When Avicii took the stage at Ultra Music Festival this March, tens of thousands stood at the Main Stage while thousands more watched live on YouTube waiting eagerly to hear the young star debut his new album. Unsurprisingly, many fans did not not like what they heard. Rather than dish out the same trite sound he delivered with Le7els, he brought something new to mainstream dance music – folk flare. Many jumped on the anti-Avicii train, labeling the new sound as Country meets EDM, but I think that’s a rather inarticulate way to conceptualize Avicii’s latest work.

I think we need to jump back a bit though. Three weeks before Avicii took control of the massively spectacular Ultra  Main Stage, he gave a guest mix on Diplo and Friends that displayed a side of Avicii we had yet to see. And if not playing anything electronic for the first nine minutes wasn’t enough of a message, he played “Somethings Got A Hold On Me” (the vocal sample from Le7els) in its entirety. This was a clear signal that he was moving past the Le7els era of his career.

After seeing Avicii live in Boston last summer I was disillusioned by the Swedish sensation; he failed to prove to me that he was anything more than a mediocre producer and a less than enthused DJ. Yeah, he could churn out a catchy melody, but his music just didn’t have substance and heart. I certainly didn’t hate Avicii, but I had no interest in his career. His Diplo & Friends mix began to change that for me and sparked my interest in what was next.

As soon as I had the chance to listen to his UMF set, I gave it my full and undivided attention (the least he deserved with all the controversy that was buzzing around it). At first I was in shock. I too thought Avicii had just turned country, and as someone who very rarely vibes with country music, I had very little interest in his new sound. But then, he released his promo mix, which he promised would give a better representation of his new sound. This is when I realized what Avicii had really done. He did not bring country into dance music, he found the soul in his melodies. Suddenly Avicii’s tracks were not about singing along to the synths, or belting out the ultra-catchy, yet empty, lyrics, they were driven by a real emotions. They are the kind of songs you sing with your friends because it connects you all on deeper levels, not just because they are catchy.

None of his new songs give this vibe off more than “Wake Me Up” feat Aloe Blanc, which Pete Tong officially premiered this past Friday. Set to be a sure-fire number one on Beatport when it is finally released, “Wake Me Up” will undoubtably be the biggest sing along to rival “Alesso’s remix of “If I Loose Myself” this festival season. “Wake Me Up” features a folksy twang and soulful vocals all without loosing Avicii’s signature clean melodies. No matter how you feel about the super star DJ, its hard to deny that he is once again earning his fame.

Contrary to popular belief, I am not perfect.  I make a shit ton of mistakes, in fact.  Absolute loads.  Whenever I make mistakes I can’t help but remember the good old days, also known as the years when I was ages 4-10, when a tear followed by a smile could erase any anger caused by disappointment.  Now that I’m an “adult” (LOL) life isn’t so easy, and making mistakes does not come free of consequences.  I don’t mean to get heavy on you all, but Panama’s got me thinking.

PLAY “It’s Not Over”

The Australia-based band, strangely named Panama, might not necessarily be talking about the same kind of mistakes I made when I was 6. Yet, I can certainly relate to their modern summer anthem of what I gather to be about love lost and forlorn.  The band developed from a pop-rock  project, named The Dirty Secrets. Despite prior success, including worldwide touring and gigs with the likes of Muse, band member Jarrah McCleary declared change. He boarded a plane and headed to California.  There he found undeniable inspiration which can be heard throughout my track of choice “It’s Not Over”.  Yacht-rock sounds and slow builds introduce a fresh, updated take on the ease of classic summer music.

Tossing aside pop-rock roots, house music was intertwined with more traditional live music aesthetics to create a sound that is hard to define, and for the better.  Panama grew into a 5-piece group of some of Australia’s finest, and began creating music that makes sense in today’s day and age.  ”It’s Not Over” balances between emotions, a kind of mix that most listeners of independent and alternative music hope to discover.  As a listener you are drawn in, at first by the lightness of the beat, and then by the heaviness of the lyrics.

