Black and white, oft-tred and well-read. Speak easy, swing hard. Record this life in absolute truth, to mine the media and peak the press, to establish mint, you beautiful bard.
It’s chaos you might think, the tumult and toil … the endless exchange upon anatomical soil … don’t lay a hand, just leave the crust … seal it with a kiss, and bite the dust … what Venus fashions, Gaia founds … that most amorous sight, and most resilient of grounds … the seed of civilization resides in the womb, a void only made niche by mysterious creation within the penetrated tomb.
“I can’t … give you … anything but the miracle of life in word made bond, the melody of limitless eternal in dream manifest song … I can’t give you anything more than what I own, and in this plane, this material mirage, love transcendent is the only claim and forever haume.”
Eau, yoü and I … so incredibly beyond anything relegated to only meet the eye.
There are few guys that do it the way Happy Colors does. His rhythms come correct with endless latin flare and influences, and he’s still killing moombahton, twerk, house, and beyond, all with a notoriously sarcastic sense of humor to boot. The “HAY MI MADRE” video embodies all this in three minutes, along with a whole lot of booty, and infectious sounds that you’ll want to rewind a few times. DJ C + Happy absolutely go in on this one, encapsulating a new genre with each drop – even some merengue, for anyone keeping score.
British tones. Angeles tempos. That’s the point. That you can come to the light amidst darkness, create an echo in the silence. Basilisk beats, She wanders. Homeward-bound, London found in lost Angeles.
Visceral. Jess sings the blues of a sapient soul found in barren canyons of scarred star-trails. The lyrical lens navigates mood and melody, the narrative unfolds within spliced vignettes – into the Pacific Channel on angels we arrive, through the lostlands and Sunset, emerged from neon aquatic.
Tone and timbre, tears and tempos; bricks and mortar for the rhythms we inhabit as our own. Letting go of what you didn’t know you had, that is what this finds with home.
Indie pop female Brits of late hurt harmonies like no other… That claimed consonance relies on perceptual fusion of two absolutes – the depths and the heights, the peaks and valleys of life: inside, left out. Here, it’s the wisdom of the python bassline, guiding from the belly, the terrestrial echo of true percussion, the vocals alone and yet – so layered, so distant, so aligned.
These songs speak to lives lived somewhere, layer upon layer upon layer of a single voice accompanying its very own self – the lost find life in this. The harmony relies on the hurt, the Heaven in retrospective darkness: that you made it across the desert, that you crossed the channel, that you cleared the Atlantic to taste the Pacific and emerge baptized in that neon aquatic. To travel with no shoes on … is to leave a footprint of your own, for future lost to find: in home at last.
It’s been three years since Little Dragon released their last album Ritual Union and I’m proud to say that they’re finally releasing their new album Nabuma Rubberband. Lead singer Yukimi Nagano has stated that their new album is different from the previous ones because it has more slow jams than the dance vibes you get from their former albums. This was due to her heavily listening to Prince’s back catalog and vintage Janet Jackson slow jams as she wandered around Gothenburg during the winter.
The band has already released their new single “Klapp Klapp” and have already finished part one of their two part video collaboration with Nabil. Part one was directed by Taylor Cohen while Nabil will finish the second part later this year. The album is due May 13th via Loma Vista Recordings. They will begin their musical journey at SXSW and officially start their tour in Portland, Oregon April 10th for the Soul’d Out Music Festival and will also perform at Coachella. Be on the lookout for more tour dates. In the meantime, you can watch the video for their first single here.
“Beauty is a form of genius – is higher, indeed, than genius, as it needs no explanation. It is of the great facts in the world like sunlight, or springtime, or the reflection in dark water of that silver shell we call the moon.” – Oscar Wilde
Oakland bred experimental soul singer Ka’ra Kersey has recently dropped her latest visuals. The track is called “HIDDEN BEAUTY” and surprisingly enough I did the beat production. This song was written by Ka’ra and the video is a follow up to her Junkyard Mixtape Vol.1 release that hit the interwebs this past summer. I think she’s on a roll so it’s time to ride the Dreamy Wave.
#WatchThisSpace and soak it all up, it’s apart of life’s game
How can something so pretty be so gangsta? If that’s the question, Jay Boogie is the answer. The NYC born MC has mastered the art of duality. If you got it, flaunt it, and Jay has no problem doing so in the visual for his latest track “NIGGA WHAT.” Equal parts of slightly cunt but more than likely trade, pillow talk soft and diamond cut hard, beast New York hype and down south chopped and screwed, the video plays off the conundrum that is his essence. Because everybody knows it’s not always black and white, the magic happens somewhere in the middle.
#WatchthisSpace Because Jay Boogie is coming for blood like an emo when the wrists are split.
