Tuesday, January 31, 2017

Dom Servini – Unherd Radio Special #6

Listen here!


  • 1 Step ONE by Glow in the Dark
  • 2 Tinoge Ya Ta’a Ba Pt. 1 by Idris Ackamoor & the Pyramids
  • 3 Eastern Market by Yusef Lateef
  • 4 Bambro Koyo Ganda by Bonobo
  • 5 Pique (Contours Remix) by Lakuta
  • 6 Fig in Leather by Devendra Banhart
  • 7 Walking Alone at Night by The Parker Brothers
  • 8 Show You the Way feat. Kenny Loggins & Michael McDonald by Thundercat
  • 9 Unconditional Love by Jacksoul
  • 10 So Close to You by Arthur Indenbaum
  • 11 Love is Strange by Wings
  • 12 This is the Moment by Edith Peters
  • 13 Nairobi by Mombasa
  • 14 Keep Your Eye on the Sparrow by Merry Clayton
  • 15 Giving Up on You feat. Brigitte Zozula by David Marston
  • 16 Bazaar by Ponty Mython
  • 17 Dance Tonight by Sauce81


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Monday, January 30, 2017

Datablog: is the Hottest 100 really getting more mainstream?

Triple J’s annual music poll has shifted in the type of music played and the number of acts featuring women

Triple J can’t seem to broadcast a Hottest 100 without accruing a series of complaints. Aside from the perennial cries (too much electronic music! Australian hip-hop is terrible!), a few people expressed moderate outrage at pop artists placing in the top 100.

Beyoncé, Guy Sebastian, Kanye West, Drake and Rihanna all made it into the countdown, either as the primary artist on a track or as a guest vocalist (to say nothing of the Justin Bieber cover by Halsey), prompting the usual hand-wringing from people on social media.

@triplej triple J does pop now? Getting worse and worse every year

Just a reminder, Double J play the whole #Hottest100 from 1996 tomorrow. When Triple J were still good. No Beyonce or Beiber

Kanye & Beyoncé in the #Hottest100 - not good, @triplej... Go sit in the corner, listen to the '96 count, and think about what you've done!

Related: Triple J Hottest 100: does Australia's youth broadcaster have an identity crisis? | Shaun Prescott

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by Nick Evershed via Electronic music | The Guardian

Sunday, January 29, 2017

T2 Trainspotting soundtrack review – choose better than memory lane


Like its parent film, T2 Trainspotting’s soundtrack eschews cosy Cool Britannia nostalgia for something weirder and better. The original soundtrack was a sharp mix of cult classics and of-the-moment artists. Rather than get Blur and co back, Danny Boyle has called on a more leftfield lineup of young guns, the likes of Mercury-winning Edinburgh alt hip-hop trio Young Fathers, Brixton scuzz rockers Fat White Family and deliciously demented Irish rappers Rubberbandits. The classic side of things is held up by Queen, Run DMC, Blondie and more, with the whole bookended by Trainspotting’s biggest tracks reborn: a mad-dog Prodigy remix of Iggy’s Lust for Life and Underworld’s Slow Slippy. In our retromaniac world, it might not attain the original’s classic status, but it’s all the better for its bravery.

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by Emily Mackay via Electronic music | The Guardian

Friday, January 27, 2017

PREMIERE: Chris Bushnell – Whistler [MAIN COURSE SNACKS 17]

Property of Gotta Dance Dirty


Our buds over at Main Course kick off the new year with SNACKS 17, a massive compilation from some of the best rising talent in the scene. Packed with everything that’ll hit from your house to the club to the rave, it’s weapon ready across the board. We we’re happy to get the green light on premiering LA native Chris Bushnell‘s lead off track “Whistler”, and believe us – it gets things pumping real quick. We caught up with the man himself, who filled us in on how the song came to be:

My style is tough to define. I like that. Whistler’s just another example of this. I started the track in a Chicago airport after sleeping through boarding and missing my flight. Seven failed stand-by attempts later, and I’m wonk-ing the fuck out in an empty delta terminal with blood coming out of my ears…

The question is “how would you describe the song”… It’s wonky. It’s energetic. It’s unstable at points. It’s purposely basic. The vocal is borderline dumb, and to many, the drop sounds out of key… I’m cool with all of these because whatever you wanna call it, it sounded different and got me moving. That’s all I really care about. So enjoy this one and the rest of SNACKS 17.

