I saw this in a nightmare I once had. |
This
is an exciting day for me. With this band, I may actually out-hipster the guys
at Pitchfork (I lied. No one can
out-hipster Pitchfork).
This article will at the very least out-hipster anything Steve has written
(which is still pretty damn impressive). These guys are so underground, the world’s tallest telescope is jealous. This may be
the first time we’ve actually had the chance to share an artist with the world
for the first time. (I don’t count Mark’s discovery of Elle Odessa, because nobody
counts Mark in anything).
Actually,
to be fair, Onboard Balloon came to us. It’s a rather interesting story. Lee
and Keegan Willis, the brothers who make up Onboard Balloon, had a friend named
Sean (aka Gorilla Tuesday, which is an awesome nickname). Unfortunately, Sean
passed away in a motorcycle accident while attending film school down in
Austin, Texas. It was a sad event, and my heart goes out to the family and
friends of Sean. However, a few weeks ago, OBB’s older brother Dustin (aka
Worm, a slightly less awesome nickname) was trying to remember a song that was
played at Gorilla Tuesday’s funeral. The brothers believed that one of the
lyrics was “Frog on a log in a bog”, their search turned up our blog, and the
rest is history. (The song is Authority Zero’s “Rattlin’ Bog”, which
doesn’t have “Frog on a log in a bog” in the lyrics, if anyone was curious).
This divine intervention has led to the first (Facebook) official friend of the blog,
and hopefully a great jumping off point for a fantastic hip hop group.
As
I previously stated, Onboard Balloon is made up of Lee and Keegan Willis, a
pair of brothers from Peonia, Colorado and currently based out of Montrose,
Colorado. Keegan is the producer, making all of the beats, while Lee takes care
of the lyrics and vocals. They were originally founded all the way back in
2005, when Keegan started to send some beats over to Lee from audio school.
Once Keegan got back home, they started working on their music more, until 2007
when they released their first album. They’ve actually released a bunch of
albums so far, and are gearing up for their 6th release (which is
called Songs to Escape the Desert By,
for those curious). They make all their music in their shed-turned-recording
studio, which looks pretty sweet, from both the inside and out.
Now,
given my admission of our friendship, it’s easy to see how I might be a bit
biased in my analysis of their music. But there’s a reason why I actually
followed through and wrote up an article about them. We’ve gotten a few people
that have contacted the blog to try to get us to listen to their music. It’s a
problem that every blog, music website, and magazine faces. Hell, I’ll
occasionally get messages on Youtube from some dude about how I should totally
check out this or that artist. And usually they suck, which is why they’re
using Youtube and emails to blogs to get their name and music out there.
Naturally, most people will ignore these emails. I, however, have an open mind
and will at least give the band a shot. Worse case scenario, I lost 5 minutes
out of my day. Best case scenario, I find some music that deserves a spot on my
hard drive. Obviously, this is one group that deserves a spot in my music
folder.
Lyrically,
Lee seems to be channeling Beck whenever he puts pen to paper. On the surface,
it sounds like random words that sound good and rhyme are slapped together, and
when said aloud it sounds like he went to a psych ward and filled out a Mad Lib
with what he heard. I mean, just look at part of the hook to “Buckshot Hockey” off their new
album (available at all fine retailers of music, along with all not-so-fine
retailers of music soon): “Calibrated catastrophe/buckshot hockey/snot ball
basket case/drunken now talking”. But somewhere beneath all that obtuse
language lays something deep. What that is, I have no idea; this is some heavy shit. But in the
context of the song, it’s pretty powerful. Combined with that is his command of
the English language. Jay-z famously read the dictionary to expand his
vocabulary, but Lee sounds like he read a dictionary, thesaurus, encyclopedia,
and rhyming dictionary. His ability to bring in so many words and have such
dense rhymes blows my mind.
Speaking
of Beck, OBB draws a lot from country and folk music, which isn’t something you
say a lot when talking about hip-hop (unless it’s Kanye West and
it’s a great article
on him). On top of the very folky tune “The Ballad of
Ol’ Ray Selby”,
Lee tends to write ballads. For instance, “Organite” is about a small town guy
who wasn’t good enough to get out of that town and do something with his life.
