“Applause (Viceroy Remix)”
Mmm, I fucking LOVE applesauce. Grams made me some killer applesauce last week. Remember AnCo’s video for “Applesauce” that came out last year? So fucking fresh. Clearly, Lady Gaga ripped off AnCo with her cover of “Applause.” Oh shit, that’s not the same title. I should pay more attention to anti-progressive pop. Whoa, Viceroy remixed it too?! Holy shit. This music MAY be more bland than the people who listen to it, let alone REMIX it. SMASH CUT TO: my girlfriend/roommate listening to this remix while she’s cooking tonight, having not read this post, and thanking me for bringing Viceroy’s remix of Lady Gaga’s “Applause” to her attention.
Beyond that, people still believe in (and clench onto) the revolution of John Lennon’s music, claiming there is nothing that possesses that in music today [????????? @Anti-Internet]. This is something I not only blame on Lady Gaga (and related musicians), but also people who doubly churn out this nonsense via remixes. Anti-establishment. Artistic. Atypical. And the lyrics “Pop culture was in art/ Now arts in pop culture in me” from “Applause” played while Sam and I ate at Taco Bell today.
“A Wilderness Of Size”
Dear DJ Peevo Estevo,
I’ve been tweaking my FruityLoops, massaging my Traktor sync button, polishing my Numark Mixtrack Pro, and alphabetizing my dub sirens for months now, but I just can’t seem to get the right feel for my sets. I’ve tried all the genres and several different accents for my over-the-mic “shout outs,” but I just cant seem to get people to dance. What’s your advice?
Edwin De Marsbar
It’s always great to try and cast a few slimy nuggets of wisdom to the young hapless DJ wanderer, lost in a desert of sound. I like to think of a great DJ set as a workout. You start by warming those tender muscles with some light psychedelic swirls, and then you hit them hard in the calves with a few serious slabs of bass frequency. Now that everyone is feeling tenderized, you lead your gagging crowd in a series of highly organized gesticulations, really extracting the laboring energy they no doubt squandered on laptops and treadmills earlier that day. Their attention is yours to command and manipulate. You want to make them feel like they are at leisure while actually working them harder than any boss ever has. No doubt, with this advice in hand, you’ll exit the stage after your next gig into a throng of sweat-soaked, aching admirers. Here’s hoping.
Yours, as ever,
DJ Peevo Estevo
Corporate Control’s debut album Ten Dry Nails is out now on Upitup Records. Stream the track “A Wilderness of Size” below:
KeithCharles Spacebar first came to my attention through his show-stopping verses on fellow ATL rapper/producer Ethereal’s 2011 album, ▲BSTR▲CTIC▲. These standout performances had me backspacing to KeithCharles’ earlier 2011 release Before Common Era, which turned out to be a damn fine debut in its own right. Later that year (August 8, to be precise), KeithCharles and Ethereal teamed up as Supperbuddah for Watch the Couch, a same-day, different-shit response to Ye and Hov’s luxury rap manifesto.
After that, Ethereal continued to release all manner of cloudy beats, but not much was heard from KC Sb. It was as if he watched the couch so hard that it sucked him in, tucking him away like loose change beneath a cushion’s linty underside. Who would’ve guessed that two years (and change) later the kid would emerge with a self-produced, five-song EP doubling as an elementary mathematics instruction manual?
• KeithCharles Spacebar: https://twitter.com/_SPACEBAR
The Cambodian Space Project
“WOMAN WANTS TO DRINK”
We were staying somewhere on the Kamchay River, the sun was setting along the mangroves, and the air was thick with smoke as Srey Thy’s marvelous voice poured from the speakers. It’s been impossible to forget my induction to The Cambodian Space Project ever since, and I’m reminded of that magical experience every time they drop a new track.
After some wonderfully accidental initiation at a Phnom Penh karaoke bar, the international collective have been playing a splendid blend of Khmer psychedelic rock and “golden age” 1960s Cambodian pop — both at home and abroad — all on the back of their debut album, 2011: A Space Odyssey. Although they have been keeping busy in Australia for the past couple of weeks, the band has just posted a trio of tracks on its SoundCloud page, which were all recorded live in Detroit by Jim Diamond (The White Stripes, The Dirt Bombs) at Ghetto Recorders.
Have a listen to the dusty garage tremor of “WOMAN WANTS TO DRINK” below, and keep an eye on the band’s website for details as they tour their 2013 follow-up Not Easy Rock & Roll.
• The Cambodian Space Project: http://cambodianspaceproject.com
Pardon the obvious, but TREE’s been growing. From the Tree EP to Sunday School and beyond, it ain’t hard to tell that he’s continued to refine his craft with each project. This was basically the central point of my review for Sunday School II: When Church Lets Out. One area of improvement I neglected to really delve into, however, is his storytelling prowess, which was best showcased on SSII on the SC-produced “Project Parties.”
For the first single since that mixtape-of-the-year frontrunner was released in May, TREE’s back with another SC-produced crime ballad, one that briefly recalls Kool G Rap’s 1992 mafioso shootout manifest “On the Run.” Take “32 Shots” below.
DJ Rashad & Heavee D
Let’s all thank DJ Rashad, he of the Hindu-Kush mountains, for the man has graciously entered his login/password to SoundCloud, hit enter, and with just a few mouse clicks, keyboard strokes, and pursed-lip poses, has uploaded a new cut just for us. Well, it’s not exactly new. “It’s Wack” was plucked out of the footwork ether by Flying Lotus for his in-game radio station on Grand Theft Auto V, where millions of people will get to not only pump DJ Rashad while torturing Azerbaijani fugitive Mr K, but also hear Rashad himself in attack mode: made in collaboration with Heavee D, the song is an older DJ T-Why diss track in response to an even earlier Heavee D diss track by T-Why. Interestingly (or not), the classic drum shuffle, which Rashad has used before, has recently been reworked by T-Why himself (now EQ Why) for a track called “660.” Check out Rashad and Heavee’s track here: