Scenes

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:

“I was just high from this interconnected weird archive. It was like a living archive. There were so many weird, interconnecting, absurd combinations, but they were lovely. It was this very, very special time.”

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":

Around 2007, a number of Dallas artists began to soundtrack a sort of inner-city war dance—residents of various Dallas neighborhoods would hit their respective variations of the dance before or after brawling—that became the Dallas Boogie...Thousands of kids in the region uploaded videos of themselves hitting the boogie to the new hot Dallas tracks, and some of these reached millions of views in a couple of months’ time.Then, in 2009, right as this two-year-old movement seemed on the cusp of going national, the LA rap group Cali Swag District made an homage to the movement, influenced in particular by North Dallas rapper Lil Wil’s “My Dougie.” Their song, “Teach Me How to Dougie,” became a global phenomenon, and Dallas’s distinctive style and music—everything from the crazy, dyed haircuts to secondary dances to songs like “Ricky Bobby” and “Cat Daddy” to usage of the long-time Dallas-area familial term “bro”—became rebranded as a California thing, a setback for Dallas that still smarts.

Footwork is a little maddening, but its also brilliant. Its deeply experimental. The percussive elements are very tightly clipped and the songs are repetitious to the point of being disorienting-- its one of the musics key characteristics, and gives the music a polyrhythmic sway. And the songs mutate; they were created to be mixed and distorted by DJs, which means that they were more or less created to be defaced. Its also littered with random and current pop cultural references, making it a sort of barometer for social relevancy - a role that hip-hop used to fill. Its also deeply funky. There are a lot of great playlist out there that over this, and Teklife recently announced that they were going to become a record label. Wills Glasspiegel does a nice job here at introducing the genre.

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,

Back in the stormy ‘70s, when Brian Eno was inventing ambient music in England and Tangerine Dream was mixing Moogs with Krautrock, a crew of electronic individualists in France was busy crafting some singular synthesizer tapestries of their own. Sometimes they were influenced by the aforementioned trailblazers and their ilk, but often they were finding their own idiosyncratic way into previously unexplored electronic thickets, without stopping to worry about what the end result might be or what anybody would think about it. With the notable exceptions of Jean-Michel Jarre, who found fame with his 1976 classic Oxygène, and Moog pop pioneer Jean-Jacques Perrey, these artists were working well under the radar, largely unnoticed in their own country and all but invisible on an international level. (And that remains the case today—a lot of this music isn’t available on Spotify, so I’ve created a YouTube playlist instead.) But the frequently quirky electronic vistas they created deserve their own chapter in the saga of synth music.

Paul Putti’s short-lived Pôle label achieved underground renown releasing albums by his project of the same name as well as fellow travelers like Philippe Besombes, freely utilizing minimalism and avant-garde techniques. Composers like Jean-Pierre Decerf and Teddy Lasry crossed over from the world of “library” recordings for film and TV but ultimately made intoxicating, atmospheric music that stood on its own. On tracks like “Speedway,” the duo Space Art came off like a Gallic version of Autobahn-era Kraftwerk. If there’s ever a synth-assisted apocalypse, Fredric Mercier’s doomy, titanic “Storm” would certainly make a suitable soundtrack. And Philippe Féret has all but vanished into the deep pockets of time, but his 1978 debut album nevertheless found him at the front lines of the ambient movement. Take a deep dive into a French river filled almost to overflowing with visceral analog electronic tones and maverick notions about what music could be.

When it comes to real rock rebellion, even the most badass American and British artists in history have nothing on the rockers of Iran. The rock ’n’ roll scene in Iran goes all the way back to the ’60s, when influential artists like Farhad Mehrad were beginning to make their presence felt. In the ’70s, artists such as Kourosh Yaghmaei, who became a sort of Bob Dylan-like figure, made their mark, and multiple directions opened for Iranian rock. But the sociopolitical tumult that came with the Islamic Revolution of 1979 brought drastic cultural changes.

