From the crummy and rude glory hole bandits of Newark's Penn Station to the cherry blossom lovers found just north of the city, there's a thread that stitches these disparate elements. Kids run across the boulevard as the soundtrack wafts over the streets.  The few bucks forked over to the pregnant lady down on her luck could be the same notes used to cop a flavorful bouquet for a romantic conquest. The triggerman's itchy index is used both to spill rivals and thrill lovers. The Jack Moves are what this sounds like on wax. Painted by a sound reflective of the city’s seaside soul and the Newark Jack Swing played from transistor radios and boom boxes placed on competing window sills, The Jack Moves (Zee Desmondes, Teddy Powell) narrative is artfully carried out on the band's sophomore offering and Everloving debut, Free Money. As with most art created in earnest, the band's music has the ability to occupy spaces beyond its origin city. A vehicle spanning coasts and subcultures, perhaps unintended. Out west, it wouldn't be surprising to hear some Jack Moves ballad billowing from a lowrider during a backseat make-out session. Meanwhile in Japan, their hit song was hawking Big Macs™ at Mickey Deeznuts. The band’s self-titled Wax Poetics debut drew comparisons to "Off the Wall" era Michael Jackson, The Escorts and the Whatnauts. The Jack Moves then hit the road playing supporting dates, traveling the world. From Brixton Academy and Red Rocks Amphitheater, to the strange familiarity of the cherry blossomed avenues of Osaka and Tokyo. And so it should come as something of a surprise that The Jack Moves would record most of their latest material on the fringe of Los Angeles, placing their intrinsically east coast essence into the hands of idiot-shaman and occasional platinum record producer, JP Plunier. But way out west the music was unshackled and this new sound was soul, untethered from the chains of the past. Free Money twists and grooves, chugs and grinds, and sways - a modern, smashed-up hybrid devoid of nostalgic put-ons.  Strangely enough this album could be the bastard child of The Stones “Some Girls” and Drake’s “More Life”. Underneath Powell’s sepia toned soul rhythms, Desmondes' honeyed vocals sing incantations and love letters to unbelievers ("Penn Station"), lovers ("Sunshine," "Red Lights"), ancient beings ("Three The Hard Way") and addicts — both digital and pharmaceutical ("Wantin' You,” "Money Clouds”) — all searching for something: a fix, a fuck, a dollar, a safe place, a friend, a home. Swipe left. Swipe right. Into a tangled void of fear and longing. These are the songs young beat-choppers will be sampling in the post-millennial era.

WEAPONS OF MASS CREATION ​Recapturing the essence of musicality, Weapons of Mass Creation stuns with socially attuned themes draped in genre-melding instrumentation, warm vocals, and Afro-Latino rhythms. Brimming with live saxophone, synths, keyboards, and guitars, the independent family unit’s arrangements meander into the sonic realms of Soul, Cumbia, and R&B. Drawing motifs from film, authors, activists, and daily life, the Anaheim-made collective’s sweeping scope of production exemplifies their multi-dimensional artistry and unbridled creativity. Interweaved with dexterous rhyme schemes, sumptuous harmonies, and culture-shifting lyricism, WOMC’s work is an amalgamation of evocative chronicling and smoothed-out musicianship for the ages. Initially slated as a hip-hop group, the six Franco siblings — Joules (emcee/vocals), Luis (guitar/vocals), Jacob (bass/vocals), Crudo (keyboardist/producer), Moe Budda (drums/emcee/producer), Silas (saxophone/vocals) — joined forces with the Quiñonez brothers — Soli (emcee) and EQ (emcee) — and newcomer Hiiku (synths/producer). They collectively embraced the name "Weapons of Mass Creation," a phrase Jacob used in a poem that highlighted creativity as a weapon to dismantle colonialism.  With many band members the offspring of immigrants, they have each endured their own personal challenges: financial hardships and unemployment, incarceration, mental health issues, and sexual orientation concealment. Breaking generational curses, Weapons of Mass Creation has found healing through music and harness its remarkable power to unite individuals.  Aside from sold-out shows at The Paramount and The Moroccan Lounge, the 9-piece group has showcased their talent at renowned L.A. venues like The Echo, The Ford, and even co-headlined the 101 Festival at the Hollywood Bowl. They were also named The OC Weekly’s “Best Hip Hop Act” in both 2017 and 2019. Garnering editorial nods from esteemed outlets KCET and The LA Times, the group has gained traction gracing stages with seasoned acts like SZA, Smino, Aloe Blacc, DāM-Funk, and DJ Battlecat. WOMC also headlined the Hit The Switches festival (2022), performed at Tropicália (2018), and sold out a string of concerts during their inaugural West Coast Tour.  Their discography includes notable releases such as Labor of Love (2019) and their transformative EP Family Business (2023). As individual members of the group gear up for solo album releases, their forthcoming material as Weapons of Mass Creation aims to create a time-honored catalog against an awe-inspiring and colorful soundscape that will solidify their undoubted longevity.