Listen and grab the (week-long) FREE DOWNLOAD below!

Pick up the full Main Course SNACKS 17 compilation on all DSPs:
iTunes | Spotify | Amazon | Beatport

Chris Bushnell on

Main Course on

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Thursday, January 26, 2017

I make a living as a DJ, but the late nights and travel are getting to me

How can I fast-forward to a more secure future? I have qualifications in music production and technology

Twice a week we publish problems that will feature in a forthcoming Dear Jeremy advice column in the Saturday Guardian so that readers can offer their own advice and suggestions. We then print the best of your comments alongside Jeremy’s own insights.

I’ve spent the past 12 years working in electronic music, and have been successful enough to have been able to make a fairly decent living as a DJ and music producer.

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by Jeremy Bullmore via Electronic music | The Guardian


  1. Soul II Scrim – Back to Life / African Dance (Scrimshire Edits) (Wah Dubplate 12)
  1. Collocutor – Everywhere (Edit) (On The Corner Promo DL)
  2. Idris Ackamoor & the Pyramids – Tinoge Ya Ta’a Ba feat. Guy One (Philophon 7)
  3. Eric Lau – Examples (First Word Promo DL)
  4. Mor Thiam – Ayo Ayo Nene (Blessing for the New Baby) (Jazzman LP)
  5. Noname – Telefone (Noname DL)
  6. Swindle x Daley – Sympathy (White Peach Promo DL)
  7. Chip Wickham – Red Planet (Lovemonk Promo DL)
  8. Roisin Murphy – House of Glass (Maurice Fulton Remix) (Play it Again Sam 12)
  9. Warsaw Afrobeat Orchestra – If (FAI Promo DL)

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Wednesday, January 25, 2017

Brian Eno – 10 of the best

From feather-boa twirling Roxy Music art rocker to ambient byword, Eno has had a career full of fantastic music, most of it pioneering

Related: Brian Eno: ‘We’ve been in decline for 40 years – Trump is a chance to rethink'

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by Jude Rogers via Electronic music | The Guardian

Monday, January 23, 2017

New band of the week: Øslø Pårks (No 136) - synth music with soul

Brighton duo channelling Bowie-era Berlin and 80s downer electronica for their maudlin, reverb-heavy disco

Hometown: Brighton.

The lineup: Rob Flynn (vocals, production) and Ian Booth (bass), with help live from Chris “Chip” Phillips (guitar/keys/percussion), Alex Baron (ditto) and Thom Pettit (drums).

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by Paul Lester via Electronic music | The Guardian

Sunday, January 22, 2017

Brian Eno: ‘We’ve been in decline for 40 years – Trump is a chance to rethink'

The revered producer has been at the centre of pop since the days of Roxy Music. But don’t ask him about the past – he’s more interested in how to reorder society

Brian Eno’s new album is called Reflection, and what better time to reflect on an astonishing career? Or careers. There’s the first incarnation of Eno as the leopardskin-shirted synth-twiddler who overshadowed the more obviously mannered Bryan Ferry in Roxy Music. With his shoulder-length hair and androgynous beauty, there was something otherworldly about Eno. He was as preposterous as he was cool. So cool that, back then, he didn’t bother with a first name.

After two wonderfully adventurous albums he left and Roxy became more conventional. There followed a sustained solo career, starting with the more poppy Here Come the Warm Jets, progressing to the defiant obscurity of his ambient albums and on to commercial Eno, the revered producer behind many of the great Bowie, Talking Heads, U2 and Coldplay records.

