Monday, December 17, 2007

Spank Rock - Babt (censored)

M.I.A. - Bamboo Banga

M.I.A. - Hussel

i like when people put the songs up with out real video. yes. you rule

I WAS JUST EXPOSED

THE BLACK LIPS NEW VIDEO

AFRICAN BOY

A VIDEO, A FEATURE WITH M.I.A.AND OH YEAH, HE IS IN HIS FIRST YEAR AT UNIVERSITY. NOT BAD, NOT BAD AT ALL

PAPER PLANES official video

I LIKE PAPER PLANES. ITS THE BEASTIE BOYS.

PAPER PLANES official video

I LIKE PAPER PLANES

HOUSE / TECHNO MONDAYS

WE ARE NOW FOCUSING ON MANY DIFFERENT GENRES THROUGHOUT THE WEEK. EVEN THOUGH THE SUBJECT MATTER IS LIMITED TO HOUSE, TECHNO ISSUES AND MUSIC, WE WILL STILL REPORT IT LIKE IT IS.

Friday, December 14, 2007

Bjork - Earth Intruders (video)

She blows my mind. I want to have her babies. I recently jumped on this song because a remix by spankrock was fresh

SCOTTIE B, PASE ROCK, ELI ESCOBAR IN BALTIMORE

Even Ghost Riders Started Small

This guy has it right.

Lily Allen Smile Gutter Remix Video

Mac Lethal - All Night Long

Another one from Pound the Beer guy

Mac Lethal - Pound That Beer

People have shitted on him but this one is down south banger with a college twist. pass me a beer.

Dubstep : Bristol - Living Inside the Speaker

Wednesday, December 12, 2007

Kid Cudi Live @ Fool's Gold SF

Peaches Set it Off

Peaches- Fuck The Pain Away -Irvine Ampitheater, 7/07/2006

Peaches - Fuck the pain away

RIP Ike Turner and Thank You.

Ike Turner, rock'n'roll pioneer, r&b legend, and volatile husband to Tina Turner, passed away at his San Marcos, California home today, according to TMZ. Aged 76, he reportedly died in his sleep.

Born Izear Luster Turner, Jr. in Clarksdale, Mississippi, Turner first found fame as leader of the Kings of Rhythm, whose 1951 single "Rocket 88"-- billed to Jackie Brenston & His Delta Cats-- is regarded by some as the first true rock'n'roll recording.

Turner's place in popular music history wasn't cemented, however, until he met a young, fiery vocalist by the name of Anna Mae Bullock in 1956. Bullock would eventually take the name Tina Turner, and the pair would enter a relationship, both musical and romantic, as notoriously tumultuous privately as it was electrifying live on stage and on record. Throughout the 1960s and early 70s, Ike and Tina remained at the forefront of rock'n'roll culture, touring with the Rolling Stones, recording with Phil Spector, and churning out hits like "Proud Mary" and "River Deep - Mountain High".

Turner's reputation was, of course, mottled at best. He has been painted as an abusive and domineering husband to Tina, who left him in the mid-1970s. Turner also landed in prison in the early 1990s after various drug charges, and was in fact incarcerated when Ike & Tina Turner were inducted into the Rock and Roll Hall of Fame in 1991.

Yet Turner had, by most accounts, cleaned up his act in subsequent years. He also regained some of his footing musically, winning a Best Traditional Blues Grammy this year for Risin' With the Blues. He was also apparently working with the Black Keys and Danger Mouse on a forthcoming album.

Ike and Tina Turner- Delilah Power 1975

Thank you. RIP Ike.

Ike and Tina Turner (Feels Good)

RIP ike Turner. My uncle died a few weeks ago. He was a musician like yourself and now you guys can make music in the sky.

Ike and Tina Turner

Ike Turner discovers Tina Turner

teki latex - disco dance with you

The Brand New Heavies Ft Large Prof Main Source BonafiedFunk

GIRLS HAVE COODIES!

M.I.A. - Paper Planes live on David Letterman FlopPop.com

Because im a girl

some good karoke

PITTSBURGH SLIM

new dude but same old shit. Sorry but cum on.

Beat Stevie in Scotland 3 - Dundee

The Mitchell Brothers - Michael Jackson OUT NOV 5th 2007

Beat Stevie 14 - I don't want a Solemate

Beat Stevie 12 - Mike needs a Light-Razoring!

welcome to House, Techno Mondays.

Monday, December 10, 2007

A LASTING IMPRESSION

At least until college, her life was made, remade and remade again by events beyond her control. Born in Hounslow, London, M.I.A. (an acronym that stands for both "Missing in Action" and "Missing in Acton," the rough west London neighborhood where she lived as a teen) is the middle child of Kala and Arul Pragasam. Arul moved the family to his native Sri Lanka when M.I.A. was an infant, where he helped found a Tamil revolutionary group. Wanted by the Sri Lankan government, Arul went into hiding, and, as the conflict intensified, Kala moved the family to India. But because of their poverty and scant resources, M.I.A.'s mother was forced to move the family back again to Sri Lanka. Then, fearing for her children's safety, she eventually fled the country and settled in London. M.I.A. was eight years old. The only English words she knew were "Michael Jackson."

