Thursday, March 27, 2014

Eat, Pray, Thug: Heems & Riz MC are Swet Shop Boys - "Benny Lava" (Greedhead)

"I think [we're] probably the world's only Indo-Pak rap group - peace process never sounded so rowdy," @SwetShopBoys triumphantly Tweeted on the eve of their premier single release, "Benny Lava." It's former Das Racist member Himanshu Suri (Heems) new 2-man group with Pakistan by way of London rapper, Riz MC; Heems on the other hand, is a successful New York-based rapper and entrepreneur of Indian descent. Swet Shop Boys decided to rhyme over a recycled 2011 Ryan Hemsworth beat, which takes it's name from a mondegreen, Internet video re-interpretation, that's aptly titled "Benny Lava." It's all firmly anchored by Heems' neck-snapping first four bars: "Yo, Himanshu with the pen, I'm killing it / The white man the villain, them deny them penicillin / Syphilis experiments, death to the Tuskegee men / Somewhere in New York they say death to the squeegee men." The companion Prashant Bhargava & Tanuj Chopa-directed music video features Heems & Riz MC ferociously rapping from a number of presumably Indian-Pakistani establishments: their barber shop, various restaurants, the beach, family apartments, in front of a giant American flag, etc. Heems has seemingly been working on their as-yet-untitled 3-5 song Swet Shop Boys EP concurrently with his long-awaited proper debut album, Eat Pray Thug while on his self-imposed Asian exile. "I made my album in December in Bombay. It's about 11 songs. I'm going through producer contracts and trying to clear each track with the producers in regard to royalties and publishing. I just kind of have time between now and when the album drops. When it drops, I hope to come back to the States and do a proper tour and some press and stuff. But yeah, I kinda just got burned-out on New York. I've lived there my whole life. I'm born and raised there," Heems revealed to Stereogum about the ambition behind his recent self-imposed exile.

Tuesday, March 25, 2014

Mike Tyson Presents: The Black Keys & Danger Mouse - "Fever" (Nonesuch Records)

While drummer Patrick Carney recently initiated senseless cyber-beef with everyone from Justin Bieber to Bruce Jenner, The Black Keys really make an infectious brand of no-frills 2-man Rock "N" Roll. Their new album, Turn Blue was announced last Friday via Mike Tyson's Twitter and was later vaguely described as "A: suffocation, B: sadness, C: numbness from extreme cold, D: a Cleveland late night TV host from the 1960's named Ghoulardi, E: all of the above." Dan Auerbach & Patrick Carney co-produced the album's 11 tracks alongside Danger Mouse, a Hip-Hop-leaning producer who helped oversee The Black Keys' last three albums. Along with an album pre-order, ahead of it's May 13th release, our first taste of Turn Blue, "Fever" was unleashed Monday afternoon; it's a 4-minute synth-soaked Psych-Rock romp that's essentially poised for modern rock radio. Now, I wouldn't exactly call "Fever" Auerbach and Carney's finest hour, but it's still 100% more musically sound than the "stereophonic soul manure" [crap] that 3/4's of the Indie Rock bands playing this upcoming summer's festival circuit. Frontman Dan Auerbach is supposedly producing the entirety of Chamber Pop songstress Lana del Rey's third album, Ultraviolence, which should be interesting to see if he'll end up somehow working in an underlying Blues-Rock groove. While Patrick Carney recently produced albums for both The Sheepdogs and Black Lips, he's also been recruited to play drums in former Weezer bassist Matt Sharp's newly-reformed 90's Alternative Rock band The Rentals. "We are always trying to push ourselves when we make a record - not repeat our previous work, but not abandon it either. On this record, we let the songs breathe and expanded moods, textures, and sounds. We're excited for the world to hear Turn Blue," Carney lamented in a freshly inked Nonesuch Records web-press release. The Black Keys will embark on a month-long European festival tour through out June and July and while further dates have yet to be announced, Nonesuch alludes to an "upcoming North American tour."

