Sex and Violens
Tonight’s darling lads call themselves Violens (pronounced vy-lens) and hail from Brooklyn by way of Miami. They play synths and slimy bass like the soundtrack from the sleazy bathroom coke scene in American Psycho. Violens easily could have been playing as Don Johnson leaned against the hood of a white IROC while taking long, calculated pulls from a Winston as the closing credits rolled against a post-card perfect Florida sunset.
Instead, settle for these jams pumping from a 160g classic as you pump the pedals of your vintage ten speed. Fans of 80′s new wave who long for something terribly nerdy yet secretly hip will rejoice. Either way, it strikes a chord. But that’s not to say it doesn’t hold its own in today’s crowded sound space.
For every second of throwback flair found on their terrific debut Amoral, there’s a minute or two of scrappy, rhythmic songwriting to remind us that Violens take pride in their nostalgic neon backdrop. This band seems as equally schooled in metal as they are in 60′s garage rock. There’s a heady music pedigree here, and it glimmers. It’s a touch of Moz, a touch of The Cure…and I can’t get enough. Their second record, True, hits stores tomorrow. Buy and support independent music. I’m ordering the vinyl.
Rewind The Tape
theaceofspades.com
In 2000 a rock and roll “revival” came around sweeping radio-friendly pop rap and nu-metal an inch to the left. Thankfully, that created space for bands like The White Stripes, The Strokes and The Mooney Suzuki to rev up the garage noise, button their tight pants and light that Keef-like dangling cigarette. While many of those bands pumped out a few discs that are likely collecting dust in the depths of the dollar bin, a few still remain today.
The Walkmen pushed into the scene on the heels of The Strokes, who made it much easier to be a hipster in Manhattan. Unlike The Strokes, who built their empire on robotic rhythms and razor guitar, The Walkmen were concerned with the spaciousness of the sound. Upright pianos, plodding bass and creepy-howled vocals haunt the average Walkmen track, and it’s fantastic.
They’ve got five records floating around yet I’d suggest you look no further than their debut, Everyone Who Pretended to Like Me is Gone. Heavens, their newest batch of gems hits stores the end of the month. It’s mopey and full of attitude like the Cure, but not poppy enough for the dance floor. It took a decade to trim the fat, but they’ve done it. I can’t stop listening to this one…
El Producto Magnifico
pitchfork.com
I will always remember hearing Company Flow’s Funcrusher Plus for the first time in 1997. That record epitomized the hustle and flow of New York City. Spray cans. Fat tip markers. 40′s. Everything my tiny city wanted to be, but couldn’t. Too many cows, not enough train cars.
El-P made my jaw drop. His wordy B-Boy attack was equal parts brash confidence and calculated thesaurus page flipping. Nerds rejoice…on the beat. Def Jux would go on to fight battles with Def Jam resulting in the formal name-shift to Definitive Jux, but still hung on as a staple of alternative and independent New York hip hop.
El-P’s solo records have ranged from good to better to best. His last full length, I’ll Sleep When You’re Dead, was a heady, angry banger packed to the brim with more syllables than a Greek wedding guest list. This month will see the release of the highly anticipated Cancer For Cure. I’m ready for the return of the 30 point word MC. And his latest single features Killer Mike. Enough said.
Paperchaser
Meek Mill can probably get used to all this. He’s riding high on the success of his signing to MMG, Rick Ross’s Warner Brothers empire. His tapes are regularly blasting from slow creeping cars with windows and roofs open and they’re crashing servers too. Dreamchasers 2 has been downloaded almost two million times since Monday at 3 pm, in fact, datpiff couldn’t handle the traffic.
Meek came smashing into my consciousness with the ferocious “Tupac Back”, from the Self Made Vol 1 record. I wasn’t impressed with what he had to say, but was captivated by the way he said it. There are artists with the mastery of the language, which is arguably is the most important aspect of being an MC, and then there are artists with the ability to command attention…Meek is the latter. His ego is turned to twelve twenty-four hours a day. He’s constantly flexing his most important weapon…his persona. And let’s face it, rappers have been making a living on rep long before anyone had the balls to call it “swag”.
Meek’s rambling, energetic flow is a perfect fit for the team of weirdo’s that is MMG. They’ve got a stylish poet, a bearded thinker, a boss with a mink and pinky ring and Meek Mill, the young go-getter. Neck full of gold. Head full of flows. Can’t wear skinny jeans because his knots don’t fit. This sport is based on the boasts and this kid has got a rack full. Dreamchasers is worthy of the hype, simply on the strength of Meek’s ever-growing confidence.
Now Or Naver
Western Tink is on his very honest grind from Austin, Texas. I caught this dude on Mishka’s blog (www.mishkanyc.com) a few weeks ago and I’ve been spinning his Chilling Like A Civilian tape non-stop since. Tink and rapper/producer Beautiful Lou are readying MOBBIN NO SOBBIN, their upcoming project that’s got a ton of buzz all over the web. They’ve got my ear…
Western Tink has a laid back Wiz Khalifa flow, leaning on an off-kilter nonchalance and cadence. But that’s where the mainstream comparisons stop. He’s perfectly content in his own skin, minus the glitz and glamor. And Tink has the goods to stand out, even in a city where you must compete for your airtime. In Austin, the talent pool is deep.
