Guns n’ Roses’ “Chinese Democracy”, The Fugees’ reunion album, Dr. Dre’s “Detox” and Raekwon’s “Only Built for Cuban Linx 2” all have something in common. These are all highly anticipated albums by celebrated artists that have supposedly been in the works for years but for whatever reason have never seen the light of day. The anticipation for the unheard albums both work for and against the artists. After a few years pass the albums begin to live in myth as fans fantasize what the album could sound like setting the hype bar extremely high if the album is actually released. The sequel to Raekwon’s classic and influential mid 90’s Mafioso masterpiece “Only built for Cuban Links” has been in the works, as Rae has gone through label switches and album false starts. Wu Tang loyalists have been salivating at the mouth at every tidbit of information or leaked track since the announcement of the album, only to be disappointed as album release dates continuously seem to move backwards.
Just as fans seem to lose all hope a new track from Raekwon pops up on the internet like a lost gem, again peeking the listener’s interests. The track “Necro” featuring his partner in rhyme Ghostface Killah could have easily found its home on the original Cuban Links album. The ominous looped chanting layered by classic hip hop snares and kicks lays the foundation for a train of thought narrative that will no doubt take a couple of listens to catch. Raekwon’s delivery is still the laid back half mumble that it always has been, seemingly rhyming out of one side of his mouth through an intense marijuana haze. Ghost balances Rae’s calmness with his trademark panic flow and characteristically humorous explicit subject matter. The track gives hope to all of those anticipating the lost “Only Built for Cuban Links 2”, at least until the next leaked track.
Who really knows what to make of the house, electro pop, new wave revival creeping into the mainstream? Perhaps it is the boredom of the current pop atmosphere that causes listeners to seek out music that is a bit different. What is certain is that in the coming months it is almost certain that there will be backlash, over analyzed blog posts (like these) and over exposure. But while critics attempt to rationalize it all, bands such as the Australian duo Cut Copy spearhead the movement by bringing a fresh yet vintage sound for the listeners to enjoy. Their new album “In Ghost Colours” is a lighter hearted celebratory affair then previous efforts combining elements of pulse pounding arena and indie rock with driving synthesizers that make it danceable yet lyrically assessable for the listener.
The first single “Lights & Music” is up-tempo and borderline disco. The sound harkens to a harder edged New Order or Depeche Mode with a more guitar centric sound. The video directed by Krozm, is relatively simple and straight forward with flashing lights and 80s cheap effects but matches perfectly with the actual feel of the music. The song has already become a critical and dance floor favorite and is sure to become the soundtrack to the summer.
The music industry lives and dies on its ability to neatly categorize music. The companies executives need to know whether the group is rock, hip hop, pop, R&B etc… in order to know exactly where and to whom to market the music to. Therefore, when Chad Hugo, Pharrell Williams (The Neptunes) and Shay Haley decided to form a genre bending funk/hip hop punk band named N*E*R*D back in 2001 its certain that the groups sound baffled company heads on exactly how to market them. The band quickly defied the conventions of modern marketing techniques by finding an audience that immediately took to Pharrell’s familiar falsetto vocals, Chad’s implementation of synth heavy breaks and Shay’s energetic showmanship. The impact was swift as the first album “In Search of” was critically acclaimed and achieved gold status. The second album “Fly or Die” was more sonically advanced then the band’s first album. It showed growth lyrical and creatively as the members learned how to play different instruments adding to a more organic sound.
Inevitably, label disputes caused Pharrell to announce that the band was permanently on hiatus in 2005. While casual N*E*R*D fans were disappointed by the news, die hard fanatics of the band knew that the creative urges of the crew would not allow them to stay away from the scene very long. After a four year break, N*E*R*D returns with which seems to be a more layered, up-tempo danceable effort. The first single for “Seeing Sounds” is “Everybody Nose”. The song is a not to subtle ode to club girls who indulge in the white powder over emphatic jungle drums, deep driving bass, hard synth stabs and an excellent piano beat break towards the end that would make Elton John jealous.
Death Cab for Cutie holds the rare title of a band that comes from the indie scene with a platinum album and a Grammy nomination. However, upon closer analyzation of the band and their music it is not that farfetched as it sounds. The band has connected with fans by combining pop melody, Ben Gibbard’s boy next door persona, heartfelt lyrics and indie sensibilities. Three years after the bands critical acclaimed “Plans”, the group is a bit older, a little more seasoned and seemingly a little more cynical. The new album “Narrow Stairs” takes a darker, moodier turn then their past efforts but still relies heavily on the literary whisper heavy style of Gibbard that initially gave the band its charm.
The first single “I Will Posses Your Heart” clocks in at over eight minutes and contains a lengthy instrumental introduction. The song selection for a video and radio song seems more like a band attempting to redefine their sound rather than one easing into the comfort zone of rock veterans. However, the decision to make the song the first single is a reminder that the group though signed to a major record label still holds to its independent roots. Musically the song is a soundtrack to a longing heart filled with lyrics of longing and despair over the bands standard down tempo guitar blare and lightly played keyboard sound.