MIA - Bamboo Banga

DJ KENTARO - Free feat.SPANK ROCK

juan maclean dj set

Hot Chip -

LCD Soundsystem -

NEW KHIA SHINE. WHAT UP KINFOLK

I THINK MY COUSIN ALICIA STARTED THIS TERM.

GANG GANG DANCE - LIVE AT UPSET THE RHYTHM

Death From Above 1979 - Romantic Rights

Death From Above 1979 - Romantic Rights

The Rapture Live at Studio B : First Gear

The Rapture (SXSW 2007)

The Rapture. Sister Saviour

The Rapture - Pieces of the People We Love

NEW INSPIRATION-I KNOW YOU

THE RAPTURE --WOOH ALRIGHT YEAH!

NICE. ROCK MEETS HOUSE, DISCO. NEXT, ROCK MEETS RAP DISCO AND TWO STEP

The Rapture: Get Myself Into It (Final Version)

TAKE IT BACK AND PUSH THINGS FORWARD

TECHNO / HOUSE MONDAYS

THE DAY HAS BEEN LONG AND INTERESTING. HI TO THE BLOG WORLD ONCE AGAIN.

Friday, December 7, 2007

Jay-Z feat. UGK - Big Pimpin

T.I. - Front Back Feat. UGK (video)

UGK - Wood Wheel

UGK

PIMP C TRIBUTE (of UGK) R.I.P IN MEMORY melody VIDEO

this is your day on my blog

beanie you back but with a few misfires

Add to del.icio.us

The Philadelphia rapper Beanie Sigel recorded his last album, 2004's The B.Coming, in the weeks between being sentenced to a federal prison on a gun charge and the beginning of his term. That album was like a rap version of Spike Lee's The 25th Hour, the sound of someone who knew he was headed for hard times. In the almost four years since The B.Coming saw release, Beanie served 10 months in federal prison and was acquitted of an attempted murder charge that would've sent him away for a whole lot longer. He was shot twice during a botched robbery attempt. His stepfather was brutally killed in a Philly alleyway, his body set on fire. He saw the chaotic, acrimonious breakup of his label, Roc-A-Fella Records, and the dissolution of his hometown rap crew, State Property. He ignited a minor internet controversy when he told Kanye West, his labelmate and past collaborator, to come out of the closet. By any measure, Beanie Sigel has been through a turbulent few years, and so it's something of a shock to turn on the first track of The Solution and hear him bragging about his money over the Runners' cheesy faux-epic synths while R. Kelly coos professionally behind him.

Beanie Sigel is not a smooth rapper. His voice is a halting, raspy snarl, and he delivers his words with hyper-emo bluster, like he's got so much rage burning in his gut that he's helpless to hold anything back, ever. When he's pissed, he sounds dangerous; when he's depressed, he sounds about ready to bury himself alive. And when he's happy, he still sounds depressed. Beanie has always sounded great playing the growling foot-soldier to mentor Jay-Z's liquid kingpin boss. But he's historically had even better chemistry with the gravel-throated Houston legend Scarface, since Face and Sigel share the same air of hard-won authority, the sense that they're trying pull wisdom from chaotic lives. Over crackly East Coast soul-rap beats, pretty much nobody sounds better than Sigel. So it's hard to figure why Sigel would play against his own strengths as completely as he does on The Solution's first half.

If Beanie's chief virtue is his embittered honesty, it makes no sense for him to drone on about bottle-popping and money-spending over Floridian synth-rap from producers like the Runners and Cool & Dre. It's depressing to hear him coming with endless money-talk cliches: "I don't windowshop/ And I don't lease, I just pick and cop," that sort of thing. This is Jay territory, however, so it's no shock when he up on "Gutted" and completely shows Beans up without ever easing out of autopilot. "Pass the Patron" has a shuffling almost-swing drum-shuffle, like B.Coming highlight "Gotta Have It", but it never even approaches that song's raging intensity. And "I'm In" finds him spitting empathy-free anti-romance over thin, tinkly quiet storm.

Beanie is a technical master, and he sounds happy just to be rapping again after so many years on the Def Jam shelf, especially when he and guest Styles P try out a Run-DMC tag-team style on "You Ain't Ready for Me". But he wasn't built to rap over halfassed club-rap, and so the only real bright moment on the first half comes when Beanie gets very, very dark. "Go Low" is a slow, eerie electro-reggae pulse, and it finds Beanie spitting terrifying jailhouse-bully threats: "No pause, no homo, no vaseline/ When I enter niggas slow with that broomstick." For four minutes, it's like he's venting all the rage that he represses elsewhere; it's not pretty, but it sure is effective. If "Go Low" proves anything, it's that this guy can't be domesticated, not even by himself.

CLUB FRIDAY

girl talk

sample this bitches

Bonnaroo 2007 : Girl Talk

Bonnaroo 2007 : Girl Talk

Girl Talk - New Year's Eve 2007 in Chicago (entire concert)

Spank Rock, mtvU Soundcheck

Benny Blanco and Ronnie Darko of Spank Rock

© 2007 1st there was the beat - Benny Blanco

WHAT DID HE SAY?

