Tag: Detroit

It’s been a decade since  J. Dilla‘s tragic and untimely death due to complications from Lupus and over that period of time, the prolific, Detroit-born producer and beatmaker’s reputation has grown — to the point that he is arguably one of hip-hop’s most beloved and influential artists and producers; in fact, much of his work possesses a timelessness and vitality that few contemporary producers of any genre can manage. The past year has seen the posthumous release of Dilla’s emcee debut The Diary, an effort that has engendered quite a bit of controversy between Dilla’s surviving family, the executors of his creative estate and fans. Sadly, Dilla had died before he could finish the album and much of the album’s material was largely unfinished, leaving producers the difficult task of piecing and stitching together incomplete song ideas and filling in musical gaps all while trying their best to hew as closely to its creators intentions as they could. And naturally as you can imagine that leaves a ton of questions about the very nature of art, its creation, and whether it’s ethical to mine a deceased creator’s incomplete works to make money among countless others.

Interestingly enough, 2016 is also the tenth anniversary of the posthumous relate of J. Dilla’s The Shining through BBE Records, and to celebrate the occasion the label is about to release the project on 7 inch vinyl for the first time ever. Along with that, the folks at Boiler Room stumbled upon an unreleased and largely unheard mixtape that the renowned and beloved producer made sometime between mid 1999 and early 2000 — and the mixtape reveals that Dilla had a diverse and eclectic array of musical influences, and was restlessly digging in the crates and looking for that perfect groove, that perfect breakbeat, that perfect bassline that he could use for a song. Throughout the mixtape you’ll hear Dilla exploring jazz, funk, disco, R&B, soul, pop, New Wave, blue eyed soul, Afrobeat and others — and in some way you can hear every one of those genres influencing his aesthetic vision.

TRACKLIST

Chick Corea “Bliss”

Roy Porter Sound Machine “Jessica”

A Taste of Honey “Boogie Oogie Oogie”

The Doobie Brothers “What A Fool Believes”

Heatwave “The Groove Line”

Funkineven & Greg Beato “F’s Diss”

B’52’s “Mesopotamia”

Total Experience “Contradiction”

Bobby Caldwell “Open Your Eyes”

Roberta Flack “Feel Like Makin’ Love”

Stevie Wonder “As”

Love Unlimited “Under The Influence of Love”

Azymuth “Un Amigo (A Friend)”

Shuggie Otis “Undisclosed”

Ohio Players “Ecstasy ”

Grandmaster Flash “Undisclosed”

Michael Jackson “I Can’t Help It”

Myra Barnes “The Message From The Soul Sisters”

Donald Byrd “Think Twice”

Fred Wesley “Watergate”

Crusaders “Streetlife”

Loose Ends “Stay A Little While, Child”

The Temptations “Runaway Child, Running Wild”

Chaka Khan “Ain’t Nobody”

Rene & Angela “I Love You More”

Stevie Wonder “Reggae Woman”

Rene & Angela “I’ll Be Good”

Steve Arrington “U Meet My Approval”

Alicia Myers “I Want to Thank You”

The System “You Are In My System”

Sly Stone “Family Affair”

Cameo “Back N Forth”

Hall & Oates “I Can’t Go For That”

Slave “Watching You”

Tom Browne “Jamaica Funkin'”

Bobby Caldwell “I Don’t Want To Lose Your Love”

UNKNOWN

The Gap Band “Yearning For Your Love”

Fela Kuti “Water No Get Enemy”

Marvin Gaye “Soon I’ll Be Loving You Again”

Rick James “Mary Jane”

Sade “Sweetest Taboo”

24 Karat “Black Ghetto”

Heatwave “Mind What You Find”

MFSB “Love Is The Message”

Evelyn King “I’m In Love”

George Benson “Love X Love”

Change “Glow of Love”

Positive Force “We Got The Funk”

 

 

 

 

 

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Swedish indie rock duo Pink Milk have quickly received buzz from the likes of The Line of Best Fit, Drunken Werewolf and others for a reverb-heavy and dreamy sound that personally reminds me of My Gold Mask‘s Leave Me Midnight and The Raveonettes as you’ll hear on their reverb drenched, new single “Detroit” which also pairs those guitar chords with earnest and plaintive pop belter vocals and propulsive drumming. The duo manage to create a sound that feels towering yet swooning, intimate and moody.

