Nashville production duo Jensen Sportag making immaculate revivalist moves with this cocky, delicious 80s R&B flip of folk-rocker Madi Diaz’s ‘Trust Fall’. Complete with slapped bass, rare groove keyboarding and classic drum machine bounce, this is one fire jam.
Available for free download here.
Sometimes hailed as the new Southern consciousness, Mississippi all-rounder Big K.R.I.T. released his tremendous free album Return of 4eva earlier this year to acclaim. Here, Fader has paired him up with (probably) indie-sphere’s darling breakthrough Hip-Hop producers of 2011, Clams Casino, for this irresistibly fonky cut for their HTC X-Squared MP3 series. Whilst not as moody as trademark Clams productions, it does harken back to bar-b and Caddy funk of early Outkast – an act from whom K.R.I.T. is often called derivative. It’s fun stuff either way.
For many this was the year that R&B was revitalised, which is ironic because when PinBoard first began a few years ago, contemp’ R&B was a proud forte yet it reigned at the nadir of intellectuality. Sad times. Thankfully a fair few sentimentalists have recently re-visited the sounds that shaped their formative years & brought an era back under the microscope. For me, it was Jamie Woon who really kicked-started some of that at the tail-end of 2010 with post-Darkchild stylings (and some mnemonic UKG riddims, another deep-seated passion of ours). It’s been a long time since D.C. warned us about the Writing on the Wall or Kelis displayed her fruity Kaleidoscope - a long time since a genre who’s golden era came and went with the 90′s/early 00′s became… challenging again.
What Woon delivered with Mirrorwriting was clearly a result of a transatlantic influence. His London-isms shine through with paranormal 2-Step, Dub & Bass tendencies, whereas melodically he borrows from the smooth tonal favours of American R&B. And while vocally he kept things quite lucid, it was the texture and innocence of his voice that tied all those dangers together like gossamer threads. Then there was the songwriting – creating the kind of metaphysical poetic imagery and spiritual motifs that R&B harmonizers all too rarely risk wrapping their lips around.
‘Night Air’, co-produced by the holy father of mod 2-Step, Burial, was a stellar opener. A track so tropical and expansive, yet so subtle and quiet – it became the perfect ode to eventide with the insects. Follow that with songs like ‘Spirits’, ‘Echoes’ and the breathtaking outer-limits of ‘Gravity’ and you began to see an artist willing and able to explore the slightly darker caverns of music whilst staying the right side of melodic and not veering into the wrong lane of self-indulgent. It can’t be ignored that some songs, although brilliantly constructed are clearly aimed towards a mainstream/radio market – Woon’s second single ‘Lady Luck’, which originally possessed a more ‘earthy’ sound was transformed on Mirrorwriting into a shiny, studio counterpart. The same can be said about ‘Street’ and ‘TMRW’ – which all feature a fantastic, singable hook. Even during these periods Woon was still cunning enough to inject a certain amount of Funk to try satisfy the most defiant of ears. Indeed for any left-of-centre musician it can be difficult to please both underground and overground, with their material’s objective descending into a war tug between either snobs or simple-minds. But our artist very much spends twelve tracks trying to strike the most tumultuous of balances and swings more often towards the experimental than the transparent – perhaps his bravery and that of quiet co-producer Royce Wood Jnr. should be admired.
Plus it was also the year that we saw major labels behave a little less pussy and actually commit a daring musical act or two in trying to infiltrate the mainstream consciousness with inventiveness. Mirrorwriting debuted at #15 on the UK album charts, a respectable feat Woon and his supporters should be proud of. Though it is impossible to ignore the tough quota which Woon had to meet this year. Released just two months before Mirrorwriting, James Blake’s full length album ticked the ‘singer/songwriter Post-Dubstep’ box right off the bat – which meant while Woon received critical and to some extent commercial success, the impact of his album wasn’t measurable as instantaneously. What resulted however, was an LP that through word-of-mouth has become an unravelling discovery for many new listeners, with a jigsaw sonic that even in this day and age won’t be outdated come next year. After all, it takes a smart soul to borrow something from the bygones, and make it sound like it’s ahead of it’s time.
