. They both love tense twisted soulful production that can articulate the harshness of reality while keeping alive the hope of being human.  Listen to how Milkdrunk switches from heavy drums in the first thirty seconds to strings. It is an important lesson: all things that seem disjointed in the world of Nostrum Grocers will come together and make sense eventually. All the jokes you didn’t hear you will, “Stuck my dick in the outlet, I gotta shine!—Elucid on Milkdrunk”

Where’ing Those Flowers is such a brilliantly strange usage of sampling and a killer verse from Milo. My favorite song is ’98 Geweher. Milo is a gentle hush full of confident funny cool bars and Elucid says “A crime tree grows in the basement, spit shine my spaceship,” dude blacks out on the track, did I mention the hook feels like a classic but you know you’ve never heard it before.

I wrestle with what disclaimers I should give listeners about Nostrum Grocers. I fear someone will play these ten tracks and come back to me with “it’s aight…” because they have been conditioned to hear the narrative on the album first time as it trends. Albums are built that way nowadays in the pop sphere. Astroworld is perfectly packaged and the fans get it immediately, they know why it is important. Underground rap is still connected to those times when my friend and I rushed to buy The W first week and bumped it for the next 6-8 months till we knew it left/right/center. Nostrum Grocers tastes the best on its 6th 7th 8th listen when it’s become a part of the fabric of your day.  If you don’t listen to music that way, that’s cool but a lot of us still do. For us this is it.

Stream or buy Nostrum Grocers below:

https://nostrumgrocers.bandcamp.com/releases

 

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#Bandcampgold-Albums I Bought from The Mello Music Group sale

Posted on August 9, 2018 | Leave a comment

#Bandcampgold-Albums I Bought from The Mello Music Group sale

by Dan-O

My favorite underground label in the world had a sale. I was notified that every album they had put out was available on Bandcamp for $4.99. I cracked my knuckles and started surfing, sampling, adding the interesting albums to my cart. I love rap music and I am cheap so I had to filter people out. Now the obvious artist to jump on would be Open Mike Eagle who has a string of critically released albums. I already bought his entire discography last year so I am all caught up on Mike. These are the albums I had either not heard or fully attended but once I locked in on them I fell hard for. Here is what I ended up purchasing.

Portraits by Chris Orrick

Portraits is truly dynamic in its level of poetic frustration. The cover photo makes it clear this is an MC who has been doing this for so long so hard that it has taken its toll, everything has.  The title track opens on thirty six seconds of Nolan The Ninjas beat which grooves with thick drums and horns feeling like a Jazzmatazz song.  This is the sonic world of Orrick who makes no apologies for what he likes to sound like. No trap experimentations necessary he needs Exile, Apollo Brown, Onra and a few others to weave a boom bap that leaves room for his intensity over top. Jealous of The Sun is a great example of how hard his pen goes. The first verse is an immense bummer about how the world is in terrible shape. The second is one of the most scathing indictments of Trump you’ll hear in rap and if that wasn’t enough the outro is a frighteningly apt analogy.

‘And there’s no one to tell us where to run
The day the people of earth got jealous of the sun
Looked up in the sky, filled the air with gas
Lit a match
Said “We are not to be outdone!’

 

If you go to Genius.com Chris gave a real good breakdown of what this song means. This is not a political album that is just the intensity he puts in any subject. Design Flaw is all about accepting how terrible you feel along with what is wrong with you and the L’Orange beat is propulsive while tailor made for Orrick. I will talk more about L’Orange later.  I love Portraits and I want you to love it but be prepared for the ride. Sometimes he’s talking about how much he loves his cat other times he’s blaming Obama for cleaning exhaust to the point where it’s harder to kill himself. The first lines in Escape Plan are “I went to sleep a fifth deep one night when I was twenty-three/Woke up sober, hungover, age of twenty-nine” he’s so honest and so poetically exhausted that anyone who has a connection to those feelings will find a connection to this album.

