This one’s even got a pretty sly message under it, but that’s not why Bodhi’s Imperfection has been keeping my attraction. Bodhi cuts up ‘Imperfection’ with finesse, giving a clean midtempo breakbeat performance. My favorite part comes 50 seconds in and lasts a good 15. A spine-tingling buildup.
One flaw I found in ‘Imperfection’ was at 2:47 and a few bars after, but after listening to it a couple more times through I realized that was all apart of the fun in ‘Imperfection.’
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I miss hip hop. I can’t believe how little I’ve posted of it this year, but it’s not for a lack of listening. And actually more of a surplus in other soulful styles.
Electro music has stirred up disco, funk and R&B’s past. And as many of you may well be aware, I’m obsessed with the trio. Unfortunately, hip hop & electro haven’t blossomed together to what they will one day. In the meantime, leave it to the mashup & remix artists to bring back our attention to hip hop for a bit.
The Hood Internet has been mashing up my favorite hip hop artists for a while now, many good ones, and now they’ve introduced me to two more. Hood took Gunplay and Isaiah Toothtaker in Blue Sky Black Death’s ‘Frown’ and plopped ’em into Sasac’s funky ‘All Pleasure’ original. And as much as I love that funkyass beat on top, Blue Sky Black Death’s dark remix sets a mood just as well, albeit the opposite.
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Someone needs to create a standardized database where samples are credited. Or maybe something like Shazam that can automatically figure out where the samples come from. Because so far on too many tracks today, noone credits nothin’ (you get what I mean).
The key to these disco-house beats are their vocals. Update vocals to something fresh like on ‘Get To This’ and trust me you’ve got me suckered in good. Solid bass line, Quinten 909.
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Went to a Giraffage show a few months back in his San Francisco hometown, and of the handful of acts I’ve seen at The Rickshaw Stop, Giraffage’s night took the rest. I may not appreciate his music at home as many of my friends do, but take his set to a club and you know where it’s meant to play out. Giraffage’s latest remix of ‘Better Off Alone,’ may not be anything new from this dilated soul producer, but I guarantee this is fit right for the club.
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Notta fan of Chipotle’s food, but their marketing team is far ahead of its time. I’m sure my children won’t be fooled by their artsy branding scheme, but I sure as hell don’t mind to be. This short story about a scarecrow gone rogue in the pursuit of something purer isn’t all that untold, but the beautiful visuals with Willy Wonka’s classic covered makes this ad something to talk about, especially that cover.
When I first heard Fiona Apple was doing a rendition of ‘Pure Imagination,’ I knew it was going to be postworthy, but I couldn’t imagine this. She takes the sentiment we all have for the original and makes it her own, all with a little electro undertone pressed in. Pure brilliance.
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I really thought there was no point in posting this for the longest time. It’s Drake, everyone knows that dude. But when I hear as music as good as this, I can’t make this a popularity contest (or the opposite of one).
I’ve never liked a single Drake original, really not a fan of his rap, but like Gambino before him, I’ve finally discovered his soul voice is much better than his rap one. ‘Hold On, We’re Going Home’ seems clearly influenced from his protege, The Weeknd and I like where he’s going with it. Drake has completely turned me to the much more pleasant side of his sound.
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Like the electro funk song I just posted, ‘The Way You Move’ sounds so familiar. The vocals either sound like some one hit wonder from the 90’s or I’ve stumbled on a chorus so good it’s already stuck up in my long-term memory. Either way, this is a polished 90’s hit with soulful vocals provided by Chuck New. He’s really what brings it all together, as vocals always tend to.
One thing I wasn’t feeling on Padrul’s latest is that vinyl-like scratching. I don’t mind it when used right, but when I think my speakers have gone to hell I know it’s not the right fit for this one.
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‘Above the Middle’ by Odesza starts off grand but gets progressively worse until just over a minute in. What makes it so bad is a progressive crackling and off beat sound that becomes almost unbearable to the point of a trip gone bad: nothing made sense. But what I’m realizing more and more over these working so closely with music is, vocals really do carry the piece. And just when the true feel of ‘Above the Middle’ kicks in at 1:18, all the nonsense fades away… well, the the vocals do a good job of covering it up.
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Starfucker (STRFKR) was one of my first obsessions on the blog just four years back (happy birthday to us!), but of course it took a fairly experimental remix to wet our appetite again. We actually fell off this Wet Paint remix for a while, it was posted 3 months back, but Starfucker’s video for ‘While I’m Alive’ creeped into our life and got us obsessed it once again.
This ‘While I’m Alive’ remix may take its sorry ass time to kick in the vocals, but once the whole thing gets going it reminds me of why I was obsessed with Starfucker in the first place. Such distinct and memorable vocals.
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Funkerman’s Can You Feel It Records hit me up with three remixes of ‘Wine & Roll’ a couple days back. I pretty much fell in love with ’em straight from the start, but was a little misinformed at the time. See, I thought the ‘Wine & Roll’ original was a much more popular hit simply because I-Candy’s lines sounded so familiar. But after trying to google her lyrics and Shazam that shiz (I don’t really talk like this), I finally just figured it out through Funkerman’s record label. And apparently this is not the pop hit I once thought it to be.
So either this ‘Wine & Roll’ sounds like a hit I’ve heard before or this is sure to be one soon enough. So listen in and let me know if this sounds like anything you’ve heard before. We’re either finding this mystery out or getting this to the pop status it deserves.
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As far as the remixes go, the Peter Horrevorts version is my favorite, although it starts out slow. I actually like the beat better than I-Candy’s vocals – she may deserve mainstream pop status, but pop still isn’t my thing.
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