Blame it on my peers (who have been a bit slow to this new genre reveal), but dubstep has been infecting the air lately. Spreading to this disease is former Seattle-based producer Deceptikon (Zack Wright), whose latest release Mythology of the Metropolis has dropped the womp-womp kick right into his chill electronic work. The result is nod-worthy tracks like Mythology’s propulsive opener, “Tokyo Burning,” which shows just how far dubstep has come at creating a legitimate and uniform sound, and how artists like Deceptikon are splaying it across their own influences. “Tokyo Burning” even bangs a bit like old school hip-hop, flopping seamlessly between a woodpecker beat and a two-step jig worthy of the illest Biggie verse never recorded. Makes one wonder what might happen if Flying Lotus decided dubstep was his thing.
Mythology of the Metropolis was released March 16 on Daly City Records
Eyes Set to Kill have always occupied a weird niche that left people a lot of room to dislike (or dismiss) their style of music. It was always too poppy for the metal crowd (and having a female vocalist never helped), but it was always too heavy for the mainstream rock fans (mainly due to the screams). With the release of the band’s first single “All You Ever Knew” from their upcoming album Broken Frames it’s not certain whether or not they’ll be able to break from that niche, but they’re definitely trying. This track is more powerful than anything the band has ever done before. The screams are finally not a hinderance (as they’ve been pretty poor on every other album), and even Alexia Rodriguez has stepped up her vocal performance. Behind them is music that finally has more in common with metal than the pop of the past. Listen and judge for yourself. The album comes out on June 8th through BreakSilence Records.
Read an interview with Alexia Rodriquez about the new single at RevolverMag.com.
As if a song from a guy named Gonjasufi could sound like anything else. Today’s song of the day is a hazy, stoner friendly trip hop track off Gonjasufi’s latest release, “A Sufi and a Killer.” The track, “Ancestors,” is one of the tops off the album, a hypnotic, mysteriously ominous prayer catering to Gonjasufi’s weirdly desperate voice. Produced by Flying Lotus, this shit’s pretty fuckin good. Toke UP.
A music video that makes you enjoy a song you’d otherwise hate is a rarity. It only occurs once in a great, great while (usually, once a month, but hey sometimes it can even be two months!), and it’s usually accompanied by either a pop-culture reference typhoon, or Lady Gaga. The new video for Hot Chip’s “I Feel Better” off of their newest One Life Stand breaks this convention by being an entirely serious, stylish affair replete with incredible production values and hypnotizing camera work and dance moves. Before you blow this off as hipster garbage, I implore you to take a look at the world Hot Chip create in “I Feel Better”.
By the time Angel Dust came out in 1992, Faith No More were already an established band. Their previous album, The Real Thing, had gone platinum but it wasn’t enough to make the band rehash the same sound again. Angel Dust almost seemed to be a reaction against the fame that the band were receiving. They took the metal and funk of the previous albums and combined them with some of the most off-the-wall elements — and it worked. Faith No More, and Angel Dust in particular, went on to influence a whole generation (or two) of new musicians and when you listen to this album you’ll understand why.
I like dogs. I work at an animal hospital, so I’m around them every day. If dogs were music genres this is what they would be. As with previous and all future Chan’s Plans, images are credited to my partner in crime charlesfishowitz, who worked a lot harder on the pictures than I did on the descriptions, and for that I will always be grateful.
Bassett Hound/Shoegaze: Proven to be the most pathetic creatures in existence, Bassett Hounds perpetually look sad and can make you give them whatever they want just by turning those droopy eyes your way. While walking, they always look down at their feet with their nose on the ground, continually sniffing out the most strategic place to piss. Also, they’ve got those big ears to pick up as much reverb and feedback as possible.
bassett hounds are masters of sparkling reverb
Bullmastiff/Doom: Stockier than the horse-like English Mastiff, Bullmastiffs are crushingly powerful, blundering but not stupidly so, and capable of aggression when their master commands. Yesterday, I was dragged down a hill and through some pine trees by a 110-pound specimen named Blue. All I could do was salute him with a \m/.
Boston Terrier/Metalcore: They are intensely cute as puppies, but as they age, numerous health problems arise. As a brachycephalic breed, breathing problems are common and can lead to a general raspy sound emanating from their throats. Over time they become a general…
The last time we checked in with German-born, English-based Irish songwriter (get yer head around that one) Yngve Wieland, he was a solo artist, having just released his debut album on his own Posttone Records in late 2008. Tell Men This was good enough to earn a glowing review and the #6 spot on my best of 2008 list, but that was small change compared to the groundwork Wieland was doing on the live circuit in the UK and Ireland.
There has been much change since the album’s release. Yngve made the transition from solo project to full-time band, taking up the moniker Yngve & the Innocent, in 2009, and Nothing Was Delivered is the first formal product of this union (although that year’s Have You No Love was recorded by the band, it was released under Yngve’s name).
‘You’ve Been Released’ continues in much the same vein as his previous recordings, making liberal use of modern Americana and classic influences, from Bright Eyes to Neil Young, with a hefty dose of blues guitar and barrel-house piano adding weight to the already up-tempo arrangement. Check the single out below, and stayed tuned to Yngve’s MySpace for new songs over the coming weeks.
Nothing Was Delivered is scheduled for release on April 23.
