It’s been over a decade since One Be Lo first burst on to the Midwest’s hip-hop scene as part of the now legendary Binary Star and he’s still more than alive and kicking. His fourth solo release since the original dissolution of Binary Star, L.A.B.O.R., is due out on September 6th and if its first single “The G.O.A.T.” is any declaration of what’s in store One Be Lo’s powerful wordplay and trade marked murky and soulful beats are back in full form.
In what’s arguably the most bizarre (and strangely adorable) collaborations of the summer, indie dance duo Matt and Kim, the swagalicious Soulja Boy, and the Godfather of Partying Andrew WK recently took part in Converse’s “Three Artists. One Song.” campaign, spawning the so-called ‘party anthem to kick off the end of summer’, entitled “I’m a Goner.”
Upon first listen, I didn’t quite “get it,” but as Andrew WK mentioned to me a while back and has since Tweeted, “You don’t have to understand something to enjoy it, and you don’t have to like something to love it.”
Granted, I don’t LOVE the track if it means that summer ends soon, but it is indeed a very happy tune.
Stream it here:
Matt and Kim f/ Soulja Boy and Andrew WK – “I’m a Goner”
Converse also has a behind-the-scenes video of the whole recording process, if you are so inclined.
What say you? Thumbs up or thumbs down?
Thrice have posted a lyric video (?) to another song from their upcoming album, Major/Minor, entitled “Promises”.
Stupid lyric videos aside, “Promises” shows Thrice continuing in the direction they took on Beggars, away from the experimentation and expansiveness that led to Vheissu and The Alchemy Index. It’s another straightforward, four-minute rock song, and while it’s something that Thrice has done better than anyone for years now, it still feels a little underwhelming to hear them play their cards so close to their chest. Major/Minor is shaping up to be exactly what Beggars was, an album of tight songs that hardly expand the band’s sound palette.
Watch the video below.
It is fairly easy to see that Alex Smith matches his peers within Detroit in terms of talent and quality of his output. That says a lot given the rich musical legacy of Detroit. His output of late hasn’t dropped off the standards set by 2005’s Just Ask the Lonely. On its own, Here’s Your Trance, Now Dance! can attest to that.
Though one can keep pretty close tabs on artists’ releases these days, sometimes a very pleasant surprise comes about unexpected. High School Graffiti is one of these pleasant surprises, with five cool little tunes. My Naffew Randy is one especially worth checking out. So hurry up and grab this EP for free here, and remember your please and thank yous.
The 59th edition of FabricLive‘s mix sets features Four Tet aka Kieran Hebden, and this lovely future single culled from the end of it is now available for streaming. It’s graceful and hauntingly beautiful, perfect for that 5 am comedown. As Hebden noted: “This mix is not about my DJing. It’s about London and fabric and nights out and my take on all that. The memories and the influences. I used old and new music, I used recordings of fabric, and I made new tracks of my own for it. I hope people play it fucking loud and lose their minds in it and remember or imagine what it’s all about.” Check out the FabricLive compilation when it drops September 19th and for now, enjoy this fantastic single.
Das Racist, the joking-but-not-joking rap group from New York, released their first paid single to the world yesterday in the form of “Michael Jackson”. It comes from their upcoming album Relax, and brings a lot to unpack, from the Wingdings-inspired album art to Heems’s RZA reference to the meaning, if there is one, to the song’s anthemic hook: “Michael Jackson/ A million dollars/ You feel me?/ Holla.”
But all I really have to say is this: “I’M FUCKING GREAT AT RAPPINGGGGGGGGG!”
Scottish post-rock act Mogwai gave their fans the first glimpse at their upcoming EP Earth Division this week with the haunting “Get to France”. The eerie piano driven piece is the EP’s lead off track and comes off as the warped bastard cousin of songs like “Friend of the Night”. If this is any indication to the mood of Earth Division then it looks like we’re in for a treat.
Two things unsettled me before I listened to “Vomit”: firstly, it’s title and secondly, that it was the first single off an album called Father, Son, Holy Ghost from a guy whose famous indie breakout Bon Iverism was that he’d spent the formative years of his life in a religious wacko cult. Creepy.
As it turns out, there was very little reason for my trepidation.
“Vomit”, besides a rather harrowing first minute, is more of the lovelorn classic rock wallowing of Christopher Owens, picking up nicely where the band’s Broken Dreams Club EP last left us. Crafted in the “Hellhole Ratrace” mould, it builds into a wonderful choir-backed climax, outrageous soul-singer and all, and shows off the leaps and bounds bandmate Chet Jr. White has made in composition since their charmingly raw debut.
Father, Son, Holy Ghost will be released on September 13th.
I rarely refer to press releases when writing about music: it’s bad practice and they rarely contain much information that’s useful to me anyway. Occasionally though, I’ll read a line that instantly hooks me, like this one:
The phrase “atheist rock band” distills more or less all of my main interests into one manageable cocktail. What’s more, it’s the new project of Samuel Manville, the former frontman of tragically short-lived English math rockers Blakfish, who broke up last year just as I was getting into their music.