 

Montreal, QC-based psych rock trio Elephant Stone — comprised of Rishi Dihr (lead vocals, sitar, bass), Jean-Gabriel Lambert (drums, backing vocals), and Miles Dupire (drums, backing vocals) — have developed a national profile across their native Canada and Stateside for a vintage psych rock sound reminiscent of The Beatles, The Kinks and severals as the Canadian trio’s earliest material paired elements of Eastern instrumentation — mainly, the sitar — with Western songwriting, arrangements and instrumentation. And rather unsurprisingly, over the past few years the Montreal-based trio have also become a JOVM mainstay artist.

With the 2014 release of Elephant Stone’s third full-length effort, The Three Poisons, the Canadian trio went through a major and rather decided change of songwriting approach and sonic direction in which sitar was pushed back to the background — and when it was employed, it was seemingly used to add additional texture and color. Since then, the Canadian trio have released a batch of singles including “The Devil’s Shelter,” which was released at the end of last year. That single, which featured a guest spot from The Black Angels‘ Alex Maas was yet another example of the trio experimenting with their sound as tense, undulating synths, shimmering sitar and guitar chords and a driving motorik-like rhythm were paired with Dihr’s and Mass’ alternating vocals to create an ominous and murky sound that channeled The Black Angels “Don’t Play With Guns.”

Early last month, the trio released “Where I’m Going” a single that continued the band’s most recent sonic experimentations while suggesting that the band may have been listening to Evil Heat-era Primal Scream — in particular, I think of “Autobahn 66” and “Detroit”  as Dihr’s ethereal cooing is paired with shimmering guitar chords, a tight and propulsive, motorik groove, four-on-the-floor drumming and layers of shimmering and undulating synths in what may arguably be the most dance-floor ready songs that they’ve released to date. “Andromeda,” the band’s latest single sounds like a return to the vintage psych rock sound that first caught the blogosphere’s attention as shimmering guitar chords and a propulsive and driving rhythm are paired with Dihr’s plaintive cooing about the nature of the universe; however, swirling synths and a brief burst of tribal drumming manage to reveal a band that’s relentlessly experimenting and attempting new ways to expand upon their sound while retaining familiar elements.

The band will be on tour throughout March, and it includes an NYC date. Check out the tour dates below.

 

ELEPHANT STONE TOUR DATES
03/10 Toronto ON – Sneaky Dee’s (Tickets)
03/11  Indianapolis IN – Joyful Noise (Tickets)
03/12  Little Rock AR – Vino’s (Tickets)
03/14  Austin TX – SXSW
03/18  Memphis TN – Hi-Tone (Tickets)
03/19  Cincinnati OH – MOTR (Info)
03/20  Brooklyn NY – Baby’s All Right (Tickets)
04/14  Montreal QC – La Sala Rossa (Tickets)

 

Detroit-born, Los Angeles-based producer Sam Baker, best known under the moniker Samiyam can trace the moment his musical career truly started in earnest to when he was at a Detroit strip club Platinum, where he encountered a self-described fan of his, who told him that he needed to take his music more seriously. At the time, Baker was among a group of post-J. Dilla Donuts producers, who focused on instrumental work, rather than the traditional emcee/producer collaborations — and he was circulating beat tapes among local crew in Michigan and through zip files to friends on the web. Eventually, many of those Donuts-inspired producers, including Baker began relocating to Los Angeles and were created a scene around the Low End Theory in East Los Angeles.

As a part of East Los Angeles’ burgeoning producer and artist scene, Baker wound up meeting Flying Lotus, who quickly signed Baker to his Brainfeeder Records and then released the Detroit-born producer’s first two albums, 2008’s Rap Beats Vol. 1 (which was coincidentally, Brainfeeder’s first release) and 2011’s Sam Baker’s Album. 2013 was a big year for Baker as he released his third album Wish You Were Here and did production work for Earl Sweatshirt, Captain Murphy (the alter-ego of the aforementioned Flying Lotus) and Pharoahe Monch.

Animals Have Feelings is his Stone Throw Records debut, and as Baker explains in press notes, he considers the effort a creative sequel to Rap Beats Vol. 1. “Animals has roots in beats made around the time of Vol. 1, and the new stuff on the record has some of the same sound.” And as a result the material on the album is mostly instrumental, beat-driven hip-hop mixed with a few rap tracks he did with a few emcees, who are his few yet frequent collaborators — Earl Sweatshirt, Action Bronson, Jeremiah Jae and Oliver the 2nd.

Two singles from the album were recently released –“Mr. Wonderful” a collaboration with Action Bronson, that has Bronson rhyming and crooning over boom-bap beats and flashes of synth in a song that channels Raekwon‘s Only Built 4 Cuban Linx; and “Dartgun,” an instrumental track consisting of layers of buzzing synths, boom bap drum programming which channels the legendary and beloved work of J. Dill and of Dam-Funk — while evoking a singular, funky vision.

