Friday, February 28, 2014

Best New Tracks - Pitchfork: Posse: "Shut Up"

Best New Tracks - Pitchfork: Posse: "Shut Up"

Link to Best New Tracks - Pitchfork

    1. Posse: "Shut Up"
    2. Rick Ross: "Sanctified" [ft. Big Sean and Kanye West]
    3. Miguel: "Simplethings"
      Posted: 27 Feb 2014 11:44 AM PST
      When Posse remark that their sound is inspired by "Delay pedals and 27 years of disappointment," it's meant to be a little funny, but also, not: a glimmer of humor shining out from a mountain of shit. That little shine can be enough, even if it's surrounded by a day-to-day life of putting up with the most banal people performing the most banal actions. On "Shut Up," from the Seattle trio's Soft Opening, singer Paul Wittman-Todd sings about a relationship straight from an Adrian Tomine comic, marked mostly by mundanity and the suffering of endless indignities. For now, he's stuck fantasizing about the perfect moment when he can tell the other person to stop talking.

      Underneath his matter-of-fact singing, a lone guitar blooms and ripples outward in mournful sublimation of the heart's true desire. It's easy to be glib on paper, especially when the hurt is real, and harder yet to convince people you contain worlds without using words. Posse can do the heavy lifting, though: Shut up, and you'll hear it.

      BKLYN Music: cadillacs

      BKLYN Music: cadillacs

      Link to bklyn music

      Posted: 28 Feb 2014 02:24 AM PST

      Snoop Dogg teams up with Madlib, the result is "Cadillacs", one track off Snoop’s third installment of his “That’s My Work” mixtape series. Get the whole 20-track strong mixtape, hosted by DJ Drama for free on Dat Piff.

      Support: Official | SoundcloudFacebook | Twitter|  Dat Piff

      NPR Jazz: Dr. Lonnie Smith Trio On JazzSet

      NPR Jazz: Dr. Lonnie Smith Trio On JazzSet

      Link to Jazz

      Posted: 27 Feb 2014 10:40 AM PST
       Dr. Lonnie Smith.
      Hammond B3 organ master Dr. Lonnie Smith recently led his trio through a soulful set before a sold-out house at the Kennedy Center Jazz Club in Washington, D.C. The good doctor turns 70 this year, and he's still a leader and innovator on his instrument. He's also gaining a whole new audience, as young musicians and producers sample his deep, relentless grooves.

      Read more from original source: http://www.npr.org/event/music/168548263/dr-lonnie-smith-trio-on-jazzset

      The Stones Throw News: Snoop & Dam-Funk - DO MY THANG - video from 7 Days of Funk

      The Stones Throw News: Snoop & Dam-Funk - DO MY THANG - video from 7 Days of Funk

      Link to The Stones Throw News Feed

      Snoop & Dam-Funk - DO MY THANG - video from 7 Days of Funk 

      One of the favorite cuts off 7 Days of Funk. "Do My Thang" also features both artists wearing Snoop Dogg's latest paisley and rose printed Neff collection, available now at Tilly's.

      Director - John Mazyck / Executive Producer - Ian Mallitz / Producer - Frank Vasquez / Producer - Ron Alvarez / Director Of Photography - Bryant Jansen 

      Bonafide Magazine @ MSN: Review: Schoolboy Q – Oxymoron

      Bonafide Magazine @ MSN: Review: Schoolboy Q – Oxymoron

      Link to Bonafide Magazine

      Posted: 27 Feb 2014 05:32 AM PST
       Review: Schoolboy Q – Oxymoron
      Top Dawg Entertainment's roster has been quietly going about their business for a while now. It's no hidden secret that New York hip-hop has been enjoying a purple patch of late, but the Black Hippy crew has slowly been shifting the gaze back towards the West Coast this year with new recruit Isaiah Rashad's Cilivia Demo and now, Schoolboy Q's debut major label album, Oxymoron.

      One obvious but lazy comparison with Oxymoron would be Kendrick Lamar's 2012 classic good kid, m.A.A.d city, especially in light of the recent drama at the Grammy's, but Q goes in with different intentions. It does share some similar moments of introspection; we are granted the occasional window into Q's dark formative years in the same maad city on Hoover Street ('Had roaches in my cereal/ My uncle stole my stereo') and Prescription/Oxymoron ('What's wrong with me? Now the pressure creep/ I'm stressing deep, even in my sleep').




