Considering how young the members of the band are, its amazing just how influential Jamie XX and his crew have been in popular music in the past five years. You can hear echoes of their work in everyone from FKA Twigs to Drake. This cool playlist from Complex offers a tribute to band by Nosaj Thing, John Talabot and others.
Source: John Dale, FACT Magazine21 Essential Records From Cologne’s 90s Renaissance ; Listen for free at bop.fmFACTs John Dale talks with Mouse On Mars mastermind Jan St. Werner for an excellent overview of the Cologne electronic music scene in the early to mid 90s. Music from the scene represented a confluence of kraut-rock, ambient and music concrete influences, and while their palate was eclectic, nearly every artist found freedom in the open spaces of minimalist techno. The scene would soon spawn the legendary Kompakt records. Money quote from Werner:
Its an old story, but its still amazing both how persistent and subjective the "album" experience is at this point. Young Thug Leaks and Loosies 2015 is effectively a fan-curated playlist culled from Young Thug mixtape cuts, b-sides and singles that is published on a free, user-generated playlist site that is owned by a major urban media company (Complex). Still, it has nearly 140K plays, which is more than most albums these days, and definitely more than almost any playlist on a major streaming site. I was discussing this with a friend the other day, but the album is an artificial construct, and the common, underlying logic behind either a playlist such this one, or a proper album like The Barter 6*, is that its an extended collection of songs. By this logic, albums are merely officially curated collections of artist tracks. Still, theres a (false?) expectation of coherence when it comes to an album, an expectation for the artist to make a statement, whether that be aesthetically, politically or *The caveat is that The Barter 6 isnt itself a proper album, according to Thugger himself, but a teaser for his proper album,
Click here to add to Spotify playlist!The Bomb Squad are one of hip-hop’s greatest production teams, and on Public Enemy’s 1987 debut, Yo! Bum Rush the Show, they established sampling as an art form. As the record turns 30 this month, The Bomb Squad’s intricate approach to beat construction remains as relevant as ever, demonstrating how important reference and quotation were to the development of Public Enemy’s politics and to hip-hop in general.Starting out as an opening act for fellow New York hip-hop outfit Beastie Boys, the early incarnation of Public Enemy heard on Yo! Bum Rush The Show more closely resembles a party-starting posse in the mold of Run-DMC than the fight-the-power force they would become. Though the specters of white supremacy and drug culture loom large in songs like “Rightstarter (Message To A Black Man)” and “Megablast,” lyrically speaking, Chuck D was not yet so overtly topical, focusing instead on interpersonal conflict. However, the intertextuality in The Bomb Squad’s sampling style revealed a more subtle approach to expressing Public Enemy’s worldview.Rather than simply sampling a song’s hook, each track was a dense tapestry of source material, charting the group’s constellation of influences and situating hip-hop within a larger spectrum of styles, from funk to thrash metal—“Miuzi Weighs A Ton” even juxtaposes Tangerine Dream with a disco beat. This cultural melding extends to Chuck D’s rhymes, which quote everyone from Syl Johnson to Aretha Franklin to Kurtis Blow.The Bomb Squad further bolstered their productions with live instrumentation. Though Chuck D would eventually regret writing the song, “Sophisticated Bitch” features a noteworthy highlight: a guitar solo courtesy of then-unknown Vernon Reid, whose band Living Colour had yet to break out into the alt-rock world.The righteous indignation for which Public Enemy is now known may mostly be absent there, but it wasn’t far behind. The militant “Rebel Without A Pause” was released as a B-side to “You’re Gonna Get Yours” later in 1987, and it would alter the group’s course forever. But even if Yo! Bum Rush the Show reminds us that Public Enemy didn’t arrive fully formed, its 30th anniversary presents an opportunity to appreciate the group for their sonic innovations, and in this playlist you’ll hear how The Bomb Squad laid the roots of a revolution with the sounds of the past.
