When I came across this video a couple of day ago I thought: “Yeah, this shit is pretty tight!” The dark, morbid beats combined with harsh, corrupted lyrics appealed to a darker side of me. It was with great surprise that I then found out that the mind who produced such an anguished track was, in fact, a 15 year old boy: Haleek Maul. This New York native delves back into the darkness of horrorcore; he has updated the genre. Already people have compared him to a more debauched version of SchoolBoy-Q, whatever comparisons are made there is no doubt that Maul is one to look out for. His debut EP, “OXYCONTEEN”, drops in June on Merok.
There is something enchanting about world music. Perhaps it is the alien sounds, something different to the 4×4 dance infiltrating every spectrum of modern life; from phone adverts to football stadiums, you cannot escape. But wait, you really can.
NØ FØRMAT is a French label headed by Laurent Bizot. Started to give artists a chance to release their albums the way they want, it is one of the most exciting and innovative labels in France.
Mamani Keita, born in Bamako, Mali, arrived in France in her 20’s to the elation of the African community, knowing of her fine reputation in Mali they proceeded to integrate her into the African Jazz scene. Yelama, which means ‘change’, is an adventurous, energetic modern album, mixing African rhythms with electronic instruments.
A fresh outlook on music is one always welcomed; Mamani Keita provides exactly that, innovative and fresh this is definitely worth your time. Although, admittedly we are very late with this one, the album was released in 2006; this is a hidden gem. Get on their soundcloud and support independent music, fuck 4×4.
Born in Detroit, Jason very much eluded the bright lights of the emerging House/Techno scene, this was however his own choice. Emerging in the 80’s dj’ing at underground parties, he was even invited on to radio shows to play, however, he never released any of his music. Instead, Jason – whom makes all of his music using analog machines – continued to produce his music on cassette only, releasing it only to friends and local indie stores. When someone got their hands on his work, after hearing this fairytale story, in a L.A record store they were, to say the least, amazed. Not only are Jason’s tunes original, classic-house, but they are some of the most amazing deep-house you will ever hear.
Following on from his first release on Wax classics, a branch of Skylax records, Jason is back with his 2nd EP. We will be featuring the EP as soon as it drops, on the 23rd of March. However, until then you can enjoy the highlight of the last EP Lost Cuts #1. Safe.
Our favorite British festival has a new home. Admittedly, it is in the heart of Olympic London, making it an expensive do; however, the location is, in a nutshell, sick. ‘Pleasure Gardens’, is overlooked by a monolithic, Stalin esc, industrial landscape, more like a rave site than a festival one.
A far cry from the arcades and the comforts of Butlins, the new venue promises custom built stages like no other. If we are going the adventurism of the ‘The dome’, an inflated stage equipped with visuals, then we are in for a hell of a weekend.
Curated by those behind the nighttime area of Glasto, this is promising to be big. Oh, and if your worried about the timing, if you get pissed off with the early finish of city festivals, such as Parklife, don’t worry the license is till 6am. Bloc2012 is on 6/7th of July, tickets are on sale now. Peace.
Brooklyn based Travis Stewart, aka Machinedrum, is set continue the precedent set in 2011 with his latest EP, titled SXLND. The man behind 2011 smash Room(s) is back, this time on Glaswegian label LuckyMe. The label, which showcased Jacques Green’s – Another Girl in 2011, present the EP, originally written back in 2010 and which after being leaked on rinse has been engineered for 12. Coming fully equipped with a Scuba remix, the 12inch is out on Jan 17th. Until then check out the soundcloud.
Madlib is a mad genius. If I were to explain why I think this to be true I would completely forget the true reason why I started this post – so I think we’ll leave that for another day. In this latest entry into the REVISION ROTATION series, I’ve included Madlib’s Shades of Blue album, a series of remixes over the archives of the legendary Jazz record label, Blue Note records.
This album is a masterclass in the meshing of smooth beats and chill vibes with technical prowess – a description that fits Madlib himself. It manages to be impressive sonically without being obtrusive enough to take your mind off the matter at hand – you could definitely do with this on while you’re busy cramming useless information you’ll never use again.
Some say the New York rap scene is having something of an identity crisis these days. When the only rapper with any legitimate hype in a city is so deeply influenced by another city’s culture (ASAP Rocky, anyone?) that you wouldn’t have known he wasn’t born and bred there – there’s a case for saying there’s a problem. However, at PSA we believe there’s cause for the birthplace of rap to be a tad more optimistic.
