SONG OF THE DAY: Beach House – Master Of None


It may be 10 years old but Master of None by Beach House is definitely still worth a listen. Tucked away in the middle of their eponymous debut album, this piece has stuck around, racking up the plays. With a simple yet almost harsh opening, Master of None then slides into a full-on dream pop piece, complete with the haunting vocals that have become a Beach House staple.

SONG OF THE DAY: Drugdealer – “Suddenly (feat. Weyes Blood) “

“Suddenly” (feat. Weyes Blood) off of Drugdealer’s new album, The End of Comedy is one of my favorites at the moment. With a unique tempo and hummy, melodic sound it gets better every time I listen. If the cool cover art doesn’t get you, know that the album was recorded at many locations, one of them being Mac DeMarco’s house in NY. Do it for Mac.


SONG OF THE DAY: What Up, English – By The Way You Look

Most of us would be lying if we said we knew every artist on the Llama lineup, if only because of this little band from Nashville. Made up of college seniors at Bowdoin, Vanderbilt, Tulane, and UVA, What Up, English is a rock group formed in 2011 known for their catchy guitar hooks and highly danceable tunes. I highly recommend a quick perusal of their Bandcamp page – all of their available discography can be found there.

This track has particularly infectious riffs. Give it a listen, or two, or three, and get ready to dance next Saturday afternoon to this and other jams from What Up, English.



SONG OF THE DAY: Mellowhigh – Mellowhigh (Prod. by Larry Fisherman)

A friend recently turned me on to a series by Mass Appeal called Rhythm Roulette. Producers are blindfolded and choose three random vinyls that they use to craft a beat. The videos are fascinating and do a good job artfully translating the passion and creativity contained within the minds of some of hip-hop’s biggest names. Rhythm Roulette belies a larger trend in hip-hop of producers gaining significant followings and at times even eclipsing the popularity of mainstay rappers. Some highlights of the series include:

9th wonder

Big Krit (raps a verse as well on this one)

Mac Miller (still lived at his dad’s house when this was filmed)

Mac Miller dons the magic of his character, Larry Fisherman, and cooks up a particularly unique beat in this episode. Fisherman has fallen off the map as of late, but there are some underrated songs floating around produced by Miller’s whimisically named alter-ego. One of these such songs is “Mellowhigh” which he produced for the OF duo, Hodgy Beats and Left Brain. The beat on this track lays low for the first 1:55 of the song and then kicks off its shoes and starts kicking you in the face after that. In the age of the soundbite, popular artists have taken to manufacturing songs that grab the listener from the first moments of the song. Mellowhigh and Fisherman employ a more understated approach on this song and the result is a complex hip-hop track worthy of at least a couple of listens.

SONG OF THE DAY: The Uncluded – TV on 10

A catchy-as-fuck, gritty lil indie-rap crossover to push you through these bizarre late April snows and off-white skies. Also great if you’ve been meaning to get more into rap, but your search list kinda ran dry after you found Childish Gambino

Song of the Day: The United States of America – The American Metaphysical Circus

This song is from one of my favorite albums. The man behind it, Joseph Byrd, moved from New York (where he was studying under John Cage) to Los Angeles in late 1963. So he did what anyone would do: he joined the Communist party, started an experimental rock band, and called the band The United States of America. Byrd wanted the project to be “an avant-garde political/musical rock group with the idea of combining electronic sound, musical/political radicalism, and performance art.” So, it being the 60s and all, the band was signed to a major label.

Gone are the days of major labels signing experimental psychedelic bands self described as politically radical. But damn, I’m glad those days happened. Like so many of the best psych bands from the 60s, The United States of America only recorded one album. Soon after the album released, the band broke up. Still, they left behind an explosive, cutting edge record. This track is the first on the album, and it really sets the tone for the record. Unlike most psychedelic bands at the time, the band had no guitar player. Instead, Byrd and company relied on strings, bass, keyboards and most notably electronics. Any late 60s band that uses primitive hand-built synthesizers and ring modulators is right up my alley, and Byrd’s use of electronics is exceptional.  He seamlessly incorporates avant-garde influences to his music, which is experimental but still catchy and very melodic. Dorothy Moskowitz’s singing is mesmerizing and fits the band perfectly. Gordon Marron gets a crazy range of tones on his violin, from overdriven lead guitar to 19th century classical. This song, like the whole album, is a trip. Dig it.

Song of the day: This Must Be The Place (Naive Melody) –– Talking Heads

I’ve been listening to a bunch of cover albums lately, and quite often covers of this song come up (this one’s a good one ––, and I usually love them. Today, though, the original came on the radio and I remembered how fucking fantastic this song is. “Home is where I want to be/but I guess I’m already there” is weirdly resonant.