Click here to add to Spotify playlist!After a four-year silence that ended with last year’s widely acclaimed Blond(e), Frank Ocean has greeted 2017 with renewed vigor. He has dropped two singles, “Chanel” and “Slide,” the latter a pairing with Calvin Harris and Quavo from Migos. He has also released a dynamic playlist, “Blonded,” that appears far more personal and revelatory than the artist-branded content that label publicists crank out for streaming services. The first installment, revealed on February 24, included Celine Dion and Teen Suicide alongside obvious nods like Prince and Nina Simone. His March 10 update ventured further afield with jazz pianist Mary Lou Williams, prog-pop enigma Todd Rundgren, and techno iconoclast Actress. “Blonded” aspires to the ideal of music consumption in the streaming era—now that we can listen to everything, we can consume anything (and switch things up when the mood strikes). It remains to be seen if Frank Ocean’s ideological generosity will eventually manifest in his music.
The genre of jazz has become rigidly perceived and narrowly used by the music industry. What Ive constructed is a playlist that reflects a newer breed of jazz artists, who are too often overlooked as a representation of the music, though their modern use of elements like syncopation, improvisation and rhythm would beg to differ. Each artist draws from the past but also paves their own unique way within the art form.
My playlist consist of the various music that makes me Hyro the Hero. It’s the soundtrack that represents the culture of Houston I come from with songs like Still Tippin from Mike Jones, to the punk rock swag I possess with songs from Artist like Rancid. The music I chose is the best representation of the Rock N Roll Gangsta I’ve grown up to become.May 25, 2018 - (Los Angeles, CA) Houston-raised, LA-based rock/rapper HYRO THE HERO has resurrected his uniquely innovative fusion of rap and rock with the highly-awaited follow-up to his 2011 debut album "Birth, School, Work, Death" (produced by Ross Robinson (Slipknot, Korn, Glassjaw)) with his new release, "Flagged Channel".Scheduled for release on June 29, 2018 via RED Music / SONY, "Flagged Channel" puts forth HYRO THE HEROs true lyrical credibility and hip-hop urgency on top of aggressive, uplifting and powerfully driven punkn roll. His lyrical missives target the vacuous materialism of the rap worlds biggest pretenders with precision wordplay and heady flows, cutting through the tired narcissism of many hit makers with a celebration of the brash confidence that makes hip-hop so vibrant. HYRO conjures the blood, sweat, and tears of classic punk together with the ambition of arena rock.Recorded with producer Mitch Marlow (Papa Roach, Butcher Babies, Filter), "Flagged Channel" smashes the windows of the mainstream with a Molotov cocktail of passion and inspiration over its 12 tracks which consict of a combustible concoction of one part The Clash, one part Bad Brains, and several doses of reverence for hip-hop relevance. Featuring guest appearances from Munky (Korn) and Ash Costello (New Years Day), the album is poised to inspire a new generation of heavy music enthusiasts and hip-hop heads in equal measure.HYRO has unveiled the debut single "Bullet" with an empowering music video which premiered yesterday on Billboard. Its your brain that HYRO has his sights set on as he implores you to say mentally sharp, keep that in mind as you check out the music video for "Bullet" now here: https://www.youtube.com/watch?v=ACEKhljj5bk
2018 has been a great year for music so far, so we decided to create a ‘currently listening’ playlist that captures the new (and new-ish) releases we’re listening to right now. Some of the tracks we’ve included are by our friends and others are by people we wish we were friends with, the common thread is that they’re all grade A bangers. It’s important to support other musicians and hopefully people who like Doe will also find something they like here. We’re going to keep adding to the playlist as the year goes on, if nothing else it’ll provide something we can listen to together in the car on the way to shows to get pumped. - Nicola (Doe)
