Black Astronaut Records – 39 Charles Street

Black Astronaut Records – 39 Charles Street – Album Review

*spits coffee out

Twenty-five songs on a record?  “Zero skips,” according to the notes that came along with the album.

That’s not a thing.  It’s just not.  Never has been, never will be.  This is coming from a person that has always enjoyed the music of Black Astronaut Records too, but it wouldn’t matter who was making the music…twenty-five songs is always gonna be way too much and end up revealing a whole bunch of cracks in the armor.  Been more than a minute since we last had BAR on our pages…something like eight years.  But yeah…as much as absence might make the heart grow fonder, you’re still not gonna find me out here advocating on behalf of records having this many songs on’em.  Anything beyond twelve makes me twitch on a personal level, and on a professional level, no one makes’em perfect beyond that either.

Deep breath.  Find my zen place.  Start the art of reduction, because you KNOW if I was to review music like I normally do that writing about this album would end up taking you the next month to read it…

Considering the fact that 39 Charles Street starts out with a shout-out to the year 2016 with Tino Red on the mic for “Everything” feat. Stig – who knows…maybe there’s hope after all, and this set of twenty-five songs will play more like a greatest hits collection.  I’m tempering my expectations for all the reasons I’ve previously stated in long-ass album reviews – but also because this album doesn’t have “The Corn Cob” on it, so it couldn’t really be a greatest hits collection without it, right?  That’s either a major oversight, or it speaks to how strong the material on this album would have to be in order to leave it out if we’re pullin’ cuts from way back to include in this lineup.  Stig does a good job taking over from Tino as “Everything” eases you into the record, and of course, that personality you get in the lyrics penned by Charles Luck still come along packed with that attitude you remember.  No substantial complaints needed here – “Everything” has a low-fi cool to it that’s appealing, and I like that it’s got a gradual build to it that seems to increase naturally along with our interest as we listen.

While this is noted to be autobiographical to an extent, with a message that reads “I lost my mind here in 2008.  This is my story.” – you have to assume it’s not necessarily being told in a linear way if we’re starting in 2016 when we’re listening…otherwise that’s a pretty big eight year hole in a resume.  Anyhow – Charles is obviously welcome to tell his own story any damn way that he wants to.  It’d be hard not to argue the perfection Luck applies to his music when you listen to a track like “Sober.”  Keep in mind, I’m telling you this knowing that, stylistically, I went back and forth about how I felt about “Sober” – I’m merely telling you that objectively speaking, as in outside of my, or any of our personal tastes, “Sober” is a flawlessly executed track.  From the brilliance of the performances up front, to the details floating around in the background, to lyrics that’ll have you on the ground holding your sides laughing at points, there’s a lot here to love.  Sound-wise, I’m more partial to the opening track, but when it comes to what makes a track memorable…I’d probably have to argue that “Sober” has that much more going for it.  From “I don’t even wipe when I shart” to “your mom drained my nuts like a boat looking for seamen” – clearly Luck is in the fine lyrical shape we remember him being in from listening to BAR way back when.

You know I’m not here to punch holes in somebody’s art for no reason…never have been, never will be.  So like, take it to heart when I say that, by track three on 39 Charles Street, I was already thinking there might be a very good chance I’d have to eat every word I wrote in the intro about album lengths.  I’m always objective, and I’m still comfortable with the odds of me being right about there potentially being a place here and there in this set-list that could have been trimmed, but listening to “On Them Lines” pump out such a relentlessly smooth and gripping sound…I mean…objectively, this is fully entertaining!  The hooks are strong, the verses are rock solid…the personality you wanna hear to pair with the kind of words that Luck writes is present & accounted for…the music is great too – I’m into “On Them Lines.”

With a selection of emcees enlisted to lay down the words & wisdom of Charles Luck, that’s likely going to work both for and against an album of this magnitude.  We’re all naturally going to end up with our favorites and a voice or two that we like more than others by comparison, but there’s also a wild degree of diversity in the sound of this record that should also keep people engaged too.  “Gone Off The Rock” is one of those cuts where you kind of have to marvel at the commitment you’ll hear in the performance – dude’s dedicated from the very first syllable to the last.  Almost too committed, you feel me?  He makes a reference to having a “nose full of snot” at one point, and ever since, every time I spun this song all I wanted buddy to do was clear it out for his benefit, and ours.  So…sure…we can potentially pair things a little too literally at times – but to be fair, everything you’ll hear on “Gone Off The Rock” fits & the bold impact of the beat in this track will definitely have people testing the threshold of their system.

