Archive for March, 2011
This has been out for a month, but I wanted to bring it back post-SXSW. East Bay producer and rapper Young L was lurking around Austin, and missing him was one of my biggest regrets.
This year has been very, very, verrrrry focused on the swag emanating from Odd Future, which is grand, but as the producer for The Pack (formally The Wolf Pack, which is kind of reminiscent of that other swagged out group from Cali…) and Lil’ B, Young L has been doing this whole swag/based/whatever thing for years now.
The Domo Kun mixtape is a good sampler of his sounds, both as a producer and as an emcee. And listening to it again only makes me slap my head harder for missing him. Doi!
late pass: stereogum premiered the video for recently-featured jamie woon track “lady luck.” it’s good, and the song is still a stand-out. what is more interesting to me is this hudson mohawke’s “schmink wolf re-fix” of the track, which goes hard. enjoy:
While our spoiled LxNxM brothers are dropping tequila shots, and dropping pounds traversing under the hot- ass sun of downtown Austin at SXSW, it’s only right that me and the Krieganator – without the slightest shred of jealousy – soldier on to bring you that new new.
Enter the Dropping Gems crew “a collective of musicians based in the Pacific Northwest. Our goal is to share a particular vision of the future of humanity as it’s expressed in the form of electronic music. So we produce and release albums, and create events for people to come hear us and those that we love and respect”. This combination of ambitious vision and love shines through the amphibious, conscious-percolating sound layers of Gem Drops. Representing the crews first digital compilation, and featuring a mindful selection of other U.S. based electronic innovators – all of the proceeds of Gem Drops are entirely committed to raising funds for the American Cancer Society. Listening through, I haven’t been this pumped about an electronic compilation since the first Beat Dimensions in ’07.
Don’t be a cheapskate when you name your price for this album. Whet your appetite for future-hop and support a good cause. For $15 you can get the handmade CD with artwork. Don’t sleep on these big beats made by big hearts.
Turns out hot days are perfect for sitting in the sun with a cold beverage. The French Legation Museum – the former French embassy grounds – hosted a lawn party with two stages and many places to lay your weary head to rest. It turned out to be the perfect environment to hear James Blake perform, as his low-tempo melodics translate into even more of a relaxed vibe when performed live (as a certain Hollis Wong-Wear said, he is the Mayer Hawthorne of dubstep). Also caught San Francisco two-piece the Tune Yards, who I’m definitely going to be looking into more.
No mention of the day would be complete without Odd Future Wolf Gang Kill Them All. OFWGKTA is the single most buzzed-about group going right now, and the line at the Fader Fort reflected it (side note: even Fader cover boy James Blake was having to work his talking magic to get through the lines).
Odd Future is hip hop that is about as punk rock as it gets. The music is heavy and energetic, driven by bass hits and sharp snares, and the lyrics are about what you would expect from an eight-person deep crew of 17 to 21 year olds. Despite the intense water bottle throwing (chill, guys), they owned the crowd for every single minute of their set.
After swinging by Shabazz Palaces (and THEE Satisfaction) at the Sub Pop showcase, the night wrapped up at Emo’s with a showcase that could very easily make one’s head spin: Pharoah Monch opened up, with Mela Machinko on vocals, and a surprise appearance from Jean Grae; Asher Roth continued to be terrible; Freddie Gibbs brought some serious midwest lean – and a seven-deep crew – to the stage; the Cool Kids played their hits and have apparently grown up into being the Cool Men; and Das Racist finished out a six-show day by bringing down the house.
Vegetables are for the weak, and barbecue is always a good decision. Iron Works BBQ is right around the corner from the Austin convention center, aka the center of the lanyard universe. The result is a line out the door, bands at every table, and a client list that includes every candidate or elected official to every come through Austin.
Most of the day was spent at Club 1808, which is in relatively deep East Austin, meaning well off the beaten SXSW path. The occasion was the showcase put on by Pianos, the Ludlow Street purveyor of fine sounds. A couple of highlights included New Moods (a precise and raucous four-piece fronted by Billy Jones of Other Passengers and Gang Gang Dance engineer Sean Maffucci), a short but sweet set from Chicago beatsmen The Hood Internet, and your boys Das Racist.
New Moods getting loooow.