Singing of the past and how things “used to be different” and “brand new start[s]“, the dreamy vocals breach the melancholic territory of past mistakes and perhaps love lost.  When it comes to matters of the heart, I’m certainly, by no means, anywhere close to being an expert.  I repeat, DO NOT talk to me about love. I’ll tell you roses are ugly, chocolate makes you fat, and there’s no point waiting 30 minutes to text your crush back.  That said I do know a thing or two about having regrets in the matter.  With 21 years behind me I’ve experienced far too many emotions and, believe it or not, some are to do with relationships.  Sometimes actions speak louder than words, and can result in some unfortunate consequences that as we grow older are not always as easily forgiven.

Panama’s track, while obviously a bit melancholic, is not too much of a downer for summertime moments.  I’ve tossed this song on during some  early evening dinner digestion sessions, chill late night post-games, and lazy Sunday mornings and each time the track has flowed like water in a tide pool to fit the mood (you like that beach reference, don’t you?).  So I implore you, listen to this song, check out Panama on Facebook or follow them on Twitter., and perhaps catch them touring with the always amazing Clubfeet. Take a page from Panama’s book: “You say there won’t be another chance” but don’t worry, I gotchu.

Well, guess who isn’t sleeping tonight! Probably one of you. I have never slept because being healthy is for the weak. This week’s short, brought to us by Popcorn Horror, is the wonderfully terrifying Click, which was written and directed by William Prince. Not to be confused with Adam Sandler’s beautiful character piece and anarcho-communist relations analysis of the same name. (Spoilers?)

As far as I know, most horror movies that involve kids are either Gremlins, or The Ring. That is to say, that the kids go about the terror as an innocent and are saved for it, or the kids are fucking terrifying and will murder the hell out of you and your pal Pete. Click, however, takes the Gremlins concept and flips it upside down. The kids are the focus and the victim. you don’t get many films that just end kids. Seriously though, those kids are just ended. There’s nothing left.

Which brings me too WHAT HAPPENED TO THOSE KIDS?! My theory? Dead. There is no theory, those kids are dead. There is absolutely no way around this, that building is Satan and it killed those kids. “But Ben! What if they were just teleported away?” you ask, taking deep, greasy breaths with each syllable. Fuck that. Fuck you. Dead kids. Shows over.

But this is a seriously great short from William Prince. Well shot, good story, helluva fright. I strongly recommend both looking at Prince’s other works, as well as Popcorn Horror, which is just fantastic for short spurts of terror.

For some reason I want to say that the band Duck. Little brother, Duck! (DLBD) reminds me of a really intense food fight or maybe a food fight in slow motion. Don’t believe me? Just take a listen to “Tre Arrow (Thanks For Smoking All My Weed… You Dick)” . That being said, whether or not you find beauty in chaos, you should definitely give this band a chance because they much more than what “Tre Arrow” shows.

These Portland natives began alluring the ears of the masses in 2010 with their first release Survival Is Not A Workout.  The 15 songs were release via Topshelf Records and are filled with explosive amounts of emotion and ferocity. Listening to this release will definitely shed light on the food fight comparison. Their aggressive sound has the tenacity to take the listener through an obstacle course of melody, dissonance and rhythmic subtleties that I love to let make my head spin.

The next thing we heard from this band came two years later with the release of Don’t Take Our Filth Away . Showing progression in the bands style a bit away from the reckless noise breakdowns of the first record, DLBD does not completely toss aside the sounds they might have used in such breakdowns, instead harnessing their timbre and slaying all the beasts in the scary forest gracefully while the lyrics are shouted so that all foes fear the passion in their voices.

As I would’ve wished upon a star, the latest installment of music from DLBD lives up to the great expectations set by the first two releases. No Spitting On Cats During Plague Time, is being released by Friends For Life Records on 7” which you can preorder now right here, and is currently available for streaming and digital download on bandcamp as of a week ago. Although this is by far the shortest release yet, it is far from disappointing (I mean hey we had to wait 2 years for the second release).

