Another day, another “real” artist bites the dust. I loved Santigold’s first album. I stood by her while the rest of the music industry collectively wrote her off as a bootleg version of M.I.A. But, in the almost four years that she went without releasing new material, I forgot why I fell in love with her music. So, it pains me to write that Santigold, again playing second fiddle to M.I.A., has become the Jesus Christ of Indie music, bearing the cross of obscurity, smug “authenticity” and a seriously warped view of popular music that can only be compared to “rockstar envy.”
I am infatuated with the 80′s. The culture, the music, the art, everything seemed well, better. But the 90′s had a lot of awesomeness that I forget to give it credit for. Take for instance The Cranberries. Fader Lima, a self professed 90′s lover, looks forward while looking back and covers The Cranberries’ track “Zombie.”
Good music speaks volumes… rather than impose analysis, step back and expose linguistic artistry… why critique that which has achieved perfection at its own masterful conception… listen, look, and linger in fantastic rhythmic reality: lyrically speaking
The young always have the same problem–how to rebel and conform at the same time. Not ready to make nice and as sure as death and taxes, The FountNHead reek with Teen Spirit, but come off un-apologetically themselves. Fresh off a performance at the Whisky a Go Go in West Hollywood, California, the Atlanta punk-hoppers sent us their recent high-energy visual from their song “As A Skunk.” Dark day jobs and bright night basement parties, after catching the FountNHead live at The Masquerade in Atlanta this past September, I can attest to their commitment to having a good time as sweet as their music.
Let’s get this straight; I’m not here to tell you her story or her claim to fame. I simply want to commend the meanest female artist dominating the Hip Hop game. No, she ain’t Nicki nor is she Kim; this bitch bites harder. Harnessing the world with “212,” her House-meets-Hip Hop-meets-dirty Harlem princess single, Azealia Banks conquered before she even came. Locks braided long like Rapunzel and lips smothered in sweet cherry gloss, she shows the streets who’s the baddest bitch on the block. From performing in her Harlem, NY stomping grounds to Karl Lagerfield’s private party to her in-progress world tour, she brings the lyricism, the cutie-pie street swag, and the sex appeal with her. As we let this untamed artist run free, keep in mind this is only the beginning. #boom
Live fast, die young… #badgirlsdoitwell… Maya Arulpragasm – like the Mayans – had it right… even when wrong:
It’s that critical moment that every music journalist ventures into. It happens when we get an artist worth digging. We slide our hand underneath the desk to whip out that hideous facial mask of a straight-faced, grade school teacher with red ink in hand ready to carve our music reviews into someone’s membrane. Taking the time to ride the Voyeur voyage was a pleasant treat as it suited perfectly with the rain Gods deciding to pour down some cleansing wash on good music and his Texas land, of course. The music produced by Childish Major with the vocals to match under Rome Fortune’s belt creates an upcoming groove that falls closely to acts like DJ Shadow and Danny Breaks rave crave. The electric boogie definitely comes to light with the duo along with a hint of Atlanta’s rap recipe, but the two are truly doing something astray from other artists emerging in the mix.
For one to title their album Planet of The Ape$ might make someone think that you are in for an apocalyptic, cinematic type of journey through sound with GREATeclectic as the director. That’s not entirely untrue. You’re definitely going on a ride, but it’s smoother and more familiar than one might have anticipated. DJ and artist, GREATeclectic serves as more of a Jack Hanna character guiding the listener through a concrete jungle.
“Nothing of me is original. I am the combined effort of everybody I’ve ever known.”
– Chuck Palahniuk from “Invisible Monsters”
Dub step isn’t dead until Skrillex says so. I’ve always liked electronic music but there’s always been separation between all the sub-genres. Skrillex’s work cannot be defined by classification really. Bangarang EP is his latest and flows from start to finish (though the titles wouldn’t really indicate so). It’s very high energy, and you’ll find yourself bobbin’ to the beat during whatever it is that you’re doing.
