If you'd like to see full video of this and other episodes, join the Reel Notes Patreon at the Homie ($5/month) tier or higher. Each episode is also available to buy individually at $5 for regular episodes and $10 for Reel Talk playbacks (Buy it through a web browser and not the Patreon app. You'll get charged extra if you purchase through the app.) You also get early access to episodes, an invite to our Discord server, access to the Reel Talk archives, and more!

My guest this week is Philadelphia-via-Brooklyn rapper, one-half of the duo ShrapKnel and member of the Wrecking Crew, Curly Castro. We spoke about The Disciple: A Wu-Tang Fable, the Carrie series, the Snowfall spin-off series The Drop, his complicated relationship with blaxploitation movies, a health update, reception to ShrapKnel’s Triple Steel Beam Collection, being personal on record, knowing when to get conceptual and when to be blunt, and the creative process behind his latest solo album Yaphet, produced entirely by Locust. Come fuck with us.

Listen to our first interview from 2021 about his last solo album, Little Robert Hutton, here.

Yaphet is available now wherever music is sold, streamed, or stolen. Consider copping directly from Castro's Bandcamp page or from the Backwoodz website. Follow Castro on Instagram (@curlycastro) and Twitter (@Curly_Castro).

Reel Notes stands in solidarity with American immigrants against ICE and the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Coalition for Humane Immigrant Rights, the Palestine Children's Relief Fund, the Gaza Soup Kitchen, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti. Protest, fight back, and fuck the system.

My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon.

Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), TikTok (@cinemasai), Letterboxd (@CineMasai), and subscribe to my weekly Nu Musique Friday newsletter to stay tapped in to all things Dylan Green. Follow Hearing Things at hearingthings.co or @hearingthingsco on all social platforms.

If you'd like to see full video of this and other episodes, join the Reel Notes Patreon at the Homie ($5/month) tier or higher. Each episode is also available to buy individually at $5 for regular episodes and $10 for Reel Talk playbacks (Buy it through a web browser and not the Patreon app. You'll get charged extra if you purchase through the app.) You also get early access to episodes, an invite to our Discord server, access to the Reel Talk archives, and more!

My guest this week is New York-based, Florida-born, and Georgia-raised producer and multi instrumentalist Keenyn Omari. We spoke about Eyes Wide Shut and the work of Stanley Kubrick, Marty Supreme and the allure of the antihero, The Lion King, wanting to be recognized for his beats, teaching himself how to play instruments from the sax to his trademark flute, playing music in the subway, appearing on The View with Lizzo, and the creative process behind his 4th Quarter beat tape series.

Metropolitan Avenue Station, Keenyn's latest project of improvisational flute playing from the world-famous train platform, is available now wherever music is sold, streamed, or stolen. Consider copping it via his Bandcamp page. Follow Keenyn on Instagram: @keenynomari.

Reel Notes stands in solidarity with American immigrants against ICE and the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Coalition for Humane Immigrant Rights, the Palestine Children's Relief Fund, the Gaza Soup Kitchen, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti. Protest, fight back, and fuck the system.

My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon.

Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), TikTok (@cinemasai), Letterboxd (@CineMasai), and subscribe to my weekly Nu Musique Friday newsletter to stay tapped in to all things Dylan Green. Follow Hearing Things at hearingthings.co or @hearingthingsco on all social platforms.

If you'd like to see full video of this and other episodes, join the Reel Notes Patreon at the Homie ($5/month) tier or higher. Each episode is also available to buy individually at $5 for regular episodes and $10 for Reel Talk playbacks (Buy it through a web browser and not the Patreon app. You'll get charged extra if you purchase through the app.) You also get early access to episodes, an invite to our Discord server, access to the Reel Talk archives, and more!

My guest this week is Chicago rapper, producer, and owner of Crushr Records, KILLVONGARD. We spoke about Primetime, Your Mother Your Mother Your Mother, If I Go Will They Miss Me?, Happiness and the movies of Todd Solondz, The Lion King, being unsettled by animatronics, working toward a sound for years, and the creative process, and trials and tribulations, behind his latest album When’s It Going To End? Come fuck with us.

When's It Going To End? is available now wherever music is sold, streamed, or stolen. Consider copping directly from Crushr's Bandcamp page. Follow KVG on Instagram and Twitter: @killvongard.

Reel Notes stands in solidarity with American immigrants against ICE and the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Coalition for Humane Immigrant Rights, the Palestine Children's Relief Fund, the Gaza Soup Kitchen, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti. Protest, fight back, and fuck the system.

My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon.

Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), TikTok (@cinemasai), Letterboxd (@CineMasai), and subscribe to my weekly Nu Musique Friday newsletter to stay tapped in to all things Dylan Green. Follow Hearing Things at hearingthings.co or @hearingthingsco on all social platforms.