This is the drop after the first waves and floods: I’m not here to talk about her facial features, or how to convert atheists into believers; I’m just saying that somewhere in the midst of a[n] indie short film, and a scene-by-scene homage to immaculate conceptions – and collections – lies a near perfect Pop music video period. Is pastiche supposed to be coherent? It is now – let’s delve.
"… in the face of early fame and its barrage, this icon was not broken; she was just a baby – but a child no more." #applausosdealejandro
Lady GaGa has solidified her sonic aesthetic and social impact – and they are one in the same. If the backbeat pulses harder than my own heartbeat, why not dance together? This is cold technology and hot harmonies, sheer energy, factory fashion, raw humanity, grime, graffiti, and glitterbombs; this is stream-of-consciousness that doesn’t make sense now, but will before the rest of the globe makes sense of itself: this is 31st Century schizo world – welcome Haume.
… is what lays the foundation for “Applause:” The pulse as nothing more, and never anything less, than the traverse between polarity
A MusicVideo where B+W and Color battle in a bid for your Applause! – GAGA
The pulse, DJ White Shadow delivers Detroit – and so goes the nation. As far as I’m concerned, they laced the instrumentation with something not-entirely-approved by the FDA. There is something unnatural about this rhythm: unnaturally human. It hollows and speaks at you in sophomoric platitudes, then it eases off while your guard remains staid, eventually you feel the tone thaw as the beat rises… it’s like Motown overtaking the machine, SoundScan beneath the Supremes… when you sing along, you’re fed the applause (whether or not you clap – the roar is the backing track): live to create, die to protect.
Ok going to hang out with the Haus and get some work done. Ignore all hatred and criticism. Live for what you create, and die protecting it.
Atlanta bred MC, Jack Preston has released his new video for his new single “Replay.” The video is set to catapult Jack Preston’s mark as an MC, displaying his creative and articulate flow that allows the listener to follow as if being read a story. He is backed by his crew, The Dojo and the song even features Micah Teer, the songstress of the Dojo crew, on the hook. The video was beautifully shot by Vantage Poynt Pictures and shows Jack Preston and the Dojo Collective heroically stopping drug deals in a ninja based action plot. The song was produced by long time ally Jon Bom who has lent Jack Preston another hit that matches on-point with the MC’s flow. On this track, the MC is calling out other rappers who use the music business for funds and not for the art it was created for. The track has a cool laid back groove that features some awesome DJ scratching by Yamin Semali of Clan Destined at the end of the track. This is all a premise to Jack Preston’s new album End of the Future set to release sometime in the near future. Until then, enjoy the song and the video and visit the dojocollective.com for more news and updates.
I’ve said it before, and I’ll say it again, Micah Freeman is a star. Don’t believe me? Just watch the visual for his latest drop “The Now” which dropped at 11:11 today. Make a wish anyone? Directed by Morian Thomas of Awful Media, the clip finds The Baltimore-born, Atlanta-based artist being the perfect urban gentleman. The song itself provides a perfect sonic backdrop to the sexy yet classy visual. The sound differs slightly from Micah’s previous work and edges into new, dare I say it dancier territory. EDM references aside, this is more electro-soul, then just electro. “The Now” is one you’re going to have to love instantly.
#WatchThisSpace This is the year of the multi-dimensional gentleman
It’s almost summer here in New York. The humid, rainy weather and half-naked people that never go inside are starting to become a frequent thing. Just in time for all the madness of an NYC summer, we bring you some madness from Upstate New York’s born and bred Summer People.
The band – a little bit of punk, and a lot of rock and roll – just released their fourth album Burn the Germs. They’ve got a new video, “one of their most professional yet,” according to the band’s bassist Brandon Musa, to prove it.
Summer People first worked with cinematographer Ashley Connor when she shot their video “Broken Bones” in 2011. Two years later, Connor and Summer People collaborated again in Hudson Valley for the band’s new song “Cry”.
In this video, a crazed and loving Zia Anger and Elizabeth Gray hold hands, scream and drink beer like Siamese twins all in two minutes. It almost makes crying look like a real cool time.
2012 has brought so much new music to my hears that I am surprised of the quality of music I’ve heard during a shitty year. Guess we all need something consistently good during those kind of things. One of the artists that caught my attention, and it wasn’t because I had a hard time catching the name, was iamamiwhoami. This is a project started by Swedish musician Jonna Lee and her producer Claes Björklund. Lee actually started doing music under her real name until she began her most recent project with iamamiwhoami. What I really admire about the project is that Jonna Lee virally released her project with a series of videos on YouTube with each video being a different song but still connecting to the video before it. Her earlier fans did not even know that it was a reformed Jonna Lee until later videos revealed her face. The first wave of videos started in 2009 with each video being less than 2mins, always ending with the picture of an animal. Her second wave of videos, titled “bounty,” were longer videos with each one with a letter as the title of the song, eventually spelling “bounty.” Her most recent project is called “Kin” which also has a series of videos to feature the album.