      Posted: 27 Feb 2014 11:20 AM PST
      In the course of his prolific career as a jazz journalist, writing for the Los Angeles Times, the Newark Star-Ledger, and Down Beat magazine, among many other publications, Zan Stewart established himself as one of the best in the business. He won a prestigious ASCAP-Deems Taylor Award for his notes to an Eric Dolphy boxed set, and kept up a busy pace over a span of 35 years profiling major jazz musicians and annotating over two hundred albums.

      On the side, however, Stewart pursued his own musical muse, playing tenor saxophone in jam session situations and as the leader of his own groups. By 2011 he had relocated from New Jersey to the Bay Area with the intention of becoming a full-time jazz musician. The release on March 25 of his first CD, "The Street Is Making Music," is the culmination of that goal, and it happens to coincide with Stewart's 70th birthday.

      Rappcats: Snoop Dogg – Cadillacs – prod. by Madlib

      Rappcats: Snoop Dogg – Cadillacs – prod. by Madlib

      Link to Rappcats

      Posted: 27 Feb 2014 11:19 AM PST

      Snoop Dogg prod. by Madlib. “Cadillacs” is a track off the mixtape Thats My Work Vol. 3 hosted by DJ Drama, dropping at 4:20PM today, west coast time, February 27.

      Laurie Brown presents The Signal stream


      Stream Laurie Brown's The Signal

      CBC Music is proud to present this eclectic, new, free stream curated by The Signal's Laurie Brown.

      The longtime, late-night host digs deep into the vault for an atmospheric, illuminating and cutting-edge mix that weaves its way from avant-garde classical and electronica to contemporary pop, rock, folk and soul and cross-genre experimental fair.

      Among the featured artists, you'll hear Bjork, Alt-J, Andrew Bird, Arcade Fire, I Am Robot and Proud, Feist, Coeur de pirate, Efterklang, Owen Pallett, Nine Inch Nails and Laura Mvula.

      Listen to the stream above and please tell us what you think in the comments below.

      by Andrea Warner via Electronic RSS

      100 Word Review: Shuya Okino - Destiny replayed by Root Soul

      Label: Village Again/Extra Freedom

      Released: January 2013

      Shuya Okino’s Destiny was one of the big crossover albums of 2011 with its mix of original tunes and covers of boogie classics. Whereas many albums by live bands are subsequently reissued as remix albums, this was an original album produced by a DJ reinvented by a live band. Keeping the original vocal tracks, bassist Kenichi Ikdea (aka Root Soul) has enlisted the services of some The Room regulars and transported Okino’s album back into the late seventies/early eighties. The sound is something like EWF meets Rose Royce meets A Taste of Honey. Time to get your dancing shoes on!

      via Tokyo Jazz Notes

      Thursday, February 27, 2014

      [Download] Coldplay – Midnight (LEVI Remix)

      coldplaylevi remix

      Coldplay released a new single this past Tuesday and it seems like the internet could not get over how much it sounded like Bon Iver. Regardless of their new sound, it was only a matter of time before everyone jumped on the bootleg remix train. The first one that caught my eye was this subtle, yet dancey take by NYC resident and Parisian transplant LEVI. Available for free download via his facebook page it’s chill in all the best ways.

      via Gotta Dance Dirty http://ift.tt/1eChF4J

      Hilarious: Watch Dutch ravers dancing to the theme music from Benny Hill

      There's a very good chance you have never watched Dutch ravers dancing, period.

      There's an even better chance that you haven't seen their dance moves set to the music of Benny Hill.

      But we promise you will not be disappointed.

      by Jennifer Van Evra via Electronic RSS


      class="alignnone" />

      A couple of weeks ago I met up with Grenier at one of my favorite local spots Forage for a little food and friendly discussion. What I think both of us anticipated was a brief discussion about his upcoming projects, but what ended up happening was a close to hour long conversation about creativity and the state of music. I left feeling the opposite of disappointed… sure I was like 30 minutes late to my next thing but the topics we discussed was something I felt needed to be expressed. So instead of a carefully edited, introspective piece from me that took days to organize and edit down, below you’ll find an honest conversation between myself and a musician who’s very clearly spent a lot of time not only working with others but also thinking about how to work in new ways.

      This all came about by the premiere of his stunning music video for “Intentions,” which came out on Symbols last year. You can watch the video below but I highly suggest clicking after the jump to read about Grenier’s multitude of new projects, including ones with Archie Pelago, Eprom & Hejfund, and The Glitch Mob. I’d love to see others’ opinions on the rest of this, perhaps open some insightful discussions.

      LD: So [your manager] told me you’re working on a lot of collaborations. I know about your one with Petey Clicks…

      G: We are … well let me back up. I’ve been this solo artist for over six years now, living in San Francisco. That’s my home. It was a cool but isolated existence, making music up there. There’s a big party scene there, people love to go out. And because of that for me it’s not a city that I felt was really conducive to working. So I decided to move to Los Angeles because I really wanted to work with people. I’m a worker bee. I’m a blue-collar producer.