From the start of the opening track “He’s an Anteater” where we hear a sample of I’ll be home for Christmas with some juicy effected feedback, the band comes in with the same hard-hitting spastic grooves with shouted group vocals that we’ve come to know and love. The bass lines in the song create a character to the music that I would relate to Fugazi with a bunch more ass kicking added on top.

The second track “He’s a Deep Sea Fish” swells into existence with a polyrhythmic groove that is accented by all instruments. Now this is a great time to point out one of my favorite things about DLBD, which is the fact that they have found a way to avoid a lot of unnecessary repetition in their songs without making them too disjointed to be appealing. In the progression of the song the grooves are slowly changing, as are the guitar and bass parts, while the group vocals (also a favorite aspect) carry the listener through the song and beckon a certain way of hearing what is happening instrumentally. Just notice how different things sound in the same groove with and without the presence of vocals starting 1:23 into the song.

Honestly I can’t get enough of DLBD. All of their releases have been the type of music that you can listen to time and time again and keep finding different little things that add to your respect for the band. The most recent two songs are a reassurance that they’re not going to disappoint anyone anytime soon and I look forward to hearing anything and everything they put out in the future. Unfortunately for me it doesn’t look as though they’re going to be on the east coast anytime soon but if you live in Japan you’re in luck! DLBD next tour will be through 6 different Japanese cities. You can scope those dates right here if you’d like.

Now let me end this like I’m writing an essay in 6^th grade.

In conclusion, Duck. Little Brother, Duck! brings the intensity like a crying samurai grizzly bear.

Hurts burst out, seemingly out of nowhere, with their instant-classic, tastefully retro 80’s pop album Happiness. With this came pomp, but not pretension. Though they looked, and acted, like new-romantic dandies straight out of the 80’s Spandau Ballet school, their music backed them up in what was one of the finer pop debuts in recent times. As such, a follow-up was already a daunting task. Even if they chose to do more of the same, the level of quality was bound to drop. Singer and author Theo Hutchcraft mentioned this in an interview he gave between album cycles, astutely commenting on the fact that the first album was produced at a time of great personal and emotional sorrow. He remarked that their success made them far too happy and content to create their melancholy music, joking they need something bad to happen so they could get inspired.

Listening to Exile, it seems their task is only half fulfilled.  The overall mood alternates from their trademark somber, introspective, heartbreak mood, to dark and gritty, yet upbeat, club anthems. Hutchcraft again pointed out that while the first album is based around love and loss, Exile is based on sex and death.  This dichotomy is evident throughout the whole album – and this reluctance and hesitation to decide on a clear direction is its undoing.

Roughly half of Exile is playing it safe. Songs like Somebody to Die For,  The Crow, Help, Guilt and even Heaven all posses the traits of a “typical” Hurts song and they could easily find their place on their debut Happiness. The songwriting is immaculate, the melodies carrying a sort of gravity usually lost on contemporary pop. The other half, though, seems to be an experiment; an effort to change up their sound. Whether this is, ironically, a consequence of their new-found happiness, or a simple need to “change it up,” it becomes evident that the experiment has largely failed. The songs are made fuzzy, gritty, heavy and danceable, with obvious aspiration to more recent Depeche Mode club hits.  Exile features an unnecessary attempt of modernizing the Hurts retro sound by adding more electronica, distortion and even dubstep elements. Further experimentation seems to have  led to the “arena rock” guitar additions and the bland, Coldplay-like sound of songs such as Miracle and the title track.  The hip-hop backtrack of Sandman  is especially atrocious, along with the similarly inclined main riff of Blind, a strange, catchy track pointlessly enhanced by a choir of children. This experimentation does sometimes yield great results, such as the instantly classic Only You, the in-between-styles The Rope  and the head-banging Mercy.

Though Hurts’ idea to create an album that will both please fans of their debut and inspire and cater to a new audience might be noble in theory; in practice, Exile seems an awkward Frankenstein monster of a record, saved from disaster only by the duo’s sublime songwriting abilities and the knack to create a memorable, catchy and touching song – even if they are their own worst enemy in doing it. Because of this, Exile can, and should, be picked apart for the parts you do enjoy. We are left with the hope that Hurts will, in their future efforts, change completely or stay with a winning formula – decide on a direction and stick with it.

