Tag: Snoop Dogg

New Audio: Acclaimed Duo Silk City Team Up with Dua Lipa on a Sultry Classic Chicago House-Inspired Banger

Born Thomas Wesley Pentz, Diplo is a prolific and acclaimed Los Angeles-based producer, DJ and electronic music artist. As a solo artist, he’s managed to see a fair degree of commercial success with 2013’s Revolution EP, which debuted at #68 on the US Billboard 200 — and the EP’s title track was later featured in a Hyundai ad campaign and on the WWE 2K16 soundtrack. Diplo is also known as the co-founder and lead member of the electronic dancehall project Major Lazer, and one-half of electronic music production and artist duo Jack U with Skrillex. And as a producer, the Los Angeles-based producer, DJ and electronic music artist has collaborated with M.I.A., Gwen Stefani, Die Antwoord, Britney Spears, Madonna, Shakira, Beyonce, No Doubt, Justin Bieber, Usher, Snoop Dogg, Trippie Redd, Chris Brown, CL, and G-Dragon. 

Mark Ronson is a London-born and-based multi-instrumentalist, DJ, singer/songwriter and producer and although his debut effort, 2003’s Here Comes the Fuzz failed to make the charts, his sophomore effort, 2007’s Version landed at number 2 on the UK charts, thanks to the fact that the album had three Top 10 singles — and as a result, he won a Brit Award for Best British Male Solo Artist. Building upon a growing profile, 2010’s Record Collection peaked at #2 on the UK Charts.

Ronson also won Grammy Awards for Producer of the Year, Non Classical, Best Pop Album and Record of the Year for his work on Amy Winehouse’s “Rehab” and Back to Black. He also produced “Cold Shoulder,” off Adele’s critically applauded and commercially successful debut 19. And unless you’ve been living in a remote Tibetan monastery in the Himalayas, Ronson’s first UK and US #1 single was his collaboration with Bruno Mars “Uptown Funk,” and as a result of the single’s massive commercial success, Ronson won the Brit Award for British Single of the Year, as well as Grammy Awards for Record of the Year and Best Pop Duo/Group Performance. The London-born and-based producer, DJ, multi-instrumetanlist and singer/songwriter’s fourth full-length album Uptown Special was his first #1 album in the UK and peaked at #5.

Ronson’s and Diplo’s collaboration together Silk City can trace its origins to the duo’s long-time friendship, a friendship that dates back to the early 2000s. Their debut single “Only Can Get Better,” featuring Daniel Merriweather was released earlier this year, ahead of their Governor’s Ball set, and they’ve already made several other appearances across the international festival circuit with sets at Bestival and Treasure Island Music Festival among others.  The duo’s second single “Feel About You,” a collaboration with Mapei was a slickly produced and soulful track with arpeggiated synths that subtly nods at Robin S’s “Show Me Love” — but with a clean, hyper modern sheen. The acclaimed duo’s latest single “Electricity” find them collaborating with multi-Brit Award-winning Albanian-British singer/songwriter and model Dua Lipa, and The xx’s Romy Madley-Croft and Diana Gordon, who co-wrote and contributed lyrics and melodies, and much like it’s predecessors, “Electricity” is a slickly produced, anthemic banger. However, the piano-led, hook-driven track draws from classic Chicago house, complete with an irresistible sensual ecstasy at its core.

Directed by production duo Bradley and Pablo, the recently released video for “Electricity” is set during the Blackout of 2003 and stars Dua Lipa, who hosts a loft party that contains so much sexual energy that it keeps the lights on in the apartment. Of course, two of the guests — guess who, y’all? — wind up being stuck in an elevator and completely missing the party. 
 

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New Video: Evidence Teams Up with Atmosphere’s Slug and Catero on a Soulful and Earnest Single Paired with Gorgeous and Surreal Visuals

Born Michael Taylor Perretta, Evidence is a Los Angeles, CA-based emcee and producer, best known as a member of the renowned hip-hop act Dilated Peoples with whom he has released four full-length albums. As a producer, Perretta has collaborated with the likes of Beastie Boys, Linkin Park, Swollen Members, Defari, Planet Asia and a co-production credit on Kanye West’s Grammy-winning, full-length debut The College Dropout.

