There’s a danger in being the new hot band of the moment. This is especially true in the new blogosphere internet hype craze that anoints a new favorite flavor almost on a daily basis. The bloggers, forum regulars and faceless internet critics shower the artists with love before they’ve heard one note from an album. Just as swiftly as that love comes so too does the wrath. Critics tap away at their keyboards with joy at picking apart every nuance of an album that doesn’t live up to their expectations. Knowing this, the fresh faced, pop, indie rock, dance, subversively titled band The Black Kids must be cautiously happy about all of the recent attention they have been receiving.
With all of their wide eyed exuberance The Black Kids seem intent on breaking the blog critic approved curse by successfully incorporating vocals that sound eerily like The Cure, guitar licks that are similar to Arcade Fire and a look that’s more similar to the cast of a Nickelodeon teen show then an angst filled indie band. All of these qualities are not just formulas for success but rather elements that The Black Kids may utilize to becoming house hold names in the immediate future. Their download format MySpace exclusive debut EP released last year “Wizard of Ahhhs” was immediately hailed as an excellent take on pop classics. Their live shows (mostly their now legendary set at the Athens Pop Fest) are praised for their endless energy. All that’s left for The Black Kids to do now is finish what they started. The single “Hurricane Jane” (also on their EP) from their new album releasing in June “Partie Traumatic”, seems like a good place to start.
At some point after Sonic Youth (or maybe for this generation it’s Nirvana) albums impacted budding musicians, indie rockers saw it fit completely mandatory to fill their music with melody hidden by shrill guitar feedback and ambiguous lyrics. The protopunk influences of The Stooges combined with the avant-garde compositions from the likes of John Cale has given the indie movement a distinct and instantly recognizable sound. However, someone failed to give the Brooklyn based indie rock band Grizzly Bear the memo.
Since their 2004 freshman release “House of Plenty” has effortlessly combined lo-fi recording techniques with experimental acid folk rock and a dash of neo-psychedelia. The vocal harmonies are almost ethereal with all members lending their vocal talent which makes the band virtually sound like The Beach Boys with an indie attitude. The Grizzly Bear’s new single “While You Wait for the Others” is an excellently constructed psychedelic folk pop song that begins as a whisper and builds up to a harmonizing sing along backed by acoustic guitars and softly played keyboard. The attention to tempo, lyrics, momentum and detail on this song in particular and in Grizzly Bear’s entire (albeit small) catalogue in general is almost unparallel in indie rock at the moment.
Listen to the track [HERE].
Chances are you either don’t remember the hip hop posse cut, or it’s a vague image in the back of your brain stuck in-between your memory of Gumby flat tops and Horror core rap. It’s hard to believe now, but at one time the hip hop posse cut was a common occurrence on just about every major hip hop album that dropped. MCs would form allegiances with artists outside of their immediate group simply out of the fact that they were fans of the other artist. They asked a group of MCs to jump on a track with them and the other MCs happily obliged. What would result was a tour de force of lyricism with the next MC trying to outdo the other in a friendly competition over the hardest beat they could find. However, somewhere along the way the hip hop audience heard less and less posse cuts on albums. Chalk it up to industry politics, artist animosity or just plain disinterest but it’s obviously clear that the posse cut is becoming a lost art.
No one in the current hip hop climate knows the power of the posse cut like Busta Rhymes. As a member of the Leaders of the New School early in his career, Busta made a name for himself as a solo artist by completely destroying any posse cut he landed on (including the completely classic verse on Scenario). Therefore, it is not surprising that at this point in his career Busta chooses to help usher in the new posse cut renaissance disguised as the remix. The original version of “Don’t Touch Me” is what you would expect from Busta, an energetic lyrical rant over minimalist jungle drums. The remix breathes new life into the track by giving each artist on it a chance to reinterpret the song. Everyone holds their own here but Lil Wayne turns the beat into a drug induced playground as hip rips the track in half and Nas sounds about 10 years younger as the track seems to re-energize him. Also, it is always great to hear one of the originators of the posse cut Big Daddy Kane.
At the risk of incurring the wrath of millions of guitar, drum and bass enthusiast all over the internet I’m going to make a controversial prediction. In the future (no clear date) the use of live instruments will take a backseat to computer based programmed music. Now before you get your angry all caps responses ready, hear me out. Electronic music in the last 10 years or so has grown in both popularity and skill in leaps and bounds. All over the world, kids hear a kick, snare or a computer bleep on a song and immediately take to their laptops with the thought of “I can do that.” Much in the way rock did decades ago, and hip hop has more recently.