      LD: I feel like that’s why a lot of people move here. To work, and to have more access to people that just want to work too.

      G: It’s like… success and fame and all that are all relative to me… to work. The project with Petey was just one I wanted to work on. We just really get along, even though we’re a very unlikely pairing in a lot of ways musically. We have very different styles but we both really like each other and have a similar taste in some ways. I think those polar opposites lend themselves to creating some kind of weird, cool shit. So we’ve landed on doing an EP together. We’re making stuff that is definitely rooted in different things but it’s just this weird new sound.

      LD: I did an interview with Petey a while back and he said the same thing. That you guys come from different places and mindsets but when you work together it just clicks. [ed note: CLICKS. ha. good pun.]

      G: Yeah it’s nice to have that new outlet of creativity. Our friend AC Slater’s working on this project called Night Bass that I’m really excited about too. I love this idea because I’m all about hybrids in genres. I’m not a purist. It’s why I don’t make straight genre music. It sometimes confuses people when my music is being presented to the marketplace, but I love that. That’s another reason I love parties like Lil Death.

      LD: Well that was the whole premise [the founders] built it on. Kind of like the minute someone called it a certain type of party, they’d show up the next week like “Whoa, what the fuck is going on?”

      G: Exactly. Which that brings me to my next project… I haven’t talked about it really. Yet. I’ve been working on this project… this album… for two fucking years. I mean, full-time worked on this thing. I did it with this avant-garde, electronic-ish jazz band from New York called Archie Pelago. We wrote all this material together about two years ago, in San Francisco. They came from New York and I borrowed this studio and we just wrote and wrote. I took those 15 sessions and composed this album out of all that. And that’s getting released in April, and again it’s this weird hybrid of styles and vibes. Non-genre music.

      LD: How’d you link up with these guys in the first place?

      G: Distal. He hooked us up. I think there was a bit of mutual admiration happening and then I heard this remix that they did of a Distal track. It was so fuckin weird, and so cool. And it blossomed from that. We got in the studio in New York, and in the first 20 minutes we literally wrote two songs. And we were just like, “Whoa. There’s a lot here.”

      LD: So that’s a full album? Coming out in April?

      G: Yup, full album. I did all the artwork and everything for it. I got this amazing painter from Australia to do this beautiful painting for the cover. It’s a very home-listening album. A lot of dense music connotation happening in a lot of it, but it’s very much a melody based, hang out type album.

      LD: Well that’s what I like to listen to, haha. From an electronic music perspective there’s definitely a lot of stuff I enjoy hearing from a club or live perspective, I mean that’s what I work in. But there’s just as much stuff that I just want to vibe out to at home or on a walk. And I’m definitely becoming more appreciative of that split between the two.

      G: I mean, we all live these very dynamic lives, and I think that there’s a time and a place for everything. The music that has the biggest impact on me and my life is not club music. And I think that informs some of the decisions I make as a producer when I ammaking club music. But I recognize the difference.

      LD: When I first got into ‘dance’ music, I was under the impression that if it doesn’t sound awesome hearing it at a festival or a club, then I don’t really care. I didn’t understand it. It was just so new to anything I had liked or cared about before, that I cornered it into that club pocket. It took me a long time to ‘get’ the non-club side of dance music.

      G: I am exactly the opposite. I would go to the clubs and get excited by club music that reminded me of non-club music.

      LD: Yeah, I came from the hardcore / ‘scene kid’ scene, so I came from a mindset that if you didn’t want to lose your shit at shows and leave the venue sweaty and possibly bleeding then it wasn’t right.

      G: I was always able to compartmentalize. I grew up on punk, ska, I went to jungle parties. I was really physically into it. But I had this inner world that this other stuff was the soundtrack too. It was very personal. I love crazy, high-impact music. That shit gets to me on a very deep level. But I grew up on stuff like Brian Eno too. That’s one thing I really love about this YouTube generation. They’re not listening to a radio station that was programmed to play a certain genre. There’s this total freeform openness where kids can draw influences from different styles and ideas because they have immediate access to them. When I was a kid it was like, if you didn’t know about hardcore or acid house, that was it. If you hadn’t bought those records, you didn’t know it. It wasn’t going to influence you. I read this interview with Disclosure, they were talking about Detroit. These two young kids talking about how much Detroit has influenced them. If they were that age when I was, no way would they have said that. They would have been like, “Detroit? What happened there?” It’s amazing.

