King Yosef will the release his new full-length album, An Underlying Hum, out April 28th on his own Bleakhouse label.

With a formidable catalog of music already under his belt, including collaborations with Youth Code and some of the most hyped hip-hop artists of the past decade, the Portland, Oregon-based 25-year-old has been described by Revolver Magazine with these words: “Though he’s produced songs for Billboard Hot 100-charting rap artists like the late XXXTentacion and Ski Mask the Slump God, Yosef animates the lo-fi, blown-out brood-scuzz of SoundCloud rap with the vein-popping screams of hardcore and the mechanical noise of industrial.”

Recorded and mixed by Converge’s Kurt Ballou at GodCity, Yosef’s new solo album, An Underlying Hum, is a giant step forward for this prolific artist. A series of seething bangers, laced with ominous melodies and descents into ambient realms, the songs penetrate deep and haunt the skull for days. Impactful from start to finish – from metallic hardcore anthems bouncing with hip-hop swagger, to storms of industrial noise, to ghostly interludes – the album utilizes live instruments, electronic elements, and Yosef’s voice to tell its story.

We asked King Yosef about three releases that have influenced his musical career to date. Yosef comments: “When tasked with narrowing down albums that were/are influential to me, I had a hard time picking anything at all but this is what I’ve got for my own definition which would be ‘Albums I always return to and have never been able to get rid of’.”


Fear Before the March of Flames – The Always Open Mouth

I got shown this record when I was about 14 years old. It is something that crawls back into my life over and over again. Each time I rediscover it, there is something new I love about it. I could gush about millions of things but one of the biggest feats and beautiful parts of this album is the sequencing. This was one of the first albums I started to only listen to start to finish because where you start and where you end are so incredibly different from each other. Some key moments of this album for me are ‘The Waiting Makes Me Curious’, the pairing of ‘As A Result of Signals Being Crossed’ and ‘My (Fucking) Deer Hunter’ and Mouth’. Articulate, experimental and satisfying.

Entombed – Wolverine Blues

I found this record because I knew a kid who liked heavier music than me, so I gave him my iPod to erase anything I had on it and just give me his whole collection. Entombed’s discography up until 2007 was one of the many great things he gave me.

This record from the start lets you know what you’re in for. This is a perfect blend of truly heavy stuff and what my friends and I call “motorcycle riffs”. One of the biggest highlights of this album for me is the drum playing. The accents that Nicke Andersson decides to hit are always at the exact time they need to be i.e. the open to closed hi hat accents on the first drop of the title track are genius. This album doesn’t sonically influence me as much as it does in the energy of performing and what I try to do. Tons of heavy tracks, but ‘Hollowman’ always does it for me.

Queens of the Stone Age – Songs for the Deaf

A no skips album. This is a straight forward rock record that does not get old to me. Robotic and at the same time extremely human. This record does a great job of making small moments mean a ton. Each drum fill is memorable, you’ll remember every note of each guitar lick and all the back up vocals accent perfectly.

This is a highlight of their whole catalog for me specifically for the showcasing of Mark Lanegan on tracks like ‘Song for the Dead’ and ‘Hangin’ Tree’. If I had to show someone an initiation song to this record, I’d show them ‘Go With the Flow’. Every time I pick up a guitar, there’s a part of my brain that thinks about this album.

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