What if Daft Punk never breaks up or dies they just hand off their helmets to really amazing musicians that continue making music for them and they just become these immortal beings that no one is really sure who they are anymore they’re just always there
Years & Years - Traps. I found this EP about a week ago and have been mostly obsessed with this song. The EP has two songs, this one and another, You and I. The other two are remixes of Traps. Though only two songs this band seems like they are on a roll.
King Krule - Broder Line. I heard this guy on a Mount Kimbie song and it blew me the fuck away. His voice was something I had not heard in a while, and he is only 19! He came out with his album 6 Feet Beneath The Moon, and it is pretty good. It is a standard in the “indie” tagline as a various styles of music, yet accessible to a wide variety of people. His voice though, it makes the whole album regardless of the music behind it.
“How does a very rich and eminently successful artist with a superstar-all-from-a-home-movie girlfriend call us out? ‘Black Skinhead’ is somebody banging on your door in the middle of the night, hurtling out of Ye’s metal-plated face, predicting reactions before it’s halfway over. He rides an industrial-sounding, stadium-sized beat, calling Chicago, ‘Chiraq’ in a grainy echo. He associated himself with Malcolm X on ‘Good Morning,’ but then it was a joke. This time he’s serious. He says he’s going 400 mph, which we believe – he’s taken corners on two wheels on live TV before.”—
I’m really digging this band lately. They kind of sound like Fucked Up but with more blast beats and more metal. They satisfy my need for melody and hardcore/metal vocals. The album is pretty damn rocking and is named Meir. It came out in March so it should be easy to find.
Hip-hop is now the lingua franca and the background music for an entire generation of kids. And one of its dynamics — the idea of a marginalized group rapping about that marginalization — has remained essentially intact as hip-hop has conquered the world, in part because marginalization is the narrative that teenagers everywhere fit themselves into.
If something is everywhere and everyone trafficks in it, who gets to decide when it’s real or not? What happens when hip-hop stops being black culture and becomes simply youth culture?
“Well, the difference is, Pixies wrote wild albums that challenged the imagination, that mixed science fiction with nautical themes, and The Smiths wrote complaint slips that nobody read. Morrissey’s influence is so crippling that it could even deteriorate the flower of modern creative thought. It’s like a pungent death shroud over the future and the past.”—