The Los Angeles, CA-based emcee and producer’s 2007 full-length debut, The Weatherman, which was released by ABB Records, the long-time label home of Dilated Peoples featured tracks produced by Perretta, The Alchemist, Sid Roams (the production team of Joey Chavez and Tavish “Bravo” Graham), Jake One, DJ Babu, and DJ Khalil, as well as collaborations with the Dilated Peoples crew. By 2009 Evidence signed with Minneapolis, MN-based hip-hip label Rhymesayers Entertainment, who released his 2011 sophomore effort Cats & Dogs, an album that wound up being among his most commercially successful as it landed at #64 on the Billboard 200.

Evidence’s four full-length album Weather or Not was released earlier this year through Rhymesayers, and the the album is the  first batch of new material since 2014’s The Alchemist-produced Lord Steppington, and as you may remember, the album’s third single “10,000 Hours” found the Los Angeles, CA-based producer and emcee further cementing his reputation as an incredibly dexterous and criminally unheralded emcee, who has ridiculous rhyme schemes — all while discussing ho much time he spent practicing, refining and developing his skills over a swaggering DJ Premier production featuring squiggly synths, boom bap beats, a forceful bass line, samples from Snoop Dogg, Dr. Dre and GURU that managed to be anamalgamation of strutting West Coast hip-hop and stomping, menacing, old school East Coast hip-hop.

Weather or Not’s latest single “Powder Cocaine” is a collaboration between Evidence and Atmosphere’s Slug that features an atmospheric The Alchemist production that consists of tweeter and woofer rocking boom bap beats, a subtly chopped up choral vocal sample and warm blasts of bluesy guitar paired with a soaring hook sung by Catero that’s the emotional and metaphorical underpinning of the song. In fact, as the story goes, after enlisting Catero to write the song’s hook. the vocalist came back with a verse that ended with “but everything’s fine if I try to remain like powder cocaine . . .”  Understandably, the line stuck with both Rhymesayer labelmates, and it opened the doors for the duo to write rhymes full of diverse metaphors and descriptive symbolism. Yet, despite the song’s title, Evidence has never used the drug. “I’m like the only person in Los Angeles, who didn’t do cocaine, and Alchemist, too,” Evidence says in press notes. “We made a pact, you know, when friends are young and we actually stuck to it. The song is not a pro-cocaine song, but rather just using the saying as an expression of being all good.” 

Directed by Jason Goldwatch, the recently released video for “Powder Cocaine,” is actually influenced by Evidence, a passionate shutterbug — and as a result, the video is full of gorgeous and surreal visuals that employ a photographer’s sense of composition and framing to emphasize very specific things. 

New Video: Evidence Takes You on a Gritty Tour of Los Angeles in Visuals for “10,000 Hours”

Born Michael Taylor Perretta, Evidence is a Los Angeles, CA-based emcee and producer, best known as a member of the renowned hip-hop act Dilated Peoples with whom he has released four full-length albums. As a producer, Perretta has collaborated with the likes of Beastie Boys, Linkin Park, Swollen Members, Defari, Planet Asia and a co-production credit on Kanye West’s Grammy-winning, full-length debut The College Dropout.

The Los Angeles, CA-based emcee and producer’s 2007 full-length debut, The Weatherman, which was released by ABB Records, the long-time label home of Dilated Peoples featured tracks produced by Perretta, The Alchemist, Sid Roams (the production team of Joey Chavez and Tavish “Bravo” Graham), Jake One, DJ Babu, and DJ Khalil, as well as collaborations with the Dilated Peoples crew. However, by 2009 Evidence signed with Minneapolis, MN-based hip-hip label Rhymesayers Entertainment, who released his 2011 sophomore effort Cats & Dogs, an album that wound up being among his most commercially successful as it landed at #64 on the Billboard 200.

Evidence’s soon-to-be released fourth, full-length album Weather or Not is slated for a January 26, 2018 release through Rhymesayers is the first batch of new material since 2014’s The Alchemist-produced Lord Steppington, and with the release of the album’s third single “10,000 Hours” Evidence further cements his reputation as an incredibly dexterous and criminally unheralded emcee with the rhyme scheme in this particular track being ridiculous — all while discussing about how he spent time developing his own unique flow. With Evidence spitting over a swaggering DJ Premier production featuring squiggly synths, boom bap beats, a forceful bass line, samples from Snoop Dogg, Dr. Dre and GURU, the track manages to be a amalgamation of strutting West Coast hip-hop and stomping, menacing, old school East Coast hip-hop. But just as important, as I’ve relentlessly reminded readers of this site, real hip-hop, and not that prepackaged bullshit on your multinational conglomerate propaganda and advertising radio, is still out there if you’re willing to look for it.

