Lyrical gunslinger Bruce Pandolfo, who records and performs under the moniker AllOne, created the animated music video for his compelling two-city story “Don’t We?” (feat. Brian Kjellgren from Sargasm). ”
AllOne evokes the dreamlike landscapes of two characters with its unique blend of speedy delivery and talent for storytelling. Bri Martinsen, whose animation illustrates these two worlds, transports a man to a sunny countryside, with a general store with vivid details. AllOne’s lyrics wake up all scenes as the clerk “gently growls orders to rampage grandchildren,” his hair visibly “less pepper than salt” atop a mind saturated with “sepia tales” from the years gone by. With musty air and jars of candy dusty to the touch, the scene is pure beauty in the seductive but wandering mind of an urban taxi driver, slouched behind the wheel day after day in the noisy city traffic. .
After a graceful chorus sung by Brian Kjellgren of Sargasm, the taxi driver’s fantasy is another man’s reality. Changing her perspective, the underground star poetically raps the bustling taxis and tourists cluttering the sidewalks, bumping the shoulders of page and screen stars. Street artists, novelists, jazz musicians, comedians, all under “a billion blinding iron giant eyes” crossing “modern monoliths that shape Metropolis”. Man confined to a city-dweller’s dreamy rural landscape aspires to live among the raccoon-eyed “sardonic sardine population” of his counterpart’s town.
” Is not it ? Is a grass that is always greener, said Pandolfo. “The power of daydreaming and the fact that there is always someone out there who wants the thing that bothers you or wants to get away from you.” The writing was the opportunity to take place in the scenery of paintings and images, almost a series of sketches. I loved the idea of the music representing the bucolic imagery as well as the metropolitan landscape. Conscious Robot did an amazing job, it was one of the few songs on the album where conducting started with me and already having a song written and structured and giving them direction to compose around it. The chorus is sung by my friend Brian Kjellgren of the Long Island metal band Sargasm.
Emotionauts is AllOne’s eighth album in total, quenches fans’ thirst after a five-year wait for a full follow-up to 2016’s I’ve Been Thinking… But for the artist and his fans, the album is worth it to wait. AllOne tackles the struggles of codependency, unrequited love, suicidal depression and ADHD. It expresses the pain of feeling like an outsider, delves into the crippling uncertainty of youth that lingers into adulthood, and steps back to explore the vastness of the universe.
Long Island-based rapper, slam poet, and songwriter Bruce Pandolfo has spent countless hours studying the craft of MCing, and now is the time to take the plunge, whether the trigger cord is working or not. But it was not a reckless project. Pandolfo is nothing if not meticulous about the placement of each syllable in his dense and fast rhymes. He understands that there comes a time when, creatively speaking, you just have to risk falling face down on the ground.
“I always feel like I can fall on my face with that,” he laughed. “But at this point, I’m not sure if I would feel comfortable without that level of uncertainty. There is such a great spark of creativity in all that tension that comes with it.
His career was born from such a leap into uncertainty. In his sophomore year in high school, Pandolfo took his notebook to a cafe, and surrounded by seasoned poets who were all in their sixties, he took his place at the microphone and gave it a try. He has never looked back since.
An avid reader since childhood whose father was a rock guitarist, Pandolfo has nevertheless continued to enter unfamiliar arenas: hip hop, slam poetry, jamming with other musicians and (more recently) production and music. arrangement were all somewhat foreign territory to him when he discovered them, but he jumped in with both feet and every step. He also, over a period of 8 albums and 4 EP, broadened the concept of DIY so that it no longer stops at the artist. Part of the AllOne mission is to make the listener feel encouraged to come out and do it themselves.
Pandolfo’s musical journey begins as a teenager immersed in the cerebral end of the punk pool:
“My mother,” he explained, “encouraged reading so much that I still do it voraciously now. So my life has always been defined by words. Even the pre-hip hop music that appealed to me was from very lyrical groups like Bad Religion. I have always been fascinated by how lyrical composition can completely transform a genre. You take a piece of music that you can immediately have all of these assumptions about because it’s easy to identify in certain genre settings, but then you do something more ingenious with the words, and then you change that piece from music almost on an alchemical level. So when I got into rap music, I was naturally magnetized by people doing it on such an articulate level that I couldn’t help but be blown away and fall in love with his genius.
So it was by chance – it actually changed Pandolfo’s fate – that Epitaph Records began to feature cutting-edge hip hop artists like Sage Francis, Atmosphere and Eyedea & Abilities on their annual Punk-O-Rama compilations at the early 2000s. Pandolfo’s path was marked out. From there he delved into slam poetry, which then led to collaborations with Long Island musicians documented in AllOne’s debut in 2010 Coal Aberrations. Since then he has worked with a variety of different producers and instrumentalists, tending to organize each release according to a unifying theme, so that the subject matter and the musical presentation contrast significantly from one release to the next. Yet even when he immersed himself in the gory world of real crime on his 2017 EP Dusty Records, the common thread has always been Pandolfo’s compelling appeal to be a constructive force. Even when writing from a murderer’s point of view, say, the point is to inspire and motivate (no surprise from an artist who has the words “keep growing” tattooed on a front. arm and “cross” on the other).
It is clear through Emotionauts that Pandolfo has upped his lyrical prowess to deliver his most completed work to date. He wastes no time expressing the deepest struggles he suffers during the opening of “Thought Ballon Aeronaut”, then turns to offer help to others with anxiety and depression. suicidal, urging them to seek community in niche spaces on “Left Field Day”. Whether it’s reflecting on the ever complicated world of love on “Heart Syncing” or delivering heart-wrenching and striking honesty throughout “Anodyne as Oblivion,” fans can expect Pandolfo s ‘stick to his strengths as a master of words as comfortable with a microphone as he is. his faithful typewriter.
The spacious and experimental musicality of Conscious Robot makes it necessary to listen to many Emotionauts. “It’s the most solid relationship and interactivity I have ever had with a producer,” Pandolfo said. “So this is really the first time that I feel like I’m not just adding my voice above the music. There is musicality and a progressive quality with Conscious Robot that hasn’t always been there in some of the more lo-fi boom-bap stuff I’ve rapped on. I love this stuff, but it tends to have a uniform feel.
With first rap guest Kavi, songwriter Laurie Anne Creus, poet and singer Marie Polaris, guitarist and metal singer Brian Kjellgren and singer / songwriter Necter Sam Raia, Emotionautus has the most collaborations of all of the feature films. AllOne footage to date.