When we’re considering the nature of a massive album & the concept of “zero skips” – are we supposed to overlook production and how that plays a role in how we listen to music?  “Demons” is way quieter than the opening four tracks we’ve heard so far…and that pisses me off a bit, because it’s probably one of my favorite cuts in the first five on 39 Charles Street.  Where “Demons” succeeds mostly, is in how Luck goes about taking us on a journey that is practically told directly from his nutsack at times.  Alright, I get it…maybe it’s not subject matter that would necessarily appeal to everyone, but it does to me.  Luck continually proves he’s got a sharp perspective & a wonderfully warped mind in his lyricism.  Obviously there’s more to “Demons” than just his nuts, but they do get a significant amount of time in the spotlight on this particular track, for the record.  Good track, even if you’ve gotta crank it up extra.

What I like about hearing a song like “Addicts Mind” again after having reviewed it in January of 2017 and remembered it ever since, is that for as much as I like it, I feel like the beginning of 39 Charles Street has proven that BAR has got so many other things going for its sonic dimension and depth.  Don’t get me wrong, if this was most artists and bands, there’s no way you’d leave “Addicts Mind” off an album – all I’m saying is that at this point, Black Astronaut Records really doesn’t need to reach back all that much for material anymore.  That being said, if this album is the true story of Charles Luck, then I get the idea of bringing this song back for another spin – it’s one of the most important cuts lyrically to helping us all understand the main guy behind BAR.  You’re not gonna find me complaining – it was a strong song back when I first heard it, and it continues to be now.  “Addicts Mind” is welcome wherever my playlists are.

“Lost My Mind (Remix)” featuring Stig in another appearance, restores the volume to the record back to where it should be & the levels where the album started.  Laid-back like what you’d hear dominating the radio back when Everlast and Sublime were in their heyday, or maybe even something like Jack Johnson a couple years later on – “Lost My Mind (Remix)” is plenty smooth and a relentlessly welcome cut when you’re listening to this lineup of songs.  The hooks are great, and as is often the case when listening to BAR, it’s the tremendous detail in the background that makes such a noticeable difference.  Honestly, that’s a large part of what’ll lead to the longevity in these tunes.  As far as Stig is concerned…that’s a tougher call.  Performance-wise he’s fine – but I don’t know that I felt like the part itself was all that necessary when “Lost My Mind (Remix)” was already safe in the process of hitting a major homerun.  Does Stig put it over the top, or is he one piece too many?  I’ll let y’all be the judge and jury on that.

You know something?  I’m starting to get the impression that Charles Luck has done a whole lotta drugs!  Alright…chances are, if you’re listening, you’ve noticed that too…it’s kinda hard to miss.  If he isn’t busy writing raps about his dick and balls, it’s probably about drugs…not just some of the drugs, but ALL of the drugs.  Like, you listen to a track like “Demons Just Feed” and you realize that if you’ve ever done drugs in your life it’s only because you were lucky that Charles didn’t decide to do them ALL and left you some.  I’m mixed on “Demons Just Feed” – I really like the verses, and I’m just about indifferent when it comes to the chorus hooks…so it’s a bit of a split result for me on this one.  Lyrically its awesome, and performance-wise, it’s great too…and hey, it ain’t bad if you can make it to track eight before I start to question a song’s inclusion.  Even in this particular case, I wouldn’t give up the verses to the cutting room floor either – that’s some award-worthy delivery, even if the song is a bit less balanced overall.

Hmmm.  Maybe it’s “Death From A Million Paper Cuts” that would be the candidate most likely to be cut if I had to choose one from the first ten.  It’s hard to put my finger on precisely why that would be – the performance on the verses is great once again, the lyrics will always have multiple points of entertainment value for ya, and at least at first, the music has real defined atmosphere to it.  As you continue to listen, it feels like the music doesn’t quite change enough or doesn’t possess enough of a variety of dynamics to keep us fully engaged.  Hooks-wise, it’s alright.  Production-wise, I was never sure about this song no matter how many times I spun this past week.  This is where you really start to grasp how perilous it can be to make a record of this size when every set of ears listening will naturally compare what they hear along the way.  “Death From A Million Paper Cuts” is a really good song by any measure – but at the same time, does it reach the level of being mentioned with the best on this album?

