FATHERS is a jazz quartet from Los Angeles, California comprised of keyboardist Kiefer Shackelford, bassist Ben Carr, drummer Nate Smith & producer Kenny Beats. Almost everyone has an established background in the instrumental hip hop field except from Nate, whose output generally ranges from jazz fusion to jazz-funk & neo-soul. The greatest jazz label of all-time Blue Note Records have decided to bring the band on board for their eponymous full-length debut & only a couple weeks away from Kenny fully producing Rico Nasty’s upcoming 3rd album RX finally seeing the light of day later this month.
“Eye Level” sets things off with a 3 minute intro working in some synthesizers, pianos, drums & bass giving off heavy instrumental hip hop vibes whereas “Patchwork” brings alto saxophonist Nicole McCabe on board for an infectiously bright jazz track that I can imagine hearing at opulent hotel from a complimentary standpoint. The only single “Pearl” experiments with Brazilian pop-jazz & I admire the way they gave it a modern luster just before “Stub” kinda has hypnotically quirkier approach compositionally.
We have FATHERS incorporating some organs for “The Leak” to kick off the 2nd half of their self-titled debut while “Tomorrow, Again” concludes the 3rd quarter bringing a more tropical flare to the table instrumentally enlisting violinist Yasmeen Al-Mazeedi to handle the strings. “Front Yard” comes through with some colorfully rich keys & drums that have a boom bap quality to them while the closer “Figure 8” brings Yasmeen back 1 last time provide a heavenly outro fusing jazz & instrumental hip hop.
I can’t deny Kenny Beats taking the risk of expanding his clientele outside of hip hop by producing Geese’s 4th album Getting Killed last fall & Weezer’s next full-length The Gold Album later this August, so it was interesting to hear him forming FATHERS with 3 other jazz-rooted instrumentalists who’ve already established themselves & I hope this is only the beginning for the band since they improvised a tastefully jazzy instrumental hip hop debut with some occasional funk influences.
Kicking off the 2nd half of 2026 with the 5th studio LP from Atlanta, Georgia recording artist Ken Carson. Breaking out in the SoundCloud scene & becoming a protege of local trailblazer Playboi Carti as one of the first artists to sign to the latter’s Opium Records, he would go on to drop a total of 5 EPs prior to his full-length debut Project X & coming off the mature sophomore effort X which Anthony Fantano infamously gave a 0. Coming off A Great Chaos & More Chaos however, he’s looking to Xperiment a lot more.
Former 17-time WWE world champion, WWE Intercontinental Champion, 5-time WWE United States Champion & 4-time WWE tag team champion John Cena gets referenced on the intro “wheredoistart?” produced by Four3va whereas “deaf note” featuring Playboi Carti finds the 2 detailing their lifestyles. “shadeson” was disappointing since it’s pretty much a remix of “girl” off 2hollis’ major label debut star prior to “gynecologist” making up for it whether it be the instrumental from F1THY of Working on Dying to the lyrics detailing what he’d do if he wasn’t making music.
“wrist” continues from there talking about being in kitchen serving up weight & deceiving a woman into thinking they’re locking in when Ken wants to fuck her friend leading into “edm” addressing the rumors of Xperiment & Cartunez fulfilling his ongoing contractual obligations. “truth” hops over an Art Dealer & Outtatown beat so he can drop a lengthy verse sandwiched between a chorus expressing his sincerest feelings while “outofmybody” talks about being a wireless plug.
As for “the ritual”, we have Ken setting the record straight regarding a woman acting like he’s her man when it’s false & finding a way to always prevail while the “interlude” feels more of a brief freestyle talking about others not being able to reach his high. “ghost” featuring Lil Uzi Vert speeds up the pace instrumentally so both of them can switch shit up for those moving too slowly while “drug kit” featuring Young Thug details being under the influence of drugs over a celebratory beat from DY & Tre Pounds.
“possession” continues the 2nd half of Xperiment on some more rage-inducing vibes talking about raking money in like a bunch of leaves that’ve fallen off branches while the distorted “fw00” discusses having money on his mind & the fact that he’s been setting trends for some time already. “somanybags” hops over another hypertrap instrumental to talk about being so geeked up where he can’t relax while “shopping” featuring Destroy Lonely prepares us for their collab tape trading the mic back-&-forth.