Cosmo

THIS DUDE USED TO ROCK SILK CITY AND NOW HE IS WORLDWIDE. PHILLY REPRESENT.

SAMPLE THIS THURSDAY

Wednesday, December 5, 2007

Kudu -

the pipettes - Judy

SPANKROCK EXCLUSIVE

Spank Rock - Backyard Betty

THATS BOOTAY

Carlos "Patato" Valdes, 1926-2007

Carlos "Patato" Valdes, 1926-2007

We just received word that legendary Cuban percussionist Carlos "Patato" Valdes passed away last night in New York City. We profiled Valdes in FADER 36 and invited him to perform at the very first Puma/FADER Gen F Live show in 2006, at which he proceeded to shred the congas like no one we have ever seen. We recorded the whole set that night which you can download below.

Download: Carlos "Patato" Valdes, Puma/FADER Gen F Live, Canal Room, New York City, February 2006

RIP Pimp C

Prodigy is not locked up?????

beanie got that fire-Welcome Back

New Ghostface-Merry Early Xmas

Thanksgiving YOUTUBE 07'

This is my boy, mark brizzi. Yes sir

INDIE WEDS

Wednesday, November 28, 2007

Kanye West - Stronger Remix (f. Wonda)

me and maya

hmmm. when can i get some rep like this dude. keep doing your thang.

Gossip

do it yourself

How We Know - The Thermals

The Thermals

Alias making beats for Sage Francis

MF Grimm / MF Doom Live

I Love You - by MF GRIMM

MF Grimm - Book Of Daniel (MF DOOM Diss)

Yak Ballz - Making of Scifentology II (2)

Har Mar Superstar - Power Lunch

Har Mar Superstar- Cut Me Up ft. Karen O (Live)

Karen O dancing

Karen O Let Me Know

Radio 4

Radio 4 - Party Crashers

Radio 4

HMMMMMM

HE IS ON A MAJOR NOW, BUT HE IS AN INDIE KING

INTERPOL REMIXES

Interpol Live, Remix EPs Available Right Now


Photo by Matt Ziegler

Today, right now, at this very moment, at select ThinkIndie.com-represented independent record stores, you will find a new Interpol record! Well, sort of. Interpol Live, the band's first officially released concert recording, is a six-song disc of live tracks culled from a set at London's Astoria Club this July.

It's a well-pared bunch: Turn On highlights "Obstacle 1" and "Stella Was a Diver and She Was Always Down" rub up against Admire's "Pioneer to the Falls", "Mammoth", "Rest My Chemistry" and "The Heinrich Maneuver". You'll want to check ThinkIndie.com to see if your local noise emporium will be carrying the disc, and, if so, start movin'.

Also today, a remix EP creatively titled Our Love to Admire Remixed has showed up on iTunes. It includes that Phones remix of "The Heinrich Maneuver" as well as a take on that same track by the Scientist and a "Mammoth" rework by Erol Alkan.

In other Interpol news, the band is presently on a globe-spanning tour, though we're beginning to wonder if those photos they sent back from safari are Kosher. [MORE...]

Video: Interpol: No I in Threesome [live on Jimmy Kimmel Live]

Posted by Paul Thompson and Amy Phillips in EP, remix on Tue: 11-27-07: 03:15 PM CST | Digg this article | Add to del.icio.us | Permalink

BLACK LIPS ANNOUCE TOUR

Okay, that's it, Black Lips are bored. After a 2007 where they released two records, played countless (and still ongoing!) shows, and lent member Cole Alexander's vocal talents to that Fucked Up holiday seven-inch, you'd think the Atlanta foursome would want to use the beginning of next year to take a break before shooting starts on Let It Be, their upcoming silver screen star vehicle.

But nooooo, instead the band has scheduled a reallyreally big U.S. tour. The new dates start right at the beginning of February, three months before Let It Be kicks off production.

Also on the Lips' plate in May: their appearance at our very own ATP vs. Pitchfork doohickey.

Restless Lips:

11-30 Atlanta, GA - Variety Playhouse *#
12-05 Athens, GA - Georgia Theatre *
12-07 Charlotte, NC - Neighborhood Theater
12-08 Asheville, NC - The Orange Peel
12-15 Meredith, Australia - Meredith Music Festival
12-18 Sydney, Australia - Oxford Art Factory
12-19 Melbourne, Australia - The Arthouse
12-21 Melbourne, Australia - The Tote
02-01 Denver, CO - Bluebird
02-04 Seattle, WA - Neumos ^
02-05 Portland, OR - Dante's ^
02-06 Eugene, OR - WOW Hall ^
02-08 San Francisco, CA - Great American Music Hall ^
02-09 Pomona, CA - Glasshouse ^
02-10 Costa Mesa, CA - Detroit Bar ^
02-13 San Diego, CA - Casbah ^
02-14 Los Angeles, CA - El Rey ^
02-22 New Orleans, LA - One Eyed Jacks
02-23 Austin, TX - Emo's Outside
02-24 Dallas, TX - The Loft %
02-25 Lawrence, KS - Bottleneck %
02-26 Omaha, NE - Waiting Room %
02-28 Minneapolis, MN - 7th Street Entry %
02-29 Madison, WI - Memorial Union (University of Wisconsin) %
03-01 Chicago, IL - Logan Square Auditorium %
03-02 Milwaukee, WI - Turner Hall %
03-04 Columbus, OH - The Basement %
03-05 Oberlin, OH - Club Dionysus %
03-06 Detroit, MI - Magic Stick %
03-07 Pittsburgh, PA - Mr. Small's %
03-08 Buffalo, NY - Mohawk Place %
03-10 New York, NY - Bowery Ballroom %
03-11 Brooklyn, NY - Music Hall of Williamsburg %
03-13 Cambridge, MA - Middle East %
03-14 Philadelphia, PA - Johnny Brenda's %
03-15 Washington, DC - Black Cat %
03-16 Chapel Hill, NC - Local 506 %
03-20 Nashville, TN - Mercy Lounge %
03-21 Memphis, TN - Hi-Tone %
03-22 Atlanta, GA - The Earl %
05-09-11 Rye, England - Camber Sands Holiday Centre (ATP vs. Pitchfork) *$