Yes.  Houston, I have concerns.  We’re drifting into less memorable terrain without a doubt, and the standards seem to be dropping enough to be noticed.  “Skin” is almost heartbreaking, because the extreme effort put into the verses is something that should always be recognized, but I don’t know that there’s anything memorable here beyond the speed of the performance itself, you feel me?  Like, if you put this on for a second time, you’d go “ohhhhhh yeah…this is the one where that dude raps at lightning speed,” but chances are, there wouldn’t be anything else you remembered about it.  So on the one hand, if you’re interested in technique and what can be accomplished by having some, you’ll be amazed by what you hear in how “Skin” is rapped out…like, the peers of BAR would be jealous for sure, because the performance is that damn good – but the song itself is missing that piece that would make it become memorable to listeners for any other reason.  Dig the music…it’s almost enough to compensate for there being nothing other than non-stop words being spit at us…but I suspect it’s still not going to be enough.  It’s like listening to some of the cuts by clipping. – and I’ve got nothing but love for those guys – but there can be cuts where the technique being flexed becomes more of the priority than being accessible.

Objectively speaking, we’ve still got issues.  I am not gonna tell you I love the hooks in “The Afterworld” because indeed I do not…but I think it’s the imbalanced production that might make a bigger impact on this track overall.  Like, the vocals in the verses are way above the mix…then the vocals in the chorus and in the bridge are practically muffled by comparison…and that just ain’t doin’ it for me.  Musically and lyrically, the two places where you can usually bank on BAR to compensate for anything else that might be missing…I dunno…I just didn’t hear anything here that felt redeeming enough to me, and certainly in the context of a twenty-five song album, there’s no question that this track coulda been cut.  It’s hard to hear “The Afterworld” & not want something more when you know what BAR is capable of.

“Ghost” gets things a little bit closer to getting back to the standards Black Astronaut Records has set along the way.  With Luck being such a proficient writer, I think it’s actually a given that the verses are going to be the most interesting and compelling parts of just about every song, and I truly salute that too.  You have no idea how many Hip-Hop & Rap songs I listen to where I have to be critical about how many words aren’t being used in the process…inside a genre that was built on rhythm AND poetry of all things!  You never have that problem with Luck’s tunes.  If anything, he stuffs these songs so full of lyrics that he’s practically moving the needle in the other direction, and you end up with tracks like “Skin” where a little more space would actually go a long, long, way.  “Ghost” has a catchy chorus…I’m not gonna hate on it, and I’m not gonna pretend I think it’s all aces either – what I can do, is understand that it has a sound that would definitely be appealing to people.  Do I think the verses are still the most deserving part of this song when it comes to your attention?  Yes.  But the rest still sounds good too.

We have officially reached…the halfway point.  Incredible, I know.  “Amen” is probably best considered as a ‘deep cut’ – from my perspective, it’s going to be a tough sell to the masses by comparison to so many of the rest.  Ideas-wise, it’s unique.  I like a lot of what the potential in this song hints at, but I’m not quite hearing a level of execution that matches up the way that it should.  Whether it’s how some of the tones feel like they clash together, or a matter or “Amen” not quite having that memorable spark it needs to keep us coming back to it…maybe a combo of both those things…I’ll let you decide – all I can do is call things like I hear’em, and I’m just not hearing enough in the case of this particular track.  Right from the get-go it presents an awkward fit, and I didn’t feel like that got any smoother as it played on.

What I need is a freakin’ homerun again.  Don’t get me wrong, it’s Black Astronaut Records – I’m happy to listen – but I do want more than what I’ve been hearing over the past six or seven songs at this point.  “Purgatory” is interesting to me…this could be the cut that feels like it restores a bit of my faith in this lineup.  As for the monumental challenge that creating a twenty-five song record would be in terms of keeping a close eye & ear on quality, standards, content, and not letting those things drop even one iota of their strength along the way…I think we have to admit that BAR could have been more brutally critical in favor of creating an album that would be that much more engaging with a shorter set-list.  Like, for example – “Purgatory” is a damn good track…arguably one of my favorites in the lineup so far to its spot in the lineup…but I still don’t know that I’d describe it as a song that would blow any of us away.  It’s as well-executed and performed as a song could be from the music to the microphone, but it’s not like it’s got that wow-factor to it, so much as “Purgatory” is a better example of extremely balanced strengths.