What makes Jonna Lee’s project come together is the great creativity and quality of her videos. Each video is creatively produced with Jonna Lee wearing many outfits that one would compare to Lady Gaga. Also, the music is really good! Jonna Lee has a way of catching a melody within her synth driven songs that sound so familiar to your ears. Take a look at this video and start your journey into iamamiwhoami…
I’ve watched singer/songwriter Mercury change musical styles more than a Pop Star’s tour wardrobe changes. I remember him initially as the sensitive lead of emo-soul band Emerje, then watched him blossom into the lead singer of new age sexed up rock band The 54. Throughought each musical exploration one thing was always clear with or without a band Mecury was a star, forever the Beyonce or Justin Timberlake of the affair, now with his latest music adventure dance pop it seems Mecury has it all figured out.
The Atlanta based singer/songwriter’s latest single “I’ll Die For You” is your standard dance cut. Soaring vocals, thumping bass, some staccato snares, and the inevitable drop. But what sells it is the video. The visual for the song pairs mirrored images, scenes of indulgence and smoking, a dancefloor scene of the singer as he croons “I’ll Die For You” amongst the lights, lights, all of the strobe lights. But, it’s Mercury’s charm and school boy good looks that pull it all together and make it feel like an event. One you’re missing out on.
We’re looking forward to hearing a full project from Mercury. No word on when it’ll drop, but our hope is soon. Until then, get into the video for “I’ll Die For You.”
#WatchTheSpace Because you can’t deny a #RAWQSTAR with passion for the dance floor
This is just… quite good really – in, many many ways; albeit, many simplistic ways, but simplistic ways necessary in an otherwise unnecessarily muddled music scene… Check out Florrie’s latest: “Shot You Down”
Nice progression, smooth – milk smooth #isthataphrase – bass riding through the track. I’m obviously a fiend for most electro-acoustic hybrids – by that I mean, any melodic melange capable of bringing out the best of synthesized effects in tandem with (not drowning out or exploitatively distorting #notinthegooddistortionway acoustic instrumentation) and the soul of live instruments. I’m even more fiendish for that most tangible and raw of instruments – los tambores, le batterie, الطبول, Gǔ, – the drums.
Needless to say this subtle – but oh so signature swelter of the summer – proper debut single from Florrie is … quite nice, like afternoon tea if it tasted like R&B… a splash of sugary synth, not American diabetic serving size, but enough to linger lightly but unforgettably on the palette… lyrical repetition, the silver spoon stirring endlessly, keeping the propulsion going… finally, the drums, the cream of the cup, fundamental but not basic, that rock solid stock.
The video, well, this little clip of cool resembles something along the lines of: on one hand, the familiarity of all the other black-and-white-with-a-white backdrop videos you may or may not have seen (seeChester French, Jet, Beyonce, Tyler the Creator (“that’s not entirely contextually accurate”)… ); and on the other, metallic pendulum balls, ebony and ivory liquid cascades, one-moment-noir-next-moment-dairy covered figures #milksmooth, and – of course – the live drummer center scene, reminiscent of another more distinct black-and-white contempoary cut from the home of Hov – along the lines of… “On to the Next, London:” super swingin’ sixties chic. I’m a fan of the interspersed color-static cuts, for a debut single it makes me think there’s a lot more beneath the introductory surface – and I’ve rarely been one to argue with technicolor interference…
Oh that Madge… I can’t help it, I’ve got the biggest Cheshire grin plasted above my chin right now…
See the thing about it is, I wanted to not like this video – hear me out: I wanted to not like this video because after the hoopla and hype, after the media blitzes and reductionism, this era was gearing up to be the bark of Confessions with the bite of Hard Candy #notgreat then, there’s the distractions and the white noise pulling attention from the product at hand and towards the peripheral gossip… in a nutshell: I was ready to not like this video for the same reason I was gearing up to not like Born This Way – because people were going GaGa over Madonna; but lo and behold… Pop never lets you down.
