Beatport Editorial Director Jack Tregoning reports on the songs that rocked the first day of the 2015 iteration of Detroits legendary Movement festival. There are some gems in there!
Tidel does a lot with their playlists that are annoying. Theyre frequently too long, awkwardly titled and unattributed. But they do have interesting themes, and this is a good example. Even their descriptions are too long. This looks back at the past five years of post-punk and has some real jewels by The Soft Moon, Parquet Courts, Viet Cong and others. I only included the first 20 of these 50 songs (there are only so many hours in the day)
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:
Source: Moses Wiener, Pigeons & PlanesThe Best New Mixes Streaming Right Now ; Listen for free at bop.fmHeres a different kind of list compiled on a weekly basis by Pigeons & Planes Moses Wiener. It encompasses some of the best mixes available on SoundCloud right now. Among the entrants: a blend of yacht rock by true school hip-hop vets People Under the Stairs, a Sonar Festival preview by the 2 Bears (featuring Joe Goddard of Hot Chip), an Essential Mix entry by tech-house star Scuba, and an intriguing melange of screwed rap-and-B by newcomer Drae Da Skimask.
Source: Mel of the Outfit, NoiseyA Guide to Dallas Rap ; Listen for free at bop.fmMel, from Dallas rap group, The Outfit, curates his list of the top 24 Dallas rap groups that matter right now. There are some great finds here -- Topic, Crit Morris, and Johnny Cage are from great to good -- and there are also some artists that I never want to hear again -- Dustin Cavazes, namely, but whats most interesting is how the scene is a microcosm for the larger rap world -- a dash of hipster rap, a pinch of street, a bit of frat rap bullshit, and then a dabble of crossover. Anyway, if nothing else, it was enjoyable to read the story behind "My Dougie":
Source: MarbleheadJohnson, DiscogsDiscover: From The Rave Scene & Beyond; Listen for free at bop.fmOkay, lets be clear: This is not a comprehensive look at vintage rave music. For that, youre much better served by reading Simon Reynolds Energy Flash (aka Generation Ecstasy). However, it is a great primer on some of the best mainfloor electronic tracks of the past three decades. It ranges from certifiable classics like Orbitals "Chime" (pictured) and a Guy Called Geralds "Voodoo Ray" to new watermarks like Burials "Loner." The author, a staffer at music database Discogs, gets bonus points for weaving in jabs at LCD Soundsystem and Simply Red in his text.
Source: Andy Beta, PitchforkA Guide to Dallas Rap ; Listen for free at bop.fmAndy Beta gives a quick overview for the uninitiated of Africas influence on modern dance music. Its very basic, and it only focuses on a few artists -- the section on Mark Ernestus takes up a third of the article -- but there are some jewels in there as well. Ive aggregated a sampling of some of the tracks that Andy discusses.
Post-metal requires some explanation, as FACTs Robin Jahdi freely concedes in the magazines latest "best ever made" endeavor. "Where do you draw the line between post-metal and doom, or modern black metal, or even prog?" he writes. "The truth is post-metal takes in all of these elements without being entirely any one of them."For the layperson, there are a few recognizable names here, like Tool, as well as indie gods like Neurosis (pictured), Boris, Isis (the L.A. band, not the so-called Islamic State), and Jesu. But this is mostly an opportunity to immerse ourselves in a sound we may have only heard fleetingly. For more FACT lists, visit their Spotify page.
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.