The electronic, hip hop, alternative duo Ratatat is living proof of this phenomenon. Although their group does incorporate bass and guitar, they are only there to compliment the electro heavy sound coming out of their laptop. As their critically acclaimed genre busting first four studio albums show, they are a perfect example of a group that is influenced by several types of music and may more easily incorporate them into one sound by the use of a computer. Ratatat’s penchant to throw sweeping epic sounds with a twist of hip hop onto a single remix has allowed them to collect fans that have an allegiance to several different types of music. This is why Ratatat’s video for their first single “Mirando” off of their soon to be released album “LP3” is in itself a remix video. The video takes slices and clips from an old Schwarzenegger (that’s Governor to you) movie and turns them into odd visuals and weird choreography that matches with the video game bleeps and blips over jungle drums.
Kanye West’s original Flashing Lights video which was co-directed by Spide Jonze along with Kanye himself, could be considered one of Kanye’s most controversial music video. In it, Kanye is driven off into the desert by a women who bludgeons West to death for supposedly cheating on his girl and being caught by the paparazzi’s “flashing lights”. Here is a look at a new video for Flashing Lights which is much less violent but still portrays the essence of “Flashing Lights”. In this video, you follow a girl (presumably a model) and her glitz and glamorous lifestyle which ends in nothing but tragedy.
America usually can take the pulse of the people by taking a snapshot look at the popular music of its time. The late 70s and early 80s saw hip hop at a party state. In the mid 80s and early 90s Hip Hop saw a flurry of protest rap on the heels of the Reagan administration and apartheid. In the late 90s and early 2000s the Clinton administration, a better economy and the reluctance to have beef after the death of Tupac and Biggie saw an explosion of what seemed to be happier party music in the hip hop arena. However, with soaring gas prices and war among other things Hip Hop music seemed to be more aggressive and menacing up until lately. With a promise of a new hope and the end of the status quo several rappers bubbling up from the underground circuit seem to possess a vibrant youthfulness that that takes a bit of the party vibe from early hip hop and the raw lyricism of the golden era.
Washington D.C. bred MC Wale seems to be spearheading this movement where MCs are following their own pattern of clothes, sneakers and lyrics over guns, whips and drugs. Wale’s rise to popularity and respect is a lesson in how talent trumps image and predictability. Armed with a sense of humor, tireless work ethic and the ability to drop clever punch lines at a moment’s notice has gotten the attention of many industry heavyweights. You can hear the excitement in Wale’s vocal timbre although his delivery is a nonchalant half slurred flow. This has endeared him to a young crop of Hip Hop enthusiasts who have seemed to have overdosed, or even more telling, cannot relate to the gangster posturing of rap in the past five years or so. Wale’s new song and video “W.A.L.E.D.A.N.C.E” is a perfect example of the new sound that’s part electro and part hip hop. The video puts a hip hop spin on the original version by electro duo Justice. Take a good look and listen; this may be a perfect snapshot of the times.
The biggest misconception about Chicago MC Common is that he is some granola eating, sandal and dashiki wearing, neo bohemian hippie rapper. Sure, he does have that side to him (mostly on his last album “Finding Forever”) but the truth is Common is more adept to spew a clever punch line over Primo scratches then a back pack cliché over an obscure sample (sans his experimental rap album “Electric Circus”). Common has remained relevant in a fickle industry by staying true to his metaphor and simile roots and being astute enough to realize which beats fit him instead of running to the latest super producer for the new hot sound. Even his pairing with Kanye made complete sense given the soulful nature of Common’s past work and Kanye’s uncanny ability to make a chopped soul sample sound as if the artist made it yesterday. The latter half of Common’s music catalogue finds Common balancing his raw hip hop roots with a more laid back jazz vibe.
However, if the first single to Common’s yet to be released “Invincible Summer” is indication; we may be finding an MC on the cusp of reinvention. The first thing the listener recognizes as the song “Universal Mind Control” begins is that Common is obviously embracing the electro hip hop house sound that has been pervasive for about a year and a half now. But, when he starts rhyming the reminder that electro hip hop is nothing new comes swiftly as Common uses a familiar staccato rhyme pattern utilized in the early days of hip hop. Pharrell eventually chimes in on the chorus with a very Afrika Bambata-ish echo effect galvanizing B-boys to the dance floor. The computer funk sound gives the song a refreshing vintage yet current feel.
There’s not much to write about Beck that hasn’t already been written. The art pop critical darling has effectively meshed indie, punk, folk, electro and hip hop, collected awards and glowing reviews without breaking a sweat. Beck’s effortlessly cool nonchalant image coupled with poignant songwriting has made him the voice of his generation as well as the overused yet fair title of “the new Bob Dylan”. His most famous albums “Odelay” and “Sea Change” are completely opposite musically but both share the brilliance of an immensely gifted songwriter. However, as his recording career hits close to the 14 year mark and his average fan that have followed his career slowly start growing up it can be argued that Beck faces a battle converting new fans with his eight album “Modern Guilt”.