Yngve & the Innocent – ‘You’ve Been Released’
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This smiling gentleman from the American Apparel catalog is Mark Ronson. Since Ronson happens to be a mild-mannered DJ, it would be safe to assume that any of his songs featuring Ghostface Killah & Nate Dogg would consist of a remix compiled from the safety of his living room. Alas, you would be wrong. Mark Ronson is clearly a BAMF, and he uses an assortment of hats, headphones, and shaved head art to prove that he belongs on the same set with the Killah.
Upon an initial listen, it would be hard to distinguish this track from anything that the Hood Internet is churning out on a daily basis. Interestingly, however, this song is not a recent product of the booming alternative hip-hop scene. Rather, it was released to limited acclaim (and quickly forgotten) in 2003. Goes to show that some genres can arrive well before their time.
Sick of it All is a hardcore band out of New York. These guys are about to come up on their 25th anniversary and are planning to release their ninth album, Based on a True Story, on April 20th.
The two tracks that have been released from this album are already proving that the band haven’t lost a step during those 25 years. They still play no-frills hardcore that can kick your ass, and although they’ll probably never surpass their 1992 album, Just Look Around, this one looks to come very close. That’s all the review these songs need – check them out.
In a world where nothing is taken seriously, everything is fair game, multi-media marketing is of paramount importance, and postmodernism runs rife enough to allow us to see intelligence and subtlety in just about anything, the man who samples Lil’ Wayne and slaps it over a Disney sample, forcing ‘Stuntin’ Like My Daddy’ to be a part of one of the most famous father/son stories of all time, making macho thuggery child-friendly, and making nostalgia current, is King.
Face it; DJ Doyou is what 2010 really sounds like.
Broken Social Scene may own the world’s biggest welcome mat (along with revolving door) for their band members, but Broken Social Scene are consistently one of the class acts within the indie rock landscape. Their way of toying around with ideas as they move through an album, or even a set list, are one of the main attractions to Broken Social Scene’s art-rock style, as they make it work so effortlessly and elegantly. On May 4th, Broken Social Scene will release their newest album Forgiveness Rock Record, one that surely rival the band’s impressive discography, judging from their single, “World Sick,” provided below.
Two years ago, I accepted a promotional album called ‘Ascendant’ from a guy named Mark Northfield. At the time, I didn’t think too much of it. I receive promos all the time, and while this one was certainly more enjoyable than most, I am ashamed to admit I basically dismissed it. I shirked giving it a (deserved) full scale review, instead giving it a cheeky soundoff based off a misguided first impression and not thinking much of it.
But in doing this, I short changed the album’s depth. ‘Ascendant’ has been an album I’ve come back to quite regularly over the past two years, and in doing so, I’ve discovered a deep, intricate album. Northfield’s sound is familiar, but not quite like anything I’ve encountered before. ‘Ascendant’ is jazzy, classy, intimate; like its set in a smokey bar where you’re the only one reeeeally listening. Northfield’s cast of friends brings a vaudevillian charm to each track, realizing a world that romanticizes theatricality, the 19th century brilliantly recaptured.
Northfield, I assume, frequents this site, as he has in the past cited on his Myspace my soundoff and the fact I placed his album (probably too low) on my top 100 albums of the decade. I hope he comes across this blog post and accepts this apology. I feel as though I’ve shortchanged him for far too long. I hope to get in a full review of ‘Ascendant’ this month. Maybe too little too late, but better late than never.
Firstly, if there’s anyone here who actually read the above title and thought “Hey, I wanna piece of that!” then you’re lying, no one ever says stuff like that anymore. But if you were intrigued by the most off-putting title this blog has yet conceived, then your curiosity will not go unrewarded. This is no early April Fools, this is the real deal. Released in 1982, pre-dating the first real acid-house record by five years (Phuture’s Acid Track), Synthesizing: Ten Ragas To A Disco Beat was created by a Bollywood soundtrack composer who intended to capitalize on the disco waves that were flooding the world at the time. Little did he know he was far, far ahead of his time. They could probably play this stuff at my local ‘Dubnium’ and get the pissheads declaring it the future of music… or throwing VK bottles at the DJ. Centuries-old classical (but synthesized) Indian Ragas set atop minimal, trance-inducing machine beats and pure, mesmeric electronic pulses. This is no throwaway record. Early 80’s India is where it’s at. Forget your cultural doubts and EMBRACE THE RAGA.
or maybe its just me
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As lists have become increasingly popular on the site, it’s become necessary to gently step in and make sure things are going in a constructive direction. As a result, I’ve posted the following set of brief guidelines on the list creation page.
- Your list should be related to music in some way
- If you’d like to post comments, suggestions, or complaints about the site, use the site forum instead
- If you’d like to post something completely unrelated to music, use the community forums
- If you’d like to post something related to a specific user, use their shoutbox
Lists that violate these guidelines will be deleted — so please don’t try to skirt them. We want to encourage you to make lists, but we also want to make sure that lists remain a valuable and interesting resource for users. Lately, lists have included rants, half-hearted rankings, obscenities, video-game discussion, and everything in between. Additionally, the fact that lists appear on the front page of the site has led to a lot of abuse. Let’s keep the focus on the music — we have an entire set of wonderful forums for every offtopic conversation you can think of.
If these new rules prove to be too stifling for users, I would consider re-implementing user journals. It’s important that we build a strong sense of community and individual user expression– I just want to make sure that it is occurring in the right…