* with Deerhunter
# with Snowden, the Selmanaires
^ with Pierced Arrows

A NEW YORK ROCK BAND MOVIE

SAVE YOUR CITY
New York rock in the years to be hated
Story Eric Ducker Photography Colin Lane, Mark Hunter and David Belisle


Squabbles and footnotes aside, in the pages of history books and The FADER, New York rock in the 21st century began with the Strokes. Of course the Strokes always evoked New York rock of the 20th Century, but that was kind of the point. The band captured the city’s borrowed nostalgia for a time when young men wore tight jackets and let their hair fall into their faces, then wrote thrilling songs about the dejected glamour such lifestyle decisions would lead to. At the time of their arrival, downtown Manhattan was still stuck in the orange plastic/white vinyl hangover of lounge culture, but the Strokes were a band for dark bars where the bathroom door was always broken and you could sink into a booth and hide out from adulthood for a few more years. They were a great band for New York because no one could agree on them: they were either the best or the worst thing that could have happened. People would tell you they hated them and everything they stood for, then a couple of beers later they’d confide that they’d never actually heard them or that they secretly loved them. They were one more part of the city you could endlessly kvetch about, then take pride in because no other city had anything nearly as good.

I went to England for four days in the early summer of 2001 to write a piece for The FADER that would be the Strokes’ first cover story. The band hadn’t done many shows outside of New York before then—some opening dates for Doves and Guided by Voices, another brief trip across the Atlantic—and they were still learning to deal with life on the road. They hugged and bickered like brothers. They turned up the volume when they heard their song on the car stereo and took trips to HMV to see their EP at the listening stations. There were no rumblings of stifled creativity. There were no rumors of breakups. Their drinking wasn’t problematic yet, it was the point.




The band wrapped up their UK tour by playing a club in London called Heaven that was usually a gay disco. It was the most important show in their short career and they dazzled a crowd that had already decided they were in love with them. When they left the next day with rock & roll hopes pinned to their collars, they were on their way to Amsterdam. The plan was to take mushrooms and look at the hookers, a goofball adventure that seemed more post-college Eurotrip than needless hedonism. The Strokes spent the rest of their summer vacation touring the world, before returning in the fall of 2001 to a New York that would become a very different city. Two weeks after September 11th, they finally released Is This It, a 35-minute bender made for the jukeboxes of those same dingy, downtown bars they reawakened.

During the months that followed, in the midst of the mourning when everything was about “now more than ever,” the city’s young responded by hitting the streets even harder. Andrew WK’s “I Love NYC” took on new meaning, proclaiming: this is our town and we decide how we tear down the walls. Go ahead, smash yourself in the face with a brick. Get wet. Party ’til you puke.

There were more bands to put on your finest threadbare T-shirt and leave the apartment for. In Brooklyn, there was a thrashing group of liberal arts graduates called Yeah Yeah Yeahs whose lead singer Karen O wore insane outfits on stage when she wasn’t just wearing pasties, and who spit beer at the crowd when she wasn’t pouring it over her head. Yeah Yeah Yeahs usually did shows with Liars, a band that made experimental dance punk and had one song that was basically their towering Australian frontman Angus Andrews barking obtuse phrases over ESG’s classic “UFO.” If you were into ESG you would check out the Rapture, indie rock refuges from California and Washington DC who had holed up in an West Village studio with the DFA, a transcontinental production duo that pushed old Detroit house 12-inches on guitar bands like it was audio MDMA. The list went on: ARE Weapons, Radio 4, Interpol, Panthers, !!!, the Walkmen, the Moldy Peaches, the Secret Machines, the Witnesses, the French Kicks…and those were just New York outfits to keep track of. The EP was at Kim’s or they were playing an abandoned transmission repair shop in Bushwick. It was the year to be hated, and there were so many bands you had to check out.




