Raditude, said to be named by The Office’s Rainn Wilson,  is a follow up to the band’s June 2008 Red Album.  It is another disc to fall on Weezer’s catchy, pop-punk side, as opposed to their more mellow, thoughtful albums like the Blue Album.  Goofy track titles like “I’m Your Daddy” and “Tired of Sex” have listeners expecting some pretty good-humored songs.

“(If You’re Wondering If I Want You To) I Want You To” was leaked onto the internet this summer when Walmart.com posted the song up for purchase 9 days before its original release date.  Weezer officially released the track two days later.

The video for the song was directed by Mark Webb,  director of (500) Days of Summer (sweet!) as well as many other music videos, and stars Cloverfield’s Odette Yustman.  It will premier on Babelgum but for now check out the teaser trailer:

Their new album, Exotic on the Speaker, is the “result of years of creative collaborations and finesse – culminating in 13 club ready tracks featuring the likes of Ghostface, Del the Funky Homosapien, M.I.A. understudy Rye Rye, Pigeon John, Lyrics Born, and more,” says The Daily Rind.

In anticipation of the new album, the boys released a free promo mixtape, Exotic on the Mixtape, including the song “Put em up”, which Pitchfork calls “an exuberant synthesis of traditional Israeli folk melodies and familiar hip-hop sensibilities.” You can download it all here.

Once you’ve download the mixtape, read Soulico’s answers to The Music Slut’s 8 Questions, including how playing to an Israeli audience differs from an American one, and check out Sabbo’s blog, Noiz in Zion, if you like remixes (and free downloads). Of course they are on MySpace and Facebook too.

JDub Records, which is a “not-for-profit dedicated to innovative Jewish music, community, and cross cultural dialogue,” was lucky enough to sign Soulico before anyone else found them. CEO Aaron Bisman happened upon their first mixtape while he was rummaging through the bins at Tel Aviv’s Hatav Hashmini record store. Apparently they were hard to track down, but he jumped on their MySpace the day it went up and claimed them.

Thanks to our friends over at JDub Records for hooking us up with these guys. As part of the release of their new album, Soulico wants you to remix the title track, “Exotic on the Speaker,” and is giving you access to the stems of the song via the MixMatchMusic Remix Wizard. You can either download the stems (for free) and use the audio editing software of your choice OR simply click on the MixMaker button on the widget to make a remix in MixMatchMusic’s simple online music editor. If you’ve never experienced remixing before, or just want to see how the song was made, check out the MixMaker. Once you’ve completed your remix, upload it so that others can listen to, vote on and share it.

Soulico will be choosing one grand prize winner plus three runner-ups. Here’s what you can win:

Grand Prize:
- Soulico – Exotic on the Speaker CD + LP
- Stanton YakPak DJ bag filled with JDub Vinyl
- Your choice of Prime Loops Software
- Pair of Radius Ear buds
- Remix featured on jdubrecords.org & Soulico myspace

3 Runner-Ups:
- Stanton YakPak DJ bag filled with JDub Vinyl
- Copy of Soulico – Exotic on the Speaker CD
- Remix featured on jdubrecords.org & Soulico myspace

Deadlines: Contest starts Monday, October 5th and ends Monday November 23rd. Check out the official rules here.

Get on it!

Regardless of your beliefs or religious affiliations, it can be pretty damn powerful. It seems like there is some magical intangible quality that really only exists in that environment. Some of you might call it God. Some might view it as communities coming together to inspire and support one another through music. Perhaps it is simply the result of raw human emotions combining with some killer vocal talent.

Thanks to Verizon Wireless, the unique genre of choral worship music can now be experienced by a broader audience. How Sweet the Sound is the search for the best church choir in America. I guess America is not busy enough searching for the best [insert talent here] already… But hey, if there can be a Top Chef, a Top Model, and all that, why not a top church choir? I say bring it on, bitches!

Read all about the contest here, check out their blog here, and follow the tour as it travels across the country here. If you plan on actually attending one of the events, be sure to bring your old mobile phones to support their HopeLine project. Or if you’re the exhibitionist type, rock your own gospel at their karaoke booths and show the world what you’ve got.

Here’s a classic one for ya. Still makes me cry…

The four artists, each already having their own successes with bands Bright Eyes, My Morning Jacket, and She & Him, highlight the best in each other. All four players share songwriting and vocal duties, and no one artist steals the spotlight completely; however, Oberst’s trademark sound does permeate most of the songs. His distinctive wordplay lyrics and jaunty folk-rock are predominant.