Rappers like Action Bronson and Mr MFN Exquire are getting serious exposure as of late, and unlike some, they are so NY it’s impossible to listen to them without thinking of grimy subways and army jacket lining. There is, however, a tendency for the ‘next big thing’ out of the Big Apple to be overhyped and expected to single-handedly restore the city to the pinnacle of hip-hop – which always seems to flop (Cory Gunz, Uncle Murda, Papoose, Charles Hamilton…etc). Which is why in the case of the ‘Flatbush Zombies‘ we hope this trend dies…for good.
The Brooklynite duo hooked up with producer Erick Arc Elliot to drop what can only be described, as eloquently as possible, as a banger. Lyrics, beat and video are the holy trinity of a viral hit these days – and this song can put a tick next to each category. Check the song out below and stay posted.
If you, like me, have some sort of coursework/revision/slave labour to concern yourself with around this time of year – the right kind of music can often put you in the right frame of mind and make the work less labourious. With that in mind, I’m going to be compiling a little series of posts featuring music that gets me in the mood for mind-numbing reading.
If you’ve heard of Diggs Duke, then you should already know what to expect. His Gravity EP was released a few months back to critical acclaim, despite being very short, and ended up on many ‘End of Year’ lists – with a jazzy voice and an ambient, atmospheric sound being prevalent throughout the tape. You can get your hands on this heavy EP for only 99 cents (convert that into GBP if you’re that much of a Scrooge).
His recently released Black Gold EP (produced in collaboration with BamaLoveSoul) is also not the longest in the world (at all), but the soulful and sultry sounds emanating from the Maine resident will definitely have you putting it on repeat. My personal favourites so for me include ‘Something In My Soul’ and the title track ‘Black Gold’.
To enjoy Black Gold in it’s entirety, head to the bandcamp page (click the cover artwork above) and name your price. The first 1200 people get a free download, no complaints here.
I’m calling it first – Habits and Contradictions is going to be the mixtape of the year. Schoolboy Q‘s 2011 effort, Setbacks was probably my personal favourite of the year – and the TDE spitter looks like he’s ready to force his way onto everybody’s playlist.
Show stealing features on the critically acclaimed Section 80 and LiveLoveA$AP – two of the biggest tapes of 2011 – have set the tone perfectly for the Cali representer to have a crazy 2012, and if you had listened to any of his previous work you’ll know that his hype is long overdue. This latest track to leak from the upcoming HnC is called “Blessed” and features man of the moment and fellow TDE partner in crime, Kendrick Lamar. Peep the track below.
To begin with, this is not a reflection of the collective opinion here at PSA; this is a collection of my (Sameed) favourite releases of 2011. I hope you enjoy.
20
Kool Vibe – Deep Inside (Brawther’s 7inch dub)
This 7inch, released on My Love Is Underground, was limited to only 150 copies maintaining the labels elusive ethos. Paying homage to the classic house sample, the dub never left the record bag.
19
The Odd Trio – The Medley (Bastard, Lemonade, AssMilk)
Covering Odd Future the Jazz trio, now under their new alias BADBADNOTGOOD, reworked much of the collectives work. This edit of Tyler the Creators ‘Bastard’ provided a fantastic teaser to the mixtape.
18
Hype Williams – Your Girl Smells Chung When She Wears Dior – One Nation
The strange duo produced some of the strangest music of 2011, and not to everyone’s taste. Your Girl Smells Chung samples Cassie’s vocal from ‘Addiction’, reworking with vintage chords a shuffling percussion and excessive tape delay. The eccentric pair are one of the most original artists to break through 2011.
17
Julio Bashmore – Battle for Middle You – from Everyone Needs a Theme Tune EP
This monster house track was a staple for most DJ’s in 2011, and was dropped by everyone across dance spectrums. Not much more has to be said.
16
Michael Kiwanuka – Tell Me a Tale
Since our review back in May, the soulful Londoner has done it all: Numerous appearances on Giles Peterson’s show, toured with Adele and a slot before Red Hot Chillies on Jools Holland. His sound has been dubbed as vintage soul and comparisons to Bill Withers are rife, making it a massive breakthrough year for the 23 year old, sure to blow in 2012.
15
Gang Colours –Fireworks in Pocket – from In Your Gut Like a Knife EP
The latest talent to get gobbled up by Giles Peterson’s Brownswood label, Gang Colours debut four track EP falls into that ambiguous electronica/post-post category. Playing with psychedelic and futuristic instrumentation the EP provides perfect 5am listening, one to watch out for again in 2012.
14
Tyler the Creator – Yonkers
Need i say anymore?