By the summer of 2002 you could still spot Karen and Angus holding hands in Williamsburg or spend the day counting how many German tourists photographed the sign for the Bedford Ave subway stop, but the chase to find the Next Great New York Phenomenon had become draining and pointless. Groups that seemed to have had just five rehearsals and one gig were being championed like they invented amplification. In the quest to try to plant a flag on a band, the question changed from whether they were any good, to whether anyone else had done it yet. The tiger had caught his tail and eaten himself whole. While instant messaging one August afternoon, I asked an acquaintance if she was going to the destined-to-be-legendary Strokes and White Stripes show at Radio City Music Hall. She told me she had tickets, but probably wouldn’t be there. She said she’d rather see the Prosaics play at a record store in Brooklyn, and anyway, her “mom knew those bands.” Not long afterwards I left the city and the country. There were too many things that I had had enough of.

Over three months later and back in town on my way to California, I met up with the FADER editors for lunch. We were just getting into 2003 and they told me that New York rock was over. ARE Weapons were finally putting out their first album—much better and heartfelt than anyone could have predicted, but sure to be hated. The Walkmen’s “We’ve Been Had” was in a commercial for Saturn. The Rapture were going on the cover of the next issue, though as it turned out, their long-finished Echoes would still be stuck in the disco incubator for another nine months until the major label deal had been worked out. A new venue called Piano’s had opened on the Lower East Side, and everybody was already sick of it.

“A lot of bands tour for many years and they're learning as they go along. We took all this time to understand music. We were rehearsing every fucking minute of the day. If you think we got off easy, that's bullshit, because we fucking know what we're doing.” -Julian Casablancas
New York rock wasn’t really over, it just didn’t belong to the city any more. The best of the boroughs had risen up and were now out there for the rest of the world to pour over. Who knows how many seeds would be watered by Karen O’s video tears.

When thinking about that era now, the first memory that comes to mind doesn’t even take place in New York. It is in London, during the morning that was actually the afternoon after the Strokes show at Heaven—before they would become a touring band, perpetual headliners that never open for anyone besides idols like the Rolling Stones and Tom Petty. The gear was packed, the hotel bill was paid, and everyone had been recovered from whatever bed they slept in the night before. Talk turned to laundry and when they would finally get to do it. “I’m really starting to smell like a bum. An old, dirty bum,” said permanently good-natured drummer Fabrizio Moretti, holding the sleeve of his jacket to his nose to take in the layers of foreign smoke, booze, body odor, bus rides, shows and after parties that were already caked into its fabric. I took a whiff. He did.
















The Strokes, "Last Night"


Andrew WK, "Party Hard"


Yeah Yeah Yeahs' television debut on Late Night with David Letterman


Liars, Live at DCAC, 2002


Radio 4, "Save Your City"


Moldy Peaches, "Who's Got The Crack?" live at WFMU Record Fair, 2001

Walkmen, "We've Been Had" Sponsorship

INDIE WEDNESDAY

Monday, November 26, 2007

yes sir-New Cadence Weapon-enjoy

Cadence Weapon

Ciara - OH! ( Cadence Weapon Remix )

YO. FO REAL MY INSPIRATION OF WHAT I AM ABT TO UNLEASH TO THE WORLD

Cadence Weapon

NEW ALBUM

OSCAR G BREAKS IT DOWN

Known for his productions as Murk and Funky Green Dogs alongside Ralph Falcon, and a DJ residency at Space Miami, Oscar G is one of America’s most influential house heads.
With his new mix album for Cr2 — ‘Oscar G Live & Direct Space Miami’ —out now, DJmag snagged Oscar to talk dance music in the US, club memories and new productions...

Being resident at Space Miami must have provided some memorable moments. Any recent occasions that stick out in your mind?
“Having an audience like the one I have at Space, in my hometown, is a DJ’s dream come true. There's a level of trust built over the years with that audience that allows me to experiment at will. That makes for a lot of memorable nights.
“One morning that sticks out in my head was during a Winter Music Conference a few years back. We had a closing party on the terrace with a last minute line-up. I ended up playing with Danny Howells, Sasha and Sharam. Halfway through it began pouring with rain and people just seemed to take it up a notch at that point. It was pretty amazing, it lasted till 7pm the next day.”

Much of North America is immune to the charms of house music. Why do you think that Miami is an exception?“Miami has a long history of dance music so it’s no surprise that it has welcomed house as well. I think the combination of so many different cultures that live in Miami make it a hot bed for music. It’s similar to New York, Chicago and other big American cities.
“House has remained somewhat like jazz is in the US. It was born here but is appreciated greatly across the globe. Yet it remains a niche market and small club scene in the US.”

What kind of vibe did you want to capture with your ‘Live & Direct’ mix?
“I wanted it to be honest and unpretentious, to give people a feeling of what a Saturday night at Space Miami is about. I prepared this set for a live audience, playing music I felt would move that room and define what I like to play. I set up microphones across the room to capture the audience’s reactions. I wanted to hear them because I felt they would really bring an element of energy to the CD with their reactions to the music.”

What’s going on with your Murk project alongside Ralph Falcon?
“We have recently re-released Funky Green Dogs’ ‘Reach For Me’ with great new mixes on Cr2. They will also be re-releasing our Murk Records catalogue with all new mixes. We are also re-launching the Murk label digitally and have several original things in the works.”

Do you have any more production work in the pipeline?
“I’m releasing a new track titled ‘Chunky Buddha’, which is also featured on the ‘Live & Direct’ album. I think Ralph and I may also have a new Funky Green Dogs single finished soon.”

