inspiration & weekend

Playlist 28.08.16 : Five Songs for the (Long) Weekend

by

Playlist 28.08.16 : Five Songs for the Weekend
Playlist 28.08.16 : Five Songs for the Weekend
Playlist 28.08.16 : Five Songs for the Weekend

Banks and Steelz – Giant

Back in 2013, Wu-Tang Clan’s RZA revealed he was working on a record with Interpol’s Paul Banks. Last month, the two unveiled a name for their project, Banks & Steelz. They also shared the first track from their collaboration, “Love + War,” featuring Ghostface Killah, along with a video paying tribute to Quentin Tarantino’s Reservoir Dogs. On Wednesday, they announced their album will be titled Anything But Words, due out on August 26. Today, they’ve detailed the album and shared a new song called “Giant.” The song, produced by John Hill and Kid Harpoon, will be available via all digital retailers on June 10. Listen to it below.Anything But Words features Florence and the Machine’s Florence Welch, Wu-Tang Clan’s Method Man and Masta Killa, and Kool Keith. Along with previously announced appearances at FYF Fest, Life Is Beautiful, and Austin City Limits this summer, the duo has also announced a set of tour dates.

Read the rest of this article at Pitchfork

Vince Staples – War Ready

2016 has featured two rap projects that begin with a reference to the gospel staple “This Little Light of Mine.” On Kanye West’s The Life of Pablo the song was quoted by Chance the Rapper, setting the mood for a wayward album about using faith to reckon with temptation. On Vince Staples’ Prima Donna, the song is quoted as a final reckoning …

The first song on Summertime ‘06, Staples’ ambitious debut album, also ended with a gunshot, but the targets were varied. There, strafing between his past and his present, Staples wove a rich tapestry of adoration and alienation, a love letter to his hometown of Long Beach, California written in the blood that stains its streets. Prima Donna is much more narrow in scope. The brief EP finds Staples playing puppeteer to a rap star who finds fame to be unfulfilling. Nearly every song is appended by an acapella coda in which the forlorn rap star speaks directly, his voice heavy yet hopeful. It’s unclear whether the codas are song demos or confessionals, but that seems to be the point: the same art that gives the rap star life is slowly killing him.

Read the rest of this article at Paste

Bon Iver – 33 “GOD” –

On September 30, Bon Iver will release a new album called 22, A Million—their first since 2011’s Bon Iver. Tonight, Justin Vernon has revealed another new track from the album. “33 ‘GOD’” follows extended versions of two other songs from the record: “22 (OVER S∞∞N) [Bob Moose Extended Cab Version]” and “10 d E A T h b R E a s T ⊠ ⊠ (Extended Version).” Watch a lyric video below via the official Bon Iver website.

Read “What’s Justin Vernon Been Up to Since the Last Bon Iver Album? A Lot” on the Pitch and Pitchfork’s live blog of the first 22, A Million performance.

Read the rest of this article at Pitchfork

James Vincent McMorrow – Get Low

Singer-songerwriter James Vincent McMorrow made his bones pumping out heartbreaking, folksy tracks recorded in the middle of nowhere, but 2016 has seen the Irish musician take his lovely falsetto in an entirely new direction, one that is more soulful, more R&B, and borne out of collaboration rather than isolation.

In July, McMorrow told The FADER that the new sound on his forthcoming album, We Move, could be attributed in part to the influence and style of Drake’s OVO label, which seems to have helped McMorrow tap into a part of his creative process he hadn’t explored before. “Everybody that knows me knows that my love [for music] was from hip-hop, and sort of that production background,” McMorrow said at the time. “I’ve never necessarily put that into a record before because it’s hard to explain where I come from musically to people.”

Read the rest of this article at Fader

Alexander Biggs – Tidal Wave

Melbourne singer-songwriter Alexander Biggs has been quite the indie darling since emerging from the Triple J Unearthed repository with “Out In The Dark”, his second-ever track. We were in awe of the beautiful simplicity of the self-produced sounds when they had arrived, and we are now willing proponents of Alexander as we premiere his latest release, “Tidal Wave”. Much like his previous single, “Tidal Wave” contains the same lo-fi vocals and DIY sensibilities that have continued to be endearing aspects of his. This time around, he does add a slight urgency of percussion to the mix, but it does not take away at all from it being another gorgeous offering of his bedroom-folk sound.