For the most part, songs that appear on the radio and become wildly popular follow a very similar formula. Usually there is an infectious and familiar beat, a simple sing along chorus, unambiguous lyrics and safe subject matter. This fact makes Gnarls Barkley’s success of their first album “St. Elsewhere” and its catchy first single “Crazy” an anomaly. Sure, “Crazy” was just as catchy as anything ever played on the airwaves. However, consider Cee-Lo’s unique yet soulful vocals and, then obscure, DJ Danger mouse penchant to be weird for weird sake, not to mention the subject matter of insanity and the duos affinity for dressing in full costume while performing the hit. The hit took the entire industry not to mention the group by surprise. When the group released their sophomore album “The Odd Couple” anticipation was extremely high.
On “The Odd Couple” album Danger Mouse seemingly has found his winning formula by combining hip hop stylized tracks over soulful 60’s grove and a pinch of phcyscadelia. Cee-Low chimes in with his high pitched gospel infused vocals and ambiguous lyrics to great effect. The first Single “Run (I’m a Natural Disaster)” showed that while Gnarls would have a similar vibe on this album they were not blindly trying to recreate “Crazy”. However, it’s the second single “Going On” that shows just how much the group has progressed. The eerie organs and emphatic handclaps seem very organic and a natural progression from their previous works. Not content with having another video with the group playing dress up, the video for “Going On” is an artistic triumph. Hopefully, radio and video will never be the same again.
Just ask any aspiring southern MC (as well as other parts of the country and world for that matter) who inspired them to rhyme and watch their eyes illuminate like Christmas trees as they mention UGK at the top of the list. For years the Port Arthur, Texas duo combined Bun B’s growling yet smooth baritone with pin point precise lyricism and Pimp C’s unmistakable country twang spiced with biting wit. Pimp C constructed tracks drenched in woozy gospel organs and classic hip hop 808 drum kit all seemingly slowed up on prescription cough medicine. Since the mid 90s the group dropped classic albums (Riding Dirty), classic guest appearances (Bun B’s verse on Ludacris’ “Stick em up”) and became a chest thumping source of pride and counter attack for southern hip hop fanatics against the constant barrage of unfair criticism against southern lyricists. Unexpectedly and tragically last year Pimp C passed away at a moment in UGK’s career that just seemed to be on its way into the consciousness of the mainstream.
With the loss of a friend and a rhyming partner, determined to carry UGK’s legacy on his back Bun B defiantly pulls his H-town fitted down low and goes in alone on his second fourth coming solo album “II Trill”. One thing is for certain after listening to the opening bars on Bun B’s first single “That’s Gangsta” is that Bun has not changed up his perfected formula at all. He immediately smashes the listener in the face with brutal braggadocios lyrics over melodic abrasive drum stabs. Even Sean Kingston’s Jamaican tinged crooning over the chorus appears to be more emphatic then usual when placed in the middle of Bun’s authentic narratives. With all of its gangsta posturing and scathing attacks on fake thugs the song comes to a close by Bun giving a shout out to his fallen friend.
The best music creates pictures in the listeners head. One earful of the Black Keys and the listener begins to conjure images of smoky, dark barrooms complete with sticky blood stained floors. You could imagine Dan Auerbach thrashing away on his guitar layered over his gruff vocals and Patrick Carney attempting to murder the drums as a fist fight takes place on the dance floor. The band has spent their seven year career piecing together authentic lo-fi garage blues rock that has yet to hit a sour yet. Already a critical darling and your favorite bands’ favorite band, Black Keys have recently added another notch to their belts by teaming up with producer Danger Mouse for their fifth album “Attack and Release”.
Rumors began to circulate early last year about The Black Keys and Danger Mouse coming together to produce an album for Ike Turner. Since Ike Turners passing Black Keys has kept the backing music intended for him and Auerbach layered his own vocals over them. The result is an all out attack on their instruments culminating in a strange yet effective mix of psychedelic rock and blues. Danger Mouse’s presence is felt on this album without it being overbearing or unwelcome as he fills in the bands usual lo-fi touch with a bit of polish. In fact it is not totally inaccurate to describe “Attack and Release” as futuristic blues rock. Their first single “Strange Times” is a great representation of the bands style enjoyable whether in a smoky bar room or laser tag arcade.
UNDFTD unveiled two new offerings this weekend. First up, building on the success of their first volume of UNDFTD Radio, a sequel has landed featuring familiar DJs in DJ Byze One, Phoreyz and DJ Chonz. Also dropping is the Regional Strike t-shirt, five styles including these tees pictured are on the way.
Source: Eddie Cruz
There has been an enormous amount of the talk recently about the internet destroying the music business. Cynics cry foul at leaked albums a month before the official release and music being shared on P2P. However, the critics seem to be missing a whole slew of bands and artists who seem to be benefiting from the internet. Tapes ‘n Tapes, a group of four Minnesotan indie rockers stand as a shining example of how the internet can help propel a group into the consciousness of individuals who may have not otherwise have heard them before. In 2005 the blogosphere was in frenzy when they got a whiff of Tapes ‘n Tapes brand of Pavement influenced unpretentious rock. The release of their first album “The Loon” was highly praised and front man Josh Grier was seen as a gifted song writer and vocalist (despite his penchant to mumble). The success and critical acclaim of the first album allowed the band to land a record deal with XL Records and a shot at converting many more fans.
