Columbia Chicago journalism graduate. I interview cool people and obsess over nails. You can get an idea of my interest by viewing my blog, as well as stories and interviews composed by me. I started as a writer for M.I.S.S., Gloss Magazine Online, The Lipstick Diaries, and Don't Trip Yet. Today I blog for NailPorn and I contribute to Jungle Gym Magazine.
I am the co-editor of Tipsy Zine,
Author of THAT'S TOTALLY IN! THE ADVENTURES OF ISIS NICOLE ILLUSTRATED BY SARA M LYONS and your coco connect.
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By Isis Nicole
Upholding his prolific standing in world of crossover mixtapes, Rx, a Brooklyn-based DJ, released his self-titled debut album Rx that blends elements of Dubstep, Hip-Hop, and Techno attributed to his experiences with the underground of his hometown in Philly, and the global scenes of New York, London, Detroit, and Kingston.
The album opens with “Stop Being A Bitch”, a repetitive Hip-Hop meets Dubstep track featuring Sonkin, and a vocal sample that’s energetic. It’s a pounding type of reminder to man the f up, and stop being a ‘b****, motherf******’.
“Fox Grindin”, a very psychedelic drum and bass, robotic funk, starts off with very low energy and builds into this cosmic quest. The drop is totally worth waiting for due to its rhythmic charm that gets the mind thinking, ‘is that howling? Are those chimes?’ It’s like being in a time warp that ends fairly magical.
Following all that magic is “Voodoo Smack!” featuring Sgt Sass, whose lyrics fall short of being the most memorable. Well, except for his line about “three knocks on my tomb/ like Marie Laveau.” This is Rx’s moment of playing around with Hip-Hop in a sand circle, dancing around fire casting spells. At least musically!
“Every Time Eye” turns back to the clapping, cosmic instrumental that makes the album feel as if it’s traveling through a tunnel with ancient chiefs. There’s immense bass which brings about a slightly spooky but spiritual experience, true to Rx’s admiration for deep, atmospheric cuts.
Rx then dives into a considerably explicit Dancehall meets grime type of track titled, “Poom Poom” featuring Plastic Little─ an open invitation to the daggering dance floor. It’s a hyper sexual cut about beating up a woman’s, um, drum. “Look at these fine hoes”, as they: “push dick like Cadillacs”, because he: “made you come once/ and I’m going to make you come again.”
Moving along from the albums brief pornographic segment, Rx returns to its, just plain weird, psychedelic, tribal, wavy instrumental with the song “Helium”. Imagine being under a cyber waterfall, drowning in shifting beats, booty bouncing just a smidgen. Or um, something like that!
“Aqua Chat” featuring Mista Chatman is a synth-digital dancehall type may fall into more of the overwhelming categories Rx presents. “Aqua Chat” would have been better executed without the rapper over the muddled beat. Mista Chatman’s Rasta-man voice turns into a faint headache, and unfortunately turns into a distraction from the conceptual variety and experiment of sounds that Rx stirs up.
Rx does however redeem the excellence of the album with the Electro-funk song “Turquoise”, standing out most from any other track on the album. It’s crisp, reminiscent of 80’s New Wave, and it’s even got a little bit of that hand clapping, feet stomping Gospel groove, almost like putting a Baptist musician in an industrial night club. Then damn, 4:33 is over in an instance.
“Love Money” featuring Warrior Queen rings similar to the glory days of Santigold, as Rx assembles his take on Reggae-Punk. It’s like light and heavy at the same time, strolling through his hood, and finding the cool parts of it.
Rx closes with “I Don’t Care”, alongside guest DNAEBeats. The song starts as if it is going to be somewhat of a 90’s R&B cut then drops into a Dubstep mix, having a bit of Luvstep-esque (a melodic Dubstep compilation by Dirty South Joe and Flufftronix) feel to it. A smart choice for Rx who’s not yet ready to power down.