The three remaining members spun off to become &U&I, leaving Manville to team up with former SOS drummer Peter Reisner. †HYMNS† appear, superficially at least, to exist mainly for the purpose of poking fun at religion and promoting the godless lifestyle, both causes to which I will happily lend my support.
Their first release, a four-song live DVD, is scheduled for release on August 22 with a full-length album to follow in October. Here’s the video for the first studio recording, ‘A Punch to the Temple,’ a tight angular number with echoes of Modest Mouse and Nick Cave and a typically sardonic take on the politics of strangling people.
Apropos of yesterday’s finger-wagging blog, I should point it’s almost two years to the day since Thrice’s last album Beggars leaked almost three months before its scheduled release. Follow-up Major/Minor is penciled in for a September 20 release and has yet to leak – it’s almost as if leaks are bad for business!!
But no sooner have I opened that can of worms than I will slam it firmly shut.
For today saw the premiere of the delightfully-titled ‘Yellow Belly,’ the first single from Major/Minor. ‘Yellow Belly’ continues the group’s slide towards mainstream rock as featured on Beggars with more melody and lush layers, and less dissonance and abrasion.
As a lead single, it lacks the immediacy and distinctiveness of ‘All the World is Mad,’ opting instead for a Tom Morello-style stripped-down heavy metal riff. As the handy little Soundcloud visual demonstrates, it’s not a particular dynamic track, though the morose middle eight beginning around the 1:36 mark offers some degree of variety.
People like me will be hoping this is just fluff, and that the album proper veers more towards the Radiohead-inspired electronic tinkering of ‘Circles’ and ‘Doublespeak.’
Attach whatever tags please you, but Kashiwa Daisuke’s Program Music I stands as one of the previous decade’s must haves. A clear feature of tracks like Stella, April #02 and Write Once, Run Melos are their seeming limitless bounds, free running through magnificent and sprawling soundscapes. Yet his latest upcoming album, 88, marks an attempt to express himself utilizing the keys of a piano. Though talented as a composer, the shift towards minimalist instrumentation is likely to factor heavily into the album’s outcome. Early signs are, well, let us just leave that to Kashiwa himself to show.
London Elektricity’s latest album Yikes! received pretty decent feedback upon release. But the music world moves fast, and Drum and Bass fans will now be gearing up for the Yikes! remix album, due later in July. With big names from the Hospital Records label like B-Complex, Danny Byrd and Logistics making an appearance, hopefully there’ll be something as stunning as Apex’s remix of Just One Second, High Contrast’s version of Remember, or his own acoustic version of Elektricity Will Keep Me Warm with Elsa Esmeralda.
A remix by the very promising Med School recruit Lung certainly offers one reason why the album is likely a must have for fans of Drum and Bass. The remix even receiving the praise of the Colminator himself via his twitter feed. For those wanting more previews, check out the album’s page on the Hospital Record’s website.
A few years ago, long time Fates Warning fans went crazy when they found out that Jim Matheos and ex-vocalist John Arch were teaming up for some new music. The end result was the underwhelming A Twist of Fate. Don’t get me wrong, the songs were awesome but there were only two of them. Listening to that album was like watching the gif where the hot girl is opening her shirt but just before it gets to the good stuff the gif starts over. Basically, A Twist of Fate was good enough to be mildly satisfying, but it was mostly just frustrating because it wasn’t enough. That is where Sympathetic Resonance comes in. Not only is it an actual full album by the John Arch/Jim Matheos duo, but it also features the return of longtime Fates Warning guitarist Frank Aresti — rounded out by Joey Vera (Armored Saint, Anthrax) on bass and Bobby Jarzombek (Halford, Sebastian Bach) on drums. It’s like someone found the full version of that teasing little gif and it turns out that her mom and sister are in it too… it just doesn’t get much better
The first song released from Sympathetic Resonance is titled “Stained Glass Sky”, and it is actually just a five minute snippet of the entire fourteen-minute track. Regardless, the song is more than enough to prove to longtime fans that the…
What happens when reggae and ska meet jazz and afrobeat?
From GagaDilo’s “Skafrobalkanik Jazz Project”
Perhaps what best sums up Eprhyme’s two passions are his synagogue performances. Signed to Calvin Johnson’s insanely DIY K Records, Eprhyme attempts to blend firm Jewish faith with a love for the traditions of hip-hop, and his strong affinity with the depth of Jewish stories finds an unusual home on his newest record, genuinely titled Dopestylevsky. It plays with both components: it is, at times, perhaps too good at honouring its musical influence (“Let’s Build” shows itself up with its whacky, somewhat cartoonish chorus), but its strongly conscientious focus fits snugly into the unusual backdrop: the lyrics on Dopestylevsky range from issues of religious identity to the strong environmentalism found here, but it never quite feels like a lecture buried in gimmick. Instead, Eprhyme’s music is created interestingly enough- and with two palettes from which he clearly draws inspiration- that his record works both as slightly over-indulgent hip-hop and a good natured show of faith.