Sunday, March 23, 2014

Nothing Was The Same: Jay Electronica & Jay Z - "We Made It" (Roc Nation Remix)

Under the cover of night, late Saturday night into Sunday morning, Jay Electronica uploaded a new track with label boss Jay Z, "We Made It." It's pretty crazy to imagine, let alone actually hear, Jay Electronica rapping over a beat initially laced up by both Soulja Boy and Drake, which ends up being his third track released in a month's time (more than 2012-13 combined). According to okayplayer, Jay Z recently asked Electronica which "turn up" [hit record] they should attempt to jump on and he suggested "OG Bobby Johnson," but HOV ultimately picked "We Made It" instead. While it was initially released as Soulja Boy's lead-off The King mixtape track, Drake further popularized "We Made It" during his Nothing Was The Same (2013) album roll-out campaign. Preceded only by rookie producer Purp Dogg's extremely well-played Eastbound & Down-referencing intro, Jay Electronica ferociously rhymes: "The devil, the haters, the bloggers, the papers, the labels, they labeled me / But they can't relate to our struggle, my [bleep], we came up from slavery / Apologies go out to all of my fans, cause they waited so patiently / This one is for all of the lost and forgotten black angels that prayed for me." Lest we forget, this isn't exactly the first time Jay Electronica has rapped alongside mentor Jay Z; they marked Electronica's 2010 partnership with Roc Nation by meticulously leaking "Shiny Suit Theory," one of my personal favourites, further assisted by The-Dream and Charlotte Gainsbourg. While nothing has or hasn't exactly been confirmed either way... let's just hope that Jay Electronica's apparent public re-emergence is an unofficial signal that Act II: Patents of Nobility (the turn) will finally see the light of day in the not-so-distant future!!!

Saturday, March 22, 2014

Goodbye Yellow Brick Road: Miguel & Wale - "Bennie & The Jets" (Elton John)

Miguel has unleashed his own unique rendition of Elton John's classic Glam-Rock romp "Bennie & The Jets," which kinda sounds like a modern day version of Sly & The Family Stone. It's one of nine meticulously re-recorded super deluxe edition covers set to appear on the 40th anniversary edition of Goodbye Yellow Brick Road. Miguel manages to keep John's original piano melody intact, while inter-splicing an Electro-Hip-Hop, almost Space-Funk-leaning backing groove. About half-way through "Bennie & The Jets," you can year Maybach Music Group veteran rapper Wale, who sounds a little bit more displaced than Miguel. Sir Reginald Dwight himself recently told Rolling Stone that Miguel & Wale's updated version "really makes the best of what the song is all about. And it's an unusual song. it's not what I think is a hit record, but then that's probably why it was a hit record, because it didn't sound like anything else before." Noisey feature writer Skinny Friedman additionally notes that at it's core, "'Bennie & The Jets" started as a Rock song a few kick drums away from being Reggae, made by a man who insisted on wearing prescription glasses, despite having perfect vision, strictly for SWAG purposes." While Elton John further revealed that he wouldn't mind working with a couple seasoned Hip-Hop producers like Kanye or Pharrell on his next album, Biz Markie and the Beastie Boys previously recorded an interesting non-album "Bennie & The Jets" cover (1999). Goodbye Yellow Brick Road will feature a full second disc re-interpretation with contributions from Ed Sheeran, The Band Perry, John Grant, Fall Out Boy, Zach Brown Band, Emeli Sandé, and more talented perfromers; a re-mastered 40th anniversary edition of the chart-topping album will see a proper state-side release this upcoming Tuesday, March 25th.

Thursday, March 20, 2014

Long Winter Presents: F*#ked Up - "Paper The House" (Matador Records)

"This album is about growing up, and that second coming of age you have when you're already an adult. It's about being a grown-up and having a job and responsibilities and still feeling fragile and uncertain," Fucked Up guitarist and songwriter Mike Haliechuk recently told Consequence of Sound about their upcoming new album, Glass Boys. "It's also about us being in a band for 12-13 years, and what started as this weird hobby has become almost like a job," he continued. Matador Records will unleash the slightly "more chill and less OCD" record in comparison against their concept album, David Comes to Life (2011) on June 3rd; the skull-bashing Canadian Hardcore band secretly recorded Glass Boys between April 2013 and Feb. 2014 with veteran producer Bill Skibbe at his privately-owned Key Club Recording Company. Fucked Up's righteously poppy pseudo-lead single, "Paper The House" was actually filmed by Scott Cudmore and Jeremy Jansen at a very recent album preview show held at Long Winter just about two weeks ago.