Related: Brian Eno: Reflection review – endless techno-utopian lift music

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by Simon Hattenstone via Electronic music | The Guardian

Future Politics: Austra review – glossy sounds and soaring vocals


There has always been something slightly otherworldly about Austra, the synthpop persona of Canada’s Katie Stelmanis. Her previous records conjured up vast, icy soundscapes shot through with desire, foreboding and occasional rays of tropical warmth. On her third album, Stelmanis reflects on the possibilities of the future through the lens of a troubled present – song titles include Utopia, Gaia and Beyond a Mortal – and the sound, accordingly, has become even more glossy and crystalline, as though generated entirely by machine. As before, her singular vocal presence provides a necessary counterpoint. Her lyrics can be oblique and occasionally ungainly. But her voice – soaring, delicate – brings vulnerability and heat to this vision of a post-human world.

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by Killian Fox via Electronic music | The Guardian

A Shadow in Time: William Basinski review – multilayered and hypnotic


Best known for his Disintegration Loops series of albums from the early 00s, New York-based avant-garde composer William Basinski sculpts samples, drones and feedback loops into soundscapes rich in melancholic atmosphere. The two tracks on his 23rd album include a eulogy to David Bowie, For David Robert Jones, that’s rather less literal than Lady Gaga’s Grammys tribute and all the more powerful for it. Its eerily distorted saxophone, a nod to Low, takes six minutes to surface, but then takes centre stage, a mournful motif subtly evolving over the next quarter of an hour. The multilayered title track, meanwhile, is a less immediate drone, but proves hypnotic well within its 17-minute timeframe.

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by Phil Mongredien via Electronic music | The Guardian

Thursday, January 19, 2017

Austra: Future Politics review – theatrical pop for alienated people


In Katie Stelmanis’s dystopia, we are an anxious species. The Canadian songwriter and producer’s third album describes a world in which technology alienates us. Its title track – about greed, the “system” and a need to fight evil with empathy – acquires a pointed sense of prophecy through being released on the day of Donald Trump’s inauguration. But unlike other apocalyptic art – Blade Runner or Gary Numan’s Replicas – it lacks that eerie atmosphere of electric futurism that makes a grim vision so seductive. Her theatrical, heartfelt vocal performance is pitted against the electronic soundbed’s sleek, mechanical thump. But instead of a jarring war of physical versus machine-made worlds, it can feel cold, or just too oblique. Melodies are meandering, out of reach. Future Politics succeeds in conjuring the current feeling of exhaustion and the modern malaise – but is more like the confused anticipation of the present every day rather than the post-apocalyptic future.

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by Harriet Gibsone via Electronic music | The Guardian

Tycho: Epoch review – studies in electronic inconsequence

(Ghostly International)

Nominations for the electronic music Grammy are generally awarded to the year’s least exciting electronic music, and so it proves with this instrumental outfit headed by Californian producer Scott Hansen, whose Epoch is in with a shout for the 2017 prize. Underpinned with Radiohead-style fidgety live drums and topped with arena-hopeful guitar lines, Hansen adds his own flavours – diluted Kompakt pulses, very occasional melodies – to create fussy math-prog, ambient trip-hop and other studies in inconsequence. Tracks like Glider and Local make a reasonable stab at Balearic psychedelia, but don’t inhale, and for all his aspirations to cosmic transcendence, Hansen keeps everything trapped in this dimension with his compressed and airless production. It’s all perfectly pleasant and thoroughly boring, and would make ideal backing music for a hot-air ballooning company’s next promotional video.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

The Milk with Fun Lovin’ Criminals at Electric Brixton on 02/03

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Hot Chip's Alexis Taylor on William Onyeabor: 'His music never felt cold, it was exuberant'

The Hot Chip singer, who performed the late Onyeabor’s music with the Atomic Bomb! band, recalls the musician’s mystery, charisma and unflinchingly future-facing work

The first William Onyeabor track I ever heard was Good Name. It was 2011, and I only had a very low quality MP3, but the production of the music and the vocal delivery were so raw and exciting and felt so ahead of their time. I kept playing it in DJ sets, alongside modern house and disco records, and people would always ask what it was and get very excited.