      LD: And because of that, the music that’s getting made, by the younger generation especially but beyond that too, is starting to delve into those explorations. Nobody is making one type of thing. And with all of these

      different influences people are more forced to create their own sound. On the radio you hear the same 10 songs all day. But now with this YouTube generation you have billions of artists to rotate through, it makes it so that no two people have the exact same rotation of artists they listen to from day to day.

      G: Walls are being broken down. That said, we all know that with any ‘genre’ there’s a middle of the road sound. There’s a style that works better in all situations. As much as I agree that music is more open-minded now, there’s lots of people making stuff that they KNOW has worked and still will. There’s plenty of people that have researched the formulas. But music is still exciting. Speaking of which, another project I have is one with Eprom and a guy called Hejfund. It’s still very much in the embryonic stage. We’re writing music… and it’s weird as fuck. The way I look at it is how can we make fun, high-energy music… but make it weird as fuck. And dark too. That’s all I can really say at this point, only because it’s still being developed.

      LD: [Your manager] told me about this dualing-DJs thing where you and the guys face each other in the middle of the venue while you’re DJing?

      G: I basically feel very passionately about two things: One, that I think what happens, amongst many things, when money comes into an equation is that people start playing it safe. Sometimes people stop using their imagination. I’m fed up with not seeing any risk-taking. I’m not seeing people introduce truly new ideas or doing things that are out of the box. Amongst many other things, one of those is the way we experience a DJ set. Just straight up where the DJ is in the room, that makes no sense. There’s no reason why most of these DJs should be UP on a STAGE. That’s not DJing. That’s performing. And fair enough, there’s room for performers. 12th Planet, he’s a great DJ but he’s an electrifying performer. People, including myself, want and should want to watch him. But I think there are ways on how to break down this DJs-on-stage thing, how to rethink ‘why is the person playing the music the farthest away from the sound system, the people dancing… why am I [as the DJ] barely even IN the room, why are these lights on me?’ It’s not about me wanting to be shy or mysterious, it’s about me wanting to be a part of the experience.

      LD: Yeah it’s weird. When I’m in the crowd at that sort of show it’s strange to me that people all face one direction. And when I’m in the booth watching it’s even weirder that everyone is looking at you. But it’s a Catch 22 because these stages and these touring shows are getting bigger stages with more intricate visual set ups and the shows are filling more and more that makes the experience you’re trying to create more difficult.

      G: Here’s the thing, if DJs and the dance music world are going to continue to rise, continue to do events at a scale that rock shows do, we need to do something more fucking exciting. I find that these festivals and these clubs get woefully boring after a while because it’s just the same stuff every time. There might be more lights or a slightly different 3D mapping, but it’s the same. There’s gotta be more than that. Kids in this generation aren’t a part of the wild chaos that came with seeing a live band. Why can’t I experience the same edginess, the same risks of something like a punk show?

      LD: But DJing at its core is so very different form a live band because by definition there is no rawness. You’re not producing live, you’re playing a bunch of mixed and mastered tracks that more or less sound exactly the same every time you or someone else plays them. At a rock show the voice and the guitar and drums that’s not prerecorded that sound is being created right there in front of you. There’s no other moment where what you hear at a rock show will sound exactly the same as the next time.

      G: I think kids are yearning for rawness. I think that’s part of what’s appealing about Skrillex. We all know he’s a talented and able producer, but there’s this chaotic nature to him. Kids love that. That’s what they want. It’s not glossy or perfect. He takes risks.

      LD: Once you’re thrust into the tour circuit though in any genre it’s like an impossible hamster wheel to get off. Especially in dance music now because that’s sort of the easiest and the most spotlighted way for up-and-comers to blow up. But I mean if you make a record that gets big you’re thrust into this tour circuit, these labels getting in your face, and all of a sudden everyone expects something from you, and even if you want to stop and say “Wait, I want off. I want to do something new and crazy!” It’s just hard to get off the wheel.

      G: Exactly. But that’s why you need to have the balls to put a wrench in the gears. Sure there’s hundreds of people in the wheel and you might trip over yourself or cause a stir, but I think that’s what will make [this] music exciting again. There are ways to work this system too and bring something new to the table. And it can just start with rethinking how a DJs decks are set up.

      LD: Another problem that I’m seeing, it might be just an LA thing, I don’t know, but nobody is fucking dancing at these shows. They’re too cool.