The song “amandabynes” brings some buzzing synthesizers into the picture talking about falling in love with a woman for who she is as a person & her being attracted to his timing but after “amnesia” runs it back with Art Dealer & Outtatown to confess that he forgot the times he’s seen this chick being addressed, “flamethrower” airs out his grievances towards a an ex-girlfriend whom he did so much for yet she still ended up leaving.
“knocking” brings a hypnotically futuristic sound to the table talking about someone he knew since Day 1 who’s changed so much that he doesn’t even have friends anymore while “addiction” references former WWE United States Champion & WWE tag team champion Logan Paul. “wedidit” featuring Playboi Carti concludes our Xperiment referencing current AEW performer/commentator, former 7-time WWE world champion, 11-time WWE Tag Team Champion, WWE Intercontinental Champion, WWE United States Champion & 3-time WWE Hardcore Champion Paul Wight while “Too Many Poles” talks about his stick having no switch over a Clayco beat.
Starting the deluxe run, “scrape” continues to rage looking to shake up the blocks while “swag jack” details the kind of people who steal others’ style & claim it to be their own. “off a bean” responds to those claimin’ he’s gotten cocky when he’s hustled for everything he has while “rare creature” talks about locking in differently & others including him not knowing what to do with the kind of money he makes.
“$50k” maintains the core components of hypertrap only carrying that much money on him while “roxy reynolds” featuring Destroy Lonely provides us another dosage of what we can expect out of the 00Twinz tape over a 2hollis instrumental. “005” talks about Opium being his lifestyle & after “eaters” warns of preparing to untuck the heater he’s been carrying, “9 bitches” featuring ApolloRed1 disses 9 Vicious.
OsamaSon appears on the rage-inducing “vamp city” going bananas with the clips restricting all phones & cameras while “fake news” talks about all these muhfuckas being fraudulent goons. “disturbing the peace” shouts out Ludacris’ vanity label distributed by Def Jam Recordings while the final bonus track “yvngvmp” celebrates making out of the hood & talks about having a bunch of gangstas in his camp.
Even if it’s not quite experimental as I hoped it would be, Xperiment could still debatably surpass A Great Chaos to become Ken Carson’s greatest full-length & it has me wondering whether or not Cartunez next Friday will join either of those albums in that same conversation. Excluding a small handful of songs that I felt were pointless, rage/trap production’s less watered down than More Chaos last spring & there’s a tight guest list.
The Minyo Crusaders are a min’yō band from Fussa City, Tokyo, Japan consisting of guitarist 田中克海, saxophonist 大沢広一郎, percussionist 小林ムツミ, timbalero イデ ソノオ, trumpeter 山内ステファン, conguero Irochi, keyboardist Moe & vocalist フレディ塚本. Dropping their full-length studio debut Echoes of Japan in 2017 followed by the 2023 sophomore effort Tour of Japan, they have since signed to Blue Note Records & are making their debut for the greatest jazz label of all-time with the Crusaders’ 3rd studio LP.
“北海盆唄” begins with a rendition of a vulgar coalminer’s song originating in Hokkaido that was eventually rewritten in the 1940s containing a bit of a Latin twist to it whereas “こきりこ節” by Minyo Cumbiero comes through with a cumbia colombiana/tropicanibalismo spin on the oldest Japanese folk song. “花笠音頭” also by Minyo Cumbiero blends both ensemble’s styles again for an ode to the community dance originating in the Yamagata Prefecture while “下津井節” covers track dating back to the Edo period.
Kicking off the 2nd half, we have [朝倉さや] joining the Crusaders for the single “朝倉さや” reintroducing another cut from the Edo period except it was conceived in the Shimane Prefecture leading into another work song “木山音頭” during the construction of Imabari Castle being modernized for newer generations. “ワイド節” featuring 元ちとせ unites for a cover of the Amami Islands’ famous min’yō track synonymous with bullfighting & “伊予万才” ends From Japan with Love renditioning a humorous song written back in the 17th century.
Forming back in 2011 with the goal of making min’yō more international by incorporating rhythms from Latin as well as African & Caribbean music, the Minyo Crusaders’ debut for Blue Note Records surpasses both of it’s predecessors to become the most vibrant statement of their existence by rooting From Japan with Love in the passionate respect they’ve always had for Japanese folk & it’s ability of resonating across multiple cultures.