Filmed and directed by Stephen Vanasco, the recently released video for “10,000 Hours” is a lush and cinematically shot black and white video in a number of gritty and underground Los Angeles sights before meeting with the legendary DJ Preemo.


Comprised of Posdnuos, Dave and Maseo, De La Soul is arguably one of hip-hop’s most beloved and influential acts. thanks in part to their use of incredibly clever and quirky word play, innovative and soulful sampling and hilarious skits; in fact, perhaps unsurprisingly, Mos Def has openly cited them as a major influence on the early part of his career. And although their seminal debut 3 Feet High Rising may be their most commercially successful release – perhaps in part to the success of singles like “Me, Myself, and I,” which employed the use of a sample from Parliament’s “Not Just Knee Deep” and the Native Tongues anthem “Buddy” – they’ve managed to release a number of critically applauded albums including De La Soul Is Dead, Buhloone Mindstate and Stakes Is High among others.

I caught the legendary hip-hop trio at The Meadows Festival earlier this year, and they were among one of the festival’s most memorable and most fun  career spanning sets featuring songs off  3 Feet High Rising, De La Soul Is Dead, Buhloone Mindstate and Stakes Is High and their critically applauded  . . . And the Anonymous Nobody, which was released last year. Album single “Pain,” a collaboration with Snoop Dogg featured some of the most incredible bars in recent memory over a soulful, Roy Ayers-like production featuring twinkling keys paired with thumping, tweeter and woofer rocking beats.

Recently the JOVM mainstay artist Rhythm Scholar  remixed De La’s “Pain” with his imitable and effortless mashup/remix that retains the song’s woozy, soulful vibe but further emphasizes it with samples from Oliver  “Heart Attack,” feat the aforementioned De La Soul,The CommodoresI Like What You Do” and “Brick House” — with Keith Holden (bass), and Mr. Fender Rhodes (Fender Rhodes). And although the Rhythm Scholar remix turns the song into a 70s disco-inspired club banger, complete with explosive horns. Interestingly, the Rhythm Scholar doesn’t include Snoop’s verse — and the remix is so slick that you don’t notice it.

 

 

 

New Video: Renowned French Electronic Act KCPK Releases a Cinematic and Surreal Video Focusing on the Tumult of Early Adulthood

KCPK is a French production and electronic music trio comprised of Alexandre Brovelli, Fabrice Brovelli and Christophe Caurret, best known as pioneers of the Rémoise electronic music scene with the likes of  Yuksek, Brodinski and The Shoes; for creating PANIK, a club night known for hosting Groove Armada, Laurent Garnier and Amon Tobin; for collaborating with Woodkid, The Chemical Brothers and Two Door Cinema Club; and lastly for their work in advertising as creative directors of renowned firm BETC. And if you were frequenting this site last year, you’d recall that “Who Wants It,” their collaboration with Philadelphia, PA-based emcee STS managed to bridge enormous, festival friendly, tweeter and woofer rocking house music with swaggering, braggadocio-fueled trap-like hip-hop in a way that felt mischievous and fresh. 
Along with that, the Nicolas Davenel-produced video was featured on The Creator’s Project, was nominated for Best International Urban Video at the UK Music Video Awards and was featured as the racing for Louis De Caunes’ video for Yves Saint Laurent’s Black Opium digital campaign. 

The French trio’s latest single “The End” is a propulsive and dare I say, arguably the most sensual and dance floor friendly songs they’ve released to date as it features razor sharp arpeggiated synths, a rousingly anthemic hook and breathily cooed vocals — and interestingly enough, the song and its production sounds as though it owes a debt to Giorgio Moroder, The Man Machine-era Kraftwerk and Daft Punk but with a hyper modern touch. 

Directed by Luc Besson’s former Steadicam operator Andrieu and Director of Photography, Nicolas Loir, who has worked with Woodkid, Ghostpoet and Snoop Dogg, the recently released video for “The End” is a cinematically shot one, that focuses on the tumultuous psyche of a teenaged girl as she struggles with a dysfunctional relationship with her mother and an unreciprocated romantic obsession, capturing the uneasy yet profound transition towards adulthood. Interestingly, the  video pays homage to several 90s coming of age movies through its use of props, fashion design and art direction — with live action footage meshed with visual effects by David Danesi. As the video’s director explains in press notes. “It’s a coming of age snapshot. At this stage, the rules get rewritten. Your eyes open to what lies beyond family and school. It is the first time you’re seeing yourself in the world, but emotional reactions overwhelm your ability to understand and cope. This is the end of innocence.”

