I grew up listening to Prince mostly because of my pops, living in a suburb South of St. Paul, but didn’t appreciate the Minneapolis music scene until I got out of it and left for college out West.
There I started to appreciate hip-hop and R&B on a much more personal level, getting in much deeper with Prince & Atmosphere. When I studied abroad I got into other Minnesota acts: Solid Gold, GAYNGS and Mel Gibson & the Pants. Finally, in the Bay Area it was Polica, Tickle Torture, thestand4rd, and most recently, Morly. Well, kinda.
I stayed in Minneapolis for a few years after college and covered Theophilus London at The Loft in early 2012. There I heard one of the openers and I fell in love (with her voice). It belonged to Katy Morley, now Morly. I remember tracking Astronautalis and her down to see if they had any music released. She didn’t, but I remember her telling me something was in the works.
Four years later and I run into her music while researching a post on Minneapolis (this one). Her voice is even more touching and her piano playing stands out more.
It’s good to have such talent sprouting from the Twin Cities. Here’s a dozen or so and their songs.
Prince won’t be known for how good of a sound he created, but how many different styles he did it in. I see so many of his predecessors show a glimpse of his depth, only to keep sticking on the same track. It’s hard to get one sound down in this life, let alone two (don’t even get me started on three), but fuck the fans and go off on your own. It’s all yours until you make it theirs.
Here’s a good glimpse at Prince’s legacy from one of my favorite shows in music, Pharrell & Scott Vener’s OTHERtone on Beats1. — We’ll have a list up tomorrow of today’s Minneapolis sound —
The list of soul started off as general relaxing remixes, but it was pretty much all some sort of soul so we trimmed it down to that. Apparently I only like hip hop and soul now.
While prepping for Figgy’s live debut, I went through his entire catalogue on SoundCloud, come to find half of it missing. SoundCloud has been more stringent on allowing sampled and remixed tracks recently, giving the major labels access to directly pull songs and even accounts from their service – Figgy was close to getting banned.
SoundCloud more recently introduced its Go premium service that includes offline, ad-free listening and a deal with the major labels that’ll increase their catalogue to compete with Spotify (it’s still in the works). What’s under the radar is that this deal may stop take downs for sampled and remixed songs and instead become a source of income for the labels – not that anyone gives a shit.
What we should give a shit about is producers will be able to keep their remixed and sampled songs on SoundCloud, probably at the cost of an ad. But at least we’ll get to use them for playlists. Until then, we’ve had Goldroom fill the void.
The amount of music going on in a few small areas around Austin, supported by all the music tech that’s trying to help it flourish, makes SXSW the place where my two loves come together. Quite literally this year with my job and this blog. Both helped me find places to go and people to do it with, but SXSW could’ve helped a lot more.
The SXSW Go app could have better helped with both finding and keeping track of events throughout the night and day, as well as finding the people to spend it with – it’s where the future of live music is going. I did find a handful of good performances and the same amount of not so good, but mostly because of the people in Austin and their recommendations. Some seriously nice people.
Here are a few stories I had with them.
I’ve never put out a playlist that I felt was incomplete, but trying to get at least an hours worth of female producers was the most difficult list I’ve ever compiled.
About four months back, I started to put together the playlist, but couldn’t get more than six or seven girls I wanted to feature. So like never before, I asked about a dozen friends in music who their favorite female producers were. Well, they had just as hard of a time.
I only managed to get twelve gals in the end, so I thought I’d open it up to a few friends and try to raise a little awareness of how female producers are really lacking. I’d say it’s the worse in any form of art, except directing film probably.
Here are eight lists consisting of over 80 female producers. If you come up with your own playlist, send it over and we’ll add it to the collection!
I Do Love You (It’s Alright) reminds me of Forest Gump. It’s like three movies in one. Going from trap to soul to disco, SO:DF changes up the key more times in one song than techno has in its 30 years plus.
I gotta figure out who they sampled on here, specifically in the disco interlude. 2:37 hits on all sorts of sexy.
Soda Island is a collective of 8 or so producers, all of which are my favorite names in an emerging style of electronic. Kawaii is what I hear it called most, or more generally future bass, but I like vapor. Bubblegum funk works too.
Along with the rest of this future bass movement (let’s rename), the folks at Soda Island are doing to electronic what jazz did to classical music. Rewriting the rules.
I’ve never seen Del live before his performance after the ICBConference last Saturday. I went to Hiero Day last year where I got to meet my favorite right now, Anderson .Paak, but couldn’t catch Del in time.
After seeing Tommy Chong close out the conference, he was a good closer, Del performed a few hours later at Pier 23 Cafe. Actually, like every other damn rap performance, we had to wait for him until the wee hours of the night, but not as ridiculous as the Ghostface-Raekwon show. While waiting for Del to come on, I saw a familiar face waiting around too. […]