Read the rest of this article at Hillydilly

News

Juan Gabriel, Music Star in Mexico, Dies at 66

Juan Gabriel, the prolific singer and songwriter who was one of Mexico’s most successful musical artists, died on Sunday at his home in Santa Monica, Calif. He was 66.

Mexico’s president, Enrique Peña Nieto, offered his condolences on Twitter to Juan Gabriel’s family and friends, calling him “one of the great musical icons of our country.”

Juan Gabriel’s publicist told The Associated Press that he had died on Sunday morning. Univision reported that he had suffered a heart attack.

An extraordinarily productive artist, Juan Gabriel released the first of several dozen albums in 1971 and continued to release records at a relentless pace, including two this year. He was nominated for six Grammy Awards and received a star on the Hollywood Walk of Fame. In 1996, he was inducted into the Billboard Latin Music Hall of Fame.

Four of Juan Gabriel’s albums had reached No. 1 on the Billboard Latin chart in the last 18 months. He sold three million albums in the United States over the course of his career, a number dwarfed by his sales in Mexico. In 2009, when he was declared the Latin Recording Academy person of the year at the Latin Grammys, the academy released a statement saying that he had sold over 100 million albums in his career.

Juan Gabriel was active until the end. He performed for two hours at the Los Angeles Forum on Friday, clad in one of his typical brightly colored outfits. In its review of the concert, Billboard called him “the ultimate showman.”

Read the rest of the story at The New York Times

The Sanity of Vince Staples

On Pico Boulevard near Genesee, in Los Angeles, there’s this large, tan eyesore of an office building. I can’t count how many times I’ve driven past that thing in three years living here, but it took me until three months ago to stop and look closely enough to notice that this monolith has no windows, and no roof. It’s just the facade of an office building that houses a handful of oil wells, extracting crude from the Beverly Hills Oil Field. There’s a whole subterranean L.A. that goes unseen to the naked (or negligent) eye — some “3,700 derricks extract oil from about 55 active oil fields in the Los Angeles area alone” — but they’re mostly hidden; tucked behind high schools, stashed on country club golf courses, or nestled inside shopping malls; symbolic of a city, and maybe a larger world, that prefers the smooth curves of fiction to the jagged edges of fact.

Vince Staples, who grew up half an hour south of those oil wells, in Long Beach, counteracts that civic dispassion with projects that feel like captain’s logs, illuminating — but never romanticizing — street violence, the resulting loss of innocence, and police brutality.

Staples released the Prima Donna EP on Thursday, his first offering sinceSummertime ’06, the unheard-of double-disc “official” debut (he had put out a series of mixtapes and EPs prior) released last June.

Read the rest of the story at The Ringer

Grandmaster Flash
Beats Back Time

Grandmaster Flash might easily have missed the hip-hop revolution. Born in Barbados and transplanted to the South Bronx as a child, he began his adolescence far from the city, in a group home for foster children in rural upstate New York. By the time he returned to the borough’s Fort Apachesection in 1971, things were changing fast. Music was getting more percussive; teenagers with spray cans were scrawling hieroglyphic names and full-fledged murals on subway cars.

He was Joseph Saddler then, a nerdy high school student who liked to take appliances apart to see how they worked. In a few short years, though, in the hardest-hit part of a hard-hit city, he helped to invent what many would agree was the most sweeping cultural movement of the last 40 years, and then he barely hung on to see it bloom.

The four-decade roller-coaster ride of Grandmaster Flash, now 58, is a tale as improbable and as distinctly New York as that of hip-hop itself, filled with raw creativity, fame, drugs, broken friendships, lawsuits and, finally, something like smooth sailing. In parallel with the city that produced it, hip-hop emerged in the mid-1970s as a symbol of urban decay and evolved into a gilded spectacle of consumption. Mr. Saddler, the music’s first virtuoso, rode its initial wave, got crushed by the second and rebounded as one of the few from his generation whose careers are still going strong.

Read the rest of the story at The New York Times

P.S. previous PLAYLISTS & more by P.F.M. // Top images: @amy_stone, @aurelycerise, @studio_cd