“Ponds Of Sound.”  What do I think of this?  Gotta be the second reference to 7-11 by now, yeah?  I like Slurpees too.  Umm.  So look…Mr. Luck…my man…if you’re gonna make that “zero skips” claim, I think you’ve gotta be a bit more honest and objective with the material.  There are things I actually really like about “Ponds Of Sound” and I’d probably even go as far as to say that it might even have more potential to reach the masses than most of the songs in this whole set-list…but it isn’t there right now.  You can hear it instantly as “Ponds Of Sound” gets underway…the unevenness of the vocals is too much.  I like the sound & personality to a degree – there’s actually a fairly charming vibe goin’ on here when it comes to what’s happening on the mic…but it still needs to be refined further, and there’s still work to be done.  As much as I like what I like about this track, it’s not at the point where it’s ready to be released just yet.

For a hot minute there, I was sure I was about to torpedo the living daylights outta “You And Me And Melody,” but thankfully the pilot pulled this one up right before a full-on nosedive.  So look…it’s always going to be fair to say not everyone will just agree with the things I say.  If you happen to like the filtered vocals component of “You And Me And Melody,” then turn it on up I say – live your best life.  It’s not for me, but if it’s for you, then right on, high five from me.  Again, if we’re talkin’ about the verses though, good lord, LISTEN to this song spring to life after it breaks out of the doldrums of where it all starts.  To me, the intro is impossibly mired by its effects to the point where it’s practically detrimental, EXCEPT for the fact that it’s sonic qualities feel so unappealing that the moment the effects drop off, the sun comes out, and this track starts shining like it’s supposed to in the lead vocals.  So…yeah…I mean, you can argue that one side of that scenario truly needs the other to have that kind of impact on us, which is true to some degree…but it still feels like there could have been another way to approach this so that the large chasm between its strengths and deficiencies would be minimalized as much as they could possibly be.

Stylistically, “My Heart Is A Fading Star” is pretty killer.  BAR has famously had two main gears – you’ll find tracks that will make you split your pants laughing, and then there’s a darker underbelly that dives deep into the drug related themes in a much more serious way.  To a degree, I’m not always convinced that going back & forth between these modes is always the most effective way to reach listeners out there as it takes some adjusting back & forth on the listening side of the scenario to enjoy each side of BAR’s personality the way that each part should be.  That being said, when things go right, I call it all the same way, objectively – “My Heart Is A Fading Star” is a stellar example of the serious side of Black Astronaut Records coming out with a more noticeable potency.  The lead vocals are brilliant – Luck has designed a wild melodic flow to adhere to, but despite its complexities, it came out extremely well and with the kind of uniqueness that people will remember.  “My Heart Is A Fading Star” is a high quality cut.

There we go!  Been looking for a couple of tracks to consecutively impress for what feels like a while now, but “My Heart Is A Fading Star” and “Breathe” are here to supply exactly that.  Heck, I might even be inclined to say that “Breathe” might be one of the better songs I’ve heard in the BAR catalog to-date when it comes to how unique this is from so much of what I’ve heard within it so far.  Don’t let its laidback demeanor fool ya…there’s a lot that stands out here on a stylistic level…”Breathe” feels like it’s authentic and fresh from start to finish.  It’s not even a song that you’ll feel is actively trying to punch you in the face to get your attention…it simply earns it through smart decision-making in songwriting.  So the humble performance you’ll hear in the lead vocals paired with the chilled out sound makes for a seamless fit as far as my ears can tell.  There’s truly genuine emotion threaded into this track from the concept to the performance, and you really feel “Breathe” on a sensory level that’s unique to the song.