"Fucked Up have seemingly turned themselves into the world's nastiest, most muscular Power-Pop band," as Rolling Stone writer Stuart Berman points out; an odd sentiment, which frontman Damian Abraham still seems to be coming to grips with -- that sheer dichotomy, straddling the underground and mainstream, seemingly helped fuel Glass Boys' creation. Stereogum head-writer Tom Breihan traveled up to Toronto earlier this winter to hang out with Fucked Up for the better part of a week during the recording sessions of what would eventually become Glass Boys. His lengthy piece further [mis]labels Damian Abraham as a "music-business insider" who's current state of mind can simply be summed up but this intriguing pull-quote: "It's about being in a 'subversive' young people band and waking up twelve years later and being like, 'We're not young people anymore. Where do we fit now?' It's about recognizing that the idealistic 'fuck this entire music industry' person that you were doesn't jibe with the person that requires the music industry to sustain their life." Glass Boys is currently available for pre-order in either CD, LP, or double LP formats (with optional tote bag). The aforementioned limited edition 2xLP features an alternate mix, which has drummer Jonah Falco's percussive parts recorded at half-time for whatever reasons. Oi!

Tuesday, March 18, 2014

New Noise Presents: Sole & DJ Pain 1 - "Old Gods Ain't Dead" (Black Canyon Music)

"Just dropped the first video from #DEATHDRIVE, "Old Gods Ain't Dead," read a brief less than 140 character @mcsole Tweet; "Old Gods Ain't Dead," which was produced by DJ Pain 1, premiered over at French online music magazine New Noise's site early Tuesday morning. I first made contact with Tim Holland aka Sole around 2010-11 during the crowd-sourced album roll-out campaign for his stellar politically-charged "rap as journalism" freestyle series, Nuclear Winter, Vol. 2 (Death Panel). Soon thereafter, he released an album and companion EP with The Skyrider Band, two full-length solo albums across 2012-13, an instrumental Hip-Hop project, and a couple odds-and-ends compilations. "DEATHDRIVE combines modern Pop/Rap aesthetics with the political edge reminiscent of Hip-Hop classics such as Fear of a Black Planet. Sole & DJ Pain 1 utilize the Golden Era Hip-Hop approach of a rapper and DJ without employing gimmicks or rap cliches typical with more formulaic two-turntables-and-a-mic unions," notes their own Indiegogo page. DEATHDRIVE's crowd-source funded album campaign is about 2/3rd's of the way to their $7,500 goal with just seven days left. Sole & DJ Pain 1 previously unveiled "Coal" and non-album track "DECUPERATION" ahead of "Old Gods Ain't Dead," which features a little help from buddy Sean Bonnette from Andrew Jackson Jihad. Those willing to help financially back DEATHDRIVE's "mixing, mastering, video production, [etc.]" processes will receive a number of available gift rewards including: digital or CD hard copy of the album, an Apples to Apples-like card game, hand-made lyric tapestries, custom DEATHDRIVE T-shirts, a DJ Pain 1-assembled "producer kit," and plenty more unique options. While a solid album release date was unavailable at press time, DEATHDRIVE's "select a perk" section lists it's estimated delivery date as roughly May 2014.

Sunday, March 16, 2014

Victory Is In My Clutches: Jay Electronica - "Better In Tune with The Infinate" (Act II?)

