“Moonglow”

By Illphonics

Reviewed by Allen Fennewald

Illphonics threw down their gauntlets as lords of the St. Louis scene with 2021’s “Moonglow”, a well-rounded piece of hip hop full of grit, encouragement and some terrific instrumentals.

This mosaic-minded record offers somber soliloquies and uplifting pep talks, hard-ass guitar riffs and angelic piano progressions. The ups and downs are carefully arranged for a near-cinematic experience, all on top of some jumping percussion that brings life to every track.

The six-piece is notorious for their musical range, never hanging on to one genre for long. Larry Morris, the group’s emcee, said that’s one of the things that sets them apart in the scene.

“Yes, we are a hip-hop-based band because we are a part of the hip-hop generation,” he said. “But we come from homes that listen to music ranging from gospel to jazz fusion. So for us, good music is good music, and we pour from all directions to create the music that we make today. And this current album shows that we are still on that trajectory and growing as human beings and artists.”

Each of the four original members contributed a couple song ideas for the record, which the team had plenty of time to help refine over the course of the past year, adding to the sense of companionship laden throughout the track list.

The band also produced the entire album among themselves, a badass move to follow up their last album, “Work”, produced by the famous Tony Viconti.

I honestly think they’ve topped themselves with this one. You don’t miss the outside production. This album was by the band and for the fans.

“This album was produced by us,” Larry said. “We all work together to put the songs together—no outside producers. We sometimes get input from our engineer Justin L Fisher. But as far as the overall production is us.”

Larry said everyone takes part in all aspects of songwriting. For example, he helps the instrumentalists lay out song structures, and they help him play with lyrical themes and put together a solid chorus.

“We are very much a band in totality,” Larry said. “It’s not an emcee with the band, but we are an equal group. So we all work together to make the songs as best as possible. There are even some tracks that I’m doing percussion on. Everybody plays a part.”

It’s been a long ride since the guys started performing damn near two decades ago at the now defunct Natural Fact Deli. Even longer since Larry met Kevin Koehler in audio engineering school, or bassist Simon Chervitz and the keyboardist Chaz Brew started playing together in their school’s jazz combo. A lot’s happened since they opened for The Roots at Webster U. But eight albums later, their fire has only grown hotter, and the music is all that much better for their time together.

And you’ll even be able to hear it live, because Illphonics is back on stages and ready to make up for their time away. Make sure to catch their next performance at the Grand Center Arts District for the 2021 Music At The Intersection Festival that will be held on Saturday, September 11th, at noon! CLICK HERE for more info!

Larry said it’s great to be performing again after a year spent perfecting the album.

While they’d begun the process before the pandemic began, they took the lockdowns as an unavoidable opportunity to perfect the record before bringing it to the public. “Proper planning leads to premium performance,” Larry said.

Now, they’re ready to take it on the road.

“Moonglow”, the album’s title track, begins with a ghostly trebled guitar. Its chords are picked out string by string with a haunting presence that rounds out to a dissonantly wrenching harmony. It ends the measure with an element of danger.

The rest of the band breaks in after a booming fill by new drummer Jarren Garrett making room for a weeping violin to rise over the mix. The long-drawn strings provide a drifting feeling atop the churning of the high hat, like swaying back and forth in a massive concert audience — lighters up.

Larry comes in on the mic, laying down the record’s themes of individuality and perseverance.

There’s no facades in the night, it just is what it is
External light show, if you’re one hundred percent
Internal lights glow when it’s blackest of pitch
Can’t hide in the dark when the sunlight hits
It’s darkest before the dawn, with survival you’ll learn
How to maneuver smarter when it’s night times turn
No whistle in the dark and show no cracks in your shield
Cause what you won’t do to survive there’s somebody who is

The break comes with a cymbal splash, as the toms fill in the space left empty but for some moaning synthesizer chords, leaving plenty of space to highlight the song’s big anti-hero statement.

You can save the day, I’d rather take the moon

“Kobe” is, as one would expect, a tribute to the one and only, written shortly after his tragic death in a helicopter crash.

The music is soft, yet driving, like a bevy of doves beating their wings into the sky. The keys carry the melody, tickling coo-soft. Backup vocalists ooh and ahh like the winds.

The message takes queues from Kobe’s spirit and work ethic, pushing listeners to keep on the grind and take their best shot at their dreams before they fade into regrets.

The refrain rings:

You gotta get up, get out, work hard and go get it
You gotta take your shot, ain’t nobody gonna give it
Don’t let it fade away

No lie, “My Wave” was the track I’d been waiting for.

As soon as the distorted alt-rock guitar comes in, you know you’re in for a dirty little banger. Larry said it’s been the craziest track on the album to play live. You’ll understand why the audience would get hyped for this one. It’s got RTJ/RATM energy, with that “Fuck it, let’s go” mentality.

The beat comes in fit to break your neck. The riff is nasty with high-powered chords. The snare slaps like a smack to the ass and you feel the bass in your guts.

Larry saddles up and rides the beat to Hell and back like Killer Mike charging in on The White Horse of War.

