Palmistry – Club Aso

This summer, London-based producer and vocalist Benjy Keating, a.k.a. Palmistry, will release his debut album Pagan via Mixpak. Today, he kicks off the campaign with the release of a delicate, downcast, dancehall-indebted track called “Club Aso,” which he wrote during a Brixton winter while “overdosing on Kurosawa and ammy.”

“It’s the first track on the LP and sets the minimal pop tone that shapes the record,” he explained in an email to The FADER, adding, “It’s my favourite song on the album. I imagine people listening to it in the rain.”

Read the rest of this article at The Fader

Whatever happens/ You know we’re gonna repair sings JONES in her relaxed, dusky voice on new single “Melt.” The London-based artist had a breakout online hit last year with the sultry “Hoops,”and this new one is an optimistic dose of neo-soul, with a sunny strut courtesy of producers HONNE. With a message of healing, it’s a soothing listen for an intense week.

Stream the track below, and read on for a short chat with JONES at SXSW Music this year, in which she details her upcoming collaborations with A.K. Paul and MNEK, as well as her fascination with quantum physics and parallel universes.

Read the rest of this article at The Fader

Gypsy & The Cat – I Just Wanna Be Somebody Else

It’s Wednesday, and you know what that means: We’re halfway through the week and we’re starting to wonder if it’s all really worth it. Did we make the right choices? Are we happy with our lives? For God’s sake there is a nine-year-old out there in the world who can rap with the best of them, what are we doing!?

Impending existential crisis aside, today is also the perfect day to listen to a new song from Melbourne duo Gypsy & The Cat. “I Just Wanna Be Somebody Else” is rolling in synthy, chillwavey goodness that will have you dancing your way through figuring out what you’re doing with your life. This song is an absolute existential banger that will have you pressing ‘play’ over and over.

Read the rest of this article at Pigeons and Planes

“Hundred Miles” is a 2015 electropop/tropical house song by Barcelona-based DJ collective Yall featuring Gabriela Richardson. The song was written by Joan Sala Gasol, David Borras Paronella and Gabriela Richardson Torres.

The song gained more fame after it was used in a 2015 advertisement titled “Exotic Jeans” featuring Dutch model Valentine Bouquet^[1]for the Spanish casual clothing brand Desigual.

Read the rest of this article at Wikipedia

Danny Brown released his last album Old in 2013. This past January, he tweeted that he was “praying” his new album would come out in 2016. Last week, he shared a photo from the studio with Top Dawg engineer MixedByAli and wrote that they were “putting the final touches on [his] next masterpiece.” Today, he shared the video for the his new single “When It Rain,” which is produced by frequent collaborator Paul White. It’s out now on Warp. In a press release, he said of the label move, “With the blessing of my Fools Gold family by my side, I’m excited to be working with Warp on new material. They’re music fans to the same high degree I am and I’m looking forward to breaking some rules together.” The video, directed by Mimi Cave, is a psychedelic montage of dancing, hula hooping, Danny Brown rapping, and more.

Read the rest of this article at Pitchfork

Dev Hynes: New York’s Last Bohemian on the City and His New Album

May was a busy month in New York for Dev Hynes, as most months are. There was that night at the Dizzee Rascal show, and the one at American Ballet Theater. There was the basketball tournament at the art fair, and the late nights playing Ping-Pong in the West Village. There was the intimate performance in a Lower East Side bookstore, and rehearsals in Midtown for shows he’s about to perform to celebrate his new album, “Freetown Sound,” released under the alias Blood Orange.

It can seem that there’s not an inch of New York — not a block, not a scene, not a cultural ecosystem — where Mr. Hynes, the 30-year-old singer-songwriter-producer, hasn’t left a footprint. To many, the city is an unsolvable puzzle. For some, comprehension is possible, but only from a distance. Fluency, though, is something that’s in short supply. New York has always been a city of secrets, but some people seem to know all of them.

One recent night, Mr. Hynes was sitting in DeSalvio Playground in NoLIta, nibbling on a peanut butter cookie as the sun began to shrug. It’s a small spit of a park, the sort of place you might walk right past without noticing. But not Mr. Hynes. “I’m in this playground a lot, actually,” he said enthusiastically. This tiny corner is his, too.

That sort of engagement feels almost antiquated, a product of an older time when place was something close to destiny. That’s no longer the case. It is less essential than ever, in this time of easy mobility of ideas and internet-driven transnational fame, for an artist to identify with one spot in the world. To be, in essence, local.

Read the rest of the story at The New York Times

Mourning after the night before as Glastonbury dances away the blues

Glastonbury stands for everything our generation wants,” says Matt Healy of the 1975 during an impassioned rant about the EU referendum on Saturday eveningl. This year Brexit is the elephant in the field, inspiring comment from everyone from Billy Bragg to Chvrches, but there are worse places to absorb bad news.

After a gloomy start, Glastonbury hits something like its usual stride on Saturday, building towards Adele’s headlining performance. “Fucking hell,” says the world’s biggest vocal act when the crowd sings set opener Hello back to her. She never stops seeming utterly delighted.

In fact the 10-year-old girl she invites up for a chat seems less overwhelmed than Adele. Her voice is a marvel, her charm nuclear. You could get whiplash from the frequent shifts between towering emotional tragedy (she apologises for her “miserable” songs) and salty, self-deprecating humour that’s apparently earned her a prior warning from the BBC. “I bet Muse don’t get that.”

Saturday afternoon boasts a typically diverse array of performances. Wolf Alice play crunchy, melodic indie-rock reminiscent of the Breeders and Belly, punctuated with typhoons of noise. Clearly delighted to be on the Pyramid Stage, they make a winning debut. Congolese Afro-rock band Mbongwana Star open their set with a celebration of Muhammad Ali amid a weekend already studded with tributes to Bowie and Prince: poignant reminders of a cruel year.

Read the rest of the story at The Guardian

Beyond ‘Reasonable Doubt’: Inside the Legacy of Jay Z’s Masterpiece Debut

It’s hard to imagine Jay Z as a hungry, underground MC on the come-up, considering his present Maybach-driving, Basquiat-acquiring status as perhaps the most powerful man in the game today. But in 1996, the man born Sean Carter was just that, emerging into the national spotlight with a good seven years of experience under his belt, having begun as a protégé of Brooklyn MC Jaz-O and making his first appearance on record in 1989 with a verse on his “Hawaiian Sophie” single.

Next he managed to land a dream gig touring and recording with one of his biggest hip-hop heroes, Big Daddy Kane, where he experienced the skills of a master MC in a story that comes across like the plot to a Kurosawa samurai film.

“He was condensing, stacking rhymes on top of one another,” Jay Z explained in his 2015 autobiography, Decoded. “Trying to keep up with him was like an exercise in breath control, in wordplay, in speed and imagination. He was relentless on the mic.”

However, prior to the release of his first LP on June 25, 1996, Reasonable Doubt, an album considered not only one of the best debuts in rap but one of the greatest albums ever from the genre, Jay Z was forced to put the game on hold in order to hustle drugs in the street in order to make a living.

Yet while Jay placed his emphasis in other directions, he’d still make appearances from time to time, guesting on the likes of Big L’s Lifestylez Ov Da Poor and Unfortunate and Mic Geronimo’s The Natural as well as classic spots on Stretch Armstrong and Bobbito Garcia’s legendary radio show on WKCR 89.9 FM.

Read the rest of the story at The Observer