Stream or buy  Portraits below:

https://chrisorrickraps.bandcamp.com/album/portraits

No Question by Locksmith & Apollo Brown

Locksmith is so real I feel like I know the dude. I have been listening and reviewing him for at least five years (all hail The Green Box) and he is one of those rare dudes who leverages his intellectual strength to not just lash out at the system but GUT HIMSELF. Apollo Brown is an old soul NY hip hop minimalist and the resonant quiet of what he does just took Lock to a deeper place. While the album serves as a declaration that these two are not down with the new trends it lands a dizzying amount of profound statements.  Second verse first song (Advice For My Younger Self).

“And I tell you, never play it safe and never settle for second
Never hesitate, not even just for a second
Never second guess, if you say it then manifest it
But be careful who you say it to, some people will try to test it
If you think, use reflection, have sex then use protection
If you meet a girl and don’t, then make sure you have a connection
If she keeps it then you’re stuck with that woman, don’t wanna hear it
If she doesn’t then the guilt you’ll feel later will kill your spirit
Make sure you earn some money but money is not your god
Just a means to purchase things, put family before your job
Put God before your family and love before your lust
Protect yourself at all times, put truth before trust
Never fuss with ignorant folks, actions are much louder
You retreat to keep the peace, that does not make you a coward
If you focus on you, you can never go and unfelt
Not a lecture, just a lesson I give to my younger self”

If this was a Big Sean verse the internet would lose its damn mind. Truth is this is just what Locksmith gives you. He ends the industry tirade Litmus with “I’ve been prosecuted and profited from/ Now I just watch with an understanding and stand in my spot ’till it’s done.” My wife really likes this album, it’s not that my wife notes and parses all the meanings and double meanings in rapper verses but when she catches a line she wants to make sure it’s not dumb.  When Locksmith is spitting she can nod her head enjoy the twinkling piano keys on Slow Down and the buttery chorus or she can listen to Locksmith explain (what I have always said) that love is not a gamble but an investment. Whether she listens hard or doesn’t she knows that Locksmith is pounding on every second of No Question so that no one can accuse him of wasting an Apollo Brown beat. This one isn’t fighting for album of the year its right in the pocket of old friend you’ll wear out status.

Stream or buy No Question below:

https://apollobrown360.bandcamp.com/album/no-question

The Night Took Us In Like Family

By L’Orange & Jeremiah Jae

During this process I fell in love with L’Orange and his experimental disjointed and sometimes fractured take on classic hip hop sounds. His collaboration with Marlowe is great, his solo album The Ordinary Man goes hard.  Nothing tickles me like The Night Took Us In Like Family which is his collaboration with Jeremiah Jae. Jae is the perfect orator for a L’Orange beat he raps with a seething calm, the kind born from the anger bubbling when you realize that the world is against you. When the world turns on you some people fold (and that makes sense) others just sneer and think about how amusing it will be when they turn the tables. Jae goes bar after bar on Ice Obsidian which is only one minute and fifty two seconds but is so complete. He always finishes his thoughts no matter how much time L’Orange gives him no matter how oddly syncopated the beat is. Once the microphone is on he steps into things makes it his story.  Listen to how he starts Underworld “Sometimes I feel that the world is going under/ sky full of clouds all I hear is thunder./ Sometimes I feel like somebodies always watching/ waiting for the fall any chance they can hop in.”  One of the oldest tricks in spoken word was if you got on stage and the crowd is still chatty not paying attention put your face to the mic just start the piece don’t yell. Keep your voice low and conversational, whisper it and they will know to stop to listen. The Night Took Us In Like Family is chopped into bits equal parts song, intermission, and everything is perfectly cohesive. Every bit of violence described has a foundation laid around it so the Gangsta Rap aspect of it is never Rambo and always The Wire. With its seamlessness and dynamic shimmer bursting with casual confidence this one is my very favorite.

Stream or buy The Night Took Us In Like Family below:

https://lorange360.bandcamp.com/album/the-night-took-us-in-like-family

Here is the general link for Mello Music Group’s Bandcamp:

https://mellomusicgroup.bandcamp.com/

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#Bandcampgold-Role Model by Michael Christmas

Posted on July 10, 2018 | Leave a comment

#Bandcampgold-Role Model by Michael Christmas

by Dan-O

A lot of the most profitable rappers have become quite good at positioning themselves as post-joy flat featured heavy-hangs-the-crown types. Of course it isn’t true for most of them but acting like the weight of the world is on your shoulders as you are at your sales high marker is a cooler way to react than actual excitement.