Behold, I bestow
Mind, body, my deep soul
That tree though is mean, ho
Your brain washed, not clean though
Get steam rolled, your feet cold
No recode, like zero
Yeah eight-footed, ya’ll beat roll
Couldn’t walk a day in my chinos

The guitar solo screams over the refrain with long-bended notes that bleed into the vocals:

I’m making my way
Got one foot in the grave
At the end of the day,
I’m going to do it my way
And you can’t tell me to change

Tracks like “My Wave” serve as statement pieces for the album — these guys make music to uplift their fans and themselves, not to chase fame.

“In this day and age is easy to get caught up in trying to make art that everybody likes at the cost of yourself, so we hope the fans see that we are very, very happy with the type of music we create,” Larry said.

“Sexy Carmel Drizzle” is… well, the name says it all.

It’s THAT time again — “Pour Some Sugar on Me” with a new flavor, a nice slow beat and all the funky synthesizer.

Make sure to peep the music video 👀

The vocals are soft and sensual on the chorus, just begging for some of those caramel drips. Larry lays down the situation on the verses, chatting up his lover like he’s trying to get a free double dip at the kissing booth.

You’re such a gift, your beauty is too grand
To the ones that missed out, I’m sorry, that’s too bad.

“Level Up” is another smooth jam, with an ear-twinkling six-string, heartbeat kick drum and a low, low bass that rumbles your bones. It’s got that “If I Ruled the World” vibe.

Illphonics hopes those who struggled during the pandemic can get some solace and inspiration from this one.

This pick-me-up track offers encouragement to guide the listener through the hard times — “Started from the Bottom” still on the rise — trying to get their heads above water.

Step in the mirror and look at the image
Just deciding you already winning, none of us without a blemish
Shit that happened, really, that’s a given
Don’t you stop if you are on a mission, you’re your only competition
Just remember we gonna get there
Even though we all know that this world ain’t a bit fair
Stand tall and don’t get scared
Keep swimming toward the light, you gonna get air.

“No Mas” is about redemption and perseverance. It begins with an organ melody set over a piano progression. A crowd cheers in the background. It feels like Elton John’s about to sing an encore ballad at a stadium show.

The chorus comes first, a harmony pretty enough for a church choir… but with a little more cussing.

So many numbers I can choose from, but I choose one
Won’t sugar coat shit, or bite my tongue no mas, no mas, no mas

Larry jumps in and pushes the pace of the piano, adding energy that’s matched with a screaming organ.

Winner’s mentality, no less than
Heart on your sleeve, loyalty x-ed on your chest, fam
You been utility, no flex, fam
More competent than all their starters, plus the best man, promise

The guitarist really gets his time to shine on the back end of this number, laying into the progression. Biting licks flow from one to the next with a glistening tone that sounds like the moonlight feels on your skin.

“No Saviors” is probably my other favorite track on this album. It continues the theme of perseverance, but comes at it with a realist’s perspective.

Larry brings a soft, singing voice to the verses, giving the song a welcoming atmosphere over the splashy drums and ascendant piano.

I’m told to have faith, I do agree that it’s true
It’s my faith in what I do that I’m not waiting on you
Him, her, or they, we’re all standing right here
What better time than now to make our destiny clear?

The chorus lays down what I would consider the takeaway anthem from this album. You can hope for some deus ex machina, but there’s probably no St. Louis superhero coming to save the day. It’s on us.

Ain’t saying I can change the world, just want to save what’s here
From this anger, no angels, no saviors here
And they may appear, but if they don’t it’s on us

Alright — shit got heavy there for a while. It’s time get weird before Illphonics sets you on your merry way. This one will be insane to experience at a packed show.

The beat jumps in with a big drum intro. It moves right into a strange groove that you feel in your spine, like Cyprus Hill cranked the BPMs up. With a name like “Vorhees”, I was waiting for someone like Aesop Rock to break in for a verse.

The instrumentals get a chance to shine on this one with a big instrumental breakdown featuring the crunchiest guitar solo you ever did hear.

The bassist lets his fingers go to work, running down some badass lines — slapping, popping and grooving like Bootsy Collins. It feels like he’s been itching to let that out all album.

And let’s not leave out the drummer, who rattles into the solo with an ah-rat-tat snare roll and pushes right into a beastly tom fill before the band effortlessly move back into the bridge, featuring the apt refrain, Kill ‘em, because they’re killing it.

Larry wraps things up with massacre of a verse to take home with you, if you made it out alive.

Illphonics has set their own course with Moonglow, creating a complete DIY record with all of the skill and execution of their work with major producers. A matured but rowdy voice in the St. Louis music scene, they’re looking forward to new shows, tours and fans as they spread a little music through the moonlight.

If you like what you heard, make sure to give Moonglow a listen and watch out for Illphonics in your area. They’re planning more regional shows and a major tour for 2022 and much more to come.

“Our goal is to make sure that for years to come, you will be able to engage with your phonics not just musically but in many other ways,” Larry said.

ALBUM REVIEW: Illphonics' "Moonglow"