There's an old English proverb that goes something like "just ask and you shall receive," a phrase which Twitter user @Erick_Grady can whole-heartedly attest to; he initially Tweeted, "@JayElectronica I think this would be a perfect time for you to drop that "Better In Tune" record" late Friday night. Following a week full of random photo-opps at SXSW, the reclusive rapper almost immediately uploaded "Better In Tune with The Infinite" from his long-rumored Act II: Patents of Nobility (the turn) to his newly-formed CRACKTRACKS Soundcloud account, FACT further reports that "Better In Tune" actually lifts it's string-based instrumental from Japanese composer Ryuichi Sakamoto's piece, "Bibo No Aozona" (2006). It also manages to inter-splice a re-appropriated intro speech from The Wizard of Oz, spoken word dialog from Nation of Islam leader Elijah Muhammad, and the lush vocal stylings of LaTonya Givens. Jay Electronica ferociously raps, post double-intro, "It's frustratin' when you just can't express yourself / and it's hard to trust enough to undress yourself / to stand exposed and naked, in a world full of hatred / where the sick thoughts of mankind control all the sacred..." While it's worth dually noting that Electronica's collective [official] discography only includes a handful of tracks released in-between 2007-14, he's manged to record tons of critically-acclaimed genre-defining features with everyone from Yasiin Bey (formerly Mos Def) to Mac Miller. Although it has yet to see an form of tell-tale signs of a solid release, Act II was supposedly completed and turned in to label-head Jay Z and Roc-Nation around March 2012; Jay Electronica even Tweeted a screen-grab of the album's feature-heavy 15-song tracklist the following summer.

Friday, March 14, 2014

Federal Prism Presents: Asher Roth - "Tangerine Girl" (Directed By Matt Spicer)

While I'm a long-time Hip-Hop fan and Asher Roth is hands down one of my favourite rappers, I'd almost be a little hard-pressed to certify his latest RetroHash single 100% Hip-Hop. But with that said, "Tangerine Girl" is quite easily one of his most care-free and self-expressive singles yet. Released one day after his third weekly #HashWednesdays campaign, "Tangerine Girl" was directed by buddy Matt Spicer and as Asher Roth himself put it in a fan-club email, "the song made the perfect soundtrack to a bizarre love story at the skating rink, so we did exactly that." It centers around an average Joe working a mundane 9-5, whom we see secretly looking up "russian matures" on his office computer while in-house DJ Asher Roth smoothly croons "Made of money, I was thinking about her all week / Would've treated her to some Grigio, and fresh brie / The way we vibing it reminded me of ice tea / Want to drink it up so baby come and let's leave." After some good ol' mac-n-cheese for dinner, our main character rolls up to the skating rink, lookin' fresh to def in his bedazzled 1970-80's-reminiscent tiger jacket; amidst plenty of awkward stares, he laces up his roller skates as Roth continues to sing the rap-less hook well into the 2-minute mark.

While Asher Roth repeatedly half-stutters, "Bad to the bad to the..." we get our first glimpse of our leading lady, Tangerine herself, seemingly a "russian mature" ha. Their matching light up skates link up during couples skate, as they slowly get closer and closer and let's just say what happens next aren't exactly what you'd call safe for work activities. "Tangerine Girl" is the second released single from Asher Roth's long-delayed second studio album, RetroHash (formerly titled Is This Too Orange? and The Spaghetti Tree). He'll be performing the album in full at Blackheart Bar this Saturday, March 15th with special guests The Pharcyde and Casey Veggies as part of Austin's annual SXSW festivities. Billboard reports that Roth will be showcasing similar "live listening sessions" in Philly, Boston, New York, and Los Angeles ahead of RetroHash's forthcoming April 22nd release. "This record means a lot to me. It's not like, "Here's your song about weed, and here's your girl song, and here's your club banger." It's just an album of songs that Blended Babies and I created while we were hanging out, and we're really excited about it," Asher Roth lamented to XXL in a pre-release December 2013 interview.

Thursday, March 13, 2014

Stella Artois Presents: Cold War Kids - "A Million Eyes" (The Chalice Symphony)