The thing is you can’t replace what excitement gives a song. 19 year old Boston MC Michael Christmas flexes the power of enthusiasm all through his new album Role Model.  Conceptually the album functions around the relationship he has to his sister and the way young innocent eyes make you rethink the image you present to them and the world they are stepping into. After going over the basic rules of engagement with the world to her on the intro he slides right into These Days where he loudly chants how jacked up the world is. It is produced by Meltycanon who does four out of the fifteen songs on Role Model and most of the best ones. Girlfriend Upset and These Days are all anthemic sing-a-longs where the production is broad enough for everyone to love but odd enough (Girlfriend especially) to be tailored for Christmas. The other producer who deserves a tip of the hat is Thelonious Martin for his ill fuzzed out guitars on Growing Up and everything to do with Ball.

It was a surprise hearing Christmas is from Boston because all the Boston MC’s I know of are stone faced hoody wearing Reks/Esoteric/Slaine types who are more likely to rap about eating your intestines than about being shy in the club and erectile dysfunction (see Not For Me second verse). All the hooks on Role Model are big pretty and fun. He doubles his vocals so you can hear him giggling and repeating his “tick tick” ad lib. He might rap about pancakes and then next track hook up with G Perico & Domo Genesis for an ILL West Coast rap song (Polo Sweater). Shout out to G Perico ,by the way, who is one of my favorite rappers of the world and a definite 2017 MVP candidate for the work he put in.

The reason I keep coming back to Role Model is that it is about feeling like you’re not good enough for the new world. Watching the next generation grow up smart and emotionally savvy while fearing you’re not growing at the same pace (Christmas sees this with his sister while I’m raising a son who is clearly better than me). It is about that but it handles the conflicted heft with an earned optimism so by the time you get to track nine (Ball) you are throwing your hands in the air. When track 10 starts Tianna is listening to Ball and singing along and you feel how important his music must be to her. How much she has at stake in him, you take the trip with these characters. You feel how important these relationships are to them. It’s a refreshing perspective and the energy he leverages is contagious.

Stream or Purchase Role Model below:

https://michaelxmas.bandcamp.com/

 

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#BandcampGold-Stuck by Nickelus F

Posted on June 21, 2018 | Leave a comment

#BandcampGold-Stuck by Nickelus F

by Dan-O

On the first real song(Sleazie Wonder) of his new album STUCK, Nickelus F says “Shoulda got a mixtape award but peace to Justo.” He’s absolutely right. In 2013 he released one of my favorite mixtapes of all time (Vices). I listened to it constantly and scoured the internet looking for who produced it, no way this dude with twisted up tissues jammed in his nose created these beats! I’ve never lost the name Nickelus F since the day I realized Vices was him head to toe.

When STUCK came out I had that Nickelus F back. The texture of the music is mid-tempo with gorgeous samples twisted and planted in perfect spots. The songs ring of the nihilism Weeknd traffics with the controlled additive bounce of peak Paul Wall. I told people in my office his story, starting with the old days blowing Drake off tracks and just grinding, being that guy who cares as much about the melody as he does the lyrical content.

Yea Aight is probably the most succinct proof of my previous statement. The hook is gorgeous over piano keys and savagely rolling bass, stitched in samples, and this dude does not have anything my mom would consider a great voice. Nickelus F sounds like a lifetime cigarette smoker with the worst nasal congestion you can imagine.  He has the kind of voice I wouldn’t want for speaking let alone singing but he is a solid gold genius who can throw it all over the field of play. On That’s Fact he sticks the landing on every short choppy line of trap cadence only to switch up and stretch out on the next track (On Our Own).

