Etta James’ “Something’s Got a Hold on Me” has been sampled many, many, many, many times before, each version giving the impression that the original James tune is a slow, somber listen, which couldn’t be further from the truth. On “Good Feeling,” DJ Manny, young footworker and trax-maker in the Ghettoteknitianz crew, manages to make James sound even more laid back and gloomy, which is especially strange, given the dizzying footwork rhythms employed by Manny. (Good track for Tribe to weep to after the Red Legends embarrass them in the circle. JK JK JK.)
Check out the video above, which features Manny, Curtis, Dre, Sonic, T-MO, Jonvante, and Dewayne footworking to the track. And look for The Manny N Rashad Show, Manny’s collaboration with DJ Rashad, due hopefully sometime this year on Lit City Trax.
“Wish and Wonder” / “Tree Forts”
YES!!!!!!!! “Wish and Wonder” is the first track off the new White Poppy (Crystal Dorval) release, I Had a Dream, on Not Not Fun. This track convinced me her album will crush for quite some time. And I love the kill-drawl, flaccid happiness of its sputter-stutter-style video: collective seizures, ace popping, tint on high, back-alley mirror-splits, cleavage, people salad, etc. If this video could read my mind (which it can), it’d give me exactly what I’d want to see (which it did). Weak criticism? Nah. Strong telepathic zones? YES.
“Wish and Wonder”:
Okay, okay. “Tree Forts,” okay. I mean, that’s how I felt when it started out, but WHOA: color-slapping at its YES!!!!!!!! («x2) Swing with that sway melody. Feel the Canadian pulse, mm! Absorb yourself in color. When I was younger, I had a forest next door to my house. My brother and I used to build platforms around branches and use rope ladders and swings to de-/ascend. The first time I saw a fox was during the bloom of spring, and I was alone on a plank swing. This song and video brings that to me at the point of nostalgia and memory, rather than recalling exact details.
Body [album stream]
Much like this geezer, Darling Farah’s debut is likely to be described as “one for the headz(zzzzzzzz).” Pffff whatever, it’s just great music. Just listen to the third track, “Fortune.” The use of reverb (I cant quite tell whether its a convolution or algorithmic module) and clever automation gives a bewildering sense of space. And it’s so well compressed; I’d love to know what type of VST he uses, as well as his attack times, ratio settings, and send levels. And the synth modulation is something else. I must know whether its granular, subtractive, or additive. And I wonder what DAW he uses, sounds like an Ableton 8.1 to me. Just darn great music.
“Vh1 Drunk” [preview]
Just saying, [Miami] Angels USA [in America] is the modern embodiment of rock ‘n’ roll. Not saying they’re the only, but they get theirs. Maybe they’re Americans self-cast into Germany/Euro-zones. Maybe their Twitter page is a constant reminder of how they live a life you don’t. And now the Eye-talons got ‘em at Hundebiss Records way hard. I’m hoping the VH1 Drunk cassette is pure misery. If there’s one thing I like in art, it’s world-building. [Miami] Angels USA [in America] is great about establishing grounds for their world and then completely stripping it to splinters. SPLINTERS!
You want pop music? Okay. But here is some straight crust. Also, looks like Hundebiss Records got a few other goodies not usually found by the human eye. Scope out the site and the new cassette. You’ll wet yourself with something and then let it dry. #tears #urine #buttgew #dickgew #vaggew #snot
There’s a certain degree of guesswork involved with every new track from Dean Blunt and Inga Copeland (known live, nowadays, as Hype Williams). Last time around, I made up some bullshit narrative about their “Stalker” videos, but this time I’ve actually done my homework! What we know for sure is that the track in question, “Flaxen,” comes from The Narcissist III, presumably a forthcoming follow-up to Blunt’s brilliant The Narcissist II solo mixtape released earlier this year. We also know that it’s indeed Blunt on harp, as he played the instrument for nearly five years at the Jacobs School of Music of Indiana University. And on the vocals? Yep, it’s Inga Copeland, who studied voice at the Conservatoire de Paris. Because of these facts, we also know that we can safely call this High Art.
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