Mirrorwriting – iTunes / Amazon / Spotify
For all you wimps getting super emosh because it’s yultetide – stick this in ya droll pipe!
Our kneecaps bugged out over ‘Luv Luv‘ and ‘In Your Mix’, as (personal top 5 labels of the year) PMR dropped this EP from their self-proclaimed Lovestep beatsmith Two Inch Punch in late October. Now at last it’s been popped up on his SoundCloud, available to purchase here.
The use of warped acapella ranging from (you guessed it) Brandy to Dru Hill is surprisingly exhilarating – considering how rinsed those time-stamps slowly become. No complaints though, nothing beats 90s R&B nor the pining for some of it’s integrity back and the Electronic world has been sweet with it’s tributes. Still I’m hoping the sources become more obscure/inventive from that period, and T.I.P. seems like a definite digger.
Begin anticipating the advancing ‘steps’ this chap will make next year, from now.
We were first introduced to Jono McCleery when he supported Jamie Woon on his Mirrorwriting tour earlier this year. We were all taken back by the myriad of influences coming through both his vocals and instrumentation displayed through his songs.
The songs found on McCleery’s debut album There Is are complex, they create a labyrinth of sonics which only unravel through continuous play. His drums are at once mellow, yet compellingly persistent and when layered beneath the commanding voice he possesses, create an entirely unique collaboration. From distilled resignation and sadness to heartache, pain, love and hope – his voice seeps in emotion.
McCleery’s debut single ‘Tomorrow’ is undoubtedly the albums centrepiece – it begins with a lush extended instrumental, with heartbreak strings, a lonesome guitar and enough silence for a wondering mind to stay satisfied. Bringing together the quiet intensity of Folk, the exotic nature of Far Eastern influences and the dignified grace of Classical, ‘Tomorrow’ begins in the most beautiful fashion. By the time Jono’s deep, reassuring vocals interrupt, accompanied by an off-kilter, continually shifting time signatures (a persistent highlight) – it’s evident that this is an artist in his own paradigm, occupying a world of sound customised by his own influences.
As a full body of work continuum – There Is fails to falter; Songs like ‘It’s All’ with it’s darker Withers-like tendencies is glued together by a besieged piano, aching bassline and a frantic breakdown that feels like it’s running a mile from femme fatale carnivores. Then there’s ‘Stand Proud’ which borrows the spirit of Gospel – a sustained organ plays before Jono testifies his turmoil. And the open interpretation of ‘She Moves’ acts as evidence of Jono’s song writing ability; It’s meditative tone and obscure melodic structure builds into a ghostly ode to love… A noble and graceful closing number.
While objectively it’s fair to say the album has been commercially ignored, critically overlooked (shocker) and unspoilt by hype – the self-effacing, gimmick-less creator behind this work begs for none of those. Clearly motivated by self expression, There Is is evidence that McCleery is an artist comfortably evading convention. His debut is so rich in musicology, so steeped in multitudinous influences and performed with such conviction – it deserves a place as one of the years best albums.
There Is – iTunes / Amazon / Spotify
For a collective we’d fully embraced (perhaps nostalgically) for it’s sense of late-teen rebellion, who knew a Golf Wang off-shoot would be producing such mature, mellifluous grooves as ‘Love Song-1′, ‘They Say’ and ‘Cocaine’. With demonstrative breakouts from Tyler, Frank and now Syd (alongside cohort Matt Martians), it’s been a memorable junior year for Odd Futurism – doing what they want to, making the music that they want to and generally finding their feet.
The Internet’s debut album Purple Naked Ladies is out now. Enjoy the above cut from it, thoroughly vibes as I’m eager and certain the rest of the LP is.