      G: I’ve talked about this a lot with my friend Chrissy Murderbot. That’s a phenomenon of the coasts. We talk about how DJing on the coasts are the worst gigs for that reason. All of those cities have people that are entirely too consumed with being on their phones and being ‘seen’ or playing politics… or just straight up BORED. Other cities, where people go to fucking lose their shit and sweat and if they leave the club a mess that’s what it’s about. This music is meant to be played loud, it’s meant for people to go crazy to.

      LD: I’ve seen a few risk-takers here and there and I just remember them being phenomenal performances. And there’s some people that aren’t necessarily risk-takers every time but just have really, really good knowledge of how to work a room. Like Jimmy Edgar. That’s probably one of the reason everyone at that Berlin Boiler Room was dancing. Louisahhh too. She’s getting SO good. And it’s because she’s THERE, she’s very present. When she DJs she’s very in tune with where she is, where she wants the room to go. And that’s the important thing to me.

      G: I couldn’t agree with you more. If you go in and things aren’t the way you want them to be, the club, the sound, the opener, but you still go in with a positive attitude, get in the moment, you’ll have a good show. People will remember it. There’s plenty of DJs that approach it as just a job, they clock in and clock out, just another day type thing. But man, when I was a kid, growing up seeing Nine Inch Nails and people with new weird fucked up ideas that were almost frightening…. I loved it. I loved being challenged as a fan, asking questions and seeking answers. Now I see these clean cut DJs with a logo behind them and I’m just wondering where it all went.

      LD: Yeah and safe is boring. I think you don’t need to be raw or edgy to be exciting. Like you can do you and make art and go in and get dark or weird and if you’re into it and people are into it as well it’ll be great. But in that same sense if you’re there to have a grand ol fucking time, to get fun and silly, and people are too, that’s just as thrilling. People like Salva, you watch him and he’s having a fucking blast playing. And if you’re there to have a blast too that’s just as exhilarating and memorable as a good rock show.

      G: Yeah, yeah you’re right. Skream is the same way. He can play disco for dubstep kids and get them to be into it because he’s having such a fun time.

      LD: And the best part is he still dances to disco like he did to dubstep.

      G: Hahaha, yeah. You can tell the difference, it changes the air when someone is like that.

      LD: The DJs that do it right are the ones that make you feel it on your skin. They’re the ones that when you leave the club you know that every opportunity you have to see them you will take.

      G: The truth is everyone has a bad show every now and then. But what it comes down to is I’m just looking for new ways to take risks. It’ll take a lot of work. But that’s what I want to do. I came here to build and create. And actually another thing I’ve been working on is creative work with The Glitch Mob. They needed all this new stuff for their new album, artwork, style, art direction, you know. They came to me asking for help and I was able to bring a new, cool and edgy vibe to what is really just a BIG band. Big. Playing Coachella big. It’s a big stage to stand on but it’s nice to bring the sensibility I have, it makes things exciting and mysterious and fun and weird. That’s another thing that makes me appreciate all the sort of collaborative work I’m doing, just really developing a creative community. I love it, that’s why I am here.

      LD: Whoa, that’s really cool. I’ve noticed a lot of their little aesthetic popping around.

      G: We worked with this guy Aerosyn Lex, he’s crazy talented. I just really helped implement his work. The vinyls, the final products.

      LD: So jeez, you’ve got quite the workload. Am I missing anything?

      G: Yeah, you know I still make music on my own and I’m doing a few remixes here and there but most of my time and energy is spent on this collaborative work. Honestly, I think unless you are a certain personality type, I think it’s difficult to put themselves in a position to come up and execute big projects by yourself. Working with other people lends itself to bigger and better ideas and risks. Unless you really want the spotlight on just you, it’s hard to do it by yourself.

      LD: What’s happening with this music video?

      G: The music video was made by this guy DJ Dials, out of San Francisco. He’s a bit legendary. He’s a really talented visual artist, he’s a crazy dude. He made this really beautiful video, with these sort of shapes hitting the water all rhythmically timed to the song I released on an EP that came out on Kastle’s label Symbols. A track called ‘Intentions.’ The video is beautiful, it’s rad. It’s cool.

      LD: I love Symbols. I’m so happy [Kastle] really found his niche.

      G: Yeah. He’s got a good vision, and he’s executing it well.

      LD: He’s one of the people who’s introduced me to a lot of what I am into today.

      G: He’s how we met!

      LD: Yeah!!! Well dude, it’s been a real fucking pleasure. This is going to be a long ass editorial but I am excited about this.

      G: Likewise. See you on the internet. Haha.

      via Gotta Dance Dirty http://ift.tt/NAhwc0

      Readers recommend: songs about holes | Peter Kimpton

      Hole? As in holes. Chasms to caves, plugholes to sinkholes, mind your gap and fill this week's void with your nominations

      Does a dark opening attract fear, surprise, disgust or excitement? And what is a hole? The void in the middle, what's around the outside of it, or both?