DINKY DINKY PART TWO

Dinky delights
Dinky delights
Get lost with the new first lady of techno
Words: Ben Murphy

Dinky - Alejandra Iglesias
Alejandra Iglesias

Chilean electronic queen Dinky — or Alejandra Iglesias — is back to claim her techno throne with a stunning new mix for Crosstown Rebels: ‘Get Lost 3 Mixed by Dinky’, out 26th November.
An excursion deep into foreboding ghost-house and warm post-minimal beats, she pushes far into the uncharted realms, those Detroit tech inter-zones between electronic and organic rhythms, where many would fear to tread.
Like a somnambulist stroll in the woods after dark, this mix is mind-altering, mysterious and not a little scary.

“I worked on the concept of the mix,” Dinky explained. “It’s a bit more of an after-hours mix, a bit more mysterious, which extends to the whole concept of the artwork as well.”
A spooky illustration of a girl in a dark corridor, the image warped out of recognition, it perfectly reflects the music within.
Containing several of Dinky’s own new tracks, including the ghostly ambient intro ‘Lost in the Forest’, and the hip wiggle of ‘Horizontal’, her new compilation collects cuts from Dennis Ferrer, Dan Berkson and Radio Slave, illustrating a cosmopolitan and creative approach that takes the most potent grooves from all over and always avoids the obvious.

It’s a natural approach for the DJ/producer born in Santiago, Chile, who’s lived in New York City and Berlin, absorbing the rhythms inherent in all three cities and emerging with her own sound. First entering our consciousness in 2005 with the strange, burbling lysergic tech-funk of ‘Acid In My Fridge’ on Sven Väth’s Cocoon imprint, now she’s hooked up with the Crosstown Rebels crew, who’ll also be putting out her eagerly-awaited debut artist album next year.
“I really like the Crosstown Rebels crew, they’re like my little family, which I was missing. This mix for them is kind of like a preview for the album so people can get more used to my name,” Dinky declared.
“The album itself is sounding different. It’s definitely very danceable. I’m working with vocalists and I’m singing myself on a couple of tracks. It’s a little bit pop-ish but still underground,” she revealed.

Her label Horizontal also has a deluge of new releases due to drop, with cuts from several Crosstown heads as well as new names.
“I’m putting out a new single from Matthew Styles in a couple of weeks, and another single from Andrés Bucci, Pier Bucci’s brother, a really good artist. And then Hector as well, he works at Phonica, and he also just joined Crosstown Rebels,” Dinky asserted.
Like fellow females Cassy, Magda, Chloé and many more, Dinky is carving her own niche in the male-dominated realm of techno, and she’s only just begun. And is there any acid in her fridge at the moment?
“I have something else but no acid in my fridge right now. It was gone a long time ago,” she giggled.

DINKY DINKY DOO

Dinky delights
Get lost with the new first lady of techno
Words: Ben Murphy

Dinky - Alejandra Iglesias
Alejandra Iglesias

Chilean electronic queen Dinky — or Alejandra Iglesias — is back to claim her techno throne with a stunning new mix for Crosstown Rebels: ‘Get Lost 3 Mixed by Dinky’, out 26th November.
An excursion deep into foreboding ghost-house and warm post-minimal beats, she pushes far into the uncharted realms, those Detroit tech inter-zones between electronic and organic rhythms, where many would fear to tread.
Like a somnambulist stroll in the woods after dark, this mix is mind-altering, mysterious and not a little scary.

“I worked on the concept of the mix,” Dinky explained. “It’s a bit more of an after-hours mix, a bit more mysterious, which extends to the whole concept of the artwork as well.”
A spooky illustration of a girl in a dark corridor, the image warped out of recognition, it perfectly reflects the music within.
Containing several of Dinky’s own new tracks, including the ghostly ambient intro ‘Lost in the Forest’, and the hip wiggle of ‘Horizontal’, her new compilation collects cuts from Dennis Ferrer, Dan Berkson and Radio Slave, illustrating a cosmopolitan and creative approach that takes the most potent grooves from all over and always avoids the obvious.

It’s a natural approach for the DJ/producer born in Santiago, Chile, who’s lived in New York City and Berlin, absorbing the rhythms inherent in all three cities and emerging with her own sound. First entering our consciousness in 2005 with the strange, burbling lysergic tech-funk of ‘Acid In My Fridge’ on Sven Väth’s Cocoon imprint, now she’s hooked up with the Crosstown Rebels crew, who’ll also be putting out her eagerly-awaited debut artist album next year.

RIP

R.I.P.Guitarist Dies Aboard Band's Tour Bus

Posted Nov 26th 2007 6:25PM by TMZ Staff
Filed under: Music, R.I.P.
Casey Calvert, bassist for the band Hawthorne Heights, died Friday while on the band's tour bus. There has been no ruling on the cause of death, though it has been reported that Calvert suffered from asthma and that may have played a role.
Casey Calvert

Lupe Fiasco -

NOW HE GOT IT. LISTEN PEOPLE. YOU SAID HIP HOP IS DEAD. HERE IT IS. SOMETHING YOU CAN THINK AND DANCE TO.

