Megaran, Weerd Science, Early Adopted, Skrewtape

Tue, April 12, 2016

Doors: 8:00 pm / Show: 9:00 pm

$12.00 - $14.00

This event is 21 and over

The Pacific Northwest offers pine-lined mountain ridges, picturesque lakes and some of the most serene, uncorrupted beauty that one is likely to find in America. It also offers the ominous grey skies that pervade Seattle and often seep into the pores of its inhabitants. Cody Foster, the artist better known as Sadistik, calls Seattle home and knows the natural splendor as well as he knows the seasonal affective disorder that can carry on long past winter.

From his earliest recordings, Sadistik has used the vocal booth to create emotive etchings of thoughts that pound so furiously on his frontal lobe that they can't help but make their way out of his mouth. His 2008 debut The Balancing Act, produced by Emancipator, showcased a hopeless romantic setting fires in a cold world through tracks such as "Ashes to Ashley" (featuring Mac Lethal) and "Searching For Some Beautiful". Two collaborative efforts would follow in the form of The Art Of Dying, produced by Kid Called Computer, and 2011's explosive Prey For Paralysis record alongside Kristoff Krane and Graham O'Brien.

The elusive beautiful that Sadistik sought on his debut album The Balancing Act is captured sonically on Flowers For My Father and garnished with an array of styles he has experimented with over the past few years. Here we have an emcee unafraid to expose the brooding that robs him of sleep through songs diagramming self-destructive tendencies and the sad sweetness of lovers lost. Such intrepid introspection has seldom been seen since Sage Francis, an artist with whom Sadistik has collaborated, released Personal Journals over a decade ago. A child of the backpack heyday, Sadistik learned from the best the scene had to offer, from the aforementioned Sage and Mac Lethal to the late, great Eyedea. You can hear Eyedea's indelible influence on urgent confessionals such as "Melancholia" and the Cage-assisted "Russian Roulette". That which Eyedea left behind in this world resonates deeply within Sadistik, as he keeps his friend's message of hope and love in the face of adversity alive, and pays touching tribute on "Micheal".

Flowers For My Father, which features guest shots from Astronautalis, Ceschi and Child Actor, marks Sadistik's first solo long player since The Balancing Act and charts his growth in spades. The spoken word close of intro track "Petrichor" foreshadows the open book to come: "I want nothing more than to tear every piece of my flesh off one by one to show you what's been hiding underneath".

Evolving his style to a more synthesized rendition of a signature cinematic Seattle sound, the new album displays a distinct juxtaposition of Sadistik's complex, vulnerable writing with textured, ambient production handled by the likes of Blue Sky Black Death and Kno of CunninLynguists. The result is his most mature and revealing project to date, with lush soundscapes lifting Sadistik's verses from a vast darkness.

Shortly after the release of The Balancing Act, Sadistik's father tragically passed. Never one to shy away from heavy topics or keep his personal life personal, Sadistik wrote Flowers for his late father, choosing to treat each song as an update of what has happened in his life since. This is reflected in writing that delves into depression, heartbreak, optimism and the struggle to make sense of the ever-shifting pieces in the world around him.
Raheem Jarbo, aka Random or Mega Ran. Teacher/Rapper/Hero. People will remember Ran for his daring leap into video game remixing which led to a Capcom cosign, but Random's penchant for storytelling has impressed retro gamers while garnering respect from Hip-Hop's harshest critics. An incredible impromptu "freestyle" MC, Random's unique combination of fantasy and introspective hip-hop has found its way into TV shows, movies, video games, and even coursework at several universities. That's Random.
Weerd Science
Weerd Science
I fell in love with hip-hop when I was 10. Young MC's "Bust a move" was the joint that got it all started for me. Now of course there was some other shit I was into that didn't have the… we'll call it the retro-cool of "Bust a Move" (Salt n Peppa, BBD, ABC, and Vanilla ICE!!!). My first group was a rap quartet called Electric Touch. We were 10 and had a keyboard… "Lets be rappers," we thought! Looking back, it's funny. The group was my brother, Joey Eppard (singer of prog-rock band 3), two kids from the neighborhood, and me. Depending on how you look at it, fortunately or unfortunately—I'm gonna go with fortunately—for music listeners everywhere, Electric Touch never played a show or recorded any music. The group disbanded and for me the next 20 years became a crash course in life, the music biz, drugs, money, and fame. Shit, it was all right there when I was 10. I always saw myself as an MC; or maybe I'm just naturally drawn to the things that people say I can't do. I guess that became the running theme of my life.
My brother and I started a rock band when I was 11. The band 3 (I know, I know… the same name as his band now) was a pop-rock group with sugar sweet choruses and major hooks. All before I had turned 18, we had played the main stage at WOODSTOCK '94 (age 14), signed a management deal with famed Woodstock promoter and owner, Michael Lang, and signed a major label record deal with Universal Records. Pretty awesome, huh? Wait for it… BOOM! …We got dropped from our deal, Michael Lang's brain was fried from years of whatever it was he was doing, and playing WOODSTOCK '94 to over 400,000 people seems like a good idea in theory, but I was so damn nervous I sounded like Michael J. Fox on the drums! (Get it?… from the shaking). Ok, long story short I was never happy in 3 anyway. It was too sweet and saccharine filled for me, so I quit. I'd been writing rhymes for years and always dreamed of making a rap record. I didn't know if it was time to focus on that, but I knew it was time for me to leave 3. Just to give you an idea of how big of a thing this was to my family—my mother threatened to disown me and my father (who was part of the management team) told me I was throwing my life away. They said that we'd get another deal and this was a minor bump in the road. Corny as it sounds, even then I knew I had to follow my heart.