      This year's latest phobia is the sinkhole, the sudden collapse of a ground's surface layer. They can be very deep and destructive, swallowing people, cars and houses. Perhaps like in the Kevin Bacon film – Tremors. Or a banker's salary. Only sinkholes are not caused by giant worms. And there has been a spate of them appearing the UK recently, brought about, some say, by the unseasonably wet weather. But it's best not to get paranoid or go on about this. That would be too embarrassing. So embarrassing you'd just want the ground to just open up and … oh hang on.

      This week, as I peer down the dark opening into the Readers Recommend cellar, taps glinting in a shaft of sunlight, barrels brimming and ready to serve, I find myself mixing a cocktail of the topical, abstract and primeval.

      When early humans first looked into a hole, did it inspire fear? Was it a gaping black chasm, a cave of hell, horror and death? Or was it a wondrous watery world inviting them to dive, teeming with colourful fish, rich in life and possibility? Whatever the experience, holes present a potent topic recurring in song. Many songs are written and driven by the desire to fill a hole of some sort or another. So perhaps they can be put into roughly two groups: good holes and bad holes.

      Good holes might be cosy nests and nooks, associated with animal warmth and safety hibernation and nurturing. A good hole can be a opening, an opportunity. And there is also a common satisfaction associated with putting holes into things and things into holes, as it were. Such as? Well, planting seeds, samplings and trees, holes in woodwork that fit pieces together, placing objects in boxes (or indeed filling up playlists) and – so on. And there are other good associations, such as being placed in the protective surround of a life belt – through the hole in the middle – or being the ace in the hole with the golfing hole in one, or the satisfying plop of a snooker ball into a pocket, of course.

      Holes can also be associated with adventure – the gateway to another world, such as thorough CS Lewis's wardrobe, or a worm hole in space in science fiction. And you can dig yourself out of a hole, but then again you can also dig yourself deeper.

      From arseholes to earholes, peepholes to plugholes, holes can go, and be seen, in all sorts of forms and functions. Earthworms make holes and in doing so, fertilise soil, but the holes they make are also associated with rotting, decay and death. Buttonholes are useful, but some people have a phobia about them too. And then there's omphalophobia – the fear of another kind of hole – the belly button. And holes in the head? Surely a bad thing, unless of course you suffer from bad headaches and are a fan of the ancient medical practice of trepanning.

      Really bad holes? Aside from sinkholes, melancholy songs talk about a hole in one's heart or life, but that can inspire a great song. Holes can also be wounds, bullet holes, something to fall into, a dole hole, a predicament, a squalid dwelling, a hole in one's pocket, shoes, or other items of clothing. And black holes? Yes, these too are somewhat inconvenient.

      But who better to round off holes than the bard himself, not Salford's John Cooper Clarke alas, but William Shakespeare? Out of the ale-and-cakehole of playful Falstaff in Henry IV Part 2 emerge two of life's fundamentals – sex and death: "Wilt thou make as many holes in an enemy's battle, as thou hast done in a woman's petticoat?" Indeed one might.

      And so this brings me to this week's very welcome guest guru HoshinoSakura, who, filling in the gap, will deftly gather up your hole song nominations and present them as a new whole on Thursday 6 March, so please put them forward in comments by last orders 11pm GMT on Monday 3 March.

      To increase the likelihood of your nomination being considered, please:

      • Tell us why it's a worthy contender.

      • Quote lyrics if helpful, but for copyright reasons no more than a third of a song's words.

      • Provide a link to the song. We prefer Muzu or YouTube, but Spotify, SoundCloud or Grooveshark are fine.

      • Listen to others people's suggestions and add yours to a collaborative Spotify playlist.

      • If you have a good theme for Readers recommend, or if you'd like to volunteer to compile a playlist, please email peter.kimpton@theguardian.com or adam.boult@theguardian.com

      • There's a wealth of data on RR, including the songs that are "zedded", at the Marconium. It also tells you the meaning of "zedded", "donds" and other strange words used by RR regulars.