After this, it felt as if a lot of things were colliding: I found two rare original copies of his albums in Rush Hour in Amsterdam; Dan Snaith as Daphni had sampled him and I knew my friend Kieran Hebden was a big fan. That was when Luaka Bop started the reissues and they got Hot Chip involved to cover the track Atomic Bomb, as well as inviting us to perform the Atomic Bomb! Band live shows with the likes of Ahmed Gallab of Sinkane, Pat Mahoney of LCD Soundsystem, Money Mark of the Beastie Boys, Lekan Babalola and Jas Walton, as well as David Byrne, Damon Albarn, the Lijadu Sisters and other artists depending on the location.

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by Alexis Taylor via Electronic music | The Guardian

Readers recommend playlist: the best of your 1980s 12-inch singles

A reader takes a journey of discovery through your favourite 12-inch singles and remixes. Classics from Grace Jones, New Order and Happy Mondays make the cut

Here is this week’s playlist – songs picked by a reader from your suggestions after last week’s callout. Thanks for taking part. Read more about how our weekly Readers Recommend series works at the end of the piece.

Related: Tom Moulton on Grace Jones: 'They were like her slaves, just looking at her all goo-goo eyed'

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by Paul Hayes via Electronic music | The Guardian

Wednesday, January 18, 2017

William Onyeabor: one of music’s most insoluble puzzles to the end

Who was William Onyeabor? The mysterious and reclusive Nigerian synthesizer whiz, who has died aged 70, seems to have existed out of time and in a world of his own imagination

William Onyeabor, the Nigerian musician who died in his sleep on Monday at the age of 70, was the recluse’s recluse. For someone like Sixto Rodriguez, subject of the documentary Searching for Sugarman, belated cult stardom was both a vindication and a second chance. But for Onyeabor, growing interest in the music he released during the 70s and 80s cut little ice. Requiring neither money nor attention, he declined to promote Who is William Onyeabor?, the 2013 compilation released on the Luaka Bop label. It says a great deal about his popularity with musicians that the mutating supergroup that toured in his place featured the likes of David Byrne, Damon Albarn, Blood Orange and Hot Chip. Thanks to fans like these, Onyeabor achieved the almost impossible: he experienced a successful comeback with his enigma intact, and without lifting a finger.

Related: William Onyeabor, cult Nigerian musician, has died aged 70

Related: The five-year quest to reissue William Onyeabor

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by Dorian Lynskey via Electronic music | The Guardian

William Onyeabor, cult Nigerian musician, has died aged 70

The enigmatic electro-funk pioneer, who released nine albums between 1977 and 1985 before distancing himself from music, has died peacefully at home

William Onyeabor, groundbreaking synth funk musician, has died at the age of 70.

The Nigerian artist died on 16 January, according to a statement released by David Byrne’s record label Luaka Bop. Describing him as “the great Nigerian business leader and mythic music pioneer”, the statement explained that Onyeabor died peacefully in his sleep at his home in Enugu, Nigeria, following a short illness.