“More Than Glory” is up there too!  I’m happy for BAR to be back on a good run at this point in the record.  Let’s be real here y’all – twenty-five songs is a monumental challenge to pull off, no matter who you are.  If you can come out with more than half being impressive, that’s an achievement.  “More Than Glory” opts for more of a traditional singing approach rather than rapping things out, and it’s a smart move on behalf of BAR.  Luck has detailed many of his struggles to walk a righteous path throughout the course of the songs on this record when he’s not goin’ on about his dick or the drugs he’s used, but perhaps never more effectively than what you’ll hear on “More Than Glory.”  The melody works, the performance is powerfully moving and sincere, it’s insightful on a lyrical level…yeah…I’m extremely pleased with “More Than Glory” and feel like this was always a bright spot whenever this came back on again in rotation.  Solid hooks…production is on…and it all feels like it’s remarkably organic and natural.

Mmm!  Tasty!  When Black Astronaut Records goes on a solid run, that’s always a great thing.  With another cut in the win column, “About A Dollar” is another example of how the most focused writing from Charles Luck can lead to some of the most effective results.  A track that is kind of based in the whole yin-yang of the universe, it’s like “About A Dollar” is based in both the good and the bad, but with the understanding that these things need each other if we’re going to have some kind of balance in this universe we’re floating around in.  This is pure, unfiltered Hip-Hop at its finest though…this much I know for a fact…as to what “About A Dollar” is really all about, I’m sure theories will vary.  Great mix on the music, great pairing with the vocals…this is like BAR’s expansion into conscious Hip-Hop, whereby the hooks are okay, but they were never going to be the main draw, you feel me?  Don’t get it twisted, the hooks are memorable and they do make a positive impression on us as we listen, but when you hear how much quality is flowing from the lefts to the rights as the verses are spit, it’s kinda beyond compare.  You will not find me complaining about this track though – “About A Dollar” is up there with the best on 39 Charles Street as BAR continues to fortify the last third of the record with some really great material.

I’m gonna put “Apologize” in the same box that I put “Ponds Of Sound” however.  I’m sad that the run of amazingness has to come to an end, but I gotta do what I do and call things as I hear’em.  This is another track that is still incubating and not quite ready to have hatched…and that’s a little disappointing when you consider the immense potential it has.  Just like how I felt about “Ponds Of Sound,” there’s a very good chance that with a little more confidence, flair, and polish, “Apologize” becomes one of the most accessible tracks that BAR has in its catalog…because hell yeah, I can absolutely hear how people would love this song.  The music is alright, but the vocals are further away than Luck might possibly realize this time around, and it needs to have another spin in the studio booth to get the maximum potential outta his song/his  singer.  On a technical front…Charles…c’mon man…how you gonna leave us with a minute’s worth of blank space at the end of “Apologize” bro?  If there’s anything to “Apologize” for, it’s that!  No reason stuff like that can’t easily be tightened up after the fact…but yes, it makes for a weird listening experience when the music just goes dead around the 2:50 mark and we get to ride with that for the next sixty some-odd seconds to follow.  Other than that stuff though…don’t get main message confused here…BAR’s definitely onto something with “Apologize,” but it still needs some work under the hood, in my opinion.  The main hooks could be refined into a very single-worthy type of songs if it’s all done right.

“Premier” has an interesting point of view to it.  I’m well on the outside of religion and faith-based stuff at this point in my own life, but it’s always been interesting how people interpret the ol’ good book and such.  Here, Luck makes the argument that he can be drinkin’ as many beers and essentially do whatever he wants, because God should understand that, right?  On the one hand, I completely agree – if God was an actual thing, and he/she created everything on this planet, then sure, he should find a way to understand all the crazy shit we do to ourselves.  That being said, if we’re to suppose that God is not real, then just saying that whatever the omnipotent being is that’s in charge of our lives will just ‘get it’ because we are who we are, is somewhat suggesting that we don’t have to take accountability or try to change for the better.  So…yeah…don’t get me wrong, I don’t have a stake in this fight whatsoever, but I do find it interesting to hear Luck’s perspective on religion…it’s like he feels a bit of guilt for not being everything the typical Christian would usually be, but if he’s “Premier,” he’s got nothing to worry about.  It’s another good example of BAR going in a bit more of a serious direction, and how effective that is.  I like thought-provoking material personally, and “Premier” makes you consider some existential stuff.