Hopefully I’m not alone in thinking that David Byrne is a genius, but even if you’re not a big fan of Talking Heads, I’ve found that even those (foolish) people who aren’t usually into Talking Heads still love this song, so definitely worth a listen.

Song of the Day: Woods – Can’t See It All

Woods has been one of the most consistent bands over the past decade, releasing one solid lo-fi psych-folk record after another on lead vocalist/songwriter Jeremy Earl’s Woodsist label. That being said, Woods usually never deviates far from their roots. While Woods has never dropped a downright bad album, the band has certainly become predictable. Or so I thought. Woods new record, City Sun Eater in the River of Light (review comin’ soon, maybe) is Woods’ most adventurous and experimental record to date. Here, Woods explores some new territory, with prevalent reggae and jazz influences. “Can’t See It All” is a prime example of this stylistic shift, and the results are fantastic. Like any Woods song, lead singer Jeremy Earl delivers his vocals in his instantly recognizable falsetto. The wah-wah lead guitar and organ with gentle vibrato that kick off the track are uncharacteristic for Woods, but are very welcome changes. The organs give this track a dubby feel, reminiscent of Lee Perry or The Upsetters, and the creeping, ominous synth lead is almost Residents-like. This is a much more electrified, inspired, and ambitious song for Woods: textured, vibrant, psychedelic and catchy. Dig it.

SONG OF THE DAY- “Glowed Up” feat. Anderson Paak – Kaytranada


Today’s track is gifted to us from producer Kaytranada featuring  Anderson Paak. The quintessential Kaytranada bass line plus with the alto vocals of Anderson Paak equals an emotive and eerie track. This song brings imagery of neon lights and halloween. The music video is the perfect visual accompaniment to this track by placing the viewer and listener in the mystical world of Kaytranada.   With his recent coming out to his fans as homosexual and the upcoming release of his album “99.9%”, Kaytranada is an artist to watch.  Nearing 100%, we wait until Kaytranada leaves his lab and shares what else he has created.


SONG OF THE DAY: Dave Matthews- “Digging a Ditch”

run to your dreaming when you’re alone. unplug the TV. turn off your phone. get heavy on with digging a ditch. cause I’m digging a ditch where madness gives a dam, digging a ditch where silence lives. digging a ditch for when I’m old, digging this ditch my story’s told. where all this trouble weighed down on me will rise. run to your dreaming when you’re alone, where all these questions spinning around my head will die. digging a ditch for when I’m through. digging this ditch I’ll dig it for you. where all this worry weighed down on me will rise, where all these habits that pull heavy at my heart will die. run to your dreaming where you’re alone, not what you should be or what you’ve become. just get heavy on with digging a ditch. cause I’m digging a ditch where madness gives a damn. digging a ditch where silence lives. where all this disappointment grown angry out of me will rise, will die. run to your dreaming where you’re alone. unplug the TV, turn off your phone. get heavy on with digging your ditch. 

The song subtly articulates meditation, as it contains captivating key concepts signifying the practice’s elements. The words essentially illuminate the liberation a tranquil mind carries. 

The initial diction “run to your dreaming” supports the decision to ride beneficial thought patterns. The qualities associated with dreaming (imaginative, limitless, playful, unrestricted, wonderful) are youthful and essentially pure. The artist honors the subject’s capability to produce stories, derived from raw experience and revealed unconsciously. The artist values beautiful material the mind effortlessly generates, suggesting innate human divinity. 

Matthews empowers the attuned by illustrating the heaviness sensitivity breeds as wonderful without its overwhelming characteristic. To propel personal growth, we “get on heavy with digging a ditch”. We lovingly embrace the sensations by creating space for them to manifest fully and therefore be more clearly understood. Consequentially, feeling deeply becomes celebrating the stimuli itself, rather than struggling with our personal impressions. The artist assigns humans agency, as we are capable of digging a ditch to surpass seeing sensitivity as inhibitory. To move forward is not to diminish one’s sensations, but rather to lightly create space which alleviates their overwhelming quality. 

With awareness, “madness gives a dam”. Dam is defined as a barrier constructed to hold back water and raise its level, the resulting water being used as supply. Digging a ditch involves optimizing the madness with thought-management. With the breath, the individual gradually ceases contemplation about the madness. It transforms into a supply of passion without judgement. The emotion remains strong but there is not a need to identify it. Therefore, it is simply good. The breath’s function originates with constructing a barrier to combat madness and eventually disintegrates it into nothing.   

The purpose of the dreaming is to create free-flowing habitual thought patterns that eventually fade into nothing. Silence allows for total absorption, complete emptiness so that the world’s life force is potent within. We feel complete connection because it is the same wave from which our own essence is derived. One love. Essentially, the practice creates silence, and closeness with our most fundamental source.