Related: Spotlight on… William Onyeabor

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by Guardian music via Electronic music | The Guardian

Tuesday, January 17, 2017

Resonators at Turnhout w/ Mighty Diamonds on 11/03

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Soothsayers at The Hideaway (Streatham) on 25/02

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Bopperson at The Dundee Arms on 21/01

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Soothsayers live at The Portico Gallery (London) on 03/02

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Remembering Trash: the London club night that defined the rock'n'rave era

Erol Alkan, LCD Soundsystem, 2ManyDJs and Bloc Party were all regulars at the feted Monday night party destination, which shut its doors 10 years ago this month. They recall an eclectic, eccentric event that reshaped UK nightlife

For many of the students, creatives and musical misfits bounding around London from 1997 to 2007, life revolved around Monday night. Each week, at the Holborn venue the End, a bash called Trash was a siren call for the indie glitterati (or just anyone who read the Face), a £6 disco that defined the era’s promiscuous relationship with guitar and dance music. Its transgressive mix spanned angular indie to electro and post-punk, no wave to art-school garage-rock and practically any band boasting a bowl cut. LCD Soundsystem and Yeah Yeah Yeahs played their first UK shows on its tiny stage. Amy Winehouse was a regular. For a decade, London’s HR departments must have wondered why they had so many sick notes on Tuesday mornings.

“People still come up to me and talk about how special a time it was for them, and how nothing filled that gap that it left,” says Erol Alkan, Trash’s linchpin and now a successful DJ, producer and remixer. He started the club as an antidote to the capital’s staid post-Britpop parties – nights that were, according to Bloc Party guitarist and Trash devotee Russell Lissack, “strictly guitar music and often fairly retro, quite generic”.

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by Kate Hutchinson via Electronic music | The Guardian

Monday, January 16, 2017

New band of the week: Magnus Bechmann (No 135) – sweet-toothed grunge-pop

Young pop craftsman from Scandinavia making witty, intricate guitar music that makes you think and dance

Hometown: Sandvika, Norway.

The lineup: Magnus Bechmann (vocals, bass).

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by Paul Lester via Electronic music | The Guardian

Sunday, January 15, 2017

The brave new world of the xx, pop’s brooding perfectionists

Solo success, confronting grief, sobering up… the feted London trio talk frankly about how the events of the past four years informed their new album, I See You

The three members of the xx cross from Poland into Lithuania overnight, trying to sleep inside a bus that judders and lurches along an uneven border road. It is December, an unforgiving time to be touring eastern Europe, and snow that was coming in committedly when they left Warsaw still falls when they arrive in Vilnius, the Lithuanian capital. It’s cold here, beer-jacket weather, hot-toddy weather, get-messed-up-after-the-gig-to-distract-from-the-bite weather. But the band – Oliver Sim, Romy Madley Croft, Jamie Smith – travel in good, sober order. They toured their first album, in 2010, blinkingly, greenly, through a fog of personal tragedy. Two years later they got through a second-album tour mostly by partying wherever they went. (Moving from “encore to after-show… chasing the night,” as the band phrase it in a new song, Replica.) When we meet, the release of album number three, I See You, is looming. For various reasons they expect to take this one around the world in steadier, less emotionally hectic fashion.

Arriving in central Vilnius at 10am, the trio alight from the tour bus and teeter over icy pavement, straight to their hotel rooms for some extra sleep. I’m in the lobby waiting for them when they emerge, one by one, at midday. Sim (27 years old, bassist and co-vocalist) appears in a splendid fur-lapelled coat. His enormous green eyes lend him at once a striking handsomeness as well as the perpetual suggestion of worry. More so than Sim, Madley Croft (27, lead guitar and vocals) is dressed for her terrain: leather boots, hoodie, black-camo raincoat, a hat over her dark shoulder-length hair. A stitched image on the hat is faded and hard to distinguish and when I ask her what it is she answers in a soft, whistling voice: “Three babies dancing.” She says she found the hat in a skate shop somewhere. Smith (28, percussion and production) might have found his entire outfit in a Sports Direct somewhere. He comes down in Nike T-shirt, Adidas trackies, his copper curls sprouting over the strap of a backwards-turned cap.