Chromeo - Bonafide Lovin' (Promo Video)

Chromeo - Rage

CANADA MAKES GOOD SONGS.

Chromeo - Needy Girl

thecobrasnake Mickey Avalon Jane Fonda LIVE

Mickey Avalon - Jane Fonda Video

SO I SAW THIS GUY IN A BOOST MOBILE COMMERCIAL WITH YOUNG JEEZY AND JD. WHOA

A SILENT RIOT. RIP

DuBrow

Kevin DuBrow and Quiet Riot hit No. 1 with "Metal Health" in 1983.

DuBrow died at his home in Las Vegas, Nevada, according to TMZ.com. The Clark County coroner's office was examining the body to determine the cause of death, according to TMZ.

"I'm at a loss for words. I've just lost my best friend," Quiet Riot drummer Frankie Banali told CNN. "Out of respect for both Kevin and his family, I won't comment further. There's going to be a lot of speculation out there, and I won't add to that. I love him too much."

Quiet Riot hit the top of the charts with its 1983 album, "Metal Health," considered by some sources as the first heavy metal album to hit No. 1. The album was driven by the group's cover of Slade's "Cum on Feel the Noize," which hit the Top 40.

The band's other hits included "Bang Your Head (Metal Health)" and another Slade cover, "Mama Weer All Crazee Now."

The band formed in the mid-1970s behind DuBrow and guitarist Randy Rhoads, who later joined Ozzy Osbourne's band and died in a tour accident. After several years, during which time the band disbanded, regrouped and built an audience, everything came together for "Metal Health," which put Quiet Riot in the vanguard of the Los Angeles heavy metal movement.

But the band's rushed follow-up, "Condition Critical," didn't do as well, and DuBrow started taking shots at other L.A. bands, such as Motley Crue and Ratt, according to Allmusic.com. Within a few years, the band had mutinied (leaving DuBrow at a hotel in Hawaii while other members returned to California, Allmusic's Eduardo Rivadavia observes) and taken on a new lead singer. The bad blood prompted a lawsuit from DuBrow.

By the 1990s tempers had calmed and the band got together again, putting out a live album in 1999 and a new studio set, "Guilty Pleasures," in 2001. According to Allmusic, the band broke up once more after its release.

FRAT BOY BAND OF CHOICE

France has produced some killer DJs of late. And the resurgence of gritty electronic music fusing raunchy rock and pop with even raunchier house beats has created a sound of its own. Much of this popularity can be attributed to the electro music label Ed Banger Records, which has been globally broadcasting their tracks over the last five years. But beyond bringing electronic music back, a hype has evolved -- not only amongst the nü-ravers, but with the jock rockers as well.

Electro duo Justice (the most popular of the Ed Banger crew… so says Wikipedia) seem to appeal to a younger and more pop-oriented audience. MTV’s college division, mtvU, aired its annual Woodie Awards the other night to celebrate university-student-approved music. Amongst the TRL-favorite nominees like Motion City Soundtrack and Say Anything, Justice was up for Best Video Woodie with their single “D.A.N.C.E.” They lost. But their music still made it onto the iPods of beer-pong-playing students (and even into the crime drama show C.S.I.: NY).

This past October, New York City concertgoers were graced twice by Justice members Gaspard Augé and Xavier de Rosnay -- once for a CMJ showcase and again for the final set of their world tour. Justice kept the crowd rowdy as they spun their anthem hits both nights at the Mad Max-esque venue Terminal 5. But what miffed some fans was the crowd that the show pulled in. The floor was covered with frat boys protecting their underage girlfriends. Just when we thought the boy band sensation was over, Justice comes along!

RIP

blodgett

Was sad to hear to the passing of Michael Blodgett, who was so memorable in Russ Meyer’s 1970 cult masterpiece Beyond the Valley of the Dolls as L.A. studmuffin Lance Rocke. As rock promoter “Z-Man” Barzell (John La Zar) describes Lance: “Greek God and part-time actor. See how he performs. His is a special talent. The golden hair...the bedroom eyes...the firm young body. These are the tools of which he plies his trade. All are available for a price.” Blodgett, who also acted in such movies as The Velvet Vampire (1971) and alongside Kirk Douglas in There Was a Crooked Man (1970). He was also a novelist (Captain Blood, The White Raven) and wrote screenplays (with Dennis Shryack) such as Rent-A-Cop (1987) and Turner & Hooch (1989). But he’ll always be burned into my brain as the cocky, sexy, Lance Rocke getting beheaded in Beyond The Valley of the Dolls.

Pitbull ft. Trina: Go Girl

Pitbull -

Ay Chico - Pitbull

old pitbull but so nice

new video for Birdman

Cash money is an army

CADENCE IS BACK PART 2

Afterparty Babies explores friends and feelings, crews and club nights, hometowns and heroes, media and fashion. The recognized wordsmith continues to push the theme, surrounded by socially conscious commentary, and personal subject matter while dropping it over punishing electronic dance jams.