The ’90s have never sounded better than they do right now—especially for modern-day indie rockers. There’s no shortage of bands banging around these days whose sound suggests formative phases spent soaking up vintage ’90s indie rock. Not that the neo-’90s sound is itself a new thing. As soon as the era was far enough away in the rearview mirror to allow for nostalgia to set in (i.e., the second half of the 2000s), there were already some young artists out there onboarding ’90s alt-rock influences. But more recently, there’s been a bumper crop of bands that betray a soft spot for a time when MTV still played music videos and streaming was just something that happened in a restroom. In this context, the literate, lo-fi approach of Pavement has emerged as a particularly strong strand of the ’90s indie tapestry, and it isn’t hard to hear echoes of their sound in the work of more recent arrivals like Kiwi jr. or Teenage Cool Kids. Cherry Glazerr frontwoman Clementine Creevy seems to have a feeling for the kind of big, dirty guitar riffs that made Pacific Northwestern bands the kings of the alt-rock heap once upon a time. The world-weary, wise-guy angularity of Car Seat Headrest can bring to mind the lurching, loose-limbed attack of Railroad Jerk. And laconic, storytelling types like Nap Eyes stand to prove that there’s still a bright future ahead for those who mourn the passing of Silver Jews main man David Berman. But perhaps the best thing about a face-off between the modern indie bands evoking ’90s forebears and the old-school artists themselves is the fact that in this kind of competition, everybody wins.
It may be that 2019 was the best year for ’90s metal since, well, 1999. Bands from the decade of Judgment Night re-emerged with new creative twists and tweaks: Tool stretched out into polyrhythmic madness, Korn bludgeoned with more extreme and raw despair, Slipknot added a new drummer (Max Weinberg’s kid!) who gave them a new groove, and Rammstein wrote an anti-fascism anthem that caused controversy in Germany (and hit No. 1 there too). Elsewhere, icons of the era returned in unique ways: Nine Inch Nails’ Trent Reznor scored a superhero TV series, Primus’ Les Claypool teamed up with Sean Lennon for some quirky psych rock, and Faith No More’s Mike Patton made an avant-decadent LP with ’70s soundtrack king Jean-Claude Vannier. Finally, the soaring voice of Linkin Park’s Chester Bennington returned for a moment thanks to Lamb of God guitarist Mark Morton, who released a song they recorded together in 2017.
Taking a look at the playlists for my show on Boston’s WZBC might give the more seasoned college-radio listener a bit of déjà vu: They’re filled with bands like Versus, Team Dresch, and Sleater-Kinney, who were at the top of the CMJ charts back in the ’90s. But the records they released in 2019 turned out to be some of the year’s best rock. Versus, whose Ex Nihilo EP and Ex Voto full-length were part of a creative run for leader Richard Baluyut that also included a tour by his pre-Versus outfit Flower and his 2000s band +/-, put out a lot of beautifully thrashy rock; Team Dresch returned with all cylinders blazing and singers Jody Bleyle and Kaia Wilson wailing their hearts out on “Your Hands My Pockets”; and Sleater-Kinney confronted middle age head-on with their examination of finding one’s footing, The Center Won’t Hold.Italian guitar heroes Uzeda—who have been putting out proggy, riff-heavy music for three-plus decades—released their first record in 13 years, the blistering Quocumque jerceris stabit; Imperial Teen, led by Faith No More multi-instrumentalist Roddy Bottum, kept the weird hooks coming with Now We Are Timeless; and high-concept Californians That Dog capped off a year of reissues with Old LP, their first album since 1997. Juliana Hatfield continued the creative tear she’s been on this decade with two albums: Weird, a collection of hooky, twisty songs that tackle alienation with searing wit, and Juliana Hatfield Sings the Police, her tribute record to the dubby New Wave chart heroes (in the spirit of the salute to Olivia Newton-John she released in 2018). And our playlist finishes with Mary Timony, formerly of the gnarled rockers Helium and currently part of the power trio Ex Hex, paying tribute to her former Autoclave bandmate Christina Billotte via an Ex Hex take on “What Kind of Monster Are You?,” one of the signature songs by Billotte’s ’90s triple threat Slant 6.