The highlight of the day, however, was Tormenta Tropical, an ongoing San Francisco-based party that for the purposes of SXSW took a sojourn to Austin and pulled double duty as a full on showcase. Leading off the night was the Ghetto Bassquake soundsystem, featuring some of the most ruthless DJs of the bubbling cumbia, tropicalia, and otherwise limitless bass movements. GBQ chief Vamanos and Dutty Artz affiliates Uproot Andy and Chief Boima led things off, and as the dancefloor packed up and out, they were followed by bass-heavy sets from NYC’s Matt Shadetek, Austin’s DJ Orion, and the party-wreckers themselves, Germany’s Schlacthofbronx. From front to back, non-stop bass and quality selections.
Chief Boima and Old Money Massive
Shadetek gets it in.
Schlacthofbronx officially wrecks the floor.
And finally, the night wrapped up with a one-two combination of the Hybrid himself, Detroit’s Danny Brown, and new Shady Aftermath Records signees Slaughterhouse, the coast to coast supergroup featuring Crooked I, Joe Budden, Joell Ortiz, and Royce da 5’9″. Quite the contrast between one of hip hop’s fastest rising and hard-to-define stars, and a group that carries the torch for a hip hop that is nearly one generation removed.
Danny Brown, rocking the Bowie shirt.
Slaughterhouse do it to it.
Day one at South By Southwest is in the rearview mirror, and for this first-time attendee, I think it’s safe to say that it was a trial by fire. The sheer scale of the festival is astounding – I did the math late last night and can now proudly say I cracked the five mile mark of walking. Classy!
It was a crazy day of lines, but here are my highlights, as well as a selection of pictures from my absolutely high-quality camera. Enjoy!
The Fader Fort is its own center of gravity in the SXSW universe. The multi-hour line to get in, and the total production of the space is unmatched. To get a good sense of it, imagine a boiled down Sasquatch with more edge. That is to say, free beer, Statik Selektah and DJ Eleven providing between-band music, and a razor-edge selection of music. Twin Shadow won the day musically, combining delicate melodies with synth-driven quiet/loud rock. The only downer was a cancellation from certified Grown Ass Man Raphael Saadiq. Next time, Ray Ray.
Seattle’s Members Only crew put together an excellent funk and soul night with Austin staple DJ Chorizo Funk. Seattle’s DJ 100 Proof and Mr. Supreme, aka Supreme La Rock, flexed their significant crates, with the event serving as a de facto reunion for Seattle expats.
Yup. Heems and James Blake.
New York’s certified party-rockers and LxNxM homies Das Racist put a memorable capstone on the night by playing a show with Impose Magazine that featured the worst sound system, the nicest bar staff, and the most beer bottles per capita thrown thus far (note to showgoers: not cool).
And finally, the requisite afterparty, featuring Moby and Trouble and Bass boss Drop The Lime. Another note: when you walk into a warehouse and see a bald house DJ, there is an approximately 95% chance that it is Moby. There is no reason to question this.
Today’s all about checking out some specific folks, including the Vancouver/Brooklyn crew Old Money Massive, and San Antonio’s own Sonora and Mexicans With Guns. Where will we end the night? Nobody knows…
Hella more pictures right here after the jump.
blog-friends old money massive just dropped this mp3/video for the track “maroon on the move.” i’m not sure what it is–those harsh synths, the lyric “like the world on fire,” or the gritty, grimey visuals, but this song is really speaking to my end-of-days vibe, what with all the earthquake-tsunami-nuclear-meltdown madness in japan, revolutionary fever/brutal crackdowns in the middle east, and empire-in-the-decline shit here at home. i believe that’s what you call ‘capturing the zeitgeist.’ if you’re lucky enough to be down in austin for SXSW, you can catch old money massive at the tormenta tropical showcase tomorrow at 10:00pm. meanwhile, download the mp3 here, and be sure to visit the always good-looking, old money-affiliated blog attorney street.
Here’s a powerful new video from Canadian emcee Eternia that delves far beyond hip-hop and touches on issues of assault and abuse. It’s a healthy video to watch considering most individuals (musicians included) hide their experiences with both of those topics. It’s always good to know that Eternia is a fearless artist that puts her rough experiences out there to help others heal.