Heck yeah – I’m all about “Garden Of Eden (Needs Verse 2)” – at least at the beginning.  From the point of the hooks on forward…I definitely have questions.  As far as the Diddy reference is concerned…I’ll just let that sleeping dog lie and keep this moving.  So look…the music, is awesome – I might very well put this beat up there with some of my favorite sounds on the whole record.  The verse that it has, is solid.  The hooks…man…I am practically beside myself here, wondering wtf I’m doing with my life right now.  Here’s the reality…sometimes you can do things in a stylistic way, as in, coloring outside of the lines – that CAN be memorable, it can lead to uniqueness, and even artistic breakthroughs that couldn’t be achieved by just doing everything normally – that’s all been proven in many careers & catalogs out there.  Off-kilter singing, has even been a thing…and in rare instances, it has even made us reconsider what we think we know about music to expand our sonic palette to accept different things than what we’re used to – but that’s in the best of circumstances.  If you’re missing the mark tone-wise, more often than not, it’s simply going to come across as lazy, beyond what the singer is capable of, or rushed.  I don’t know which of those scenarios becomes the more acceptable one?  To me, none of them are.  What’s extremely perplexing to me, is that Charles knows what does and doesn’t sound right…and the massive difference between the quality in the verses, versus the quality of the hooks, is something every one of us can hear.  And what’s this “Needs Verse 2” crap?  You mean like, as in, the song’s NOT ready?

For as long as it has been since we last featured Black Astronaut Records on our site, you kind of have to assume that the next time you hear something, all those kinks have been ironed out.  Case in-point, aside from the warbling production on “Today’s Decay Version 2,” there’s a pretty damn good song here.  So…again…what’s the reason for that/why’s the rush now after so long?  There are times like this, where you hear a song that would appeal to SO MANY PEOPLE for SO MANY REASONS…and it just makes me shake my head a little.  I’m in the trenches of the independent music scene – I KNOW that there are very few, if any, situations where the suits and ties are poking you in the ass with a sharp stick to get that next record to come out.  So don’t rush.  Don’t settle for 95% of the way there, because it’s the 5% you left on the table that you’ll continue to hear forevermore.  When I listen to “Today’s Decay Version 2,” I KNOW that Luck has got all the right pieces in place, and a great featured guest in P.S. as well.  Could it be just that much sharper and clearer in its mix…so much so, that’d it’d give this song an even larger degree of universal accessibility?  Honestly, yes.  It’s not far off if I’m being truthful with you, but to be that close and not go the whole way…I mean…you didn’t come this far just to come this far, did you Mr. Luck?  Polish this one up…get the air out of it…I think if you do that, you’ve got a hit here.  Because c’mon…the personality on the track is gold already, but those main hooks are all-out irresistible.

Bookending this record with another appearance by Tino Red at the end for the finale, which uses a sample from the Arcade Fire in the mix for ya, “Just A Lie” is an excellent song to finish things up on.  What can I say?  Adding a little something Canadian usually goes a long, long way when it comes to the quality of anything…but hey, maybe I’m a little less objective when it comes to that particular issue.  I like this a lot though – I love the fact that it’s not like BAR just borrowed the hook from the Arcade Fire, but used the melody for their own unique creation in their own way – honestly, it’s brilliant.  Tino’s performance is right on the money…the music is excellent…the mix is on…the melody is there, and so is the message in this final track as well.  Adapting a hook like this, and the music that comes with it, is by no means just an easy thing to do – it still needs to FIT…and this seems like it’s about as seamless of a fit as there could ever be.  If it has seemed like I’ve been tough on Black Astronaut Records along the way, you’re right – I have been…we challenge art here and help shape champions of the independent music scene…but the purpose behind any criticism I ever laid out in this article, is purely because I know this project is capable of greatness in ways that others just aren’t.  I don’t know that we get to hear that as much as Charles might have hoped throughout the course of listening to 39 Charles Street, but what’s gold is undeniable.  When things go perfectly, like they do here at the end on “Just A Lie,” every set of ears can hear that.  When things don’t…make no mistake, we can hear things going sideways just as easily…and I suppose the key is avoiding that as best we can.  BAR is willing to take a whole lot of swings, and ultimately that matters.  You might very well miss a whole bunch in the process, but what you hit, ends up right outta the park.  39 Charles Street is bit uneven overall, but there’s no doubt that what’s good here, is great.

Find out more about Black Astronaut Records from this multi-link here:  https://linktr.ee/CharlesLuck

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