Casanova Records commemorates Fly Wizzy and brings awareness to the crisis surrounding drug use in young artists on, 'Everything Will Be Okay,' compilation of uplifting and good-vibe cuts from various artists and friends.
On March 5th, 2020 Wesley David Masko, known professionally as Fly Wizzy, passed away due to a drug overdose, a crushing sentence to communicate about anyone's fate.
It's a staggering blow to the community of Pittsburg, PA.—where the young artist was originally from—even provoking the establishment of a go-fund-me page for the rapper's funeral expenses. It speaks to the enormity concerning the problem we are encountering surrounding drug use in the artist population, and how important it is to bring awareness to it.
Fly Wizzy's career as a Hip hop recording artist was only just beginning to blossom: being featured on Hype magazine late August of last year, and releasing his breakout debut single 'I'ma Dog.' His propensity in injecting any track with his addictive hooks and toplines was unmistakably one of the reasons his career was on the trajectory upward before the disaster transpired.
In commemoration of Wesley's memory, his friends at Casanova Records released a compilation of music from artists and friends to honor the Pitsburg hip-hop artist and bring awareness to artist drug abuse. This compilation record features a large arrangement of cuts ranging from rap songs with Shotgun-firing hooks and Swedish house music with a fist-pumping vibe to old-school '90s nostalgic hip-hop classics and rockabilly. It's a verbose expression of reinforcement and upliftment, featuring fifteen different songs altogether, and totaling an hour of run time.
The record opens up with 'Closer,' a house track by Thebluemonkey, which builds with an enormous vibrant surge for the chorus. It features potent intermingling synths over a constant dance rhythm that supports a ghostly female protagonist vocalist. The unique euro-texture brightens the expanses of the mix, and even our own mindsets, as we continue with an invigorated ear. The next track continues the trend of classic thumping drive found in an electronic successor that resembles something more along the lines of AVICII or something similar you would find on the radio. It's a song that runs on the current it produces from its dance-inducing powerhouse rhythm. With steady meandering between synths and a well-rounded low-end, this song fits hand in hand with this genre's aesthetic and vibe. As we shift further down into 'Everything Will Be Okay,' we come across Not Today, a track featuring Fly Wizzy himself, and Royale. It's a potent rap song with a stand-off like vibe, featuring fuming synths over a rumbling and gritty low-end with countless hooks amongst the magnetic mantra-like topline: "not today, not today, not today." The song is about standing up to the haters who reject based on their own envious hearts and hindered spirits. As the song comes to its end, we're left with mixed feelings. On one hand, embracing the memory and talent of Fly Wizzy in all its glory, but on the other, trying we're to cope with the enormous loss. The next venturous turn on this record is a rockabilly track called 'No More Cry,' a simple running slow-burner meant to focus on The Meteors' poem-like lyrics. It's a song with acoustic guitars, tambourines, harp-like keys, and a honey-like electric that all come together to give this song its ballad-like silhouette. "There'll be no more crying, there'll be no more crying," are the mantras enamoring melody, with beautiful call-back harmonies evaporating from ear to ear. The track feels like waking up to your morning coffee; refreshed and ready to take on the world with its challenges and adventures.
Then, this compilation takes a turn on the more funky side of things with 'Roots,' a song by Harambre featuring the usual suspects in any contemporary funk: vibey vocals, a dancing slapped bassline, crispy drums, and deeply saturated keys. The highlight here is the mini-guitar solo that blends into a ghostly bridge section before it all resurfaces into a grooving wilderness. The song is repetitious in its unswerving hammering of the hook. Still, it never crosses the line of becoming bothersome, and instead of leaving us with an elevated bounce in our step. The next song swoons its way in with a groove that runs unmatched in the groovy sway it provokes in your hips. 'Green Light Go' from John Smith and Da Ja, plays like a vintage find from your local thrift shop; no one else realizes it, but you've just come across a gem. This song features a totally instrumental production with all the bells and whistles attached: congas and tubey horns, deep vibey guitar work and flute solos, and even an addicting topline melody. It inspires a release of sorts, and help to find a shine of light amongst the crisis this compilation record endeavors to highlight. The song 'Hush Mode' by Ms. Vame swoops in with a deep punching sub synth with an attack that could only be described as drilling. With an orchestration of crunchy claps and a descending scale with which the bassline slides down for the transitions, this song drips with its outrageously magnetic vibe. It pulls us in as it uncovers its tantalizing layers. A vocal sample fly through the atmosphere of the mix form time to time, returning us to reality before we're completely absorbed into the immersive world this reminiscent ominous electronic track builds.
The next track germinates an even more mysterious vibe with mirroring productions featuring a more filled out mix and the feeling of wonder amongst twinkling synths and changing pads. Here, 'Tranquility,' like the title suggests, makes you feel exactly as you would think. It is a serene getaway, like a daydream into a world where everything is peaceful, and your heart is at unity. The song is super reflective of how this record plays out when you listen to it in one sitting. It feels almost like a meditation of sorts, but not in how it brings relaxation over you, and more so in how it helps you express different emotions through its diverse arrangements. 'Everything Will Be Okay,' pushes the message home: we're facing a drug crisis, and we can't afford to lose another talented artist to its fatal grips.
Listen to 'Everything Will Be Okay,' here.