It seems as though Belgian beer-maker Stella Artois has seen a recent surge in popularity due to a cross-promotion deal with HBO's eight-episode mini-series, True Detective. I recently had their apple cidre (cider) beer at local watering hole Oar House and it was pretty damn great; the sheer genesis of this very post was actually a Stella Cidre TV commercial that I saw yesterday afternoon. After a little bit of rooting around through the vast pages of Google, I managed to stumble upon @StellaArtios' Twitter handle, which led me to an interesting March 4th Tweet: "Glad you think so! MT @Esquiremag @StellaArtois @ColdWarKids and an engineer made music out of beer [glasses] and it's awesome." The web-linked Esquire piece further notes that "last March, Stella Artois commissioned an M.I.T. sound engineer to spend a year building four instruments that draw their power from Stella chalices." Andy Cavatorta's beautiful designs dually function as instruments and lavish works of art, but most of us probably wouldn't be able to understand their creation, unless you're a fellow M.I.T. engineer (further information can be found at stellartois' YouTube channel). Upon the Star Harp, Pyrophone, Violina, and The Hive's finalized creation and warehouse storing, Stella recruited Cold War Kids, whom many of you may know from "Hang Me Out to Dry" (2008) fame, to write and record an original song using the one-of-a-kind chalice instruments. The final product, "A Million Eyes" fully utilizes the robot-harp, deep whistling, violin, and soft xylophone-like aspects of Cavatorta's creations, which have since collectively been dubbed The Chalice Symphony. It's now available from either Stella Artois' site for FREE download or the iTunes store for a $0.99 steal of a deal; a companion full-form Cold War Kids music video is supposedly in-the-works, as well.

Tuesday, March 11, 2014

The Alchemist, Action Bronson, A$ton Matthews & J. Rocc - "With My Soul" (Get On Down)

Rare Chandeliers sample mastermind and former Eminem in-house producer The Alchemist has already released two full-length projects so far this year and is gearing up to unleash a third; The Good Book is the unofficial follow-up to critically-acclimated Lord Steppington and Albert Einstein. Get On Down currently has The Good Book available for pre-order in a number of Bible-inspired formats, ahead of it's planned April 11th wide-release. Alchemist further described The Good Book as a "double album audio collage [where] I did one side and my bro Budgie did the other." They've prepared two exclusive physical versions, 1000 Bible-like packages with a 2-CD stash spot and 50 deluxe editions complete with a MicroG G-Pen and a copy of the BAU All Is Fair album. Along with the proper album announcement, BAU Music released a second single from The Alchemist's side of the project, "With My Soul" assisted by buddies Action Bronson, A$ton Matthews, and resident Stones Throw DJ J. Rocc. It's accented by a number of Gospel-tinged samples, random audio soundbites, and lush horn flourishes; "It's me. What if Allen Iverson was Chinese riding on a Harley in [...] / Me and A$ton throwing chopper parties / come through the court room with three lawyers / The snub nose look like Verne Troyer," Bronson feverishly rhymes during the track's opening bars. Stay tuned for more details concerning The Good Book and make sure to keep an eye out for Party Supplies, Action Bronson, and The Alchemist's rumored collaborative 1980's cross-genre EP project, Jericho.

Random Access Memories: Daft Punk & Jay Z - "Computerized" (unreleased)

It's pretty awesome how wildly popular something as arguably inaccessible as Daft Punk's sun-soaked Pharrell & Nile Rodgers-assisted 1970's Soul-Funk revival, "Get Lucky" slowly became one of the break-out hits of last summer; "Getting lucky is not just sleeping with her, but meeting someone for the first time and it just clicking. There's no better fortune in this existence to me," Pharrell explained within a pre-album Creators Project segment. Their Grammy-winning album, Random Access memories featured vocal contributions from the lies of Julian Casablancas, Panda Bear, Paul Williams, Chilly Gonzales, as well as a couple aggro-production credits on Kanye's latest Industrial-Rap album, Yeezus. While it's true validity has yet to be 100% fully confirmed, a previously unreleased Daft Punk & Jay Z track suddenly materialized on The Internet Monday afternoon. Kanye to The forum user LordLordLord uploaded "Computerized" to a leaked new music thread mid-Monday afternoon, initially crediting Kanye with a co-production credit, which has since been debunked. Noisey editor Drew Millard notes that "Computerized" sounds a whole Hell of a lot like "Son of Flynn" from the Daft Punk-composed Tron: Legacy score. While he further speculates that it's actually a illegitimate fan-boy concoction, I'd almost like to believe that "Computerized" could very well be an unfinished left-over from The Robots' 2011 Tron: Legacy remix album; Judging by some of Jay Z's terribly dated technological references, the track was most likely recorded around the same time as The Blueprint 3 and Tron: Legacy or somewhere between 2009-10. Long before Jay Z's recent mondo-affiliation with Samsung, which helped make his latest album, Magna Carta... Holy Grail, such an instant success. That's about all that was known [and speculated] about "Computerized" at press time Tuesday afternoon, so click above and have a listen to the track, before Columbia and Roc-Nation have the track simultaneously pulled from across The Internet.

