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Editor’s note: Yes, Potholes is still on hiatus, but writer Fred Castano was already set to review this year’s Outside Lands, so here we are. Hope y’all enjoy it and we’ll let you know when and/if anything changes on our site. Second editor’s note: D’Angelo photos by Curtis Stankalis. All other photos by Daniel Ancheta.
"You hate me don't you? I know you hate me as much as you hate yourself." Kendrick Lamar's first major statement since he released "i" in September is as fierce and discordant as that song was naïve and sweet. But both are flip sides of the same coin—the issue of self-love. It is clearer than ever, as his follow-up to good kid, m.A.A.d city takes shape in public, that Kendrick considers self-love—it's absence, its persistence even in the face of overwhelming societal discouragement—his great subject, the reason he's rapping. "i" was the song that gazed at the clouds, that looked deep within for reasons to love oneself. "The Blacker the Berry" balefully surveys world around him.
It begins with a loop, dark and bleary, more Enter The Wu-Tang than Aquemini. His recitation of "blacker the berry, sweeter the juice" instantly brings to mind 2Pac's "Keep Ya Head Up", but just as in 2Pac's song, the line has a wistful, even wishful ring. His voice is angry, ragged, his delivery pitched between near-scream and near-sob, but his words are clear and diamond-cut: "Gangbanging got me killing a nigga blacker than me, hypocrite."
It's a performance of abandonment, and part of how it flattens you is with control and discipline: His cadence runs roughshod over the beat, hitting it the way a sprinting foot hints pavement—at angles, irregularly, and with a painful muscle-twisting sense of urgency. His lines cut through everything, abandoning his occasional tendency to fill up lines with melodious filler syllables: "I mean, it's evident that I'm irrelevant to society/ That's what you're telling me, penitentiary would only hire me." It might be his most focused and upsetting performance, evoking not just the Pac of "Keep Ya Head Up" but the righteous firebreather of "Holler If Ya Hear Me". We're listening.
For a guy with an illustrious career spanning over twenty-years, Black Thought rarely does interviews, as Questlove is the frontman for The Roots. All these years later I can’t point to one definitive Black Thought interview outside of maybe a Juan Epstein appearance for the Undun album promo run, but that interview was surface at best.
Thought recently sat down with comedian Neal Brennan on his fantastic Champs podcast. They discussed his childhood in depth, growing up in Philly, losing both his parents at an early age, The Tonight Show, battling Boyz II Men in early talent shows, and aspiring to be a visual artist way before pursuing hip-hop full-time with The Roots.
They also delve into his working relationship with Questlove, outside endeavors and the whole Soulaquarian movement with Common, Talib Kweli, Mos Def and others. Overall, it’s a pretty funny and revealing interview from one the best emcees currently in the game.
You can stream Black Thought’s interview here
Almost 500 sessions in, if we didn’t think our mix series was the best on the web we wouldn’t run it.
2014 was no different, with some of our all-time favourite FACT mixes arriving from faces both new and old. Finally getting Stephen O’Malley, the brains behind SunnO))), Southern Lord, Khanate and more in for a three-hour session was a coup we’d been after for a long time, while Peanut Butter Wolf approaching us with the idea of a 24-hour Valentine’s Day special was a genuine WTF moment – obviously we bit his hand off, and even having to stay up late uploading the bloody thing didn’t dampen our excitement. Elsewhere, we managed to pull in big names from outside the world of dance music – Damon Albarn, Slowdive, St Vincent and Wild Beasts – and invited the likes of Ikonika back for second sessions.
There’s no science to picking our favourites, this is simply a list of the FACT mixes we enjoyed listening to the most. Ask us tomorrow and it could all be different, but for now, these are the year’s best.
Two leading members of Bristol’s new school link up for a collaborative 12″.
For well over a decade, venerable London imprint Tempa has maintained its position at the forefront of bass-heavy UK music, evolving from seminal garage and dubstep imprint to a more all-encompassing hub for everything dark and weighty.
Given both the sound and quality of their recent output, it was probably only a matter of time before either Hodge or Facta ended up with a release on Tempa. The pair will both mark their debut on the imprint with a collaborative 12″ to be released later this month.
As well as making up one half of house duo Outboxx (who provided the most recent instalment in the FACT mix series), Hodge has delivered a string of heavy 12″s on Livity Sound sister label dnuoS ytiviL as well as Peverelist’sPunch Drunk imprint (see the excellent ‘Bells’ from last year, a collaboration with Pev). Facta is a relative newcomer operating in similar murky territory, releasing the excellent Loveless 12″ on Bristol label Idle Hands earlier this year.
The pair’s 12″ for Tempa contains two collaborative efforts. The A-side, ‘Spheres Of Costa Rica’, melds tribal chanting and percussion with heavy low end. The flip side is reserved for ‘Visions’, a deeper, more grimy effort with an ominous, lurching bass line.
Tempa will release Hodge and Facta’s Spheres Of Costa Rica / Visions 12″ on 24 November. You can preview both tracks below.
Tracklist:
A Spheres Of Costa Rica B Visions
[via Resident Advisor]
Legendary producer Pete Rock has put this mix together to support Tribeca Film’s documentary Nas: Time is Illmatic. Full of classic tracks, shout-outs, co-signs and intricate blends. Well worth a listen.
On her last solo feature, a March 2013 single off her S EP, singer/songwriter SZA took us on a trip to the ICE.MOON she visits whenever she feels the need to escape from prying eyes. The TDE signee’s latest feature involves a journey in time as well as space. The destination? Babylon, an ancient Akkadian city whose ruins … Click the link for the stream.
Next year, all signs point to Röyksopp at last following up their 2010 album Senior. In November, the Norwegian electronic duo shared the new single "Running to the Sea," and now we have "Twenty Thirteen" featuring Jamie McDermott from the Irrepressibles, arriving just ahead of the closing bell for its titular year...
All you diehard Drake fans out there no doubt recall that Take Care‘s “We’ll Be Fine” was seemingly set and ready to have a video released for it. But for whatever reason, the trailer was never followed up by the full clip and the Earth kept spinnin’, Drizzy released a new album, etc…
That changes today.
Apparently director Mikael Colombu felt it was time to share his work with the world and has revealed the entirety of “We’ll Be Fine”. There’s a catch, though, and it’s that you only hear portions of the actual song in the video. It’s been replaced by a classical (or is it opera?) tune, though snippets of the track pop up here and there. Oh, as for the video itself? It’s an interesting one, that’s for damn sure.
On December 9, Brooklyn-based indie label Mexican Summer will commemorate its fifth anniversary with Mexican Summer: Five Years, a limited-pressing, 250-page book that comes with an exclusive 10-inch...