STUCK has definite high points. The second half is amazing. The people in my office who I forced into listening to it came out genuinely surprised and enriched.  Hands is one of the very best songs released in 2018 by anyone. The perfect mix of a warped soul sample an ill chorus and bars that mean business by a guy who  owned the mic at 106 & Park for 7 weeks(Freestyle Friday hall of fame). Horace Hardbody The Statue is inarguably the best lyrical performance. This dude said “Cigarettes burn and tap ashes like congas.” All this being said STUCK isn’t a performative soap opera narrative or politically uplifting or autobiographical balling. It doesn’t have take over the world singles. It is about the light continual malaise of living in this world. On Horace Hardbody he says “If you’re like me likely you don’t sleep.”  STUCK is an oddball’s celebration of the chaos left where peace could have been. It is the single best second listen in 2018 hip hop for me because everything I missed the first time was there and richly defined.

I love that he does all this himself. I love that he has been lacing verses about subtle misery without shaving off the hard edges WAY before anyone else and is now better at it than ninety percent of the game (If you think I’m nuts listen to The Darkie). I want everyone who loves Drake to know STUCK and know that below the top tier of blockbuster pop rap is the real interesting stuff; a whole world of people taking chances without anyone to stop them or force them into bad guest features or big name producers.  People who have so much nasal blockage we should probably set up a way to donate so we can help…but are absolute wizards in every regard of music and they don’t toil in obscurity. Not for me. To me they are giants. To me Nickelus F in 2018(like he was in 2013) is a giant.

Stream or BUY STUCK below:

https://nickelusf.bandcamp.com/album/stuck

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#Bandcampgold-Veib by Shane Reis & God Damn Chan

Posted on May 24, 2018 | Leave a comment

#Bandcampgold-Veib by Shane Reis & God Damn Chan

by Dan-O

From the stage Shane Reis has the authority of the most important guy in the properly humming kitchen of a restaurant. His music has always carried that ceaseless Joe Frazier energy: moving forward, finding optimal positioning, and getting off his best shots no matter what touches him or how hard. So the full length collaboration between Shane and God Damn Chan was destined to be interesting not just for the art but the force of will on display.

Chan has moved away from Maine (where Shane, the lobsters, and I reside) to L.A. but I still refer to him as the Swizz Beatz of Maine. He clicks together elements that fit, turns the volume as high as it can go (while remaining clean as a whistle) and when it’s done it’s done. Chan knows what he does and who he is. Both of these gentleman know exactly what they do well and manage to steaily put that in the foreground while they improve on the rest in the background experimenting and evolving, challenging what you came for by adding to it with showing any risk.

The bandcamp description says that while on tour they were soaking in Damn & 4:44 aiming for their own shot at cohesive timelessness. This is why Veib  works on three different levels. If you just want to press play bump your head and not think go to track four (Tell Somebody!) and you’ll recognize the stinging gnarled Gangstarr boom bap and  screwface headnod as Shane matter of factly beats the track like a speedbag. If you are invested in the journey and the mood the music conveys you are in for a treat. On JonSnow (IWantIt) an off kilter beat (that sounds like it has a harp sample) allows Shane to charm away in as refreshingly non-creepy a fashion as you can find in rap. He says “She’s a downer and an upper for real. I mean I’m in it if she lets me. She’s next level sexy.” Even amidst his most triumphantly authoritative declarations his sexy song has a clear “boy I hope she calls back!” excitement to it that is refreshingly human. He’s a hard nosed dude who has made the choice not to be a dick about it.