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by Tom Lamont via Electronic music | The Guardian

Brandon Can’t Dance: Graveyard of Good Times review – joyful and triumphant

(Lucky Number)

Philadelphia native Brandon Ayres, AKA Brandon Can’t Dance, rattles through styles and influences so readily that on first listen this ramshackle, self-produced collection feels like an arch experiment in mimicry. So Deep, So Tortured, So Freak’s Marilyn Manson-isms are gloriously OTT, while A Greyhound Named Chelsea expertly apes Elliott Smith-esque singer-songwriter woes, rhyming the title with “chalice of ecstasy” in a tongue-in-cheek list of basic needs. Obligatory Star Surfing Song, meanwhile, is a Smashing Pumpkins song in all but name. Never overstaying its welcome despite its 16-track length, there are little pockets of unadulterated joy peppered throughout, specifically the buzz guitar-laced opener Headspace, and She Loves Anime’s electro-tinged tale of a boy who draws himself the perfect girlfriend.

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by Michael Cragg via Electronic music | The Guardian

Friday, January 13, 2017

Resonators at The Soundcrash Funk & Soul weekend (12-15/05)

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Resonators at Freedom Sounds Festival (Cologne) on 22/04

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Link to Gilles Peterson

Posted: 11 Jan 2017 05:50 AM PST
Starting the New Year with some new line-up goodness for the Worldwide Awards on Saturday 21st January. We've announced Brainfeeder wunderkind Jameszoo, musical magician Photay and hinted at some very special unannounced special guests.
Bringing his fresh “naive, computer jazz” to the stage at KOKO, Jameszoo performs live with 4-piece, expect cuts from his 2016 album on Brainfeeder – a strong example of the modern evolution of jazz music.
A musical journey via drumming, turntablism and eventually composition, Photay draws on a wide range of global influences. His sound is a balancing act of analog and digital, of natural and synthetic.
These two join the ever-growing line-up alongside: Noname / Jimetta Rose / Ezra Collective / Trim / Sarathy Korwar / Acid Arab
 Tickets are close to sold out. Head to DICE FM to grab the last remaining tickets.
For all those who slept on tickets, or couldn't make it from far-flung corners of the globe – we're bringing the Worldwide Awards truly worldwide, with an official live stream via gillespetersonworldwide.com and footpatrol.co.uk. Catch all the action from 8pm GMT / 3pm EST / 12pm PST // Sunday 22nd January 5am JST / 7am AEDT.

Best New Tracks - Pitchfork: “Little Bubble” Sounds Like Time Collapsing

Best New Tracks - Pitchfork: “Little Bubble” Sounds Like Time Collapsing

Link to Best New Tracks - Pitchfork

Posted: 05 Jan 2017 08:56 AM PST

Two years ago, writing on Solange's website about D'Angelo's Voodoo for its 15th-anniversary, Dave Longstreth said the album "collapses time, it feels eternal." He found in those enduring grooves "an alternate reality where traditionalism and technology aren't at odds." With the release of "Little Bubble," the second new song from Longstreth's Dirty Projectors in recent months, it's clear he could just as easily have been talking about his own music.

The new song is a decidedly digital ballad that touches on ancient themes ("I want to be dead," Longstreth croons), where distended noises more often associated with glitchy mp3s are strangely at home beside a sumptuous bed of Rhodes, strings, trombone, and, as ever, Longstreth's melismatic vocals. The public uncertainty surrounding Dirty Projectors' current lineup status, after Longstreth was the only member credited on September's divorce-tinged stunner "Keep Your Name," may offer temptation to interpret the bittersweet refrain—"We had our own little bubble/For a while"—through the lens of the band's biography. But if the heartbreak conveyed in these intricately unwinding melodies might convincingly reside at Longstreth's studio desk, it could also be anyone's post-breakup anguish. Or it could refer to a more global tragedy. Or is this a comment on our gadgets? Our social-media insularity?