Out went the Shah; in came the Ayatollah and the Ministry of Culture, a government body that required all musicians to be officially sanctioned in order to ply their trade. The reprisal against those who tried to defy these rules included oppression and even imprisonment. Still, artists like the Comment Band, Farshid A’rabi, and the B-Band managed to cut through and make their voices heard.

By the ’90s, things began to loosen up just a little bit, and more Iranian rockers rose up. But the threat of government oppression remained a very real concern. On one hand, there were artists who found ways to fight against it, such as the heavy-metal bands Mordab and Angband, which came to the fore in the 2000s. But at the same time, a number of Iranian alternative-rock bands began to expatriate. Groups like Yellow Dogs and Hypernova made their way to the U.S., and the Tehran duo Take It Easy Hospital relocated to London. But even those Iranian bands that left their homeland behind are still part of its musical legacy. And the story of Iranian rock stands to prove that in the end, the spirit of rock ’n’ roll can rise above just about anything.

There were two things we were looking forward to in 2018: Robert Mueller indicting Donald Trump, and Migos releasing Culture II. After all, Migos has been at the forefront of pop music for the better part of this decade. If we’re being 100% honest, we’ll admit that we dismissed them as one-hit wonders when “Versace” first dropped in 2013, even if we kept it in rotation for a long minute. But they’ve proven much more resilient, creative, and influential than we ever imagined. “Bad and Boujie” and “T-Shirt” helped get us through the past year-and-a-half of this orange-stained apocalyptic shitshow, and the first Culture felt like a coronation not only of Migos as the kings of hip-hop, but also of a new generation of hip-hop stars. So we just assumed Culture II would be like Easter with triplet flows, pinging trap beats, and wealth-porn punchlines.We can’t blame Migos for taking a victory lap, but, at 24 songs stretching nearly two hours, Culture II feels like a victory slog. There’s some hot tracks——“Stir Fry,” “BBO,” and “MotorSport” are all career highlights——but there’s a lot of bloat. Whether they did this because they lacked any sense of quality control (sorry), or because they were trying to game the streaming system, doesn’t really matter to us. The fact is, it gets tedious.So we’re asking you, our loyal readers and keen discerners of good taste, to help us make Culture II great again. Please, EQ the speakers, stake out the X-Actos, and carve out the amazing, taut album that we feel is lurking in there somewhere. You can see how we’d cut this up in the playlist above, but we want to hear your version, too. So, visit our Facebook post here, post your tracklist and Spotify playlist link in the comments, and/or give the thumbs up to the other version you like the best. We’ll feature the winning version of Culture II on our homepage and in our social feeds, attributed to you. Playlist away.

Barack Obama was, among other firsts, the first POTUS who shared his listening habits with the public through Spotify playlists. And though he hasn’t personally curated any music selections since leaving the White House, his Chicago-based non-profit recently debuted the first iteration of Hometown, a collection of tracks handpicked by Chicagoans that remind them of home. Comedian Cameron Esposito opens the playlist with one Chicago band covering another, JC Brooks & The Uptown Sound putting an unlikely retro soul spin on Wilco’s fragile epic “I Am Trying To Break Your Heart.” But while songs from and/or about Chi-town dominate, not everyone is so literal with the theme; actor Nick Offerman picks two Tom Waits songs that remind him of his theater days in Chicago (neither of which is Waits’s 2011 track “Chicago”). Kanye West looms large over the playlist, with three curators picking his tracks. One is West’s young protege Chance The Rapper, who singles out the sweetly nostalgic “Family Business.” A few tracks later, President Obama’s former Deputy Press Secretary, Bill Burton, picks Chance’s own “Blessings,” with a tip of the hat to Chance’s father’s work on Obama’s first campaign. But despite some recurring threads, Hometown offers a pluralistic view of Chicago music, with equal room for Liz Phair and The Staple Singers.

