Producer and Artist Black Noi$e Surrenders to the “Oblivion” of Darkness
Black Noi$e is the first artist/producer to officially join and sign to the rapper, Earl Sweatshirt’s, independent label, Tan Cressida. Black Noi$e’s first contribution to the label is the release of his brand new album “Oblivion” which possesses features from Earl Sweatshirt himself, Danny Brown, Bbbymutha – and many more.
Black Noi$e is quite a symbolic name for this artist – his tone and sound-reflecting a static, ominously dark approach to music. Black Noi$e is a culmination of jazz fusion, electronic, and Neo-soul woven together seamlessly. “Oblivion” is an incredibly experimental approach to making music, arising from the departure of being confined by mere genres and devoid of needing to be understood.
Black Noi$e seems to also have similar qualities that reside deeply within Sweatshirt as an artist – this ease and acceptance of allowing for their music to speak for itself are being shared. Both artists are fully giving into the prospect of being misunderstood by others.
Black Noi$e is able to embrace the act of surrendering the lack of control he has in terms of other’s thoughts and judgment on his highly eccentric, unprecedented sound that he delivers. However, this act of surrendering to oblivion goes much deeper than just letting go of the fact that you can’t sway how others will perceive and think of you once the music is released.
“Oblivion” is a surrender to the darkness that resides in all of us – our demons, our ability to be toxic, our need to cope through cultivating a dangerous relationship with drugs.
Black Noi$e sometimes brings out this demonic energy by sometimes just indulging in pure instrumental tracks. The first two tracks off of “Oblivion” are entirely beats, just straight noise. The intro track, “14 Trillion,” and the following track, “Sorry,” are as if white noise machines are lingering in the background, then tainted with an air of darkness.
The sound Black Noi$e elicits in these beats mimics a sensation of falling into a black hole – the oblivion. “Oblivion” is the act of repenting one’s sins – a metaphor for mourning and for dark entities to take center stage. We have a tendency to not see the balance of light and dark that resides within us all and within the world.
The balance of demonic and angelic energy is what Black Noi$e brings to the surface. This concept of time as a balancing act is also being referenced multiple times throughout “Oblivion.”
On the track “Mutha Magic,” featuring rapper Bbymutha spits on being “too old” for demons, feeling too old to be giving in to temptations and fear. The concept of aging is often associated with the presence of wisdom being gifted – that if we are older and our youth stays immortalized then our growth has consequently been stunted.
On the track “Bonnie & Clyde,” featuring rapper Zelooperz, the codependent relationship between demons and drugs is being illuminated. Black Noi$e is dedicated to exposing the darker entities through the artists he chooses to collaborate with – through his freedom that he allows himself to explore sonically.
Black Noi$e is attaining the freedom that “Oblivion” is so desperately calling for, by not being dictated by the confinements of staying within one genre or clinging onto commercial appeal.
The last track off the album, “Dragon Dance,” features soulful vocals from artist Cousin Mouth. He ends the album by relating drugs back to a loss of time, loss of innocence. A fear of not learning from one’s downfalls by being too lost in the oblivion of it all is being dis-tombed.
This beat is doused in jazzy piano keys and Mouth’s words are highlighted as he sings hauntingly, “I’m too old for these drugs.” He admits that this dance he has been carrying out with drugs has his feat worn out and tired. He is unable to continue to glide across the floor, unable to keep dancing without a care in the world.
The album ends with an inner knowing that this cycle of darkness has gone on for too long, that it must be put to rest. “Oblivion” ends with the possibility of outgrowing one’s own shadows because eventually, the sun will go downtime is calling.
Black Noi$e’s dedication to free-falling into the oblivion throughout the process of making is music is quite apparent. He is driven by following an emotion or thought – letting that take the wheel and not being blindsided by potential stop signs that might make an appearance.
Through Black Noi$e’s ability to surrender to the oblivion of darkness – he is able to attain a sense of realization after experiencing intense moments of detachment. He reaches a profound sense of clarity by the end of the album – and just like that the oblivion of it all slowly starts to be dismantled.
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