Emerging from a hiatus, Longstreth's recent work seemed to contradict Dirty Projectors' narrative of a sometimes-showily virtuosic band learning the power of simplicity. "Keep Your Name" included a spoken-word section that came awful close to rapping, which was a sharp departure from any storyline about artists softening their weird edges. Yet, scarcely a week later, Longstreth contributed extensively to Solange's magisterial Seat at the TableWith the narrative a little derailed, it'd be hard to make predictions about year-end, let alone tomorrow, but right now, "Little Bubble," sounds like time collapsing.

RAPPAMELO | Ahwlee – Life2 | Musique Non Stop

RAPPAMELO | Ahwlee – Life2 | Musique Non Stop


Posted: 05 Jan 2017 08:28 AM PST
Ahwlee. Life2. beats2. good2. and2. good2. Available. at. uknowymusic.bandcamp.com. enjoy.
full stream.

The post Ahwlee – Life2 appeared first on RAPPAMELO.

Stones Throw News: The Koreatown Oddity - FINNA BE PAST TENSE

The Koreatown Oddity - FINNA BE PAST TENSE
Koreatown Oddity (Dominique Purdy) – Photo by Robb Klassen for The Hundreds

  • January 13, 2017

The Koreatown Oddity is a Los Angeles MC/Producer specializing in Raw Hip Hop Shit. Here's his new album.

Limited edition cassette available now. Vinyl available Feb. 24.

He is Dominique Purdy, born and raised in Koreatown, Los Angeles.  His first hip-hop influence was his own mother, who made jewelry and hung tight with Ice T, the Rhyme Syndicate, and Grandmaster Caz. 

“I remember Caz showing my mom how to freestyle on cassette, just fucking around. He was basically saying have fun with it, say something that comes from right where ever you are.”

Purdy moved from corner to corner through Koreatown his whole life, drawing, writing, and developing his own brand of experimental hip-hop, fused with comedy, and impromptu performance. He wrote and starred in the independent feature Driving White Black (2016). As The Koreatown Oddity, rocking a wolf mask he bought back in high school for 70 bucks, he’s been doing shows anywhere and everywhere, whether he’s invited or not: L.A.’s The Laugh Factory, Wendy’s, and Greyhound Stations. 

Finna Be Past Tense is his first album with Stones Throw, following a long line of independently released cassettes. Finna Be Past Tense was produced entirely by Vex Ruffin, who met the MC after one of his public stunts.  The album – also featuring Joyce Wrice, Black Moses, Tron7Seize, DJ Lala, DJ Luman – is based around a loose concept of Koreatown Oddity reckoning with life, death, and the passage of time.  

Finna Be Past Tense cover art by Oscar Ayala.

On the web: Koreatown Oddity | @DominiquePurdy

BANDCAMP: Koreatown Oddity Seizes the Day on Finna Be Past Tense.
HUNDREDS: Koreatown Oddity in his home studio
LA WEEKLY: Caught while Driving Black
LA RECORD: Koreatown Oddity Interview

THE JAZZ CHILL CORNER Saxophonist Miguel Zenón releases intimate new recording Típico

THE JAZZ CHILL CORNER Saxophonist Miguel Zenón releases intimate new recording Típico


Posted: 05 Jan 2017 06:34 AM PST
Miguel Zenón's new album, Típico, is above all a celebration of his longstanding quartet. His past several releases have generally fleshed out that core unit with additional instrumentalists as Zenón has looked outward to explore various aspects of his Puerto Rican heritage. This new album feels more intimate. Its focus stays closer to home, with nods to Zenón's own personal and professional life as it zeroes in on what makes his band unique.

"I was thinking about what this band and the guys in the band mean to me as I was writing the music," he explains. "I kept going back to this idea of us developing this common language that identifies us as a band."

That language has been developing for more than a decade. Pianist Luis Perdomo and bassist Hans Glawischnig have been with Zenón since the turn of the millennium; Henry Cole joined the band in 2005. Their language is thoroughly fluent modern jazz, with all the instrumental prowess and rhythmic and harmonic complexity that that implies. But the dialect they've created together through the years is distinctive.

