Speaking of Cali hip-hop, two of the most important figures in the contemporary L.A. rap scene, Kendrick Lamar and Flying Lotus, just revealed a surprising new collaborative single. The pair embody two of the dominant themes that have been bouncing around it recently: on one hand, a nostalgia-tinged re-engagement with the city’s gangsta rap history, and on the other, a psychedelic deconstructionist movement, influenced by cosmic free jazz, that’s doing to the boom bap what Ornette Coleman did to bebop. They may seem like artists with very disparate goals, but “Never Catch Me” shows that they’re more compatible than they may seem on the surface.
Tag: New Stuff (21-30 of 1127)
Garth Brooks’ retirement from the stage didn’t last too long after he announced it in 2001, and he’s been playing more or less regularly for the better part of the past decade. But he hadn’t put out any new, original music aside from some odds-and-sods studio remnants since 2001’s Scarecrow until Wednesday morning, when he released a new track “People Loving People,” to country radio stations. READ FULL STORY
From Kendrick Lamar to YG, the West Coast has been working steadily to reassert its status as one of the epicenters of hip-hop culture, and two veterans of the scene have stepped up to contribute to the effort. DJ Nu-Mark of Jurassic 5 and the Pharcyde’s Slimkid3 have teamed up for an album-length collaboration, Slimkid3 & DJ Nu-Mark, that comes out next Tuesday on old-school standard-bearer Delicious Vinyl.
The second single from the LP puts their classical aesthetic front and center by flipping Darondo’s cult soul classic “Didn’t I” into a laid-back jam perfectly tuned for aimlessly cruising around L.A. in a sweet vintage ride, complimented by a trippy video that should connect with Cali’s current crop of dispensary-frequenting hip-hop heads.
After a decade-plus of being called an indie rock band without ever really sounding like one, avant-rockers TV on the Radio have released “Happy Idiot,” a track that emphasizes clean-toned guitar and accessible pop hooks over the atmosphere and electronic textures the rest of their discography’s been built on. The latest single from their upcoming album Seeds is as lyrically direct as it is musically, with frontman Tunde Adebimpe musing on non-thinking as a strategy for coping with emotional pain, sort of a less substance-centric relative of Sia’s “Chandelier” and Tove Lo’s “Habits (Stay High).” Seeds drops Nov. 18, and the band will be touring beforehand starting in mid-October.
Eccentric pop auteur Prince is set to release two new albums on Sept. 30, and he’s made a track from each available to hear now. One of the albums, Art Official Age, is a Prince solo album, the first in four years. It’ll feature “U Know,” a song that suggests the Purple One’s been keeping an eye on contemporary pop—with its libidinously throbbing beat, looping piano riff, and electronic flourishes, it serves as an excellent example of how to do a slow jam right in 2014, and Prince’s rhythmically focused vocal part suggests that he’s not quite as anti-rap as he used to be.
The other sneak peek comes from Plectrumelectrum, which is being billed as a collaboration with his latest band 3rdEyeGirl. “Whitecaps” proves how serious Prince is about sharing more than just the album credit, as he cedes lead vocal duties to drummer Hannah Ford on a tender ballad that harkens back to his Revolution days.
You can hear both tracks at The Hollywood Reporter.
Kandace Springs is a young musician, but she seems to have more in common with artists from before the Internet upended the music industry. Her break didn’t come through social media, but by blowing away music heavyweights like Prince and Don Was with virtuosic interpretations of songs by Bonnie Raitt and Sam Smith. And while her style is deeply indebted to ’70s soul music, she’s not a purely retro act—for her debut LP, out next spring, she’s put together a production and songwriting team whose members have previously worked with CeeLo Green, Alicia Keys, and Bruno Mars.