Half a year after leaving 3, and really starting to wonder if my parents were right, I got a call from a friend and bass player of a local band called, Shabutie. He told me that his band wanted to play with me for some time and wanted to know if I was down. I was. I was in the middle of making a record (my first rap record) called Newborn, but was seriously excited to play with Shabutie. God, I can still remember the looks on the faces of my friends when Shabutie played our first show. We were AWFUL! I think we even had to restart a song after messing it up so bad 5 minutes in. We started it from the beginning again and needless to say, people were not stoked! Anyway, while I was into the Newborn record wholeheartedly, I knew we had something with Shabutie, even if we were the only ones who thought so. Again, long story short, Shabutie became Coheed and Cambria, and was signed to a small independent label, Equal Vision Records. As I write, this my two gold records from my 7 years in Coheed hang above me on my wall. And to this day, it's been the corner stone of my career in music.

In 2005, Equal Vision heard some of my rap demos I had made at a friend's house. The entire time I was in Coheed, I was constantly writing rhymes and making demo recordings under the name WEERD SCIENCE. Apparently someone at Equal Vision thought the demos were good enough to release, and obviously I was more than happy to finally put out a record of my raps and beats. That summer, Friends and Nervous Breakdowns was released. Also that summer, I watched Coheed grow and grow till we were selling 25,000 records a week and playing to thousands of screaming fans every night! And while all this was happening—and my dreams were literally coming true—I didn't watch; I hid, and cowered, and lied to myself as a pill 'habit' spun out of control. It eventually led to a full on addiction to any and all opiates. Man, as I write this the phrases, "what the fuck is wrong with you," and my personal favorite, "How could you be so STUPID?" dance through my brain. The next two years are a bit harder to remember. I was using about a thousand dollars worth of prescription pain killers and heroin a day. Oops. I approached drugs with the same zeal and passion I did music and not that I need to tell you, but that's a bad combo brotha. When I think back to the many friends that have died over the years—friends that tried to tell me that I was "doing too much" and to "slow down"—I have what I can only describe as survivor's guilt. Friends that still walk on this Earth are only shells of what they once were and can't find their way out. Damn, this is hard to think about…

I left Coheed in early '07. I was so far gone that I left a two-month European tour on the third day. In only the last two years was I able to admit to myself that it was because I was horribly sick from heroin withdrawal. You know, it's funny… to this day I don't know how much of my unhappiness in Coheed was due to creative differences (and yes, some of it was) or how much of it was chemical. The sad truth is, it was probably 90% the drugs. The other shit could've been a ten-minute talk and been resolved. I sent the singer and front man of Coheed, Claudio, an e-mail at 2:30 a.m. telling him I was done with the band and not coming to rehearsal. Recently, I got to tell Claudio the embarrassing truth that I was so gone from the drugs that when I looked at my phone and saw it was 2:20 a.m., I thought that I had missed rehearsal that was slated for 2:00 p.m. I didn't know what day it was. I saw the date on the phone and thought it was the afternoon. I would block up the windows with towels and stay inside for days at a time. This is when and where I began writing SICK KIDS.

SICK KIDS is real. I began recording it in '08 while still doing the dance of on drugs, off drugs. Now that I've been sober for almost two years, I have thoughts about re-cutting the takes where it's clear to me that I'm high. But then I think, "NO". This is the real story of a man trapped in that darkness. I want to do justice to the struggle of addiction… love, hate, pain, deception, and all the themes on the record. The production team had to endure my on and off drug use and for that, I always feel ashamed. Normal people don't go to the bathroom every fifteen minutes, do they? I doubt it… Anyway, it is all part of the story. It's truly the pinnacle of my creative work. I've never been more proud of or believed in something so much. I feel lucky to not only be alive, but to finally be home where I knew I belonged…at least since I was 10. I make Hip-Hop. I AM WEERD SCIENCE, BITCH.
Early Adopted
Early Adopted is a hip-hop artist from Boston, MA.
Skrewtape is one of the most determined and distinctive emcees to date. His music has been described as "streetwise with a deep side", merging the golden era sound with new age thoughts and ideas. Emerging from South Jersey, Skrewtape has shared stages with world-renowned rap icons Ghostface Killah (Wu-Tang Clan), Raekwon (Wu-Tang Clan), and Cam'ron (Diplomats), as well as underground hip hop legends Shabaam Sahdeeq, El Da Sensei (Artifacts), C-Rayz Walz, Jakk Frost, Wax, and Reef the Lost Cauze. His passion for performing, and his ability to personally connect with fans during his live shows, has helped him to gain increasing recognition throughout the Delaware Valley, namely the burgeoning Philadelphia underground hip-hop scene.

Skrewtape's "Skumbag Millionaires" pays homage to the mixtapes and compilations he grew up listening to (i.e. Soundbombing, Lyricists Lounge and Fat Beats) and features some of those same artists, along with others, both established and up-and-coming. With productions by Mr. Green, known for his "Live From The Streets" web series (Noisey/Vice), the album hosts veteran emcees like Pace Won, Young Zee, Tame One, Copywrite, Thirstin Howl III, C-Rayz Walz, Shabaam Sahdeeq, Milkbone, and Reef the Lost Cauze. The project also includes some rising stars such as Apollo The Great, Rich Quick and Voss to name a few. Skrewtape has collaborated with some of his greatest influences on this LP, and even those considered pioneers in the world of hip-hop music. Skumbag Millionaires will hit the streets in July and will be available via Skrewtape's Bandcamp ( A follow up to Skumbag Millionaires is also in the works with a planned release through Philadelphia via North Carolina label, BIMMG, who carries distribution through Bungalo Records/Universal Music Group
Venue Information:
Kung Fu Necktie
1250 N Front Street
Philadelphia, PA, 19122

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