Although, Beck needs little help in the musical department he has gotten some from the seemingly ever present producer Danger Mouse. The first leaked track from “Modern Guilt” is a song entitled “Chem Trails”. If the first single is any indication of what the rest of the album will sound like it appears that Beck is returning to his psychedelic vibe that was pervasive on his first album. “Chem Trails” harkens to 60s British rock with a Pink Floyd inspired flair and Beatles moaning vocals. Danger Mouse’s presence is immediately felt as his trademark haunting organs lay a foundation for the virtuoso drumming and muted bass. The start and stop formula is used to a powerful effect on the track and eventually culminates into a string heavy guitar thrashing finale that is more “Summer of Love” then summer of high gas prices.
Listen to the song [HERE]
It is particularly disappointing that for years hip hop fans got very few choices of female rappers in the mainstream to choose from. It was usually either the thugged out, crotch grabbing tomboy who lowered her voice a few octaves to spit with the fellas or the ultra stylized over sexed fashion obsessed woman who may or may have not had a male ghostwriter. Of course, this is an over generalization. Also, there have been throngs of dope female MCs who have and have not had mainstream success and can stand toe to toe with any male on the mic. However, it is time the hip hop community admits its blatant misogyny in this arena. This is why the career of Jean Grae has been so enthralling. The underground circuit alumnus has emerged as one of the best lyricists in the game bar none completely on her own terms. Grae’s ability to twist similes and metaphors into submission and with a conversational flow has garnered her cult like allegiance amongst those in the know.
The producer 9th Wonder is one of these many devoted fans who eventually have become a collaborator on Grae’s aptly titled fourth coming album “Jeanius”. The first single “Love Thirst” is a soft, sensual head nodder produced by 9th Wonder. Sonically the beat hearkens to the late 90s production style of Jay Dilla with its soft piano twinkle, powerful bass line and classic hip hop snares and kicks and breathy chanting in the background. Lyrically Grae paints a highly sexual picture that can be described better as a tasteful nude then hardcore pornography. Through it all, her metaphors are still as crisp as if she were running through a 100 bar braggadocio fest. The video compliments the video perfectly as Grae appears as a beautiful stranger in the back seat of a taxi cab running through her lyrics, juxtaposed by the scene clips from the Robert De Niro film Taxi Driver.
Adam Weissman from Stussy and James Sheffield from Turntable Lab collaborated on Beats, a collection of instrumentals from various up and coming producers. The release will include a 12” classic record with 10 tracks and a collection of music-inspired t-shirts with signature Stussy writing. It will be released on May 31st at Turntable Lab and Stussy stores.
If you want to check out the songs, click here.
Considering Joe Williams’ background in noise rock, one would think that his debut album under the alias White Williams would be a flurry of shrill guitar feedback and abnormal strong structure. However, Williams’ freshman album “Smoke” was obviously inspired by the neo new wave movement sweeping the avant-garde music crowd. Complete with minimalist electro pop groove the album sounds eerily like a mixture between a young Beck and Moby. It was revealed late last year that Williams recorded most of “Smoke” on a single laptop in various apartments. This is not that surprising when the listener is engulfed by soft synth stabs and guitars that contain an immediately recognizable do it yourself ethic. Lyrically Williams can be ambiguous but his penchant for infectious melody and natural boyish charm over comes all pretensions.
The song “Violator” off of the album quickly became a fan favorite especially during Williams’ live performances. Williams has finally appeased his die hards by releasing a video that perfectly matches the easy new wave vibe of the track. Mimicking the slow driving bass of the intro the video shows moving black liquid and visuals of Williams staring nonchalantly into the camera. The simplistic vibe of the song is shown on the video in what appears to be an ode to weird 80s early MTV electro videos.
Say what you will about Lil Wayne, but it is obvious that he is quickly becoming one of the most dominant artists in not just hip hop but in music over all. The New Orleans natives’ relentless work ethic, his ability to unconsciously string together similes and metaphors and his penchant for virtually transforming his vocal timbre into a flow that almost becomes a musical instrument over tracks has made him omnipresent on the radio, videos and mix tapes. Though still a young man Wayne is a seasoned veteran whose skill has grown by leaps and bounds. He routinely releases energetic verses that play with rhyme patterns and tweaks flow in a state in hip hop when MCs all seemingly rely on the safe conventional conversational approach. His subject matter is almost a schizophrenic as he bounces between the humorous and emotional but it culminates in a formula that has garnered him the respect of certain legendary MCs and the wrath of others.
However, with popularity comes backlash and eventually unabashed hatred. Seemingly unaffected by the new crop of naysayers Wayne continued his onslaught on the listening public by releasing “Lollipop” the first single of his highly anticipated, long delayed “The Carter III”. The track is a hazy codeine induced song the combines a slow down tempo electro hip hop sound complete with auto tune vocals. When released, the song went number one on the charts almost immediately ensuring the public will hear the track all summer long and confirming Wayne’s popularity. Not content to rest on his laurels Wayne has recently released a remix to the song with arguably the other most popular MC on the planet Kanye West. On the remix, the playful vibe of the original is shifted a bit as the track becomes a trade of verse amongst two MCs who are now safely heavyweights in the game.
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