He reminds me of the hungry DIY types making waves in NYC like The Doppelgangaz, Action Bronson and Mr. MF eXquire. The best part about Tink, he’s young and just starting to dial in on his incredible talent. Sometimes I plug my earphones in and this current wave of beats and rhymes reminds me of the early 90′s again…and that’s a glorious feeling.
White Heat
www.2.bp.blogspot.com
If Brother Ali isn’t mentioned in a list of top-whatever rappers today, disregard the source. The dude is raw, no two ways about it. If you play basketball, you know that once you step on the court it’s go time. We’ve all seen that dude get out there who dribbles like he’s got no thumbs…stumbling and fucking the entire flow up. I feel that way about hip hop. Some people just got it. And Ali, he’s simply got it.
His records pulse with soul of vintage hip hop. His pedigree is that of the working class midwest and his Rhymesayers roster is a testament to artists who know what it means to grind. Single after single, record after record, there’s been nothing but consistent output from Ali and his camp. If you’re looking for a place to start, check out his LP, Shadows on the Sun. Keep your eyes peeled for Mourning in America and Dreaming in Color this summer.
Less Is More
bananahill.files.wordpress
In White Men Can’t Jump, Sidney Deane (Wesley Snipes at his very best) tries to convince Billy Hoyle (the always wily Woody Harrelson) that although he might be listening to Jimi Hendrix, Billy cannot truly hear him. An argument ensues, but they were on to something. Do we actually hear much of what we listen to?
Aaron Jerome wants you to hear his music. He knows you can listen to it. You can click a link or spin a record, but it’s the hearing that concerns him most. Rather than mug for the cameras and answer handfuls of questions regarding life and love, Jerome creates textured, clever electronic music under name SBTRKT. Subtract the bullshit and let the music stand alone. I dig it.
SBTRKT’s self titled debut is a testament to turning down and vibing out, and it’s damn good. He two-steps all over this thing. The drums kick off beat and the vocals shuffle in and out unpredictably. Electronic music is my new flavor of late, but SBTRKT isn’t a run of the mill dj. He samples vocalists or features a singer on nearly every track. House music tends to pound you over the head with that 4/4 intensity, but the difference here is the song structure. There’s something to be said for perfectionism, and that mask definitely doesn’t hurt.
Acquired Taste
Flickriver.com
Love him or leave him. And with that sentiment, you’re either still reading or you’ve moved on…and I’m not offended. Mickey Avalon’s gangster-glam is a second short of brilliant. He’s nothing more than a west coast circus on wax and that’s exactly why I can’t get enough.
Mickey burst on the scene in 2007 with the oddball hit “Jane Fonda”. Rather than pack his debut record with catchy singles and pop oddities, Avalon slapped us across the chops with a dime bag packed full of sick, sad tales from a Hollywood hustler who happened to stumble on a mic. He’s not the most talented mc, but what Mickey gives away in form he makes up with style.
Loaded drops Mickey back in his familiar spots… the bar, the backseat and the corner booth with the sweaty leather. The sex is glossy, the coke is white and the drinks are always doubles. What you get with Mickey Avalon is a show. He’s an artist with an act, and if you take it for face value, it’s an out of control blast.
Sharp Like The Peaks
It’s a nice feeling knowing cats like Aj Suede exist. Believe it or not, amidst the sea of audio shit bombarding the airwaves daily, there are artists among us who value the creative process and take pride in the long forgotten practice of releasing an album. Mixtapes are a dime a dozen these days. Unfortunately, all you need is a hashtag twitter hashtag account and a few weak instrumentals. Almost instantly you can enjoy the fame and fortune a few thousand followers can get you.
Thankfully, Suede isn’t cut from that overnight social media cloth. He’s a self-reliant artist intent to create music his way, aiming to “make music that people from any race, religion, creed or walk of life can identify with.” His newest offering, the intelligent and deadly Gold and Water is a testament to his grind. Not only does Suede murder verse after verse, he created a bulk of the beats himself, allowing for complete creative control. Suede was gracious enough to answer some questions so we could better understand the stance of the Suede God.
SGH: First off, your record is dope. For every “national” or “chart” artist covered on this site, there’s three or four posts dedicated to people like you, artists that make real shit because it’s in their blood. And for the record, that Dexys Midnight Runners sample (on “Rose Gold”) is fucking bonkers.
Suede: The crazy thing about the Dexy’s Midnight Runners sample is that I woke up one morning and started watching pop up video on VH1 classic. As soon as the” Come on Eileen” video came on, I grabbed my laptop and made that beat. I appreciate that you recognize the art within the album. At first, I wasn’t really planning to do many beats on the record, but as the sessions progressed I ended up using the production in an attempt to create my signature style that nobody can copy, and it obviously worked. If I would’ve got on other peoples beats it would’ve been a “rap” album instead of an album full of “music”.