      • Many RR regulars also congregate at the 'Spill blog.

      theguardian.com © 2014 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

      by Peter Kimpton via Music: Electronic music | theguardian.com

      Calvin Harris, Avicii and Deadmau5 top the bill at Creamfields

      Electronic dance music’s biggest names to play at the Cheshire festival as organisers add five new stages

      by Guardian music via Music: Electronic music | theguardian.com

      Wednesday, February 26, 2014

      [DOWNLOAD] WUKILEAKS #3 — Mariah Carey


      Here we are in the 3rd week of WUKILEAKS — the 9 part bootleg download series brought to you by the talented and oh-so creative, Wuki . After setting his sights on Mystikal and Telefon Tel Aviv the past 2 weeks, the Colorado-based producer has now drifted into the Pop realm for his third giveaway, adding a booty-shaking, breaks vibe to Mariah Carey’s 2005 jam with Jermaine Dupri, “Shake It Off.” To be honest, I hadn’t heard the original from Mariah in years and this revamp from Wuki is currently bringing back some sweet, sweet high school memories for me. Download here and stream below! √+

      via Gotta Dance Dirty http://ift.tt/MvKl8x

      Danny Tenaglia at Exchange LA this Saturday!

      danny tenaglia LA

      This Saturday, the legend known as Danny Tenaglia will be playing an extended set at Exchange in Downtown Los Angeles. With 30 years of DJing under his belt, Tenaglia is one of the most preeminent working DJs of all time, and we’re excited to see what he has selected to play for us this weekend.


      More info on our Facebook Event

      And have a listen to this Boiler Room mix from Danny originally broadcasted from his loft in Long Island!

      via Gotta Dance Dirty http://ift.tt/1kjNTGS

      Rappcats: HOUSTON RAP book – NY Times Holiday Gift Guide

      Rappcats: HOUSTON RAP book – NY Times Holiday Gift Guide

      Link to Rappcats

      Posted: 29 Nov 2013 01:06 PM PST

      The New York Times’ Jon Caramanica wrote about Houston Rap for the paper’s Holiday Gift Guide….
      'HOUSTON RAP' "Houston Rap," the book, is a handsome collection of photos by Peter Beste and interviews by Lance Scott Walker that capture the city's hip-hop history in full. But the deluxe bundle edition is where the goodies are — an additional book of interviews, a vinyl pressing of DJ Screw's album "All Screwed Up," a seven-inch single with DJ Screw remixing UGK on one side and Fat Pat on the other, and most exciting, a DVD of "Fat Pat: Ghetto Dreams," a hard-to-come-by late-'90s document of the hip-hop scene on Houston's south side. It showcases the candy-painted cars, the molasses-slow music and, ultimately, the casualties: Fat Pat was shot dead in 1998, and, in 2000, DJ Screw died of a codeine overdose. (Sinecure, two books, one LP, one seven-inch single and one DVD, $150.) – Jon Caramanica, The New York Times, November 29, 2013

      HOUSTON RAP with slipcase and deluxe package now shipping worldwide.


      Best New Tracks - Pitchfork: Cloud Nothings: "Psychic Trauma"

      Best New Tracks - Pitchfork: Cloud Nothings: "Psychic Trauma"

      Link to Best New Tracks - Pitchfork

      Posted: 25 Feb 2014 02:16 PM PST
      Front page photo by Tom Spray

      Cloud Nothings' "Psychic Trauma" opens with a gentle, slack-wristed two-guitar strum that you could almost mistake for Pavement. Dylan Baldi's voice still has that teen-wolf wildness stalking its edges—his mouth opens into a yowl on the "psy" of "psy-chic trauma"—but for forty seconds, you are in a mellow place, some friends passing long-necked beers on a stoop. Then, drummer Jayson Gerycz inserts a fish hook into the song's mouth and pulls backwards; the song drops into minor-key, and the song begins, steadily, to speed up. Gerycz's drumming is exhilarating, both relentlessly on-beat and just-moments ahead. "I can't believe what you're telling me is true/ My mind is always racing listening to you," Baldi sings, and the band surges in sympathy, pressing its foot heavier on the odometer until the needle floats and the scenery begins flashing by too quickly. It's the sound of an incoming neurological lightning storm.

      Cloud Nothings: "Psychic Trauma" on SoundCloud.

      BKLYN Music: loootpack

      BKLYN Music: loootpack

      Link to bklyn music

      Posted: 26 Feb 2014 02:54 AM PST

      Lootpack – Madlib, Wildchild and DJ Romes – formed in the sea-side town of Oxnard CA, a couple hours north of Los Angeles, and a lifetime away from the mainstream hip-hop world. When Wolf signed the group to Stones Throw in 1998, Madlib had already produced an impressive body of work, enough to fill a 3LP debut album (“Soundpieces”) and a series of 12-inch singles. Loopdigga EP collects the rare tracks on those out-of-print singles, each taken from the original master record. The EP is now available at Stones Throw.