With all of their current success comes the pressure of the all important second album. “Walk it Off” takes a different direction then their first effort. Gone are all of the rough edges of the first album and replaced by a more polished sound. The drum kicks are crisper, guitar solos more cohesive and the lyrics slightly more ambiguous. But, the change is welcome as TnT takes it’s influences of Pixies, Pavement and The Beatles and makes it their own instead of what seemed to be a deadpan regurgitation of their heroes on the first album. The first single and the bizarre video from the album “Hang Them All” showcase the direction TnT is going in the future. It is a perfect combination of indie pop rock and infectious melody. Not bad for an internet band.
It is a very difficult task to attempt to condense what exactly Santogold’s music sounds like in a two paragraph synopsis. If pressed one would say she’s part Karen O, part Debbie Harry part M.I.A. But that would be far too simple a conclusion not to mention far too safe, and would be ignoring the unique sound she brings to a stale pop landscape as of late. What’s not in contention here is that Santogold was obviously influenced by Dub music, 80s Electronic, Indie Rock, New Wave and Punk. However, these past influences do not sonically make the music feel outdated. In fact her soaring catchy choruses and her firm grasp on solid song writing seems to be spearheading a new musical trend that combines pop melody with indie sensibilities. Santogold’s newly released self titled first album is gaining momentum with critics and listeners alike.
Santogold’s first single “Creator” released in late 2007 was almost a shock to the senses. Listeners either loved or hated the electronic dub hybrid. The impact was immediate as the tune was featured in several commercials and fans began to pick sides. However, it wasn’t until the young songwriter released her second single “L.E.S. Artistes” that the public got to see exactly what she had in store. The song is a scathing attack against pretentious NY hipsters and poseurs who inhabit every nook and cranny of downtown. Musically the track is driven by muted guitars that sounds like a cross between 80s pop rock and new millennium garage rock. The remainder of Santogold’s album is just as hard to define and just as enjoyable.
Pain breeds great art. How many times have you heard this phrase? So much I’m sure that it has lost all meaning. However, every now and then we get reminded of why certain phrases get repeated so much that it becomes a part of our consciousness. Enter Young Jeezy’s new single “Put On” featuring Kanye West. The last we heard Jeezy he was spitting coke metaphors and braggadocios lines with his now instantly recognizable adlibs (yeaaahhhhh!!!!) in the same verse over distinct eerie beats. Determined not to rock the boat of success Jeezy stays with the same formula for his latest leaked single. The song is an affirmation of pride for Jeezy’s city and I’m sure ATLiens everywhere will be proud.
With all due respect to “The Snowman” it’s Kanye’s verse that seems to be an artist pouring his heart out and gives the track its break from the norm. Once the listener gets past the over used auto tune device Kanye is using you quickly hear how lyrically Kanye has become a bit darker and even angrier, and it’s for the better. Although we’re used to Kanyes’ carefree playful persona we get to hear a side of him he rarely lets us in on. With all the turmoil and joy Kanye has experienced within the last year including the tragic death of his mother and the rumored breakup of his engagement it’s no wonder Kanye spits “I lost the only girl in the world who knows me best.” It has yet to be seen if this is the direction that Kanye will be taking in the near future. But, as listeners we appreciate the great art and are sympathetic to the pain.
It’s been a long time since River Cuomo first put on that yellow cardigan and horn rimmed glasses and performed on the virtual “Happy Days” set. It’s been even longer since he and his band Weezer were considered the kings of nerd rock. Time has passed, so has fickle tastes and seemingly so did Cuomo’s anger and despair lyrically. This fact was obviously not lost on Weezer’s record company who were reportedly very upset at the first version of Weezer’s self titled album that they turned in. They told the band that they needed a single and couldn’t find one amongst the mostly guitar driven art pop. Upset and distraught, Cuomo’s went home and penned an angry response which culminated into their first single “Pork and Beans”.
The first most noticeable thing about the new single “Pork and Beans” is that it sounds very familiar. So familiar that it could have actually come from Weezer’s mid 90’s material rather than their newer sound. Everything about it screams “The Blue Album”. The riff is catchy yet weird and quirky. The bass line is a deep grove with a sharp banjo twang every few bars. Cuomo sings off pitch, yet completely on melody, about not conforming to rules. However, it’s not done in a snobby rock star way that has total disdain for the mainstream. Weezer has always had a way of showing their dissatisfaction in a charismatic way. Even the line “Timbaland knows the way to reach the top of the chart/ maybe if I work with him, I can perfect the art” seems more tongue in cheek than an actual diss. In an attempt to make a song about refusing to write a hit, it surely sounds like Weezer has another one.
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