Monday, March 10, 2014

Converse Music Presents: Frank Ocean, Mick Jones, Paul Simonon & Diplo - "HERO" (The Clash)

"Their musical anarchy and constant attitude to disregard rules and forge their own path was inspirational to me. [The Clash] meant death to genres, music, and message above everything," Diplo lamented about collaborators Mick Jones & Paul Simonon in a pre-release statement. Following the track's initial announcement this past Friday, "HERO" was unleashed early Monday morning as part of Converse's annual Three Artists, One Song collaborative campaign. It was presumably produced by Mad Decent founder Diplo and was one of five tracks recorded recently between London, Hawaii, and Los Angeles; Basic tracks for "HERO" were recorded at Gorillaz frontman Damon Albarn's Studio 13, whom Jones and Simonon had previously worked with on Plastic Beach (2010). Fans of the newly-forged super-group's past works with recognize familiar elements of Hip-Hop-infused R&B, 1980's Punk Rock, and Reggae-Fusion, but I wouldn't really liken "HERO" to any of their previous works. It seamlessly melds together a meandering Punk-Reggae guitar rhythm that's vaguely reminiscent of Combat Rock, which suddenly shifts direction a little after the one-minute mark, right after a quick "Rap-Rock" coda from pseudo-frontman Frank Ocean. Converse vice president Geoff Cottrill tells Rolling Stone that Frank Ocean, Mick Jones, Paul Simonon & Diplo are collectively working on a music video to accompany "HERO"'s FREE-release, but it's unclear where the other four recorded out-takes will eventually end up; "Maybe we'll give them to Madonna," Diplo cleverly quipped.

Friday, March 7, 2014

Noisey's Dan Ozzi Presents: Jake Bowman's Crust Punk/Hip-Hop Leftöver Crack & Kanye Mash-up "Leftöver Kanye" (self-released)

I guess I've been experiencing somewhat of a writer's block spell for the better part of this past week, maybe I'm just uninspired... or maybe the state of popular music as a whole has seen better days; all week long, I've just wanted to write two solid Punk Rock and Hip-Hop pieces, but nothing worth-while had really piqued my interest(s) thusfar. Although all that immediately changed once I read Noisey editor Dan Ozzi's latest piece, titled "Kanye West and Crustpunk: Together at Last." It makes completely logical sense, considering Kanye's recent genre-pulverizing Industrial-Rap monster of an album, Yeezus and I honestly feel that this is something he'd really enjoy listening to. Ozzi further describes the Jake Bowman-orchestrated mash-up album as "sort of an odd pairing, putting Kanye's pompous rap verses over that crack rock-steady beat." He additionally notes that "most of Kanye's fans probably wouldn't know the difference between Crustpunk and Daft Punk and most of Leftöver Crack's fans won't be able to hear this until they go to the suburbs and use their parents' wifi." While it doesn't exactly utilize any Yeezus-era verses, Leftöver Crack does in fact manage to haphazardly mangle and re-assemble "POWER," "We Major," "Diamonds from Sierra Leone," "Barry Bonds," "All Falls Down," "Two Words" [above], and a few more. For good measure, I've included the hauntingly brief trailer for Kanye's upcoming Hype Williams-directed Yeezus tour docu-film within this post, as well, which was unleashed last month with little to no further release details.

Wednesday, March 5, 2014

RUFFMERCY Presents: Run The Jewels - "Run The Jewels" (Fool's Gold Records)

