Feb 13, 2012
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Grammys Recap: Adele, Alicia Keys + More

?uestlove (and Uncle L!) presented. Kanye & Jay-Z boycotted. Whitney was remembered and Adele (as predicted) cleaned house. In between lots of power naps in the form of those safely stage-managed musical moments that often make award shows such a snoozefest, it was actually a fairly epic night at the 54th Grammy awards last night.

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Brother Ali – The Bite Marked Heart [FreEP]

Brother Ali - The Bite Marked Heart

As promised, Brother Ali drops his pre-Valentine’s day EP today, The Bite Marked Heart. The 7 track release has features from Nikki Jean, Phonte, Stokley Williams, and Aby Wolf, with Jake One and Ant (Atmosphere) handling the production. You can stream/download the EP after the jump.

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Audio: Nesby Phips “Rubenstein Bros.” feat. Curren$y

Nesby Phips "Rubenstein Bros." f/ Curren$y

New Orleans emcee Nesby Phips has been on his 1st and 15th grind since the top of the year, droppin’ some exclusive content on pay day every month. This month, he’ll be dropping his new tape, Rubenstein Bros., named after “New Orleans historic haberdashery ‘Rubenstein Bros’, where the cities businessmen & dope boys alike shopped. This tape features Phips laying verses over some of HipHop’s oldies but goodies and classics along w/ Big Sant & Henry McCulla.” Listen to the title track below featuring Phips’ former high school classmate and fellow JETS member, Curren$y, going in over the Geto Boys‘ “My Mind Playing Tricks On Me.”

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Video: De La Soul “Mr. Big Mouph II” [Teaser]

This new De La Soul album may be coming sooner than I thought. Today, we get another teaser video from the upcoming project. The song was posted on twitter awhile back, but for those of you who were not turned into the De La Solar System at the time, listen to “Mr. Big Mouph II.” Khrysis on the boards… with the heat!

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Video: Exile “Klepto”

Exile easily had one of the best album covers of 2011 with his debut rap album, 4 TRK MIND. Today, he brings back the powder blue suit (ruffles and all) for the official video for “Klepto.” Exile shows he’s hard to kill (no Seagal) with these new visuals – funny shit. Video directed by Andrew Juncker. More than just quirky artwork, that album definitely had some joints on it.

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Remembering Whitney Houston, R.I.P.

With the instantaneous news cycles of our internet age, everyone within reach of an electronic device has doubtless already heard the upsetting news of the passing of singer–no, diva–Whitney Houston, widely regarded as the greatest voice of her generation.  News of Houston’s death spread exactly as the music industry was preparing for the Grammys–a night which in some sense was hers, having not only won 6 Grammys herself but having also undeniably owned its stage with her legendary appearances. Her live performance of “One Moment in Time” (above) at the 1989 ceremony is often touted as both her personal best and the most memorable in the show’s history. Such is the size of her talent and her impact on pop culture that people will certainly remember years from now where they were when they heard the news. This moment time will be forever associated in most people’s minds with the heartfelt tributes from Jennifer Hudson at the 54th Grammy awards last night and Alicia Keys at the annual pre-Grammy held by  Houston’s mentor Clive Davis (after the jump–there was also a touching tribute from Elle Varner, backed by The Roots at their own Grammy jam–we will do our best to bring you that video soon). Others will hold on to other mementos–the yardies in our midst will surely be pulling up the needle on her epic Wyclef collaboration “My Love is Your Love”–or the legendary dub plate he cut with her–many times at reggae bashments all over the world this week. But the clip we have on rewind is Whitney’s acceptance speech–eyes clear and face glowing with joy–for her first Grammy in 1986 (below)

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Meshell Ndegeocello

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Vocalist Meshell Ndegeocello is one of those singers who could sing anything and it would sound great.  The sultry tone of her voice, mixed with her hushed, breathy  vocals–oozing with sensuality–could captivate even the most skeptical music listener.  With her new album, Weather, the vocalist does a beautiful job of engaging listeners and leaving them anxious for the next song.

That suspense is real; the lack of any obvious progression or sequence, album-wise, is what has always made Ndegeocello a standout.  Looking at the albums in her discography–the introductory Plantation Lullabies, the soulful Peace Beyond Passion, and the hip-hop/spoken word hybrid Cookie–listeners never know what to expect. Which makes Weather a little different.  On this album, there is a sense of familiarity with the material as it feels like a sort of merger of her two previous albums–Bitter and Devil’s Halo–with a clearly visible evolution to the person she is today.

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Kool Keith

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“Drugs” – a track originally featured on Kool Keith’s 2001 release, Spankmaster – is now given new breath, as producers present fresh, dance-oriented takes on this pleasant oddity. Stocked with crafty humor and brazen sardonicism, Drugs provides the listener with a vivid hike into the slummy and mucky world of a sock-selling, falsetto-singing dope addict.  The tale is offbeat and every line is bizarre.  His thoughts are scattered, and his surroundings are dirtier than a rusty needle laced with sewer water and spit. Celebrities sniffing blow and smoking crack, the berserk chaos depicted in his living room and kitchen is nothing short of unsettling. “All the crack and the drugs make me feel the way I feel” –The ghoulish, piercing falsetto is sharp and shrill, drilling into the chorus like a jackhammer.