Let me put it this way; in 1968, Freddie Scott’s “You Got What I Need” topped the charts; in 1989, Biz Markie’s “Just a Friend” made it to the list of top 100 hip-hop songs; in 2005, 50 Cent’s “Best Friend” topped the charts once again; in 2013, Austin Mahone gained stardom and popularity by posting a music video to his new song “You say you’re just a friend.” Do you see a pattern here? If you listen to all of these songs, they all need the original “You Got What I Need” by Freddie Scott to even be a song. These stars all hit the charts by copying someone else’s music. We call this talent? They can’t even write their own songs.  I liked Biz Markie’s “Just a Friend” until I found out that Freddie Scott wrote a song that sounds just like it. I was disappointed; he went from being my idol to being one of my most mistrusted artists because even an untrained monkey can take Freddie Scott’s song and copy the lyrics and the music.

Similarly, look at these album covers. I mean really look at these album covers.

http://www.diversehiphop.com/blog/2012/11/big-sean-chris-brown-on-the-cover-of-xxl-magazine/

http://rihannatorrentdownload.org/big-sean-finally-famous-mp3-zip-torrent-download/

http://www.music-bazaar.com/greek-music/albums/view/id/492251/name/Clique-Remix-Single

Most of these images that you see are a reflection of the music creator’s sensibility. The music industry has a way of trying to hook the audience into relating things that aren’t really related. A perfect example of this is Big Sean’s Living the Good Life album cover. The gold he is holding over his face has no connection to his music. What is that even supposed to mean? Anyone can hold a gold necklace over their face and take a picture of it. To put it bluntly, this image has no relation to his talent. If anything, it reflects his lack of talent. Looking at these covers, our connection between the artist and their music is imaginary. Any other artist could take a picture with gold chains over their face and it would produce the same effect. This imaginary connection between the artist and their music has been going on since the ‘60’s and has been a marketing strategy for the music and entertainment industry for years.

With the up and coming technology that we have, this is all dissipating with mp3 downloads and the ability to purchase music online. However, record companies can still use the same marketing strategies by displaying an album cover that shows up on your ipod while the song is being played. In addition, purchasing music online could be a leeway for these companies using the same marketing strategy. Purchasing one song by the Ying Yang Twins online could be the reason you decide to go to the store and purchase their whole CD, and that’s what the music industry wants.

Now, don’t get me wrong, sometimes this type of meaningless music is fun and I have a lot of memories with great people while listening to some of these songs, but just know what you’re getting yourself into and be aware of what the industry does to you. A lot of people just don’t realize that this is even happening; they see a song and a celebrity, but they don’t see the industry behind it.

Lastly, know that there are artists who don’t go around talking about their ass, their clique, and being finally famous and they can do what music artists are made to do: make good music. 

These days, it’s hard to beleive how many kids are embarrassing themselves trying to make a living out of “rapping.” Hip-hop gets increasingly polluted with vanity and fallacy every year. Think of Birdman. Whatever happened to the Cash Money Records I once knew and loved? These ‘Young Money Rich Gang’ losers are turning into the ‘Hair Metal’ of hip-hop.

No offense if you like that shit, but FUCK YOU if you like that shit!

I think it’s important to take some time and give those who preserve the spirit of #REALHIPHOP throughout the trials of the digital age the credit they deserve.

Without further ado, my top 5 rappers in the game. (In no order)

1. Spaceghostpurrp – Who makes better beats? Silence. Yeah, didn’t think so. Purrp paints soundscapes of disturbing evil masterpiece comprable to Picasso’s Guernica or Dante’s Inferno.

“Did he just…?”Yes.

Hearing God of Black Vol. 1 for the first time was the first time I visited hell. Since then, I’ve never heard a Purrp song that didn’t send unsettling chills throughout my bones. Don’t believe me? Listen to B.M.W. and then try to tell me Spaceghostpurrp isn’t Beezlebub himself.