Nduduzo Makhathini is a 42 year old pianist & philosopher from Umgungundlovu, Pietermaritzburg, KwaZulu-Natal, South Africa who dropped his first 7 studio LPs through his own imprint Gundu Entertainment prior to the greatest jazz label of all-time Blue Note Records signing him for Modes of Communication: Letters From the Underworlds as well as In the Spirit of Ntu & uNomkhubulwane. All of which have elevated his spiritual afro-jazz sound & went into his 11th album expecting him to do the same.
“Kuzodlula” by Robin Fassie kicks things off with a vocal jazz intro encouraging everyone to relax for the reason of everything eventually passing whereas “Imvunge KaNtu” recruits bassist Dalisu Ndlazi & drummer Lukmil Pérez for a hard bop tribute to the Bantu philosophy. “Kwamabili” lets Lukmil take a backseat so Nduduzo & Dalisu can instrumentally shine together for a few minutes just before the 4th & final single “Unembeza” combines elements of gospel & South African music.
The 3rd single “Liyoze Line Nangakith” has flautist Shabaka Hutchings joining the pianist & bassist for a hymn to the blessings that accompany rain while “What People Say” by Nduduzo’s wife Omagugu takes the vocal jazz route once more mediating on the creation of myths. “Primordial Egg” enlists Ayanda Sikade on the cymbals for a rubato jam complimenting the keys & bass leading into “Ekuqaleni” reaching the halfway point with a composition themed around the Zulu creation using synths & a vocoder.
Muneyi takes the microphone for “Ḽiṅwalo ḽa Mubebi” embracing a vocal jazz vibe again describing fatherly love while “Umbono” brings guitarist Keenan Ahrends on board so Nduduzo himself can sing about our 6th senses. “Tethered” by Thando Zide succeeding the “Ḽiṅwalo ḽa Mubebi” reprise experiments with neo-soul pitting the inevitability of love against the inability to gauge our emotional entanglement when somebody’s deeply in love.
“Ongaphesheya” gets the 4th quarter of The Myth We Choose going by having these calming piano chords predominantly taking the spotlight with some bass licks from Dalisu backing them but after Black Coffee’s stunning remix of “What People Say” that I’d consider equal to the original & the “Kuzodlula” reprise, “Zimthilili” sends off the album by bringing Ayanda Sikade back on drums so Nduduzo can vocally perform 1 last time singing about love over hypnotically rich instrumentation.
All 3 of Nduduzo Makhathini’s previous full-lengths that he’s dropped under Blue Note Records over the course of this decade have individually elevated his spiritual jazz sound & although I’d consider In the Spirit of Ntu to be his magnum opus, The Myth We Choose wouldn’t be too far behind for a close 2nd. He’s challenging the world to examine our individual background taking further inspiration from afro-jazz, spiritual jazz, cape jazz, vocal jazz, hard bop & neo-soul with the help of his son Thingo even if I could’ve done without a couple of the reprises.
Atlanta, Georgia recording artist Diorvsyou continuing to prelude his debut album Soirée with his 7th EP. Coming up in 2021 off his inaugural extended play Scoreboard, it wasn’t until I saw him open up for southsidesilhouette in Brooklyn the following November where I was personally introduced to his music & I was actually impressed with his set. w.t.f.i.dvy? (who the fuck is diorvsyou?) marked a bigger breakthrough for him artistically & returned up from the Ashes almost a year since Diorvsrxlvnd’s eponymous debut. The last several EPs Untitled EP.9 as well as So Cunt. & Paussus.99 have all been received positively, coming off Pre Gamé to drop a sequel under Geffen Records.
“Walk the Plank” produced by n9ck begins with Dior talking about taking both of his double cups on a date & every day being a party for him whereas “Praise the Lorde” gives off a more rage-inducing vibe speaking of buying a bitch & slutting her out. “Marilyn Monroe” hops over a thr6x instrumental talking about coming for the cash but after “Magnolia” detailing him mixing lean with percocets & dismissing copycats for imposters, “Fashion Week” brings some more rage beats in the picture talking about trying to make something rain
As for “Sick”, we’re being treated to a pluggier sound so Dior can discuss the possibility of shooting up a party off beans while “With da Munyun” talks about him acting a fool with all this money he’s earned & using it to break some rules. “Twin” finds himself getting psyched out for a couple minutes & “HoustonCaliLantaVegas” shows his gratitude towards all those cities over a LulRose beat, the closing track “Woke Up Like Dis” ends Pre Gamé 2 referencing the inaugural 4th Rope World Tag Team Champion & 2-time HoG Tag Team Champion Jeff Hardy.
