Cannot believe how outta hip-hop I’ve been for the last year. This blog all started out exclusively with hip-hop and look at us now (for better or worse). But of course I couldn’t deny my Minnesota brethren, at least when I enjoy their “stuff.”
P.O.S & Lazerbeak of Doomtree pair it up with ‘Fuck Your Stuff’ for P.O.S’ new album, We Don’t Even Live Here. The track is of similar vein to their usual MN hooliganary. And as much as I may not appreciate the lyricism compared to many others, P.O.S’ style & finesse over Lazerbeak’s better than ever beat is something we can all appreciate.
Ok, this is a strange one, but you know I love the strange ones!! Jon Hobotech Margulies, or Hobotech for short, busts a whomping, whirling folkstep at us and I’ve rarely seen it done before (or ever). This glitch-folk-step breed of electro may just be one of thousands of other styles emerging, but it sounds progressively appealing for now. Let’s just hope no one steps on this as much as they all did dubstep. Poor, poor dubstep.
DJ EQ is new to my ears but brings the full disco package with ‘Time': funky beats & vocal treats. This may just be a preview of his nu disco charm, but it’s damn addicting & I couldn’t sit on it. But like too many other nu disco tracks, this keeps me wondering what vocals EQ used – credit your peoples, people. [Note: WAIT for the vocals to KICK in]
I’m finally getting out of my anglocentric ways and gettin into some good ol’ international voices. First with Hindi music via Ghetto Funk and now some French via Meridian’s ‘Paris La Nuit’ remix.
Killtronik’s gets an electro pop makeover from Meridian and it sure rides well with those French female vocals. The one irritating thing, which my roommate pointed out is the male backup vocals – they sound so euro-sleazy. Do love those lady vocals though (just to let you know, again).
No one loves Chris Brown or when vocals are sped up to Chipmunk status, but they’re on this today and don’t you goddamn complain about it. Whether or not he’s been one of the biggest fuck ups in celebritism, Chris Brown’s voice sounds soulful even when sped up to near Chipmunk levels. Cleindl takes Brown’s vocals from ‘Yo’ & transforms them with hypnotic soul into depths Brown’s pop persona could never reach.
Easy Star All-Stars hit it big with their reggae reinterpretation of Dark Side of the Moon, aptly named Dub Side of the Moon. They’ve done a few other cover albums, but nothing has compared to Dub Side — a must listen for all you Floyd fans… or if you smoke weed. And as much as they could really never top that, they’ve done one hell of a job reggaifying Michael Jackson’s legendary album, Thriller.
Thrillah should be played fully through! And I don’t say this lightly. Most albums today (and in the past) really aren’t worth the full run through, but like Jackson’s Thriller, Thrillah is meant to be played sequentially. How Easy Star spun some of MJ’s tracks is truly impressive. However, some didn’t quite capture the mood that Thriller puts on, though I do realize the limitations when you’re covering reggae style.
Check out a few of the highlights below and pick up Easy Star’s Thrillah if you’re feelin the flow.
The more I listen to Electric Guest, the more Asa’s vocals remind me of Prince, especially when watching the recording of ‘Ritual Union’ in studio. It’s not just his falsetto or his similar vocal style, it’s his demeanor and how he pushes out his sound. The production, however, is quite the opposite. I guess it’s just a taste of what Prince would sound like if he went indie electro … not too shabbay.
As far as the actual cover of Little Dragon goes, Electric Guest tops it. I’m in love with both vocals, probably Yukimi’s of Little Dragon more, but how Asa’s vocals ride along with the beat and switches it up for the falsetto, puts this on heavy rotation. Now I gotta wait for someone to mash these two up… anyone
I love disco!! (no surprise) This blog has gone from hip-hop to electronica to mashups to dubstep to edm with some stops in ghetto funk & hypnotic soul, but I’ve finally arrived. (nu)Disco is my jam. See you in a couple months within another.
And of all the nu disco souls out there, Moon Boots may not be my #1 choice in disco right now, but he’s in the top two.atmosphere His latest remix of Alison Valentine’s ‘Peanut Butter’ pulls out all the MoonBoots bells & whistles that make his music so much goddamn fun to dance to. As far as Valentine, her vocals rides well with a soft touch. And although I usually like stronger lead vocals, I’ll trust Moon Boots on this one.
Whats up with electro producers throwin in so many sax solos nowadays… cause I looove it. Like I’ve said time & again (it’s even getting old to me), there’s nothing that sounds better with electro music than that saxy sex (or however you say it). But unlike most electro/sax combos, this one’s fatty as f**k, in bass that is.
‘Smash the Funk’ is bass typical of that Pretty Lights sound – hip-hop sampled, electro-bass music – and it’s still mighty fresh to me… especially when you get sax involved.
It’s not that I don’t like ‘The City’ (I do), but I almost expect too much from this barely legal producer, Madeon. I had some issues with his last release, ‘Finale,’ not because it wasn’t a brand of EDM that’s sure to make it mainstream or isn’t good in its own right, but because of what the ‘Finale’ original preview hinted at, much more progression. And as much as these last two, especially ‘The City,’ haven’t progressed to where I know his potential’s at, I’m well aware of his strategy.
‘The City,’ as bad of an intro as I gave it, is quality work once again by Madeon. The track taps into vocals by Zak Waters & Cass Lowe, which ride well with his beat breaks, but I have a feeling Madeon could spin any vocals around his beats right. This is sure to be another step that pushes Madeon into mainstream music and I couldn’t be happier about it – we need more pop stars who know their way around a beat like Madeon.