A never before released track by Common that was thrown up on YouTube from the producer of the song, dsteele. dsteele also provides some visual stimulus that may not be all that rich, but sure is fitting. Here’s what dsteele had to say about it –
“From the vaults of the underground comes a never before heard tale from Chicago’s Greatest Street Poet, Common. Common’s graphic story comes to life with the assist from visual artist and producer dsteele.”
I’m not gonna spout off why I like this so much, it’s way too early in the morning. But I will say this, it’s nice to hear a Xaphoon joint over something other than Chiddy. And no I’m not bashing Chiddy! people…
YoungLife’s remix of “Paradise” appears to be a relaxing one up until a few minutes in when you realize you’ve got one hell of a rave-worthy remix. But as much as I love 80% of it, the other 20% needs mentioning.
The dub coiling half way through the piece really isn’t needed, but I understand its appeal and inclusion. However, it does need to tone down the dub and smoothin out the coiling into a more melodic style of dubstep. Still, nothin but love for this.
I’ve been checking out Griz’s work on a few different blogs and the consensus is clear, this has Pretty Lights Music written all over it – and his newly released track says it all.
“Wheres the Love” samples those classic lines from “Ain’t No Love In The Heart of the City,” and electrofies ’em with lazer bass & glitch crunk (now I’m just putting words together). But where it gets even more PL worthy is in the industrial grimed-out dubstep. It sounds a hell of a lot like Pretty Lights’ latest dubstep track, “I Know the Truth,” but a more sample-based, electro stricken redux.
I don’t know what those PL people are thinking for their next signed artist, but GRiZ definitely fits the bill. + The icing on the cake, he plays the sax! I gotta hear this!
In their 2011 Halloween mix, “Turnin’ Tricks for Treats,” the two take on a shitload of samples to muster up one electric-horror show. Shit can get pretty dicey at times, but I consider that a good thing this time of the year.
Last night Datsik promised he’d release “Elevate,” another collab he did with Bassnectar, if he got 3,000 ‘Likes” on a Facebook post. Needless to say it happened and he kept his promise, releasing the track, along with a higher quality version of “YES,” earlier today.
Which do you like better out of the two I’ll throw my opinion up once I warm up to “Elevate” some more.
R3hab’s electro bass buzzer takes Rihanna’s “We Found Love” and pushes it to a whole different dance level. Strangely, I get some Halloween vibes from it and even a few Matrix ones too, but I’ve always been attracted to the weirdness in music.
I’m surprised I haven’t heard a dubstep // glitch-hop remix of “Jump” yet. It had to be one of the top one-hit-wonders of the 90’s and defined the style for a while.
In The Bolivian Marching Affair’s (TMBA) remix of “Jump,” the electro gunplay hits right from the start. With outlandish breaks & glitches, this really shows where music is heading, for better or worse. However, to all those who don’t understand it, try to remember that this style of music is more about feeling it than actually listening to it (which is true, to a certain point, for all music).
Weezy with The Fray, it’ll at least be interesting. 21azy’s sampling of the two doesn’t sound like a good idea from the start, but it’s all about if he pulled it off (he did). He may have laid The Fray’s vocals down as pleasant as ever, but when those Weezy vocals hit, I was lost in the transition. Such a pleasant track that it’s even gotten me liking Weezy auto-tune (eh).
In this installment, JAYBeatz mashes up Drake’s “The Real Her” & The Weeknd’s “Thursday,” and once again topples both originals. I hear so many Weeknd remixes, yet so many fail to capture where The Weeknd is pushing R&B – JAYBeatz is one in a handful that takes this vision and pulls off a spin of their own. He should really start considering a full-length mashup album featuring these two, it would get mad promoted.