Carnage and The Martinez Brothers are well-established names in the producer world and recently, they decided to link up with some help from legendary producer Mike Dean, and singer Elderbrook. Their effort resulted in a new track called “Together” and it’s certainly a melancholic vibe that will help you get through this gloomy Sunday.
Throughout the track, we are met with some lowkey piano melodies that help provide the laid back aesthetic. Meanwhile, Elderbrook delivers some beautiful vocal lines that harmonize perfectly with the instrumental. These elements come together seamlessly and the influences of all four artists can be distinctly heard.
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Last year, Clipping, the experimental rap trio led by the extremely talented human being Daveed Diggs, released the album There Existed An Addiction To Blood — a full-length salute to both horror cinema and to the horrorcore rap music of the ’90s. Today, they announce the sequel. This fall, just before what’s sure to be a profoundly weird Halloween, Clipping will return with the new album Visions Of Bodies Being Burned, the second album in their horrorcore series.
If you think the album’s title looks familiar, you’re not wrong. Visions Of Bodies Being Burned is named after a Scarface line from the Geto Boys’ classic 1991 single “Mind Playing Tricks On Me.” On the lead single “Say The Name,” Clipping sample that line, turning it into the hook and building a whole dark fantasy around it. “Say The Name” builds into a sort of industrial synth-rap clatter, and it features Diggs meditating on the plot of another early-’90s classic, the 1992 movie Candyman: “The hook gon’ be the coldest pimp slap/ Coat rack for man skin/ Let it air dry/ Swiss cheesed a brother already half dead/ Brain leaking out a hole in his forehead.”
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Who had the album of the year in 2019? Well, if you ask Freddie Gibbs, he’ll still be telling you it’s Bandana. And it’s hard to argue that. The follow-up to Pinata found Freddie Gibbs and Madlib leaning deeper into each other’s world with Gibbs boasting his pen game while Madlib delved into the world of the trap without losing his signature sound.
Not only did they release the album of the year but even NPR would argue that the duo delivered the Tiny Desk of the Year with backing from the El Michels Affair. Now, the rapper-producer duo has reconnected with the El Michels Affair to revamp Bandana tracks with an even deeper fusion of hip-hop and jazz. With Madlib handling the production right next to Gibbs, the rapper’s vocal range stretches even further with the gruff, bluesy tone in his voice getting amplified.
“Every experience that you have musically, you take it and you use it to make yourself a better artist,” Gibbs explained. “I feel like these sessions with the band and, you know, even going to the Tiny Desk, this thing right here that we’re doing right now is shaping me to be a way better artist.”
“With Freddie Gibbs and Madlib diving deeper into the world of jazz, El Michels Affair deliver a refreshing take on songs like “Freestyle Shit,” “Palmolive,” and “Gatdamn.” Hopefully, once the pandemic ends, we’ll see Freddie and Madlib hit the road with the El Michels Affair for a joint tour. The Diamond Mine Sessions is in partnership with Amazon Music.
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At the moment, nothing can stop Hudson Mohawke. After a hiatus from his solo work, the Scottish producer started his summer by releasing his first single under his HudMo title since 2016, “BENT” with JIMMY EDGAR. Since then, he’s only upped the ante, with his inexhaustible activity culminating in his first solo LP in four years, Big Booty Hiking Exhibition. Now, HudMo is back with his second album in a month’s time.
Poom Gems can be thought of as a companion album to Big Booty Hiking Exhibition, as both comprised previously unreleased tracks that Mohawke has been sitting on. Like Big Booty Hiking Exhibition, Poom Gems ranges from some of HudMo’s most off-the-wall beats yet to his classic, unreplicable, and bombastic sound, though as a whole, Poom Gems is more accessible than it’s predecessor. After almost no announcement before Poom Gems‘ release, only one question remains: how much more is to come amid Mohawke’s return?
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Baxter Dury was the five-year-old urchin standing alongside dad on the cover of Ian Dury’s groundbreaking 1977 debut album, New Boots and Panties!! He has forged an intriguing career in the slipstream of his father, who died in 2000, two years before Baxter’s own debut album Len Parrot’s Memorial Lift.
As with many musical offspring, similarities are superficially striking in both voice and style – a very particular confluence of spoken word and limber grooves utilising London vernacular to spin offbeat tales with darkly comic, surrealist edges. Baxter is no wannabe Blockhead, however, with 2017’s acclaimed Prince of Tears showcasing a mature artist less reliant on dazzling wordplay and more focused on mood and character. He continues the good work with sixth album The Night Chancers, a set of seductive, atmospheric late-night grooves on which Dury conjures sinister vignettes of insomniac dwellers of the wee small hours. This is a sleazy, and slightly over-familiar, world of dodgy geezers, jilted lovers, deluded fashionistas and social media stalkers chasing elusive highs as the last strands of clubland spill out into the street.
If you are going to forgo melody for spoken word delivery, it certainly helps if you have a distinctive tone. Dury’s voice is appealingly thick and low, with the slightly affected dropped h’s and glottal stops of a mockney thespian – think Danny Dyer doing Harold Pinter. Dury does not demur from being described as mockney, as it happens, noting in a recent interview, “I guess that’s what I am. I’ve got a Goya painting. But my grandfather was a boxer and drug dealer.”
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