First off, what the hell is The Triangle? Technically speaking, it’s shorthand for Research Triangle Park, a massive slab of subtly rolling hills in the center of North Carolina that’s home to a whole mess of tech companies. Informally, however, it refers to the cities and college towns surrounding the RTP, namely Raleigh, Durham, and Chapel Hill. Most fans of indie music are well aware of the area’s bona fides: It is (or at one time was) the home of Superchunk and the Merge Records empire, a young Ben Folds Five, cult faves Archers of Loaf, and John Darnielle, the super-learned tunesmith behind The Mountain Goats, who just dropped their latest album, the wonderfully idiosyncratic Goths.So yeah, The Triangle is highly respected as a place where important music is created. At the same time, the region is underrated because it doesn’t quite strike the same level of reverence and cool as the similarly sized Seattle, Austin, or Portland. Perhaps its greatest quality is the sheer breadth of music it has churned out: In addition to all that legendary indie music, it has been a home for genre-defining thrash (Corrosion of Conformity), punk blues (Flat Duo Jets), swing revivalism (Squirrel Nut Zippers), hip-hop (Lords of the Underground), electro-pop (Sylvan Esso), and experimental noise (Secret Boyfriend).Now, a good deal of this music exists because The Triangle overflows with creative kids and arty weirdos attending one of its gazillion universities. But that’s only half the story, amazingly enough: It’s also served as a major hub for Southern vernacular music, like blues, country, and folk, since the early 20th century. Indeed, these artists may actually outnumber the many indie and alternative bands in the area. In addition to the Carolina Chocolate Drops, one of the most lauded old-time revival outfits in the United States, there’s campfire folk troubadour Hiss Golden Messenger, absurdly soulful singer/songwriter Tift Merritt, and American Primitive banjoist Nathan Bowles.Outside of Austin, or perhaps Memphis, what other scene in the U.S. boasts such an amazing balance between the modern and cutting edge and the folksy and down-home? The Dowsers guarantee that this will be the only playlist you’ll hear all week with synths, atonal guitars, and banjos.Click here to follow this playlist on Spotify.

Los Angeles rappers have a propensity for giving themselves two letter names. YG is the city’s most well-known export, but there’s also RJ (pictured), AD, T.F, and KR. Most of these artists have collaborated with each other, and are a hit or two away from breaking through at the national level.This playlist contains songs by these two-letter rappers, as well as the rest of the city’s best young talent. “Young,” of course, might not be the best description. Some of the artists, such as RJ and G Perico, hover on either side of the 30-year mark. Many of the artists have been releasing music for several years, cultivating loyal regional fan bases. But no matter their ages, all of these rappers are poised to have lengthy, promising careers ahead of them.They were certainly born in a good place to become a rapper. Los Angeles has long been a hub of the music industry, as well as an historic hip-hop city. Still, L.A.’s scene can be as insular as any other town. Many rappers achieve local hits on Power 106, but never make it across the country to Hot 97’s airwaves. Part of the reason is the specific sound the city embraces, largely fueled by the distinctive production of DJ Mustard.Many of the rappers on this list, especially those who’ve collaborated with Mustard, hail from South Central Los Angeles. Gang affiliation, either red or blue, plays a significant role in the music of rappers like G Perico, AD, and Boogie. But, given L.A.’s massive sprawl, there is, naturally, diverse music being made in various pockets of the city. Natia and Cam & China hail from Inglewood; Warm Brew is from the beachside community of Venice. It’s easy to detect a slight difference in the tone of these artists, simply based on their being born a few miles closer to the beach.Despite the hyperlocal loyalty that pervades L.A. hip-hop, many of these rappers are putting the pieces in motion to move beyond the borders of Greater Los Angeles. Cozz has signed with J. Cole’s Dreamville Records. Hugh Augustine landed a feature alongside Jay Rock on Isaiah Rashad’s The Sun’s Tirade. Bricc Baby’s “No Smoke” features Young Thug. And though Earl Sweatshirt, Vince Staples, and YG are already popular enough that they probably don’t need to be on this list, they’re good enough (and still young enough) that they deserve to be.Although New York is the birthplace and Atlanta is the current epicenter of hip-hop, these artists prove that the west coast is continuing to push the genre in creative directions. Soon, the rest of the country should recognize the music being made in the nation’s second biggest city. And if they don’t like it, then—as YG says on his track with Sad Boy, AD, and Bricc Baby—“Don’t Come to L.A.”