Not since Bad Company boldly decided to go where no band had gone before, courageously naming their 1974 album Bad Company, which also included the song "Bad Company," has a band shown such a self-aware display of badass-ey; But with that said, Run the Jewels' self-titled FREE download album was easily one of the most righteous, skull-rattling Hip-Hop albums I've heard in years! While they're already animated enough in their own right, Killer Mike & El-P have now been properly cartoon-ified by Bristol-based director RUFFMERCY and animator Patch Keyes. "Run The Jewels" is just the latest in a recent string of surprisingly well-executed and unique visual accompaniments; for those of you who haven't had a chance to hear it yet, Run The Jewels (album) almost plays out like a buddy cop movie or Saturday morning cartoon and you can tell that these guys are best friends who are thoroughly enjoying what they're doing. "We're dating ourselves with it but one of my favorite turns of that phrase was LL Cool J on "Cheesy Rat" from Mama Said Knock You Out where he says "Throw ya hands in the air, wave them like you just don't care / Keep 'em there, run the jewels," El-P explained to SPIN during a pre-release interview. "Basically, it's just some tough sounding shit that can mean a lot. It encapsulates what Mike and I bond over, the era we love... It's probably the hardest shit you can possibly say." El-P & Killer Mike are currently holed up in the studio working on RTJ2, which should materialize by spring/summer, but Run The Jewels (1) is still available in a number of various formats: FREE download, deluxe European edition, and standard vinyl or CD packages.

Tuesday, March 4, 2014

Beauty N The Beast: A$AP Rocky & Baauer - "Riot Rave" (Intrumental Hip-Hop)

"It's really druggy, ambient sh*t... I think people are gonna be intrigued by it because it's actually good," A$AP Rocky told MTV News about his debut instrumental Hip-Hop album, which was then rumored for a Summer 2013 FREE-release. "The name of it is Beauty [N] The Beast: Slowed Down Sessions, Chapter 1. And it's because everything is like classical beautiful music and boom-bap Wu-Tang sh*t mixed together," he continued. Rocky unleashed the album's first track, "Riot Rave" late Monday night, nearly nine months after it's initial announcement. Internet meme-phenom Baauer helped co-produce the track alongside A$AP Rocky, who previously self-produced "Fashion Killa" from his own LONGLIVEA$AP album; directors Kostas Seremitis, Danilo Parra, and A$AP Rocky unveiled a 3-panel split-screen guerrilla-style "art video" that supposedly features "real life rioting" in accompaniment with "Riot Rave" (credited to LORD FLVCKO). It even manages to re-purpose a scene from Beauty & The Beast at one point, as well as quick glimpses of inner-city rioting, wave-forms, various roaring beasts, intricate statue busts, skateboard tricks, and scenes of utter disarray. Mind you, this isn't the first time Rocky's worked with an EDM-leaning producer; as he's previously recorded tracks with both Skrillex and Gesaffelstein, "Wild for The Night" and "In Distress" respectively. Just mere minutes after uploading "Riot Rave," A$AP Rocky released yet another Beauty N The Beast SDSCH.1 track, "Unicorn." It's essentially a slowed down and slightly beefed up version of Tame Impala's break-out hit, "Feels Like We Only Go Backwards." While it's unclear as to when Beauty N The Beast will see an eventual release, Rocky previously stated that he's just randomly "gonna drop it for free online and have visuals to [go along with] it."

Sunday, March 2, 2014

West Coast Hip-Hop Revival: Snoop Dogg & Madlib - "Cadillacs" (Stones Throw?)

While I was away for the weekend, gallivanting around Lancaster County with my beautiful girlfriend, it looks like West Coast Hip-Hop purists Snoop Dogg & Madlib have unexpectedly teamed up for a collaborative track. Whether or not they actually recorded "Cadillacs" together in one studio, Snoop[zilla] and Madlib's recent collaboration was more than likely kick-started by 7 Days of Funk producer and fellow Stones Throw labelmate, Dâm-Funk. It's a smooth 1990's reminiscent G-Funk-laden Hip-Hop BANGER that was quietly leaked over the weekend, just mere hours ahead of Snoop Dogg & DJ Drama's latest That's My Work (3) mixtape series installment; tech-savvy Hip-Hop heads might recognize the beat from Detroit R&B-Funk band One Way's 1982-released eventual breakbeat classic, "Cutie Pie." While little else is known about the track or any possible future collaborations, judging by Snoop's recently adopted producer/album tendencies, ie: Major Lazer (Diplo) and Dâm-Funk... a full-length Madlib-produced record really doesn't seem all that unlikely! With that said, I guess it wouldn't hurt to keep an eye on Stones Throw and sister-site Rappcats in the coming months for further details.