13
Boddika – Warehouse – from Back & Fourth
Boddika aka Instra:mental was a huge figure in 2011. It proved difficult to select one track to sum up his year, with ‘Acid Jackson’/’Soul What’ also huge; however, this track was a central feature of his acidic sets in 2011 and fully went off.
12
Space Dimesion Controller – Flight of Escaped Vessels – from The Pathway To Tiraquon 6
Another of the huge breakthrough act of 2011, Space Dimension’s psychedelic sounds provided the soundtrack to some amazing R & S records nights.
11
Shlohmo – Places – from Bad Vibes
LA Hip-Hop’s latest son produced some outstanding music in 2011; this is my pick from his EPs etc.
10
James Blake – Whilhelms Scream – from James Blake
At first, I was cynical; I didn’t like his whining voice and his nervous aesthetics. In short, he annoyed me. I will be first to admit I was wrong, as his almost apocalyptic singing grew on me I was converted after seeing his band live. Much like Nicolas Jaar, he took electronic music to a visceral level, returning to live instrumentation.
9
Deadboy – Here for You – Here
Glasgow based NMBRS has established itself as a front runner in UK electronic music, and with releases like this its easy to see how. Following 2010’s sellout ‘If U Want Me’, Deadboy returned from his US tour with a fresh house orientation.
8
Joy O – Sicko Cell
As stated, 2011 was a huge year for Swamp81. This ambiguous release was kept under wraps for much of the year, before Mr Orbison claimed responsibility. A camp favourite at Outlook, in the tent not the gay sense, I was subjected to this one on a daily basis.
7
Unknown Artist – B1 – from Music Institute 20th Anniversary (Part 1 of 3)
- B2 , not B1
The first of three limited edition vinyl’s released on Detroit’s Kai Alce’s NDATL imprint as part of the 20th anniversary of the world famous Detroit Music Institute. Hailed as the epicentre of Detroit’s epic rise to electronic folk law, the institute played host to a who’s who of Techno/House. The release, although not made in 2011, is unreal. Salvaged from DAT’s tapes/CD’s, in a series of ultra rare and lost tracks, this release blew my mind! Unfortunately i couldn’t find B2, so heres B1.
6
Brawther – Do it Yourself – from Do it Yourself EP
A focal point of my sets for much of the year, this is a pure darncefloor groove. Straight up house grooves from a standout player in my 2011.
5
Daphni aka Caribou – Yes I Know – from Yes I Know/Jiao EP
2010 gave birth to Caribou; 2011 gave birth to Daphni, his evil twin. ‘Yes I Know’ was a feature of his outstanding RA podcast, and completely throws dance floors every time.
4
Wendy Rene – After Laughter Come Tears (Nicolas Jaar Edit)
It would be easy to harp on. So I wont. His album was sick; live sets, also sick; and mixes, again sick. This track was never released, being part of his mix for XLR8R magazine; however, the edit of Wendy Rene’s original, which can also be heard in Wu-Tang’s classic, is epic and hard to come by.
3
FaltyDL – Brazil – from You Stand Uncertain
A standout track from one of my favourite albums of the year.
2
Bugge Wesseltoft and Henrick Schwarz – Kammermusik – from Duo
German house mogul Schwarz needs no intro, remixing from MJ to Bill Withers; however, 2011 saw him turn his attention away to live shows, and away his house roots. With the progression of both musicians coinciding, Schwarz towards live music and Bugge towards electronic, a project seemed fitting. The collaboration merged live Jazz improvisation with carefully orchestrated compositions, making a beautiful record. ‘Kammermusik’ is underpinned with a Piazolla esc piano line and evocative percussion, making a remarkably original record.
1
Thundercat – For Love I Come – from The Golden Age Of Apocalypse
Thundercat is best known for his extraordinary basswork for the likes of FlyLo, Erykah Badu and Shafiq Husayn, including the bass on Cosmogrammas “MmmHmm”.Produced by FlyL and featuring Grammy award-winning drummer/brother Ronald Bruner Jnr the album included an amazing re-interpretation of George Duke’s classic “For Love I Come”, quintessential listening.
Detroit rapper Danny Brown is back with his latest set of visuals from his seriously dope project XXX. The video to Monopoly adequately complements Brown’s off-kilter, stream-of-consciousness style with visuals reminscient of some acid trip gone wrong.
Check out the video below, if you haven’t got XXX yet – what are you waiting for?
Last month I made the decision to sell my beloved CDJs and to make the leap to vinyl. Perhaps premature, as being a student it is difficult to maintain such a consuming hobby, in terms of money; but I made the leap, and do not regret it one bit. Why, because now I can spend time looking for records, knowing that my money has to be invested well, I invest my time well. This record epitomizes my newfound ethos.
