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Spaceman enlists Fatboi Sharif for “Think Twice”

Published

3 weeks ago

May 19, 2025

Interstellar word-smith Spaceman beams in from somewhere in the cosmos with new single “Think Twice.” Somewhere between vaporwave, the darkly analog synth soundtracks of John Carpenter and abstract boom-bap the off-kilter slap was produced by The Suspect (Allegedly). Spaceman comes with rugged bugged rhymes and enlists fellow lyrical non-conformist Fatboi Sharif for a guest verse.

Speaking on the link-up for this joint, Spaceman relayed “I’ve known Fatboi for a long time. He and his homie (89 the Brainchild) were doing an underground radio show that supported my (then) crew back in the early 2010s. Interestingly enough he didn’t even rap back then. Fatboi makes it known that his style is definitely *not* horrorcore, which I respect, but being the pea-brain I am I still can’t help but associate him with that aesthetic. So, when I was thinking of who could help me sketch out the dark cerebral atmosphere of this record ,his was the name that jumped out.”

Listen to “Think Twice” ft. Fatboi Sharif:

“Think Twice” is part of self-proclaimed “Social Skills” series of singles from Spaceman to drop this year. The title of the series is a nod to the emcee’s willingness to step out of his comfort zone and collaborate with other rappers who he respects (considering Spaceman’s last three projects, which were strictly solo affairs).

The “Social Skills” series kicked off with recent single “Mumblecore” which featured his former Inner City Kids Collective cohorts ABGOHARD and Producer K3Mal (link below).

Listen to “Mumblecore” ft ABGOHARD: https://youtu.be/kQlyWylcrVs?si=IJMmuz-sHved93WS

Prior to these drops Spaceman most recent release was the Annihilation LP which yielded the singles “Law” and “Thrift And Diligence” (links below)

Watch official video for “Law” (Prod by Droo10x): https://youtu.be/TCzOoGMcp9s?si=82cPrf3EbfxTXqSx

Watch official video for “Thrift And Diligence”: https://youtu.be/AIz8sX1BWqw?si=71FrUjzOEm4H2-aX

Releasing music over the past decade solo (and formerly part of the Inner City Kids Collective) Spaceman has collaborated and/or shared stages in the past with such artists asThe Underachievers, Vulkan The Krusader and Gashi. He has also toured the Northeast several times.

More info: Here

We Speak Music

From Relapse to Revival: Zweng’s ‘Toronto Tapes’ Cuts Deep, Heals Deeper

Published

42 minutes ago

June 9, 2025

Philomena Marie

In an era where overproduction and surface-level lyrics often dominate the music landscape, Toronto Tapes arrives like a breath of crisp Canadian winter air—raw, bracing, and honest to the bone. After years lost in personal turmoil, Zweng returns with a collection that fuses familiar melodies with unflinching self-exploration. It’s not often a cover album hits this hard, but Zweng isn’t just revisiting the past—he’s rewriting it.

Crafted during a year of sobriety and isolation in Toronto, the album was recorded at Kensington Sound Studios under the deft guidance of producer Will Schollar. Every sonic choice feels deliberate, from the ghostly reverb of Pet Sematary to the tender vulnerability of Jeanette. Zweng’s voice is both weathered and warm, like a lighthouse for the lost—rough enough to believe, melodic enough to stay with you.

The album’s strength lies in its duality: familiar songs presented with unfamiliar emotions. Back on the Chain Gang doesn’t just mourn love—it processes memory. Elevation isn’t a high—it’s a hymn to healing. And Take On Me, in Zweng’s hands, sheds its synth-pop skin to become a raw plea to be seen in one’s darkest moments. The songs are transformed, and in the process, so is Zweng.

But it’s the original compositions that truly anchor this emotional journey. Marianne and Jeanette delve into generational pain and maternal longing with the kind of lyrical intimacy that recalls early Elliott Smith or Jeff Buckley. These aren’t just songs—they’re emotional archeology, digging through family histories to find fragments of truth, and maybe a bit of peace.

The closer, Changes, doesn’t land like a neat resolution. Instead, it feels like an open door—a choice to keep evolving, one breath at a time. Zweng’s cover of Ozzy’s classic trades bravado for resignation, and in doing so, becomes the album’s thesis: we don’t become new people overnight. We change, painfully, slowly, and often without fanfare.

Toronto Tapes is less a comeback and more a coming home. It’s a vulnerable, gutsy, and beautifully fractured piece of work that insists on authenticity over perfection. For those in the midst of their own reckoning, Zweng’s voice may be the companion they didn’t know they needed.