A lyric video for the new Uncluded track, “TV On Ten,” which comes off the surprise collaboration’s debut album, Hokey Fright. The album is looking at a release this week on Rhymesayers Entertainment.
The Uncluded is essentially the artistic pairing of singer-songwriter Kimya Dawson and MC Aesop Rock. These unlikely collaborators found common ground on a number of tracks from Kimya Dawson’s last full-length, and it seems they’re trying to stretch their creative spark out for an entire album.
Check a review for Aesop Rock’s last LP below:
Tim Hecker and Daniel Lopatin (a.k.a. Oneohtrix Point Never) have come together in what may be the most
promising electronic collaboration of the latter year. Their forthcoming LP titled Instrumental Tourist is to be expected on November 20th as a part of Software record’s SSTUDIO series. An intriguing venture aimed at expanding the catalogue of a new label, Software invites the collaboration of electronic artists in search of works of quality and unique vision.
The recent release “Uptown Psychedelia” does just that in its avant-garde approach to a modern
formula and sound palette that seamlessly blends organic ‘Instruments of the World’ with synthetic
conceptions of otherworldly resonances. The use of drones and trance inducing stereo panning creates
a very sublime and captivating aesthetic. Recorded through improvisation and with little preparation in advance, Hecker and Lopatin’s work can be fantasized as free-jazz predecessors of the electronic age.
Freddie Gibbs and Madlib have released a collaboration EP titled Shame, this is the title track off the collection. Everything about this recording makes it sound like the two were having a good time. Over a soul-sampling beat, Gibbs tells a story of infidelity and sleepin’ around.
There are a few artists whose album announcements actually get my fingers shaking and breathing erratic. David Byrne is one of ‘em, and his forthcoming project is an exciting one.
There’s been talk of him collaborating with St. Vincent, a.k.a. musical eccentric and songstress Annie Clark, but there wasn’t any clarity as to when some material would actually drop. Well, with the first track from this collaboration coming out today, the project actually feels pretty tangible right about now.
The amount of collaborative albums Byrne has done over the years has been quite limited. Though not all of them successful, I imagine the guy doesn’t work with anybody he doesn’t think the world of, and that certainly seems to be the case with Annie considering how affectionately he speaks of his experiences enjoying her music in the press release tagged with this new track. He sounds even more excited to be creating music with her:
“Annie suggested we use a brass band rather than the typical rock ensemble—which would brilliantly solve the sound problems inherent in performing in a small joint like Housing Works. A brass band wouldn’t need mixing and could be heard acoustically in a room that size. They’d balance themselves. Easy. We’d only need vocal mics.
I loved this idea—we immediately restricted ourselves given all the possible directions we could have taken—and suggested we write some tunes based on this brass concept, just a few to see if we could actually work together and to see if we both liked the results. That was a few years ago. The writing was truly collaborative: sometimes Annie would send me some synthesized versions of brass or guitar riffs and I would arrange them a bit and write a tune and words over them; other times this process would be reversed and I would send some musical ideas to Annie for her to write over. This material would get passed back and forth—each of us adding and elaborating on it. There are songs on which one of us sang on the demo and the other ended up singing the finished version. Eventually we had a handful of songs and mutually decided that the concept was working and we would continue.”
The first track to drop from this collab, “Who,” easily justifies David’s excitement. Not only is it a new, fresh approach for either of these artists to be relying so heavily on brass to get their songs across, but the track is actually pretty, well, catchy. It’s got a steady danceable quality, which you’d expect from Byrne’s side of the aisle; however, the angular quality of some of the horn phrases seem like something Annie could draw up in a moment’s notice. Yeah, it’s all a guess as to who worked on what at this point. All I know is this is a pretty surprising collaboration that’s off to a pretty great start.
The forthcoming album will be titled Love This Giant, and it’s currently looking at a September 11th release date. You can stay in-tune with info on the LP and some tour dates through this site.
Involving Italian psych pop eccentric Dumbo Gets Mad and a few collaborators, Lickbellies is essentially a loose collective of friends making music they love. The above video is a 23-minute medley of the music these guys have been producing together for a few years now, and it’s a treat that keeps on giving in the few short listens I’ve lent to it.
While nearly every moment seems to have been somewhat planned, how these tracks groove and transition into one another feels somewhat improvised. It’s one, long, colorful jam transitioning from dirty funk basslines to trippy sax solos against hip hop beats. It’s surprising how effortlessly these guys blend sounds that wouldn’t normally be paired, but Dumbo Gets Mad showcased elements of that from that start, so how could it not be expected?
Boddika and Joy Orbison drop two new collaborative tracks, raising the anticipation of these two creating an album together even higher. Though they do fade out prematurely, the hypnotic techno grooves here are undeniable. The previous tracks these guys dropped together earlier this year were even better, though. Enjoy!
Two of the most active producers in the current electronic music scene, Machinedrum and FaltyDL, have teamed up for a new track. Titled “Give In 2,” the song was supposedly recorded in 2011, but it hadn’t been made available to the public until now. Despite both originating from the U.S., the pair have been building their respective sounds off many of the trends in U.K. garage-rooted bass music that have grown so popular lately. “Give In 2,” with its busy footwork-influenced drums, distant pitch-shifted vocal sample, and heavy bass, shows the producers continuing further down this path with gratifying results. Stream the cut above via FaltyDL’s SoundCloud.
This new track from the forthcoming Killer Mike and El-P collaboration is all about the latter’s impressive production and the former’s strong personality. The beat has a heavy, heavy groove. The kind that bumps out of sound system-clad cars that drive down neighborhood streets at 10 miles per hour. The groove is incredible thanks to some humming synthesizers and variety of percussion, creating production that grabs hold of attention spans and never lets go. However, Killer Mike does not let the production overpower him. He rides the beat well while making many references to mythology and religion. The quality of the songs released for this collaboration so far have been undeniably great.
Look for R.A.P. Music to drop May 15th.
An odd collaboration between Mat Cothran (Coma Cinema), Patrick Jeffords (Toro Y Moi), Katie Lee (Braids), and Sam Ray (Ricky Eat Acid) has released a five-track EP. It’s backed by a lot of dark, sleazy synthesizers that produce some really appealing jams. Vocals are primarily performed by Cothran, and the lyrics seem to be very much like his other projects as well.
The bass and drums create some pretty compelling head bobbing grooves as well. As gloomy and dark as the humming synthesizers can be there is still a lighter side to the arrangements, giving these tunes far more dimension and depth. This is not at all a collaboration that I was expecting, but after hearing it I definitely want more.
BJ The Chicago Kid and Kendrick Lamar have collaborated for a second time on “The World is a Ghetto,” which is a smooth piece of socially conscious soul. The song deals with growing up in a harsh environment and perceiving the world to be the same way. There are elements of hopelessness throughout, and human behavior that does nothing but support the feeling. The track has a bunch of samples taken from pop culture that act as sort of verses or interludes between the hook. The real highlight is Kendrick Lamar’s verse, which potently conveys what the song is about. It seems with every song he is a part of Lamar seems to become the highlight almost instantly, even with the short verse he has here.
BJ the Chicago Kid’s new album, Pineapple Now-Laters, is out now on iTunes.