Instead he works at a factory for low wages and spends his nights scrounging
for food, getting drunk, and being arrested. It’s a story that particularly
resonates today, what with the economy and all. But it also tells the hardships
of small town America even in a good economy just as well as any Bruce
Springsteen song can
But
what I love is Lee’s aggressively-laidback delivery. He’s got that deep,
somewhat monotone voice like Open Mike Eagle. He’s also like
Open Mike Eagle lyrically, which I guess goes hand in hand with that kind of
delivery. But he’s also subtly aggressive, like that substitute who demanded on
lecturing like he was a teacher, but also fought in Vietnam, so the class
didn’t argue. I mean, you can look at “Flik the Flak” where it’s supposed to be
a fun song, and it still sounds like Lee is ready to jump through my earphones
and make goddamn sure that I’m having a good time. Or the last 2 tracks from
“Story Time”, which are a few random tracks they posted on their SoundCloud; “Jenny” and “Emmet” are very sad,
emotional songs, and Lee conveys that. He also conveys that the fact that if
you’re not crying, he’ll make you cry. With his fists. But it works well within
the music and really draws you in. You may not always know what he’s saying,
but you’re listening intently to not only figure it out, but also to not make
Lee mad.
Of
course, let’s not forget his brother Keegan. His instrumentals are entirely
unique. While it’s hard to differentiate between 95% of producers in today’s
hip-hop arena, I can tell an OBB beat from the first few seconds. He pulls in a
wide variety of sounds – Native American wooden futes and drums; rough, dark
reverb-filled guitars; ethereal, dark dream-y synths; rock drums; fun, playful
chimes; heavy, hard rock or grunge influenced bass lines; alternative
rock-fueled, tough-sounding acoustic guitars; hip-hop style drum machine kicks
and snares and claps. Keegan pulls together so many different sounds and
influences, but makes them work. There’s country, folk, grunge, synth-pop,
hip-hop, hard rock, alt rock, and I’m sure a bunch of other stuff I’m too stupid
to notice. But it works. It works so well. His gruff/ethereal sound melds with
Lee’s voice, and creates a fantastic soundscape.
Now,
if you’ve noticed, I’ve mainly stayed away from their earlier releases. Mostly
because I haven’t had too much time to give them a super in-depth listen, but
also because they just don’t jive with me. Bad
Sleep, the album released prior to Mixtape,
has moments of excellence and is the best of their other albums, but as a
complete package, it’s a bit lacking. Same goes for their earlier albums – they
have moments of brilliance and OBB’s signature style, but they still feel like
2 guys just messing around and trying to figure this whole rap thing out. But Mixtape is where they truly shine. Lee
finally found a flow and delivery that works with his lyrics and the beats
Keegan is putting out are complex and interesting, and I’m actually fairly
excited about their next album. It’s like they had the square and triangle
blocks, and knew the holes were made up of various straight edges and corners,
but couldn’t figure out how to fit the blocks in until now. Lee’s solo album Talks It Wasted is also pretty
damn good, but doesn’t count because it was without Keegan.
The Willis brothers always have the expression that they're confused by this strange, "cam-era" technology |
In
the mean time, check out my favorite track by them (that I’ve heard so far).
I’ve already talked a bit before. “Organite” is by far their best track, hands
down. As I said, it’s the story of a beaten down man, struggling to get by
however he can. It’s perfectly written from a lyrical standpoint, and perfectly
delivered from a vocal standpoint. There’s anger and frustration in Lee’s
voice, but also a depression and weariness to it. Musically, the beat is great –
it features a sad synth with a bunch of reverb and a muffled drum beat. Then
the bass line comes in and hits you with some emotion, followed quickly by the
wailing violins. It all comes together into one moving and amazing piece.
It
feels really cool to give publicity to a great band that has yet to be
discovered by larger press outlets, even if I have absolutely no sway. So, I
call upon you, all 6 people that will read this, to go out and share Onboard
Balloon with the world. If there’s one hip-hop group that deserves your
attention this year, Onboard Balloon is it. Well, also Death Grips. But OBB too.
It’s music that doesn’t hit you until your 3rd or 4th listen
through an album, but once it does, it’s stuck in there.
You
can nab Mixtape for free, support them and buy their albums, and like them on Facebook. Oh, and if
you’re a big fan of cool new music and mediocre writing, you should totally like Frogs on a Log on Facebook for regular
updates about music you should totally be checking out.
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