The Hot Chip remix/instrumental features a classic house composition.  Its handclaps, eager keyboard strikes, moody strings, and tangy synth-bass frames an ambience that’s both sci-fi and nostalgic; and its chest-pounding kicks are enough to blow speakers and knock eardrums out of place.  The horrorcore-ish Two Fingers mix is lethargic and spooky, with glorious synths and sporadic sound effects that will leave the listener with indelible visions of the boogieman in their closet.  Also featured are two impressive DJ Siyoung mixes, Version IV and Version X.  The first is a mid-tempo, melodic disco fantasy that paints images of a loose, experimental night, out-and-about dancing in the city, while the snapping Version X trails a different pole that’s highlighted by moog-like throbs and laid back snaps that can appease the most insouciant of listeners.

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Modeselektor

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Gernot Bronsert and Sebastian Szary’s musicality could probably be described by a myriad of definitions – precise, adventurous, and frantic are just a few words in the list of possibles.  Collectively the duo are known as the Berlin-based electro outfit, Modeselektor.  Their sound captures and exceeds any restrictive immure of just one musical category, such as electronica, hip-hop, and rock; and embodies a sonic hybrid of all genres aforementioned and even a few left unmentioned.  Their latest outing, <i>Monkeytown</i>, is a calculated excursion concocted in a dynamic utopia of synthesizers, freely swinging, sawing, and swaying in every recorded crevice that the pair can dream to conjure.

The album’s intro, “Blue Clouds,” kick starts the LP, where it is one of four instrumentals featured on the project.  Though not the greatest moment presented, this six-minute track fulfills its purpose in simplistic and synth-heavy fashion, and it actually resembles the more recent productions of super-producer, Timbaland.  The follow-up, “Pretentious Friends,” is the project’s first standout track.  Featuring emcee Busdriver, the song’s electro-futuristic synth-layering and hard-hitting kicks webs perfectly with the emcee’s superbly wacky and unconventional delivery.  Think Definitive Jux.

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Rad Obagam

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The world might not end in 2012, but Gilles Peterson’s stint on BBC Radio 1 will. And my world, and hundreds of thousands of other faithful listeners will be a slightly worse place for it. Because without Gilles we might never discover people like Rad Obagam–which would suck.

Rad Obagam is a producer from L.A., and boy is he a producer from L.A. He learnt his trade from one of the city’s underground legends, Daddy Kev, and while Rad Obagam might not be directly affiliated with the Low End Theory or Brainfeeder scenes, he shares their vision of good beats, a mash-up of styles and a innate desire to do things differently.

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Chris Skillz

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In an industry currently oversaturated with radio edits and one-word punch lines, it’s refreshing to hear emcees who value the art of complex rhyming.  Beyond the Sky–from Dover, DE-based rapper Chris Skillz–provides the lyrical wordplay to the soul/alternative rock/R&B/electronic soundtrack of our lives.  The album is a lyrical mediation on big dreams juxtaposed with regular problems. Beyond the Sky heavily lends its focus to Skillz’ pursuit of his career, the state (and possible degeneration) of hip-hop, relationship issues, and overcoming obstacles.

When considering tracks like “How I Feel,” “Grow,” and “Art of Storytelling,” it’s clear Skillz is dedicated to creating imagery with his lyrics.  His rhythmic flow can equally penetrate and soothe, though at times his narratives can seem abbreviated to an extent that it nearly compromises their power.  His storytelling is best demonstrated on “Take it Away,” chronicling his experience losing a child.  Here, he showcases his ability to develop an image gradually and with an element of suspense.  The interludes add introspective moments that help frame the angle of the project. The strongest track is probably “In My Head,” Skillz’ rumination on the deaths of 2Pac and Notorious B.I.G.–and consequently, the death of a major portion of “real” hip-hop.  The track samples Coldplay’s “42″ and the loop adds a wonderful electro-melodic tone to the dark feature, as old news sound-bites play in the background.  Skillz’ lyricism shines here.  Throughout, production spans smooth soul and R&B, hard drum beats, jazz, and classical strings, and even features a pop/eletronica sample from Imogen Heap’s “Ellipse” on the heavy “Stay with Me.”

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ZAKEE

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ZAKEE’s self-styled all-caps rendering of his name might suggest his debut album, Assimilations, is an audacious look at me, look at me affair. The half-Senegalese West Philadelphia native’s release has racked up a score of accolades from the blogosphere which could be cause for hubris; MTV Iggy’s “Top 20 Debuts of 2011” is chief among them. The product, however, is instead winsome polyrhythmic New-Wave more suited for background listening as a day trip unfolds rather than a more thematically focused collection. The LP’s gurgling basslines and serene, dramatic compositions amount to an oxymoron for the ears. Honey-sweet vocals dripping over and in between edgy beats hold Assimilations together from start to finish.

Inspired by an extended working episode in Brazil supporting a tour headlined by Erykah Badu, the multimedia artist concocted a jam-brew flavored by trips to Rio’s famous Copacabana and nights spinning in the city’s labyrinthine favelas. The album’s third track, “Glory,” features craggy synths and Tunde Adebimpe-like crooning (the song’s video plays like a visual postcard from Rocinha, Rio’s largest favela) and the album opener, “Dark Crystal,” features a posthumous appearance from Brazilian musical figurehead Vinicius de Moraes and Malawian singer Esau Mwamwaya. Album highlight “Freedom,” is a rousing fever dream of strident, lightweight meditation on–what else, liberation–that sounds like a strain of the instrumentals on BLK JKS’ After Robots.

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