Straight from Kenny Dixon Jnr’s archives, the record under the renowned alias Moodymann is an ‘ultra’ rare collection of Jan remixes and edits. The first track “Into My Room”, a soulful jazz infused house number, is simply classic Moodymann. Following jazz infused percussive phrases; the track centers on soulful female vocals ‘I just want to get you in my room’. The rest of the EP toes a similar line, straight up grooves, infused with soul, jazz and trademark gospel vocals. Amp Fiddler shines on the B-side’s, “Into Your Eyes” and “Superficiality”, both following the soulful ethos embedded before.
These four amazing tracks provide quintessential listening for fans of Moodymann and are a must have for any house collector; id recommend copping this before it sells out and pops up on Discogs at $99.99.
One of the finest albums to drop this year came out of Seattle, alternative hip-hop duo Shabazz Palaces crafted a unique and experimental take on hip-hop with their LP, Black Up – and where others failed they succeeded in a major way. Balancing being adventurous and progressive with making a hit record has been a serious pitfall for alternative hip-hop acts in the past few years, but Black Up managed to sound different to every other tape out there without sounding forced or contrived in any way. If you haven’t managed to catch my drift yet, it’s pretty obvious that this has the PSA stamp of approval.
Anywho, to cut a long story short – the duo have teamed up with director Kahlil Joseph to bring this short film to the interwebs. With snippets from the album accompanying the visuals – I think this might be worth 5 odd minutes of your time.
Common has decided to recite a verse from one of the best songs, off of one of the greatest albums of all-time. This homage to Nas’s Life’s a Bitch demonstrates how, almost twenty years on, this classic verse manages to sound oh so dope…listen good
R & S Records Present @ the Warehouse Project, Manchester
I remember the first time I encountered R & S, well at least heard of them; it was on an eight-hour coach journey to Bloc festival, held at a Butlins resort in Minehead, somewhere down the English west coast. I had sprung up a conversation about music and the festival with an old time rave head; the festival being predominantly based around an underground dance scene seemed to attract a mature crowd. As the old school cat and I exchanged opinion on music, who we were looking forward to seeing and so forth, the name Space Dimension Controller popped up. Being an avid follower of Resident Advisor I had been following developments on their site, one of which was the announcement of their stage which included this mystic controller. This old school ravepot was adamant on this mystical character, of which I had conjured up a Star Wars-esque image in my head. He continued to babble on about releases on R & S, and as the conversation was centering on the techno scene, I was intrigued. However, fair to say much after that was a blur and R & S disappeared from my mind, along with this Jedi figure I had created.
6 months later and Space Dimension is again at the forefront of musical conversation, this time with me droning on about his latest release, coincidentally on R &S – The Pathway to Tiraquon6. So it is far to say when I saw his name on the published Warehouse Project line-ups, beside the likes of Mount Kimbie, James Blake, Lone, Blawan and Andrew Weatherall, I was down.
Warehouse Project is situated parallel to a tramline, underneath Piccadilly train station, and out of season is a grotty car park. When describing to people what it is like I respond simply “The closest I have been to Berlin in the UK”, and that is an apt description. It is grotty, raw and underground, even if it has strayed slightly from its conception with much more commercial names than previous years. However, it is still a special venue unlike many in the UK.
Coincide a great venue with great music and you have your self a sexy little cocktail. This night lived up to that. Starting with Vondelpark before 11, the night was curated with live acts taking to the stage before one. Mount Kimbie followed and took over half an hour to assemble a huge array of synths and effects. Starting with ‘Carbonated’, they went on to set a great tone for the evening, culminating with a ‘duet’ of such with James Blake, whom followed after. Having heard much about Blake’s live act I was sceptical, not being a huge fan of his sorrow-some sound; however, he delivered and to be completely honest was one of the standout performances. After Blake it seemed the venue emptied, this I anticipated, as is much the case with WHP, especially when acts that are more commercial play. However, the night didn’t end here with the second room delivering the likes of Blawan, Lone and Untold.
Space Dimension took to the stage in the main room, playing his brand of techno to the relative crowd left. I would love to go into detail about the music, the vibes or whatever, but to be honest I cant remember shit. What I do remember is what followed, Andrew Weatherall. By this time, as I mentioned, Its fair to say I was fucked; but what I do remember was this guys beard, imagine Blackbeard and Marx coinciding.
Hopefully we will have some videos uploaded so you can see the antics from the night, or at least ‘highlights’ of such. Props therefore to Mirza ‘The Butcher’ Koluder, for his camera work!