SGH: Where and when did you start making music?
Suede: I got my start at rapping when I was probably six or so…this shit is in my blood. My mother raised me on the elements of hip hop, that’s why i try to preserve the culture while still helping it evolve into something that’s completely opposite from the bubblegum shit on the radio.
SGH: What motivates you to create a beat then murder it?
Suede: What motivates me to make a beat and murder it is, nobody has the ability to make these beats the way I make them. Especially with the limited resources that I have. With that being said, I build a beat up and demolish that shit, because I’m one of the best to do this. When people start waking up from their mainstream slumber, they’ll know that I’m not to be fucked with when it comes to making music.
SGH: One thing that’s perfectly clear is your confidence. I love the fact that it’s more than bullshit and boasts which are far too common in the hip hop game. I definitely hear the artistry and the creativity in your work.
Suede: I was never about the bullshit and boasts. I don’t think any rapper in my position has the right to be cocky, especially when they haven’t paid all of their dues, myself included. At first I was mostly humble and what not, but I was still getting overlooked. I’m still down to earth about this, but I don’t have time to please anybody with my humility. I do what I do better than most, so I’m going to make that abundantly clear. Especially because I’m more about my music than the flash. Most people do this so they can be seen. It’s cool if I’m seen, but it’s more important to me if I’m heard. The purpose of the music is get the point across, mind fucking people and all that simultaneously.
SGH: Who did you listen to while you were coming up to help form your sound? Since I was a kid I’ve always identified with that dark, harder, east coast sound. Crews like Wu Tang and mc’s like Nas kept me searching for real shit, which I’m proud to say I still do today.
Suede: My favorite crews at that time were Wu Tang and Mobb Deep hands down. Their debut albums were raw, east coast to the fullest. My debut may sound nothing like those but it’s still consciously gritty and east coast at its finest, (it’s) the evolution of that east coast sound maybe fifteen or so years in advance. I’m so ahead of my time (laughs).
SGH: What does the future have in store for Aj Suede? What’s your goal, or mission in this fickle music business?
Suede: As far as the business is concerned, I might just keep it indie (since) these major labels and all that cause too much fuckery. The future of my music is going to be me making the type of music I want, signed or unsigned. The music will always progress as my artistic process continues to evolve. I’ll do my best to make sure I don’t get too abstract with it, but even if i do, So what?
I just imagine being something like the MF DOOM or Aesop Rock of this generation…one of the most respected underground legends this game will ever see. Even if my music was to find its way to the radio audiences and what not, I’ll always find ways to make my lines fly over heads.
SGH: The more I listen to the record, the harder it gets for me to pin down a sound or “label”. That’s one thing I love about it. You’re killing verses one minute, then leaning on a dubstep beat to close the record out. It’s refreshing to hear an artist who works within himself, which becomes a reflection of you. It doesn’t lend to being confined to one particular sound or style. If you had to describe your music to someone who’s never pushed play, never heard a second of it, how would you do it?
Suede: I try not to label it so much myself, because once somebody is too self aware of the music they’re making it loses its authenticity. Every time I make a beat I never have any idea how it’s going to turn out. Some producers have a blueprint for every track, I just let my soul speak. I’d rather consider it multi- genre so it doesn’t have to conform to the standard of “rap” music. It is hip hop, but maybe hip hop twenty or thirty years from now. I just try to make music for people that know music. Not radio shit, not top 40 hits or whatever. Just music, past present and future.
SGH: Lastly, what’s the future have in store? And I have to ask, what’s your drink of choice?
Suede: In the future I’m just gonna kill shit, once the right people wake up to the type of music I’m making, we gonna kill shit… have legendary rare shows. Party with models and all that. I’m just gonna keep making good music for my supporters and disrespect my haters on a hourly basis. I plan to shit on alllll my haters…and my drink of choice, Keystone and Pinnacle. ———
Well said young man, well said. Head to www.ajsuede.bandcamp.com and bathe in the Gold and Water.
Tight Rope Walker
Alex Clare, one time boyfriend of “legendary” train wreck Amy Winehouse, is a bit of an enigma. A co-worker turned me on to him after a brief conversation which revealed nothing more than Clare was great, but in a way that defied traditional labels or genres. I spent an hour listening to this guy and I’m still trying to sort it out.
There’s immense talent here. The dude can sing. He sounds like Jason Mraz after a carton of Camel Unfiltered. The music is another story. There’s no one word or style to align it with. Imagine Dan Auerbach fronting the Gorillaz. There’s some car-commercial worthy pop, electronic trickery and a Prince cover all balanced with a hearty dose of blues.
Clare’s excellent debut record, The Lateness Of The Hour, is all about dark times in a lonely mind, but luckily the gloom doesn’t outweigh the beauty. Put your headphones on and try to follow this from track to track as the sound pinballs around the room. iTunes has the record for eight bucks, so don’t steal this one you cheap bastards.