Excluding a few songs that were previously released making their way onto here, Diorvsyou continues to prepare for Soirée by dropping what I’d consider to be Pre Gamé 2 containing some newly recorded material & some older stuff. I can only assume that’s because Pre Gamé 1.5 back in January was a SoundCloud exclusive & Geffen wanted to get paid for the streams, but it doesn’t wane any anticipation I have for the LP whether it comes out this year or not.
This is the 5th extended play from Atlanta, Georgia producer & rapper MexikoDro. A member of the BeatPluggz, he would later embark on a solo career with Down Bad as well as De Mayo & Quatro respectively. In almost a decade he’s also produced tracks for the likes of Maxo Kream, Drake, Bktherula, Smokingskul, Tony Shhnow & Diorvsyou. His full-length debut Still Goin’ under Republic Records last November was widely praised as his finest material yet & Stayed Down looks to continue the momentum.
“Loser” begins with a cloudy trap beat talking about spending his free time these days trying to heal from past trauma whereas “Rest” gives off a dirty south vibe instrumentally explaining that he’s nothing like the rest. “Knuckle” works in some synthesizers talking about how he had to quit so much since he used to struggle just before “To Go” featuring Key Glock finds the pair speaking of picking up the phone whenever money calls them.
Meanwhile on “Down”, we have Dro looking back at the days when no one wanted to help him when he was at his lowest over a plugg beat leading into the triumphant “My Girl” featuring ManMan Savage talking about the women they’re dating being independent since they have their own shit. “Free Flight” admits that he’s been going through some mental health shit lately while “Letter” recalls when his mother used to write him back when he was incarcerated.
“Mail” wraps up the final moments of Stayed Down talking about going from being chased by the cops to going outside to check his mailbox while “Bacardi” describes not thinking the same ever since he made all the money he’s earned over a horn-inflicted trap instrumental. The closing track “Flat Shoals” spends the concluding 2 minutes of the EP talking about picking himself up from the dirt & this girl he’s seeing distancing herself from the Hart County area.
Ever since signing to a major label, MexikoDro has spent nearly 8 months further establishing himself as an artist than merely a producer & Stayed Down dethrones Down Bad to become my new favorite solo EP of his. I’d still love to hear him fully produce an entire body of work by himself, but I respect that he’s continuing to take a backseat in that field & specifically him bringing in a couple features to break up the predecessor’s monotony.
Philadelphia, Pennsylvania rapper & singer/songwriter Tierra Whack has returned for her 2nd mixtape in time for the summer. Breaking out in 2018 off the strength of her debut tape Whack World after signing to Interscope Records, she would go on to drop a trilogy of EPs showcasing her artistry: Rap? as well as Pop? & R&B?. Her full-length debut Worldwide Whack was more moderately received compared to Whack World although I appreciated it for what it was, taking us through Whack’s Museum a couple years later.
“Whack Job” produced by Chris Keys & Conductor Williams breaks the door down responding to the people saying she should rap more whereas “Wax Paper” takes the boom bap route instrumentally talking about feeling too generous at times. “Brazilian Wax” soulfully asks herself why some are intimidated by her presence until “Wiggidy Whack” runs it back with Conductor talking about leaving any & all competitors scorched.
As for “Totem”, we have Tierra embracing some trap vibes so she can discuss getting what she wants leading into “Godda” ending the 1st half returning to the boom bap courtesy of Swaggyono from Working on Dying talking about making some money. “Siren” kicks off the 2nd leg of Whack’s Museum so she can let get a bit more goofier & joyous with her wordplay while “Candle Wax” strips the drums to talk about her going out being herself: Amongst the greatest to ever do it musically.
“Queen’s Crown” retains her signature sense of humor dropping 4 straight verses without a hook over a soul sample while “Earwax” talks about choosing not to play the game despite her knowledge of it over another drumless loop. “215” shouts out the city that made her the person she’s becoming once again getting humorous with her pen & the outro “Flowers” ends Whack’s Museum demanding her props from those who ain’t giving ‘em to her.