The third level of analysis on Veib is where I get in the weeds. My favorite thing about relistening to it is not how remarkably clean, cohesive, and different it sounds from any rap album in the state(or region). My favorite thing about relistening is catching the moments when Shane pretends to give his audience life lessons about maintaining your soul and who you are when in fact he is repeating this mantra to himself. I’m not talking about providing hot lines (if you want them you can have them see IKnowUKnow for “I never met a king, I never met a god but if I did it was living under the devil’s law.”) First mantra example is from TheVeibOfIt “Relax your mind and be who you want to be. Man, who cares what they think? If your you and that’s cool then that’s who they want to be…damn what a concept?” It’s framed as a volley sent at the countless who are losing themselves in fabricated expectations losing their own truth and by itself it could be seen that way. Add to it Witches Brew first verse “Try to keep up with the times but can’t find the time tho, too much social media $*&^ and I do it like you do but you don’t read to your kids ma dude.” Having kids is being terrified to disappoint them; it is learning how to catch as many balls as you can from mid air and only let the ones drop you can afford to. Keeping your artistic character together as you get bigger and bigger is similar, compromises must be made. If you worried I am stretching to make a point listen to We Don’t Care when he says “I’m not sold although they bought it, bought it doesn’t mean a lot. Earning often dreams a lie. And if the star players a bum, what kinda team they got? If you tell me you are then it probably means you’re not. Underdog forever, I pawed my way through steeper plots.” It is all right there, I will not lose even though everyone does. If you dig deep enough Veib isn’t chill at all. It’s the Friday rush during the holidays and the restaurant is earning like it never has before. We are the new kid doing the dishes and after peaking out at the jammed crowd and busy hosts/hostesses  we turn to that dude who runs the kitchen who we count on to set the pace. We ask “What the hell are we going to do we aren’t staffed for THIS!”

He turns and says what Shane does on OrangeCrushGroove  “Life’s a bitch but I’ve chose not to mistreat her.”

stream or download Veib below:

https://theorderlabel.bandcamp.com/album/veib

P.S. Track 11 Say Nothing has my favorite feature Kenya Hall who is an absolute treasure. Her album Learning For Miles v. 1 from 2010 is one of the must hear albums in the history of the Maine music scene. I could say more about her and the absolutely gripping ideas about racism Shane discusses on the song but I may have written too much already. Its great she is great. More Kenya Hall.

 

 

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#Bandcampgold-The Layered Effect by Andy Cooper

Posted on February 16, 2018 | Leave a comment

#Bandcampgold-The Layered Effect by Andy Cooper

by Dan-O

I think The Layered Effect is the best example of a re-engagement with the core values of hip hop. We are exiting a period where anyone choosing to incorporate anything not trap/808 heavy was called “old school” in the most insulting way. The Layered Effect is not old school but it does joyfully acknowledge the Beastie Boys level excitement hip hop had for itself during the foundational phase, that essential energy that powered the takeover of modern music.

Andy Cooper not only dominates the microphone he produces or co-produces every song on the album. He has been doing hip hop for a thousand years (most notably with Ugly Duckling).  The school of music Cooper does on this project is (in my mind) quite specific. The pace of feverish underground classics like KMD’s 1991 album Mr. Hood is so markedly different from the sunken melodic trance of today it may be unrecognizable to new ears. The first song (Here Comes Another One) shares that same adulation to spit verses and sets the pace. The Layers interlude puts the samples and the cutting all the classic techniques back on display. Get On That churns and squeaks with vinyl scratches as he calls to the DJ.

Last of A Dying Breed is my favorite beat of the collection, easy soulful succinct and expansive.  On it he separates himself from the crabby purists who weaponize nostalgia, “remember back in the days he used to be center stage but then the spotlight fades and shines on a different age. So these kids are going at it and they got some nerve and they talk with such energy and lots of verve. Some old timer wants to put in a word he ain’t given the respect that he think he deserve. Well you’re the last of the Mohicans who hates young cats because they don’t seek him whining that they rude and they tryin’ to diss but dude they don’t really even know you exist.” He is clear on this song that even the greatest have had their time and passed beyond it. Last of A Dying Breed strengthens the resolve of the project, it is proof that he knows what he is doing might not work for all hip hop fans and doesn’t hold it against them. On the next song he (Anything Goes) he claims to be “playing like a Wu-Tang name generator” and in that play he discovers moments of fun and craft impossible to find elsewhere.

Can’t Be Satisfied is fabulous jazz influenced Boom Bap that DJ Premier would adore with an infectious hook that is the second most party friendly track on The Layered Effect. My favorite song is Do The AndyPuppet because it is insane.  It starts with a doo wop coo maracas and a stabbing bass line he comes up with a song about people’s adoration of a dance he does where he looks like a puppet. He implores you to join in as voices layer expounding the virtue of it. I believe he describes specifically how the dance is done. Half way through a tuba comes into the song as he coaches you through the motions.  It is a song you only do for the joy of it. The world doesn’t necessarily reward this brand of magical nonsense. Magical nonsense is a real part of the history of the music, its why people used to shout motel hotel Holiday Inn and Andy found a smart way to bring it back into the center where it belongs…for him.