In the meantime, Springs is releasing a self-titled four-song EP on Sept. 30. Lead single “West Coast,” produced by the duo Pop and Oak—who’ve worked with Ariana Grande, Nicki Minaj, and Usher—is buoyant neosoul that combines a rollicking horn arrangement and a bumping rap beat. Springs makes her TV debut Oct. 3 on Letterman. READ FULL STORY
At last night’s MTV Video Music Awards, Charli XCX was one of the evening’s stealth victors. Though she did not cash in on any of her five nominations (four for her turn on Iggy Azalea’s “Fancy,” one for Artist To Watch), her pre-show performance of “Boom Clap” ended up being one of the most compelling of the evening.
She also dropped some details about her forthcoming album Sucker, which will arrive on October 17, and unleashed the video for the album’s second single “Break the Rules.”
The clip, which features actress Rose McGowan, is a timely piece of back-to-school anarchy—one last summer tantrum before the leaves fall off the trees and beach jams start sounding passé. READ FULL STORY
One of the perks of being an artist who spent their youth pushing hard against every boundary you encountered is that years later, when the rest of the world catches up, you basically have a free pass to coast as much as you damn well please while you cash in on your hard-earned reputation. Few such artists take as much advantage of that unwritten rule as Juicy J, who’s spent most of his time since “Bandz A Make Her Dance” reignited his career recording guest verses that have given new meaning to the phrase “phoning it in” and often leave the listener under the impression that Juicy didn’t even listen to the rest of the song before jumping in the booth, dropping a quick 16, and grabbing a check on his way back out the door.
For all the uninspiring but presumably lucrative features he’s spat recently, Juicy possesses much of the skill that he displayed during his zeitgeist-rattling run with Three 6 Mafia, which he shows off a little more than usual on his new single “Low.” The reasons why aren’t hard to discern: by inviting Nicki Minaj, Young Thug, and Lil Bibby–three of the biggest talents in the game right now–on as guests he couldn’t take a chance trying to get by on cruise control.
In one of the best and most talked-about sequences in Richard Linklater’s instant classic film Boyhood, Ethan Hawke gives Ellar Coltrane a homemade compilation he calls The Black Album. It consists of solo tracks from each of the four Beatles, sequenced in a way that captures the magic the band were able to make when they were still a cohesive unit. “Basically, I’ve put the band back together for you,” Hawke wrote in the liner notes.
It’s such a good idea that EW decided to steal it. There are countless bands who have broken up and never circled back around to a cash-grab reunion, and we’ve begun with one of my absolute favorites: The Clash. The group didn’t officially stick a fork in it until 1986, but the bloom was well off the rose by the time drummer Topper Headon left the group just prior to the release of 1982’s Combat Rock. The relationship between co-leads Mick Jones and Joe Strummer were hopelessly strained by the end, and by the time the group released the disastrous Cut the Crap in 1985, Jones was already deep into his second life as the frontman for Big Audio Dynamite.
Like the Beatles before them, the members of the Clash did make up and collaborate on an individual basis after they broke up, but they never got the band back together (and once Strummer suddenly passed away in 2002, that door was officially closed for good). Still, here are 19 tracks (the same number that appeared on the watershed London Calling) from the post-Clash lives of the core four that re-capture the spirit of what made them sonically and philosophically revolutionary. READ FULL STORY
Kelela and Le1f are two independent artists teetering on the verge of serious pop stardom. Kelela is part of a new wave of R&B artists forging connections with the leading edge of electronic dance music who’s made a fan of, among others, Solange Knowles, who put her on the avant-R&B compilation, Saint Heron, that she released on her Saint Records label last year. Le1f, meanwhile, is doing something similar with rap and the underground club scene, and the raw energy he brought to his Letterman performance earlier this year gave him an unexpected foothold in the mainstream.
Neither of the two are content to just wait around for their seemingly inevitable breaks to come through. Both are busy at work on their next big moves. But in the meantime, while those projects are coming together, they’ve paired up to record “OICU.” Produced by beat-maker P. Morris, the track showcases their mutual talents for creating a vibe that’s spacey, sexy, and effortlessly chill. It’s a match made in stoner-avant-pop heaven.
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