Little Simz & Doechii have been widely regarded as some of the greatest women to touch a microphone in recent memory, but Tierra Whack has already proven herself to be in that same category from her Lil Boat 3 feature to her recent appearance on Jill Scott’s latest album To Whom This May Concern several months earlier. Her lyrics are more abstract & occasionally conscious than usual with the production varying between boom bap, jazz rap & pop rap.
Here is the 5th studio LP although his 2nd for a major label from Memphis, Tennessee rapper Key Glock. Notable for being the cousin of the late Young Dolph, he signed to Paper Route Empire in 2017 after his debut mixtape Whole Lotta Errthang & has since released 4 more tapes in addition to an EP & his last 4 full-lengths. The most notable being Glockoma 2 & his previous one Glockaveli. Over a year later since making his debut for Republic Records, Project X has arrived in time for summer.
“Mannish” produced by the late Tay Keith who unexpectedly passed yesterday afternoon opens up with a cloudy trap intro talking about having too many hoes whereas “50 Hoes” flexes that he has bitches in every state over some pianos & hi-hats. “Hardknock” talks about embracing the rockstar lifestyle now that he’s been blowing up over an eerier instrumental while “Face Down” runs it back with Tay Keith again for an effective club anthem.
As for “Big 5”, we have Glock slowing the pace for a groove-heavy cut talking about standing on business every single time leading into “6AM” discusses waking up early in the morning so he can make some bread. “Dummy” acknowledges his continued success over a boisterous Tay Keith beat with co-production from Cubeatz looking to add more commas to his bank account just before “Drug Luv” talks about women being in love with drugs & guys staying bitter.
“Work It” hits us with another club anthem although I don’t think it’s better than “Face Down”, but then “Faded” ends the 1st half of Project Xexperimenting with plugg to talk about getting fucked up. “Sick” kicks off the 2nd leg flexin’ without having to go to the gym over an Honorable C.N.O.T.E. instrumental & making it clear that he ain’t nothing like these bitches while “SRT Muzik” talks about nobody being able to compete with him musically.
Tay Keith returns behind the boards once again for “Benzo” showing off this new Benz that he copped while “Cash Money” pays tribute to Mannie Fresh, who’s certainly underappreciated for architecting the titular Republic imprint’s signature sound 3 decades earlier. “Cherry on Top” talks about poppin’ his shit with confidence over a more psychedelic trap instrumental while “Loco” wasn’t that impressive of a single in my opinion.
“Go” winds down the last few moments of Project X talking about still being the same as he was prior to the fame while “Seeing Red” luxuriously becomes self-aware of needing his medication after fucking around & waking up on the wrong side of the bed. “Houston Flow” nears closer towards the end of the album showing his appreciation for the 713 & the outro “Reminiscing” couldn’t have finished off on a more introspectively reflective note.
Looking to further push himself artistically, Key Glock explores a broader range of southern hip hop styles without abandoning his trap roots & that’s what makes Project X my 2nd favorite entry in the Paper Route Empire’s flagship delegate’s whole discography. Tay Keith’s many contributions are bittersweet to hear considering his tragic death only 24 hours earlier & although I’d like to hear some guests who’re on his level lyrically, I appreciate him continuing to hold the fort down individually.
Olivia Rodrigo is a 23 year old singer/songwriter & actress from Murrieta, California who began acting for The Walt Disney Company in the late 2010s prior to focusing on a musical career & signing to Geffen Records. Her full-length debut Sour solidly explored the perils & discoveries she made when she was 17 & the sophomore effort Guts reflect the process of maturity she experienced toward the end of her adolescence, looking to make a departure with her 3rd album compared to both of it’s predecessors.
The intro “Drop Dead” fuses pop rock, synthpop, new wave, big music & indie pop daydreaming over someone she’s crushing on whereas “stupid song” takes inspiration from Simple Passion by Annie Ernaux singing about wanting this guy more than anything she could write. “honeybee” continues from there assuring she has love for this person even if she can’t quite describe it while the rock-driven “maggots for brains” thematically bases itself around Miranda from Sex & the City.
“u + me = <3” nears the conclusion of you seem pretty sad for a girl so in love singing about being optimistic of a new relationship beginning leading into “my way” gives off some Gwen Stefani vibes furiously calling out a woman for crossing her relationship boundaries. “purple” marks a turning point where things start to unravel just before my favorite single “the cure” experiments with pop rock, singer/songwriter, acoustic rock, post-Britpop, big music & chamber pop coming to terms with her flaws.
