Music

James Chelliah x Cam May “i cannot tell, i do not know”

James Chelliah and Cam May are excited to release “I cannot tell, I do not know” on the 2nd of January 2022. “I cannot tell, I do not know” – a follow up to “Hold On, Pt. 2”, James’s highly-acclaimed collaboration with Moses Boyd and DARGZ – is an existential indie rap project accompanied by a graphic diary created by textile designer and illustrator Grace Joyram, which aims to present a detailed composite representing the range of emotions experienced and explored throughout the pandemic and subsequent lockdowns.

The project is a clarion call for those blindly walking through a life lived within the preordained boundaries set by others, and a sonic jolt to those whose bodies and minds are tired of the endless fight against the accepted norm. It explores the odd simultaneous contentment and frustration felt by many over the past two years, juxtaposing the tranquillity of monotony against discomfiting feelings of stagnation and aimlessness brought about by pandemic life.

Cam artfully plays with contrasts of light instrumentation and minor melodies to emphasize James’ scathing lyrics, ensuring that frankness is breathed into each piece. ‘Yaldabaoth’ layers mellow guitars with probing lyrics that question the obsession with social media, the transience of young-adult friendships, and living life through a lens, before slamming the listener into ‘Slurp’, a hypnotic and provoking ode to social proof and the desire to belong. As James notes “I looked at the life I was living and decided that I’d had enough. I reassessed friendship expectations, ambitions, communication norms, wants, needs. I started to make changes to reflect what I wanted: less of everything the world told me was important.”

This theme of contrasts continues with the ripe melancholy of ‘Fullish’ and its considered contemplation of the always-online world, and the mocking sonics and lambasting lyrics of ‘Couch’. The use of interludes and instrumental tracks ‘Alone’ and ‘Emptyish’ serve to tease kernels of the potential for us to live alternate lives, and create a space to digest what has been heard prior. The project concludes with ‘Something, at least drawing the listener to relief in recognizing that there can be a route to peace in the gradual acceptance of the different reality thrust upon us. Of the graphic diary, Grace says, “Initially the imagery is complex, jumbled, and caliginous. However, as the pages turn, the visuals get clearer and more comprehensible, representing the gradual acceptance of a different reality as time passed. The outcome represents a new perspective that we were able to gain from each passing day; a slower world allowing extra contemplation.”

The message of “I cannot tell, I do not know” shines a light on a risk we all face – becoming victims of the machinations of capitalist culture which keep us falsely satiated and unquestioning. James says: “We started writing this project when we realized that we weren’t looking forward to returning to a pre-covid life. Every day feels like a fight against conditioning, a fight against the self. The weight of the old world is heavy, what we’ve learned is light. The usual is returning and I cannot stop it. But I won’t participate. I cannot tell, I do not know.”

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Artist Spotlight

Yella Beezy Shuts Down Speculation After Photo With G$ Lil Ronnie’s Murder Suspect Surfaces

Dallas rapper Yella Beezy is speaking out after a photo of him with one of the suspects linked to the murder of Fort Worth artist G$ Lil Ronnie and his young daughter began making the rounds online. On Wednesday, Beezy posted on Instagram to clarify that he had no idea who the person was when the photo was taken. He pointed out that taking pictures with fans and strangers is just part of his life as a musician. “Don’t associate my name with any of that nonsense,” Beezy wrote in his Instagram Story. “I take tons of pictures every day with people I don’t know; it’s part of my job. It’s ridiculous to use a photo of me in a situation like this. Don’t mess with my image, especially when it involves kids. Straight up. Rest in peace to Chuckie and his little girl.”

Beezy’s response came after some social media users suggested he might have a connection to the tragic incident where G$ Lil Ronnie and his daughter lost their lives in a shocking act of violence. Speculation grew after the photo emerged showing Beezy alongside one of the accused. However, the rapper quickly set the record straight, denying any false claims and expressing his strong stance against violence, especially towards innocent children. His fans and friends in the music industry quickly supported Beezy, acknowledging how difficult it can be for public figures to interact with fans.

Artist Spotlight

T-Pain Credits Snoop Dogg for Making Auto-Tune “Cool”

T-Pain is often considered the face of Auto-Tune, a vocal effect that became hugely popular in the 2000s. He produced some of the biggest songs of that time using this technology, but he recently clarified that he wasn’t the only one responsible for its success. In a thoughtful conversation on The Big Pod with Shaq, T-Pain explained that Snoop Dogg played a crucial role in making Auto-Tune acceptable and cool for listeners. T-Pain shared that there was a lot of resistance to Auto-Tune at first, with some people thinking of it as just a gimmick. But when Snoop Dogg started using it, everything changed. T-Pain remarked, “Snoop did it, then it was totally fine.

Everybody was like, ‘Okay, I guess we can listen to it.'” This shift in attitude allowed Auto-Tune to break into mainstream music beyond just T-Pain’s songs. Songs like Snoop’s “Sexual Eruption” showed that Auto-Tune could be a big part of many artists’ music styles, solidifying its place in both rap and pop. Interestingly, Snoop also recognized T-Pain’s influence on his own music, praising him during an episode of his show, Nappy Boy Radio. This connection between the two artists highlights how they support and inspire each other in expanding the music landscape.