 

Over the course of last year, Detroit, MI-based duo Gosh Pith have become JOVM mainstays while gaining a rapidly growing national profile for a sound that possessed elements of hip-hop, electro pop, stoner rock, dub, trap music, drum ‘n’ bass and other genres — and for a songwriting approach that generally focused on capturing and evoking a specific feeling or sensation, rather than a concrete narrative. Interestingly, over that same period of time, the prolific duo have been experimenting with their sound and songwriting approach as their overall sound has become increasingly warmer and R&B-leaning with guitar taking a much more prominent role on subsequent releases.

Now you may recall that the duo closed out what turned out to be a huge 2015 with the release of “Gold Chain,” the first single and title track off the duo’s forthcoming EP, Gold Chain, which is slated for a February 26 release through B3SCI Records and with a set opening for Girlyboi at Rough Trade. Earlier this year, I wrote about the EP’s second single “K9,” a single that continued where the first single left off as skittering drum programming, wobbling bass, guitar chords fed through reverb and delay pedals and sultry hip-hop and R&B inspired vocals in a way that subtly hints at Timbaland — but much more atmospheric. The EP’s third and latest single “New Balance,” featuring Martez  continues to be a gentle expansion and revision of their sound as the duo pair swelling and undulating synths, trap and wobbling, footwork-inspired beats, spectral atmospherics with chopped up vocals briefly busting out of the ether and explosive bursts of guitar in what may arguably be the most shimmering yet propulsive track the duo have released to date.

 

Comprised of Rishi Dihr (lead vocals, sitar, bass), Jean-Gabriel Lambert (drums, backing vocals), and Miles Dupire (drums, backing vocals), Montreal, QC-based psych rock trio Elephant Stone have developed a national profile across their native Canada, as well as a profile Stateside for a vintage psych rock sound reminiscent of  The Beatles, The Kinks and others, as it the Canadian trio’s material employed elements of traditional Eastern instrumentation — i.e., the sitar — with Western songwriting. And as a result, over the past few years, Elephant Stone has become a JOVM mainstay artist.

The 2014 release of the Canadian trio’s third full-length effort, The Three Poisons, revealed a band that was in the process of a major change in sonic direction. Unlike the band’s first two albums, the material on Three Poisons pushed sitar to the background — and when it was employed, it was mainly to add texture and color. Now, if you were frequenting this site towards the end of last year, you may recall that I wrote about “The Devil’s Shelter,” a song that featured a guest spot from The Black Angels‘ Alex Maas. The members of Elephant Stone pair tense, undulating synths, shimmering sitar and guitar chords, and propulsive rhythm with Dihr’s vocals for the song’s verses and Maas’ vocals to craft a song that feels (and sounds) ominous and murky, while channelling The Black Angels “Don’t Play With Guns.”

The Montreal-based trio’s latest single “Where I’m Going” continues where the trio’s experimentation left off — while suggesting that the band’s newest sonic direction has been inspired by the likes of Primal Scream (in particular, I think of “Autobahn 66” and
Detroit”  as Dihr’s ethereal cooing with shimmering guitar chords, a tight and propulsive, motorik groove, four-on-the-floor drumming and layers of shimmering and undulating synths in what may arguably be the most dance-floor ready songs that they’ve released to date — all while remaining as psychedelic as ever. Interestingly, the band have been working on their fourth full-length effort, and if the last two singles they’ve released are indicative of its sound, the members of Elephant Stone are set to push their sound — and in turn, psych rock — in new directions.

The band will be on tour throughout March, and it includes an NYC date. Check out the tour dates below.

 

ELEPHANT STONE TOUR DATES
03/10 Toronto ON – Sneaky Dee’s (Tickets)
03/11  Indianapolis IN – Joyful Noise (Tickets)
03/12  Little Rock AR – Vino’s (Tickets)
03/14  Austin TX – SXSW
03/18  Memphis TN – Hi-Tone (Tickets)
03/19  Cincinnati OH – MOTR (Info)
03/20  Brooklyn NY – Baby’s All Right (Tickets)
04/14  Montreal QC – La Sala Rossa (Tickets)

New Video: Check out the Love Triangle at the Center of the Video for Gosh Pith’s “K9”

So if you had been frequenting this site over the course of 2015, Detroit, MI-based duo Gosh Pith have become JOVM mainstays while gaining a rapidly growing national profile for a sound and songwriting approach that generally focused on capturing […]