Stream or purchase on Bandcamp below:

https://rocafortrecords.bandcamp.com/album/the-layered-effect

 

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#Bandcampgold-Ephorize by Cupcakke

Posted on January 18, 2018 | Leave a comment

#Bandcampgold-Ephorize by Cupcakke

by Dan-O

I feel terrible that I just recently learned of Cupcakke. She came through on Charli XCX Number 1 Angel project (one of my favorite albums of 2017) and cleared the field on the final track (Lipgloss). By the time of Cupcakke’s next album Charli had dropped another song with her featuring (off her album Pop 2) and my anticipation had built to a must-hear level.

Ephorize is beyond any expectations I could have imagined.  Anyone who has heard her rap knows that her flow is other worldly, she can do the flow you are used to great rappers of this era doing but she has a few gears beyond that are just staggeringly impressive. I knew I’d get that going in. I was going to get a masterful display of breath control intonation and confidence. I was also going to be diving into a world of sexual description beyond that of which I’m used to. Cupcakke brought what she knew she could do and built on top of it.

Great albums know how important it is to open and close the show. This one is a sublime example.The first track 2 Minutes opens with piano subtle enough to open an Adele single and she matches that, ending a blistering first verse with the line “I done placed so many flowers on different graves/ I tell my dates now, don’t bring a rose.” The second verse ends with an incredibly gripping call to love your own body including one of my favorite lines in the last year “my stretch marks really itch/ my hair haven’t grown an inch/ but I’m still that bitch.” The strength of character in those verses, the surprise of how sensitive and intelligent the concepts are while being roared from a rapper of monumental ability rocks you right off top. The next song is Cartoons which is an example of what I expected going in. Her breath control on this one is like watching one of the all-time great boxers hit the speedbag. It’s mesmerizing and the beat is a perfect chariot for her to ride into that (thank you Turreekk).  The chorus approaches Big Pun levels of delicate kinetic force.

Thirteen of the fifteen songs are produced by Def Starz who strike a balance between intelligent club music, post-modern rap & abandoned warehouse rave music. Def Starz are adeptly aware that the landscape needs to change with the narrator. Ephorize has 2 hardcore emotional break up songs with two very different soundscapes. Exit is about kicking your dude out because he cheats with his ex’s and the beat bounces in a Caribbean way as her anguish morphs into celebratory distaste. Single While Taken charts territory nearby in this scenario she hasn’t broken the relationship off yet they are just fighting while she hunts possibilities, ready to leapfrog to a better relationship. A tense Hitchcockian piano leads in waves of angry bass that her voice chastises over.  Songs that could have easily sounded the same are fabulously different because of the key choices made by the minds involved. So thank you Def Starz.

Lyrically I could talk about how god damn refreshing the anti-materialism work on Wisdom Teeth is or how refreshing it is to have Crayons acknowledge the closeness and importance of the Trans community and in general accepting all people’s sexuality. I should warn you that Cupcakke says sexual things I didn’t even know existed but she is not a shock MC talking fellatio for your enjoyment. On the song Spoiled Milk T*****s she asks her sexual partner if she can lick his armpit, I didn’t even know that was a thing. Duck Duck Goose is another song where she goes in depth on things I am too bashful to discuss or transcribe but I will tell you she does it with the genuine joyful energy Cypress Hill had when talking about dank. Cupcakke is joyously exploring sex without any shame culling all negative participants along the way.  That is why, to come back to the shape of great albums, the last song has to be Fullest where she kicks the celebration to ten. It is a bass heavy Spanish infused beat she blacks out over clinking glasses to the incredible lyrical gifts she has, the motivating possibilities her life holds now. The album is a journey and the first truly great one of 2018. Someone had to set the bar.

Stream and buy below:

https://cupcakke.bandcamp.com/releases

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