Comprised of the Ann Arbor, MI-born, Los Angeles, CA-based soul singer/songwriter Mayer Hawthorne, arguably one of the most unheralded vocalists and singer/songwriters of the past decade; and Jake One, a Seattle, WA-born and based, Grammy nominated producer and artist, who was best known as part of the G-Unit, production team The Money Management Group, for collaborating with Brother Ali, Young Buck, De La Soul, M.O.P., Freeway, M.F. Doom, Atmosphere‘s Slug, Keak da Sneak and others, and for contributing tracks to the soundtracks of major motion pictures such as Get Rich or Die Tryin,’ The Fast and the Furious: Tokyo Drift and Gone Baby Gone, the electro funk act Tuxedo can trace its origins to around 2006 when Hawthorne and Jake One began exchanging mixtapes, which revealed that they had a mutual appreciation and love of classic funk and soul.  The duo quickly worked on and released three singles while both were working on separate solo projects — and those singles wound up on the duo’s 2015 self-titled debut, an effort, which I think was one of that year’s best party records.

Now, it’s been some time since I’ve last written about them — and that shouldn’t be surprising, as Hawthrone released his fourth, full-length effort Man About Town last year and opened for Hall and Oates during the duo’s U.S. tour and Jake One released the #prayerhandsemoji mixtape; but speaking for myself, I’m always in the need of some funk in my life and thankfully, the duo have returned with a three song EP, titled Fux with the Tux.. “Fux with the Tux,” the EP’s title track and opening track pairs Hawthrone’s vocals with a late 70s and early 80s synth funk production featuring squiggly arpeggio synth blasts, propulsive drum programming, a wobbling and tumbling low bass line, a chant-worthy and anthemic hook and a brief braggadocio-filled guest spot from Snoop Dogg. And while sounding as though it drew a some influence from Heatwave‘s “The Groove Line” – 12″ Disco Version,  Cherelle‘s “Saturday Love” feat. Alexander O’Neal and others. “Special” clearly continues on a similar vein as it’s incredibly dance floor friendly, while being a sultry come on. It’s the sort of song you’d want to play while dancing with that pretty young thing, you’ve wanted to get with for an entire summer or however long it’s been for you. Completing the three song set, “July” is a slow-burning and silky smooth, Quiet Storm-like track about unexpectedly, stupidly and desperately in love and that love changing the narrator’s life for the better — and of course, its underpinned by Hawthorne expressing a vulnerable, urgent and plaintive need that gives the song an irresistible sensuality.

 

 

If there’s one thing that listeners will instantly gleam from this new EP is that Hawthorne and Jake One have further cemented their reputation for crafting dance floor friendly, two-step, 80s-inspired synth funk and sexy, slow-burning ballads with a subtly modern take.

 

 

 

 

Now, if you had been frequenting this site over the last part of 2016, you may recall coming across a post on the Oakland, CA-based soul pop quintet Bells Atlas. Comprised of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys), the quintet specializes in a sound that’s kaleidoscopic, lushly layered and difficult to pigeonhole as it incorporates elements of indie rock, Afro pop jazz and electro pop. Their trippy, shimmering and atmospheric “Spec and Bubbles” revealed a song that structurally owed a debt to  Hiatus Kaiyote as the song consisted of several, twisting and morphing sections held together by stuttering drumming, a sinuous bass line and Lawson-Ndu’s sultry cooing.

The Bay Area quintet’s latest single “NCAT” will further cement their burgeoning reputation for crafting slow-burning, atmospheric and soulful pop as the song consists of shimmering and bubbling arpeggio synths, stuttering drumming and a rolling bass line paired with Lawson-Ndu’s sultry yet ethereal vocals. And by far, the song may arguably be the sexiest song they’ve released to date, as Lawson-Ndu’s vocals express a visceral, vulnerability and human need — and in some way, the song nods at Quiet Storm-era R&B, Snoop Dogg‘s “Sexual Eruption” and the aforementioned Hiatus Kaiyote.