This remarkable achievement will be available March 2008 in Canada on Upper Class Recordings/EMI, the U.S.A. on Upper Class Recordings/Anti-/Epitaph and in the UK & Europe on Upper Class Recordings/Big Dada. (Press Release)

CADENCE WEAPON IS BACK

Roland Pembertom (aka Rollie) says he "wanted to make music that afterparty babies are created to" and the Afterparty Babies experience takes shape from this premise. Afterparty Babies is an explosion of ideas, feelings and musical genius fuelled by Mr. Weapon's experiences over the last few years as a writer, producer, touring artist and club DJ.

In the course from his debut album Breaking Kayfabe to his sophomore record, 21-year-old Roland Pemberton has come of age. While most youths were struggling to focus on a sneaker brand for more than a week; the young (and underage) Pemberton would slip into clubs to play shows with Spank Rock, Lady Sovereign, Jurassic 5, TTC, New Pornographers, Final Fantasy, and De La Soul. He rocked guest performances with The Klaxons, Hot Chip and Islands; he remixed Lady Sovereign, Kid Sister, Disco D, Busdriver, Rick Ross/Simian Mobile Disco; he's been featured on tracks with Buck 65 and Anti MC. He inked deals with legendary labels, Epitaph USA and Big Dada for the UK and Europe; all before he was barely legal.

Pemberton's explosive debut, Breaking Kayfabe was an impossibly accomplished hip-hop album stacked with clever writing and impressive rhymes, paired with the electro-tones of UK grime and West Coast hip-hop. The album yielded instant praise and notoriety, culminating in nominations from the Polaris Music Prize (modeled after the Mercury Prize), the Canadian Indie Awards and "Best Rap Album of 2006" at the Plug Independent Music Awards, and won the CBC Radio 3's Bucky Award. Cadence Weapon and Breaking Kayfabe garnered fans from Pitchforkmedia.com, Urb Magazine, XLR8R, CMJ, Q Magazine, Uncut, Drowned In Sound to name only a few.

Pemberton is back and he is firmly establishing his legacy as a pioneer in a passionate crusade to push the rap and electronic music envelope. His new offering, a 14 track, 58 minute dance rap party epic is dedicated to 'all the accidents out there' as a testimony to Rollie Pemberton's first influence, his father, Teddy Pemberton. A native of Brooklyn, NY, Mr. Pemberton created The Black Sound Experience radio show on the University of Alberta's CSJR station in 1980, and is credited for introducing hip-hop to Rollie's hometown of Edmonton, the capital city of Alberta.

Following in his father's ground-breaking footsteps, Rollie discovered that he wanted to rap at the tender age of 13. His mother had other plans; she wanted him to pursue a career in journalism, so he attended journalism school in Virginia. Finding the insular environment stifling, the burgeoning rapper quickly decided to ditch the books in pursuit of his goal, and still, by 18, Rollie had established a name for himself as a tough music critic, writing for the Brooklyn-based Stylus webzine and the influential Pitchfork Media.

HOUSE / TECHNO / CLUB MONDAYS

GLAD TO BE BACK FROM TURKEY DAY. I SAW SOME WILD TURKEYS, SOME DEER, SOME BUCKS AND ATE THE TURKEY DOWN TO ITS BONE. WE ARE BACK AND READY TO ROLL.

Friday, November 23, 2007

Masters At Work - Work

Club Night cont.. Lets go

Kate Nash - Pumpkin Soup

i like sweet potatoe pie

DAFT PUNK BEGINS AGAIN

http://www.dailymotion.com/video/x3kckg_daft-punk-something-about-us_music

Kate Nash -Foundations

they say she is the next lily allen. You decide?

just jack - mourning morning

Glory Days

sitting back listening makes me feel like i am in a lounge/club. Uk mc does different.

Just Jack - Starz In Their Eyes

this is an old school masters at work type jam with a new mc. I like it. A good starter to the night.

PDC Underground Kingz

Project Mayhem PDC Freestyle Grim Grime Garage DVD

Mr Vegas - Hot Wuk

Club Fridays Lets Go

ELEPHANT MAN - HOT WUK - LITTLE MAN REMIX

Kat DeLuna feat Elephant Man- Whine Up

Your boy Elephant Man has a new deal-Bad Boy and a new energy. The Energy god is back. My mentor fo sure

IT'S THANKSGIVING!! THE ONLY DAY IT'S OKAY TO BE A GLUTTON!!

i do not know this dude but yes sir

This the remix for the clubs

Soulja Boy Crank Dat IMVU style (Travis Barker remix)

ok, so it is overplayed. My cousins are going crazy for this and the rock remix makes me crank dat .

Derrick Carter Live @ Coachella Music Festival (2006)

killing it out there.

Derrick Carter at Apple Store 5th Ave.

pioneers-i love it. Club Fridays-Lets Go

carl cox @ space ibiza

Jordin Sparks - Tattoo

i swear i heard this before.....hmmmm...

Bloc Party - Helicopter

i still like it

Bloc Party - Flux

i am not sure what went down with their second album, but this track lets me get loose. Club Fridays-Lets Go

Los Campesinos - You! Me! Dancing!

yes sir

Simian Mobile Disco - Hustler

i still love this song and this beat

Simian Mobile Disco - It's The Beat

stay focuse. I will rap over this soon, Its the beat. CLUB FRIDAYS lets go.

Scarface - G Code

old school scarface