      “Loopdigga,” the title track featuring Madlib and MED, is as definitive as any Madlib production of this area, with three disconnected hip-hop verses about digging for records, connected by dusty jazz interludes and the sounds of Quasimoto browsing a record store.

      Support: Stones Throw | Madlib | Facebook | Soundcloud

      Musique Non Stop | eMusic Electronica

      Musique Non Stop | eMusic Electronica

      Link to eMusic » ZZ

      Posted: 25 Feb 2014 02:20 PM PST
       patten, Estoile Naiant

      Another gust of wind-rush intoxication

      “I can’t hear my own music. I don’t know what my music is; I don’t know what it sounds like.” So said enigmatic London-based producer patten of his 2011 debut album, GLAQJO XAACSSO, whose keyboard-mashing title reflected not only his bewilderment as to what his work might represent, but also his fascination with codes, connections and process. Not as related to music technology, but to our own, endlessly seething minds.

      If that suggests that patten’s records are dry exercises in deconstruction, then nothing could be further from the truth. His debut ignored the reliable comforts of builds, hooks and breakdowns in favor of the giddy thrills afforded by sudden shifts in tempo and tone, unusual texturing and extreme contrasts of expansiveness/confinement. Now, further wind-rush intoxication comes with Estoile Naiant.
      It opens with “Gold Arc,” which is driven by irritable hi-hats and a lush, woozy synth loop with a clear MBV influence, before a clatter of confused noise and patten’s own murmuring rains down, almost drowning it out. This trippy, submerge/emerge dynamic carries “Here Always,” too, but “Drift” is absolutely different — rather, it’s an anxious choir of distorted chatter and tiny electronic clippings, blasted into the chilly stratosphere.

      Everywhere, expectation is quietly subverted — via the almost subliminal, female R&B vocal snatches dropped into the relentlessly ricocheting sequences of “Pathways,” for example, or by the single fragment of arcade-game noise that spikes “Key Embedded” and the frantic percussive hiss that offsets “Agen”‘s funereal pacing. But for all its unpredictability and strange, cosmic beauty, this world is far from alienating. In fact, it’s as seductive and warmly intimate as a whisper in the ear. Patten may still not know what his music sounds like, but listeners can be in no doubt as to how it feels.

      NPR Jazz: Still 'Out To Lunch' 50 Years Later

      NPR Jazz: Still 'Out To Lunch' 50 Years Later

      Link to Jazz

      Posted: 25 Feb 2014 09:02 AM PST
       Eric Dolphy in Copenhagen, 1961.
      Eric Dolphy's creativity was exploding early in 1964, and he was finding more players who could keep up. Out to Lunch is free and focused, dissonant and catchy, wide open and swinging all at once.

      Nine must-listen new tracks from around the world

      The world’s most discerning bloggers keep us informed about the most exciting things happening in their local music scenes. Here are nine new tunes from off the beaten track

      by Lauren Down, Ian F Martin via Music: Electronic music | theguardian.com

      Bonafide Magazine @ MSN: Review: Illum Sphere – Ghosts Of Then And Now

      Bonafide Magazine @ MSN: Review: Illum Sphere – Ghosts Of Then And Now

      Link to Bonafide Magazine

      Posted: 25 Feb 2014 01:22 AM PST
       Review: Illum Sphere – Ghosts Of Then And Now
      The debut album by Illum Sphere a.k.a Ryan Hunn, DJ and co-founder of the Hoya:Hoya club night in Manchester, doesn't make much effort to hide its influences. As such, the success of Ghosts of Then and Now hinges on on how much the listener is likely to forego innovation to enjoy something simply well-executed. A mix of sequenced beats and live instrumentation, the record simultaneously recalls Flying Lotus, circa Los Angeles, and some of the finer tracks to grace Gilles Peterson's Brownswood Bubblers compilations.




          Posted: 25 Feb 2014 11:50 AM PST

          Neneh Cherry's Blank Project is her first solo album in 16 years - a collaboration with RocketNumberNine, produced by Four Tet, and featuring a guest appearance by Robyn. While her energy and demeanor may not have changed since the days of Rip Rig + Panic, musically, Blank Project is a departure from anything Neneh has previously done and was initially written as a means of working through personal tragedy. What stands out upon first listen is the album's sparseness: loose drums and a few synthesizers are the only accompaniment to Neneh's wildly poetic, soul-flooded and raw vocals. Featuring combined elements of beat poetry, avant-electronica and beautiful vocal melodies, it's a record that uses simple ideas to create something entirely original. 
          Neneh will perform at Rough Trade East in London on Tuesday evening 2/25, as well as a sold out London show at Concrete on Wednesday 2/26. ~ giantstep
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