2. Vince Staples – Son is STONE-cold! His last project, Winter In Prague was my favorite mixtape of 2012, and so far, of 2013. Vince’s lyrics show the weight of what carrying a weapon and moving drugs out of necessity will do to a young mind. The looming sense of death that clouds his sonics brings his struggle to life.

Vince’s ability to powerfully convey heart-numbing tales of Compton utilizing casual slick diction and unrelenting honesty is not a feat to dismiss or pass over lightly.

Vince Staples is virtually the opposite of commercial bullshit hip-hop, and for that, I thank him.

3. Lakutis – After I confessed my love for Lakutis in my last post, my fondness for his wierdo wordplay has since multiplied. Aleksey Weintraub can rap circles around any member of Cash Money Records or Maybach Music Group.

His swagger is infinite. His verses, immaculate. He is Nietzsche, hoe! His mixtapes are accepted at any CASH FOR GOLD location nationwide. He is, in fact… Better than Everybody.

4. Action Bronson – The charismatic Albanian chef that took over the rap game in 2012 definitely deserves his props. Bronsoliño is an artist and a spectacle. He has created an absurd character as an extension of himself to voice his most extravagant and outrageous dreams. Now, perched on top of the hip-hop throne, he looks down and watches all of his dreams come true at his feet.

Watch his latest and greatest visuals for ‘Strictly 4 My JEEPS‘

Action Bronson has perfected Queens hip-hop with his vulgar braggadoccio slang, but never strayed from what he came to do in the first place: have fun. Go ahead and kiss the rings… Bitch. Listen to his brand new release, Harry Fraud produced, SAAB Stories HERE

Last, but most important,

5. Lil B ‘THE BASEDGOD’ – TASK FORCE! BITCH MOB! IDGAF!

Best rapper alive. Not much else to say, except that there is no way to experience The Basedgod like watching his videos on his youtube channel. lilbpack1

For those who oppose, and say he cant rap, I give you one of my all time favorite diss tracks, T-Shirts and Buddens. If you still dont like this pick, I invite you to kindly cut your eyes out and ears off with razors. You’re not worthy.

You know what? Fuck it!

6. KOOL AD – He deserves to be on this list because he is one of the smartest men in hip-hop. His verses oscillate between shrewd philisophical statements and dopey nursery rhymes; both work to perfection. After going solo, his music has migrated even further into the cosmos.

Check out these videos:

Eroika

Moneyball

SUCK MY GOOCH, BIRDMAN!!
‘Bleeedat Prrrrrrr!’

PLAY “Indestructible”

In the past year, I have learned one very important thing: nothing can erase your problems like the bright synths of uplifting trance. And no label embodies this emotional release quite like Aly & Fila’s Future Sound of Egypt (FSOE). The powerhouse duo’s Armada sub-label has been responsible for helping people forget about reality since 2009 with massive tracks like “My Mind Is With You,” “Xantic,” and now Tonny Nesse’s “Industructable” and “Memories.”

I don’t usually look to Norway for music, but if Tonny Nesse is what they are delivering, I can hardly wait for more. A few weeks back, Armin played “Indestructable” on A State of Trance, and immediately I was hooked. The track opens with a lead that permeates through much of the FSOE catalog and when the kick comes in I’m swept away from the real world. The broken vocal samples provide a depth, helping the track develop until we get to the breakdown that then leads into a Tiëstoesque climax (well, Tiësto circa 2004).

PLAY “Memories”

Whereas “Industructible” is all about an epic moment of pure trance goodness, “Memories” is about the journey. Coming out of the intro Nesse gives us a cinematic bridge, reassuring my belief that this music is more than just something fun to dance to as we wait for the sunrise at five in the morning. The beautiful strings  give way to mesmerizing synths and it’s as if the whole universe has begun to unfold through my speakers. Nesse builds on this ’til its too much and then brings in the kick for a climax that could make the trance gods cry.

If Nesse keeps turning out productions of this magnitude I have no doubt we will see him climb to the top of trance in no time!

