The origin of "Justice" came about in February of 2020 before the majority of the protests that happened during the pandemic. As a group, late one night in L.A. we were just discussing our issues with the current justice system and administration. So, when we went into the studio the next day, it was easy for us to write. We linked up with producer Zach Jones and we wrote the song in four hours. This not only sparked a great musical relationship between us and Zach for future music to come, but also showed us how much fun we could have writing about something we're so passionate about. Dee literally almost passed out from holding the scream during the bridge trying to get all his energy and anger out during the recording. "Justice" is our anti-racism war cry exemplifying the fear and pain we face as men of color in a broken system. The song speaks for itself and hopefully inspires others to rise up.
Ah, our braggadocious banger. Oxy's giving you all the NYC attitude you could ask for in one song. The history of this song is vast in our archives as it's been rewritten so many times. Originally the song "Vision," then "Green Vision," and then multiple iterations of that version until we got to the one you hear now. We started writing the song, picked the best parts and then continued that until it became what it is. A perfect intersection of rock and new age hip-hop combined.
Produced by John Feldman and Zach Jones. Featuring Jason Aalon Butler of Fever 333. Need we say more? Being in the studio with everyone felt like the Legion of Doom's first meeting on how we're going to take over the world. This song is an anthem for the people who refuse to be boxed in by society's status quo. For the individual who fights to stand up and stand out. The definition of the undefined. Repping New York till we die while giving you the biggest soaring hook we could imagine. Everything for us just clicked in the studio and you could tell how much fun and energy went into making this track. Bars for days, a stadium chorus and Jason screaming his goddamn head off. What more could you want in a song to break the furniture in your living room to?
Our ode to Nineties hip-hop and rock. In a world that so often punishes us for our skin, "Django" is a celebration of our melanin. Black and proud in its most organic form. Break beats, chopped and screwed samples, explosive drums, distorted guitar, and lyrical precision musically exemplifying exactly who we are in a single track. And for those who keep asking, yes, we are aware there is no "D" sound in "Django" according to the Quentin Tarantino movie. It just flowed better with the song, so eat it, haha.
This track pays homage to one of the ancestors and founding fathers of rock & roll, Chuck Berry, who never fully received their flowers, even after death. There are clever lyrical references to Berry's song catalog — most notably the outro which consists of a nod to Berry's "Maybellene." Metaphors connecting hip-hop and rock icons like Nas and Lenny Kravitz seamlessly flowing over what we consider another perfect blending of the two genres. There are elements of metal, blues, and all sub-genres in between, but what stands out the most for us is the use of autotune. For most of the rock world, autotune is frowned upon as a vocal "cheat sheet," but for hip-hop it's a huge expression of the culture and texturally enhances a track. Merging the two only proves how they can not only be in the same space, but how fucking awesome they can sound when done right.
Co-written by Marc Orrell of the Dropkick Murphys, this is actually the first track we wrote for the EP. We wanted to give you fun, we wanted to give you punk, and of course, a guitar solo. This song is about being "othered" everywhere we go and the pressures we often feel to code switch — change our speech, appearance, and demeanor for all the "pretty people" in our industry. We leaned into the positive side of the musical expression to show just how truly happy we are being ourselves. Being free and true to yourself will always prevail over being/doing what's popular. Not to mention, Chris No. 2 of Anti-Flag rounding up the chorus vocals to make this a fucking anthem. Punk rock in its purest form.