Letting his experiences course the direction of his work, Blinskys 14 track tape serves as not only an introduction for listeners, but a reminder to endure evolving situations, because in real life, there are no manuals.
With exclusive features from Ari Chi, Jus Henry, Mike Mass, Sonny Marsh and Dojo Jones, Blinsky moves throughout No Manual leaping from metaphors to metaphors, connecting dots and dropping lyrical breadcrumbs filled with strife of an artist.
“Can I Holla At You”, is a renaissance Spanish guitar piece with a hypnotic drumroll to match Blinskys nurtured storytelling ability. Cautiously describing the strenuous of the struggle of depending on art to be more than art, Blinsky, pushes aside any desires for his art form to be fame, fortune or time, in needing hip-hop to be the way he facilitates his happiness.
From the funny intro about the shades of blues, to the falling out of the vocal samples, “Life’s Interlude” sits as the pinnacle of frustration that forces us to realize we are only human. Blinskys poetry permeates pinging guitar licks, sewing up any lose ends and treating wounds as if they have already fully healed. Damn it, “Life’s Interlude” is Blinsky’s hustlers ambition delivered in a little over two minutes.
When the local bay area emcee was invited to spit at a show by fellow Young Parisians, Mike Mass, he froze, in front of his idols. He was embarrassed, disappointed, and maybe even frustrated but Blinsky didn’t let that experience lead him to stray from the mic. He channeled the energy from his dismay into a track titled “Last Call”, which you can hear a little bit more about that story in our interview with him below.
“Last Call” also happens to be the last track on the tape, effectively ending No Manual where Blinsky started. Bumping and maneuvering, through Tampa socialites and instrumentals, fouling up and regaining his composure, and most importantly shooting his shot when necessary, No Manual serves as Blinskys stoic tale of his transition from hoop dreams to booth dreams.
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