The Indestructable/Memories EP is now available through FSOE on Beatport and remember to tune into ASOT tomorrow at 2 pm for a special Who’s Afraid of 138 Episode.

PLAY “Summerlong”

Summer never hits us like a lead balloon.  It doesn’t knock  the wind out of us or catch us off guard.  No, it creeps up very slowly.  We feel it coming, building until it eventually it surrounds us with long days, sweltering heat, and unbearable humidity.  Yet, we love it.  While all the seasons come and go with their ups and their downs, summertime seems like one of the few times when we’re able to overlook, complain a little less and make the most of it; at least while we have it.

Summer has always held a special place in my heart.  I’m a nostalgic person, I like wearing little clothing and the smell of suntan lotion.  That said there are songs that define summer past, and in the dead of winter or better yet just all year round I’m looking for a new track that will mean something.  Now what do I mean by that? This song when I play it a few months from now might now feel quite the same way, and not just because I’ve now racked up over 50 plays. Sometimes songs fit a certain point in time.  They’re defining of a personal mood or experience and never again perhaps will such an occurrence be perfectly aligned with such a track.

I digress however, and I suppose what I’m trying to get at is that this song, “Summerlong” by Xylos is me right now.

The tune gently picks up with low vibrating hums and the steady, war-like thumps of drums.  At first appearing to be more folksy and less electronic, the song takes a turn for the synthetic and features a brilliant and lofty drop.  The first time I heard this I actually had goosebumps (and that’s not because I forgot my sweater) when the song picks up. Coupled with the lead vocals that would not be out of place in a church coir, “Summerlong” maintains serious tone yet a light atmospheric quality.

Hoping to delve deeper in order to gain some understanding of the song’s mood, I looked more closely at the lyrics.  Unfortunately I hit a wall.  While I can’t make much from the lyrics, I zeroed in on a repeating line of the couplet chorus:

“We can make it like we did all summer long”

To me this actually means quite a bit. Summer gets off easy, people make it seem like it’s the one time of year that’s devoid of concerns.  Life goes at a slower and simpler pace, “they” say.  I don’t agree. In fact I think summer is a trying time, and time before transition, a season that teases and plays with the emotions of individuals.  People grow in the summer, and if you can make it work, all summer long, then hell you should be all good.

Check out the Brooklyn based Xylos on their Facebook page and website. Support their music, play them loudly and proudly, and make sure your car windows are rolled down when you do.

That’s right folks, the Hess Truck is back! But is it better than ever? No, probably not… but hey, at least we have some videos to watch! This week’s short is from a man (or girl? kinda ambiguous) by the name of Professor Soap. It’s an amazing animation called Spacetime Fabric Softener that gives you some nice feel goods by the end. Usually, I don’t write about music videos, but that’s not what it is and you can’t prove me wrong.

First, the animation. It looks absolutely beautiful. Style is a big part of what makes videos like this unique, and it can set the tone of the entire piece. With this video, the viewer gets an almost fuzzy, childish feeling. All of it, even the warp of infinity, looks fun and playful. It is the animation that sets the mood right from the get go, so that the events which unfold are set within a particular frame. Also, it’s just awesome to look at. All of the colors are contrasting and everything has a high level of detail. There’s some pretty extensive set building with everything that’s going on, all of which heightens the atmosphere of the piece itself.

Also, the music is just wonderful. Nothing further, its just wonderful.

I would like to address the warp of infinity for a second. No, warp of infinity doesn’t really describe it enough. Void of unending colors? Porthole to the cuddleverse? Whatever. The happy wormhole. What are the sheer odds that a wormhole could suck you in and spit you out at the same exact point in space? If wormholes are a thing then that is the single luckiest and also dizziest astronaut ever. In all probability he probably would have been shot across the star system and stranded to die. In less likely probability (but still likely), he could have been sent into some sort of hellscape plane that never ends. He/her/it is one lucky SOB.

Either way, great job Professor Soap. This short is truly beautiful and I urge everyone to go look at his other works and feel happy all day forever. Also, thanks to io9.com showing me these things.