BLK ODYSSY

Juwan Elcock’s BLK ODYSSY project is pushed by liberation. On his first album under this new moniker, titled BLK VINTAGE, ―born and raised in Plainfield, NJ, based in Austin, TX― dives into his personal history as a Black musician and the world he’s grown up around. It’s an album deeply informed by individual experiences but applied to the plight of Black Americans everywhere. Even when the album chooses smooth vibes and laid back lyrics in favor of overt activism, there’s a philosophical bent that inspires Elcock’s work. BLK VINTAGE is inspired by a few key moments and artists. There’s the death of Elcock’s brother, who was killed at the hands of police officers while Elcock was living in New Jersey. It’s the seminal moment of Elcock’s life, the moment he was forced to become an adult and reckon with the harsh reality of being Black in America. It fuels everything he does, especially his activism.

After making a name for himself as an Americana musician, Elcock decided to ditch the popularity he gained in favor of creating music that would reflect his own experiences and worldview. The result is BLK ODYSSY, and this first project, BLK VINTAGE, moves with the urgency of an artist finally realizing their true sound. “I want to create something that will be culturally impactful for my people. I want to do something that is impactful on a larger scale, something that is for groups of Black people across the country.” There’s “1980,” which slinks with the rich funk-soul of artists like Anderson .Paak and Knxwledge, but Elcock’s half-rapped cadence is wholly unique and utterly intoxicating. The moments of levity hit equally as hard as the work refracted through the trauma Houston has experienced. Still, though, Elcock has the rare ability to present multiple sides of himself. “Hang Low” is a sultry love jam, strutting with velvet harmonies and a bass line straight out of the Pino Palladino school of indestructible grooves.

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