Jill Scott’s former record label Hidden Beach have teamed up with CentricTV to air a short documentary about the singer’s rise to prominence. It’s produced in conjunction with the new From the Vault album they’ve released featuring previously unheard material recorded during the LP sessions. Through interviews with DJ’s, record excecs and friends the film chronicles Jilly’s journey – nothing too deep is explored here, but it’s a worthy watch in any case.
… If you’re a real Jill Scott head, you’ll need to copy that new Vaults album – especially if like me you didn’t connected with The Light of the Sun – it takes it baaack!
After the colloborative moment where DOOM and Radiohead’s Thom York released ‘Retarded Fren‘, you would have thought that would be it for duos from DOOM for a while.
Lex records revealed another track, taken from Complex which features DOOM taking hold of the Jneiro Jarel’s analogue style, stuttered old school production. Known as JJ Doom on the compilation, the track is remixed further by TV on the Radio’s very own Dave Sitek.
Get into this one up top and cop the 12″ in the new year.
So Nicki is obviously trying to reclaim her crown as a crazy bad bi**h, crushing them pop stars. Is the Pink Barbie back?
With whooping claps and a thumping bass, she sings, wails and aggressively repeats her disgust at these “stupid hoes”. First official single from the new album, what you think?
Pink Friday: Roman Reloaded is out February14th 2012
In the lead up to the highly anticipated debut album, Born To Die, Lana Del Rey offers up this fast talking, catchy chrous, beat heavy affair. Nice change to the slower tracks and is offered for free as an instant grat via iTunes.
It takes a brave artist to take on a Michael Jackson song, but when Quadron covered ‘Baby Be Mine’ – we all applauded (it remains one of the best MJ covers we’ve ever heard). Now, lead singer Coco has embarked on reworking another gargantuan classic – this time Lauryn Hill’s ‘Ex-Factor’. Watch how she fares up top…
Just about to press play on Lonnie’s new album The Dreamer, The Believer (stream here), but before I do – here goes his new video for ‘Celebrate’, which like everything else of the new long player was produced by No I.D.
In related news: Maya Angelou has spoken out about her “disappointment” in Common who uses the ‘N’ word on the albums opening track in which Ms Angelou features, saying: “I had no idea Common was using the piece we had together in which he also used the ‘N’ word numerous times. I’m surprised and disappointed. I don’t know why he chose to do that. I had never heard him use that word before. I admired him so because he wasn’t singing the line of least resistance”.
Common has since responded citing: “I told her what ‘The Dreamer’ was about and what I wanted to get across to people. I wanted young people to hear this and feel like they could really accomplish their dreams. She knows I do use the word, she knows that’s a part of me”. The two have spoken and have agreed to disagree on the matter.
Covering Joni Mitchells’ ‘A Case of You’ while displaying some impressive, controlled (gospel-tinged) vocals, James Blake unearths his new video. Shot in London last week the video features actress Rebecca Hall…
It’s been a great few months for Harlem’s Azealia Banks. After spending a couple years on the grind trying to make a name for herself, she released ’212′ – a track which quickly transformed from an underground cult find, to a serious mainstream contender. It would seem all eyes are on this girl right now.
Yesterday she dropped a new track called ‘Liquorice’, a song which showcases her sharp, floetic rhyming style along with her preference for more dance-orientated beats. Ignoring the unmastered singing, her flow says a lot here – again tapping into that 90′s femcee steeze – something we’ve been starved of for a long time.
The next year will be all about maintaining for Banks. Moreover, it’ll be about balancing her buzz.
Willow Smith has the magic beans of DNA – this much we know. At just 11 years old she’s already showing up most of her adult contemporaries. While ‘Fireball’ still fails to touch Smiths’ debut single ‘Whip My Hair’, it is undeniably a solid Pop song – coupled with Minaj’s “fireball” verse and you have an almost perfect tween sized storm.