First things first: 2012 – We’ve got Madonna dropping MDNA *and* going on World Tour, and then we’ve got GaGa Born This Way Balling out of control *and,* y’know, Hauskeeping: these are facts. Head-to-head we have the Greatest Generation and the Re-Generation. Brass tacks: beyond all of the Madonna homages, there is the very apparent, clear, and present situation at hand: this is the first time Madonna is presenting a new product to the market, Anno Monstrami, since GaGa. Thus far, Madonna has battled GaGa on laurels – yes, they are some beyond-laudable laurels, but laurels nonetheless. Madonna’s past has fought her way into the future, and now she has to make good on said greatness for the first time since ever. Madonna is proving not only to herself, nor the market, nor to Universal, nor to GaGa, nor to Warner, or to LiveNation, but to Pop Culture that she is still the Franchise Player. Madonna has not faced GaGa on VEVO or the Billboard charts with new material. Madonna has not toured against GaGa. Madonna has not entered the Pop blacktop with her Jumpmans on tight and right against GaGa – until today.
Pop 2012: because this used to be my playground.
SnappIt: Madge… I can’t help but smile… This is a great video, because, well, it’s just a great video. It’s so tongue-and-cheek kitschy… it’s so literally symbolic, it’s so unironically artificial, it’s so amalgamated Pop past, it’s so hollow Bubblegum Pop pastiche, it’s so now, it’s so then, it feels… reductive – it feels so… GaGa. #notlikethat
This: is Madonna on GaGa on Madonna.
So, since Hov didn’t actually write that letter to Blue Ivy, Madonna took up a pen to draft a lil’ something for the next generation – in the form of a music video (before videos became filmhouse shorts) entitled “This Used to Be My Playground” ”Give Me All Your Luvin’”
L-U-V Madonna / Y-O-U You wanna I see you coming and I don’t wanna know your name I see you coming and you’re gonna have to change the game Would you like to try? Give me a reason why Give me all that you got Maybe you’ll do fine , as long as you don’t lie to me And pretend to be what you’re not
When I first saw her, I saw her performing at a very small club in Manhattan a couple of years ago, maybe it was like three years ago, I was actually really impressed by her. I thought she was really cool and she did remind me of me back in the day. I liked her rawness and there was something fresh about there and ballsy, and when she spoke to the audience, she sounded like she had a similar sense of humor to me, quite ironic, and I liked her.
Don’t play the stupid game Cause I’m a different kind of girl Every record sounds the same You’ve got to step into my world Give me all your love and give me your love Give me all your love today Give me all your love and give me your love Let’s forget about time And dance our lives away
Right so, lyrically, it’s quite clear where we’re at #sufficetosay but the kicker here isn’t the lyrics (c’mon, it’s Pop – lyrics are 10 percent of the battle, if that)
Madge runs the gamut from Hollabackin’ Harajuku LovingJabbawokee dance crews, to Amy Seeking sideglance suburban chic sets, a splash of the Hold It AgainstParisian Nagger dubstep bridge, and more bricks than Jeezy and Rosay sprawled on the “Edge of Glory” wall. Where she goes H.A.M.est in the paint though, is through her own videography – in an ADD, campy, “Generation Too Broke to Pay Attention” way, which is kind of the point. This used to be Madge’s playground, “until these whippersnappers moved in with their constant flow of derivativeness leaving me feeling… reduced.” So, Mo reduces the reduction to a premier production: she runs the gamut from eponymous early days to Dick Tracy and well through Like A Virgin (including “Material Girl” Monroe nod – in one fell swoop – in, yo’ car bar)
She’s being reductive if only for the sake of showing what it means to be so. Unlike 90% of the Pop playing field though, Madonna is not serious about it… which is kind of the point. MDNA is fun Pop, throwback mixed with a bit of contemporary smoke, mirrors, and synth… so as far as “Luvin’” goes, if this is any early indicator for the album as a whole: “If it’s gapless, she’s golden.”
Random triviality: So… collectively, Madonna shrugs off haters – and, like any Pop figure worth their weight in print, said haters fuel, support, and carry said Pop figure through their careers #loveallmyhaters…
The modern music industry’s Mitochondrial Eve returns with a fervor to prove – once again – that despite all patriarchal restrictions and destruction: she who bears the womb… the forever battlefield, and said burden… is she who is best equipped to commandeer the cultural revolution. Who rev the world? Girls.
The revolution will be feminized. She who betrayed Jesus, she who betrayed Adam, she who bears the weight of said world on her naturally sinful shoulders, in her superseding of submission, will ascend to prominence; born to blossom, bloom to perish, just as man destroyed that which he cannot create, so in the wake of destruction and suspension in social smolder, here woman returns to bear life again… Strong enough to bear the children, then get back to business
Who run the world? Girls. Girls, women, females have the unparalleled capacity to create life. Despite all social constructs, religious constraints, and artificial inferiority women are able to create something lasting, something outside of themselves, and from their sin comes the succession – well, that, or a dance nation… my persuasion can build a nation #literally
#inanutshell Self-reference and atmospheric concept #letsbeyhonest #independentringonit