After listening to the Life of Pablo for the past week on repeat, it’s a good feeling to return to Kendrick Lamar. Kendrick’s poetic talent is on full display on his 2011 mixtape, section.80. Kush and Corinthians in particular is a great song to climb back into. The clarity with which the Compton native expresses himself on the track stands out in a time when rappers such as Future can mumble over eccentric beats and sell millions of records. It was good to see Kendrick get some recognition at the Grammys for his obvious talent. TPAB certainly took a different direction than section.80, but on Kush and Corinthians there are glimpses of the rapper that he would hatch into three years down the line. enjoy. also, check out episode 1 of the viceland series: Bompton
This South Korean punk trap music has me captivated. Music is changing quick. Kieth Ape demands you forget what you know about music, and just enjoy this energy packed 3 minutes. Vibe to this during your pleasant Wednesday evening.
In 1981, Roger Shepard started Flying Nun Records in Christchurch, New Zealand. He initially wanted to release music by local Christchurch bands, but Shepard’s great success was releasing the music of Dunedin bands, like The Clean. The Clean were without a doubt the most influential band Flying Nun signed. Steven Malkmus of Pavement, Yo La Tengo, and Jay Reatard all site The Clean as a major influence. Their first single “Tally Ho!” and following EP “Boodle Boodle Boodle” set the template for the Dunedin Sound, which would become the dominant style of Kiwi Rock for the next decade.
This track, “Point That Thing Somewhere Else” is the 5th and final track off of The Clean’s 1982 EP Boodle Boodle Boodle. The EP was recorded in a bedroom on a 4-track recorder, and like all on the EP this track has a distinct lo-fi sound. The driving, scuzzy guitars and simple drum beat propel the track forward into a five plus minute long hypnotic jam. Drummer/vocalist Hamish Kilgour’s quiet vocals float above the guitars and drums for the first half of the track, which gives way to the fuzzy, tight, and atmospheric riffs David Kilgour wails on. This track is a beast, balancing gracefully on the edge of total guitar freakout and amphetamine-fueled jangle pop a la The Feelies. So give it a list and take in some southern hemisphere sounds.
I was driving today, looking at the fog blanket on the mountains. It started snowing, and this song came on. My whole drive home suddenly took on a really lovely quality –– honestly, play this song on your walk/cycle/drive home and the next five or so minutes will become a tiny bit more wonderful.
This is an extended version of the original song, and has a much longer beautiful instrumental part with a lot of brass, which is dope –– brass is always pretty great. Personally, I associate Van a bit more with the summer, but this version of ‘Moondance’ is perfect for this meteorogically–bipolar beginning of the week.
WILLIAM ONYEABOR is hopefully but not likely a name you have heard before. The music of the mysterious man, released in the late 1970s and early 80s, characterizes a unique form of African electronic funk. After self-releasing eight albums during this time, he became a born-again Christian and essentially denounced his whole music career. To add another level of intrigue, there are rumors of his having went to Russia to study filmmaking.
After recently being “discovered” by Damon Albarn, David Byrne and other powerful male white British musicians, his music has gotten a little more exposure. There is apparently a short documentary released by Noisey (affiliated with Vice) on Onyeabor and — someone — has been trying to write a biography on him for a year and a half – but no luck there.
David Byrne’s world-music focused record label Luaka Bop recently re-released a lot of Onyeabor’s music with his approval and enthusiasm, but was unable to secure event a statement from him much less a live performance. He did, however, make an audio appearance on the radio program BBC 6 Music in 2014, where he stated that he “only create[s] music that will help the world,” and sort of announced to his fans that more music is to come… We can only hope.
I was first introduced to Onyeabor through a friend who has a habit of finding precious things in small crannies in the music world; I initially had absolutely no idea if this music came from one of this friend’s obscure, hyper-modern Soundcloud-only DJs from this decade or if it was from the middle of last century. If I ever find myself in Enugu in Eastern Nigeria, I will be looking to make contact with the High Chief William Onyeabor, operator of a flour mill and proponent of the local Christian music scene.
see another track: “Good Name”
This song popped up on my discovery weekly (as does most of the music I listen to atm). I’m a big Bossa Nova fan, so I’d heard of Caetano Veloso before. I listened to the song, and I loved it… Big whoop!
But here’s where things get interesting…
The day after I heard the song I decided to check out a Pedro Almodóvar film called Talk to Me (Habla Con Ella). About 1/3rd of the way through the movie, Caetano Veloso APPEARS AND PLAYS THE SONG!
Anyways… the song is great. The movie is great. I am great.
Cucurrucucú, Paloma, don’t cry anymore…
Did anyone else listen to Motion City Soundtrack during their angsty years as much as I did? Sometimes I forget that these guys aren’t super well known because of how large they loom in my memories of middle school. I “discovered” them in 6th grade when they opened for Panic at the Disco (OmG like Ryan Ross, plz DO me XD) and more or less kicked ass.
Over the past 8 years I’ve followed MCS at a distance, tuning into new albums a couple months after they’re released and vaguely giving a shit when their lead singer went to rehab. I recently went to a free concert they played at a famous record store in Minneapolis, but now that I think about it, that happened four years ago. Time flies when you’re not listening to pop-punk.
At any rate, Motion City Soundtrack is probably my favorite band to listen to when I’m tryna to rock out to some quirky songs about how hard it is to be a 20-something year old with hella feelings. Also great if you’re from the Twin Cities and like hearing references to actual bars near your house (s/o to the 612 [even though I’m from Hopkins]). “The Future Freaks Me Out,” is a perfect introduction to Motion City Soundtrack because it’s just lighthearted enough to keep you from labeling the band as “emo” from the get-go. Whether it’s an old standby or a new throwback, I suggest you blast it at full volume.
It’s a fairly universal experience to get drunk with the homies. It’s usually pretty fun, but sometimes, we all get a little too introspective during the process and end up talking about personal stuff instead of acting the fool. I mean, that could just be my experience, but I know I’ve gotten a little too sloshy and told people about the time I got hit by a car, which was super messed up and a bad time all around.
Anyway, on this track, The Game is drunk and introspective, and we the listeners are the homies. The Game is tough, and doesn’t often get into this mood on the mic- he’s rough and ready and wants to make sure you know it. The somber beat by Cool & Dre (not the Doc) must have The Game getting deep, because he gets drunk and flows over it, discussing the death of friends and the attempted assassination of our speaker himself. It’s a dope track, and sorta relatable in a “I’m a white kid from suburbia and have never faced violence but I’ve been sad before!” sort of way. Check it out.
It could be beautiful that WU LYF broke up because they didn’t want to become famous and sell out. It could be badass that they released a final song called ‘T R I U M P H’ on youtube with a note announcing the split. It could be rock n roll in its purest form. Instead, it’s just bullshit that WU LYF came to nothing after releasing maybe the best alternative rock album since The Moon and Antartica. ‘Dirt’ stands out like a mad yell from the depths of some forgotten night with a friend that faded into drugs; an exhilarating make-tonight-last-forever anthem that couldn’t quite overcome the reality of tomorrow.