"'Típico' refers to something that's customary to a region or a group of people," Zenón says. "Or something that can be related to a specific group of people. And when I was writing the music, I was thinking about music that identified us and this band."

Each of the album's final three tracks, Zenón notes, was composed around a solo or signature rhythmic line that one of the band members had played before. "My approach was more systematic on those three compositions specifically. But the whole record essentially is about representing the sound of the band. The sound of our band."

DJBooth.net: [Feature] Royce da 5’9” is About to Conquer Trap Music & It Sounds Amazing

Thursday, January 12, 2017

Wiley: The Godfather review – grime originator delivers a blockbuster

(Chasing the Art)

Not only did he help invent grime back in the early noughties with his frostbitten take on garage production, Wiley was one of the few to successfully transition into pop. And with grime now back in the zeitgeist, his demeanour on this blockbuster album is of a foreman nodding with satisfaction as he looks across a building site – if they’re not already guesting on it, Wiley is praising his fellow UK MCs almost every other bar. A streak of high-gauge shellings are a reminder of his own prowess as a club rapper, the peak being Back With a Banger, with precision-tooled syllables over a speed-garage beat from Preditah, flowing into the equally nimble Joe Bloggs. And while it might not be radically progressive, there’s still room for curios such as Laptop, a pretty love song to his Macbook Pro; U Were Always, Pt 2, a Drake-influenced ballad about woman trouble – though naturally Wiley’s arguments are happening in Nando’s rather than Cheesecake Factory; and My Direction, with its surprisingly vibey use of a clarinet.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Bonobo: Migration review – pensive ambient electronica from a nomadic soul

(Ninja Tune)

It might not be the revolution the music world is pining for, but streaming services have recently reported an explosion in the popularity of ambient world electronica. Good timing for the doyen of percussive atmospherics, Simon Green, who returns with his sixth album. Inspired by his experiences as a nomadic musician rather than global issues surrounding migration, the record shares the same melancholic intensity of Jon Hopkins’ Immunity, but its head remains in the clouds rather than the club. Nicole Miglis’ vocals on Surface flicker like the flames of a backpacker’s campfire; the woozy No Reason is verdant and brooding; the languid, half-awake Break Apart caters to the chillout/easy-listening audience; while Bambro Koyo Ganda features energy from Morocco’s Innov Gnawa; and Kerala’s undulating rhythms, pensive and purposeful, mirror the movement of a bird’s wing.

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by Harriet Gibsone via Electronic music | The Guardian

Sohn: Rennen review – affected modern blues with some intriguing touches


Straddling the worlds of electronica and nu-R&B, British musician Christopher Taylor’s output can be loosely divided into two separate entities. Zoom in and the electronic productions that form the skeleton of his second record come into focus: muggy, oppressive tapestries of pounding percussion and interesting sonic flourishes, from ghoulishly echoing bass to crisp, clip-clopping beats. Take a step back from the digital fiddling, however, and the bigger picture is markedly less appealing. Taylor tends to sing in the abrasively squawky style of all the cod-soulful male vocalists du jour – from Hozier to Ed Sheeran and Rag’n’Bone Man. The pose is compounded by the lyrics: in Hard Liquor, Taylor pursues genre-related imagery in lines such as “My baby don’t make a sound / As long as her hard liquor’s never watered down,” to unequivocally cringeworthy effect. Despite his obvious production chops, Sohn the popstar seems merely an uninspiring iteration of the current trend for singing an irritatingly affected brand of the blues.

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by Rachel Aroesti via Electronic music | The Guardian

Resonators at Blues Autour Du Zinc (Beauvais) on 24/03

The post Resonators at Blues Autour Du Zinc (Beauvais) on 24/03 appeared first on Wah Wah 45s.

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