Meanwhile on “begged”, we have Olivia giving a more nuanced take of wanting more affection from her boyfriend “what’s wrong with me” featuring Robert Smith finds pair joining forces to help her realizes that this guy she’s dating is the cause of her sadness. “less” makes her last attempts at saving their relationship from collapsing & after “expectations” refuses to settle for someone with a fake job, she spends the final minutes likening her ex to “cigarette smoke” regretting the time she spent with him.
Guts was a huge improvement above Sour & you seem pretty sad for a girl so in love completely embraces Olivia Rodrigo’s full artistic potential by dropping the best music I’ve heard from her. Dan Nigro’s production almost perfects her pop rock sound incorporating some additional elements of singer/songwriter, new wave, alternative rock, indie rock, acoustic rock, post-Britpop, big music, jangle pop, chamber pop, adult contemporary & traditional pop portaging a relationship from beginning to end.
Atlanta, Georgia rapper ApolloRed1 releasing his debut mixtape under Opium Records & Interscope Records. Starting out a couple years ago off his full-length debut The Summer I Turned Red, his first few extended plays Villain as well as Vamp Diary & Tantrum were enough to have his blood cousin Playboi Carti make him the newest member of the Opium roster by dropping a Midnight Blassic.ApolloRed1 vs. the World in October continued to make some more artistic improvements & Demon Heart Radio has finally arrived after months of delays.
“#Demon” produced by Cardo made for an entertaining single that came out last weekend addressing someone he facilitated all his love for whereas “Where I’m @“ works in some heavy 808s from Bakkwoods admitting that he’s so high off the drugs that he doesn’t know his exact location. “Pink!” hops over an Ayelavish! instrumental I really enjoyed talking about pulling his Glock out like it’s a shiv while “#SRT” pulls from plugg courtesy of SOULJASPIRITS likening himself to Deadpool.
Trgc gets behind the boards for the EDM-inspired “More Time” talking about the only thing he wants is to be with this woman more just before “Love You > Myself” gives off a more hyper tone altogether pondering what to do when the drugs won’t help & speaking of someone he loves more than himself over a rage beat from Clayco & OPM BABI. “Shell” maintains the hypertrap vibes instrumentally depicting imagery of the gangsta life until putting dollar signs “OnYoHead!” over a sinister Bugz Ronin beat.
“Codeine Shower” featuring Destroy Lonely finds the 2 reuniting to end the 1st half of Demon Heart Radio talking about treating drugs like probiotics while “Can’t Go” runs it back over another Ayelavish! instrumental for a couple minutes or so assuring that shit being real life to him. “Caution” has a playful rage aura to it catching those speaking ill on his name on offense while “Geeked Up” featuring OsamaSon talks about both of them seeing red.
We have ApolloRed on the rage-inducing “ARP My Bitch” likening his AR-15 pistol to romantic lover while “Drive u” embraces more of a pluggier sound thanks to F1LTHY of Working on Dying to talk about him being on top of the hill of the Atlanta scene with the rest of his Opium squad. “Tight Pants” featuring the Homixide Gang joins forces to express their disdain for those fuckin’ with rats & while “Pullup##” winds down the last few moments of Demon Heart Radio turning up the hypertrap elements courtesy of Ayelavish! talking about going crazy soon as he hits the stage.
“Hood-Made” explains that the streets made him the person he is today over an instrumental Zodiac of Vanguard Music Group made while the outro “Set You Free” sends off Apollo’s major label debut suggesting he might let go of an ex if they weren’t meant for each other. “Machete” talks about having hundreds of dollars coming in & having a book bag for it while “NoCrash” samples “Put on a Smile” by Silk Sonic to detail his no fucks given attitude.
Midnight Blassic & ApolloRed1 vs. the World have both proven that ApolloRed1 could potentially be the most underrated signing on the Opium roster considering both of those were big step-ups from his earlier output, but his major label debut Demon Heart Radio tops both of those in unveiling a tape packed with the highest quality of rage & plugg music I could’ve expected from him. Whether it’s the consistently fun production or the guests & Apollo himself, the latter’s making it known that he’s arrived.
Legends Will Never Die 