James’ past work with many different genres and influences in his band My Morning Jacket comes through on the trip-hop opening song “Dear God (Sincerely M.O.F.),” and the funk inspired “Losin Yo Head.” The evocative harmonies typical of Ward and Oberst are pervasive. And Mogis, originally of Oberst’s band Bright Eyes, plays a more minor role in the forefront of the album, but was major behind the scenes working as producer.

All four artists brought their best to the table, and created a disc of enjoyable, catchy folk tunes.

Whether you’re part of the Twitterati (if you are, you better be following us) or not, you can probably appreciate the suggestion that this become Twitter’s theme song. (Or Barack Obama’s theme song, as ajcgn suggested.) Old school house by Aly Us. Anybody know what year this is from?

Well, once again I’m a bit tardy and we have the music I was listening to in August being posted on the first day of September. But, better late than never, and the August music, while a bit late, is pretty spectacular. The August iPod update covers 94 songs from 7 artists (yes, a lot of full album downloads this month), and stayed largely (and surprisingly) away from Hip-Hop. So, without further ado, here’s what I’m hearing lately.

As Tall As Lions, You Can’t Take it With You: Having been kicking around in various formats since 2001, ATAL has released their third album. The band, originally from New York but recording a good portion of work in Chicago, flirts with rock, Indie and folk in darker soundscapes. The sometimes low, sometimes high or falsetto voice of lead singer Dan Nigro works with lyrics often dealing with depression or anxiety over brooding tracks. Through all of these songs, a feeling of being trapped somehow persists, with snips of guitar rifts floating through deep bass lines or horns whispering in the background. But despite this, the melancholy at times reaches crescendos that speak of freedom through misery. At other points, ATAL is a runaway train of energy on a track like “In Case of Rapture,” where the drums keep a frenetic pace. Don’t Sleep On: “Sixes and Sevens,” “We’s Been Waitin,” and “Home Is Where You’re Happy”

Beats Antique, Tribal Derivations: Fusing old and new, Beats Antique uses World and specifically Eastern-inspired music while adapting it to Western downtempo, glitch and hip-hop. Indian chants, thick stand-up bass, lightly picked harps, sitars and other string instruments are thrown in the pot with tablas and hand drums, frequently to be sprinkled with drum machines and electronic effects. The result is an album with driving, lounging or club music. In some cases you can imagine the hookah smoke drifting around you as dancers move slowly to the tunes, while in others you can imagine a dark lounge. On “Derivation,” they take portion of melody from “Summertime,” and pepper it with a digeridoo and deep drums. If you’re a fan of World music, this is an album for you. Don’t Sleep On: “Derivation,” “Intertwine,” and “Discovered.”

Fruit Bats, The Ruminant Band: After working on the fringes of music, Eric D. Johnson, the frontman of the Fruit Bats, signed with Sub Pop in 2002 and have been labeled by music publications as “Zoology Rock,” “Boot-Gazer,” and “rustic pop.” The Ruminant Band is their 5th studio release and offers a sunny panoply of pastoral and easy to listen to (which is not the same as easy listening) rock tracks that feel like they could have come out of another era. Up-beat acoustic guitars back moving guitar riffs, piano dances playfully across the spectrum and Johnson’s voice, high and plaintive, is reminiscent of some of Led Zeppelin’s tracks. The tracks are on the shorter side, content to bring the listener along, get the idea across and move onto something else without brooding on one sound. An upbeat album perfect for a ride or camping trip, early mornings in the sunshine and dusty backroads. Don’t Sleep On: “Beautiful Morning Light,” “Primitive Man,” and “Singing Joy to the World.”

M.R. Shajarian, Night Silence Desert: Where Beats Antique took traditional music and mixed it with new themes, M.R. Shajarian stays strictly classic here in his World music. The tracks are light on percussion and heavy on atmosphere, with songs that feel as if they’re literally drifting away into the night of a desert. The instrumentation is skilled, an almost Middle East Béla Fleck sound permeating many of the tracks. Don’t Sleep On: “Silence of the Night (Sokout-e-Shab),” “Rain (Baroun),” and “Setar Instrumental (Torgheh)”

The Morning Benders, Talking Through Tin Cans: Berkeley natives The Morning Benders, who recently garnered “Best Of” for a local band in the yearly San Francisco round up are a pleasant mixture of rock and Indie pop without trying to be too much of either. The songs are laid back and pleasant melodically. Simple drums, guitars, a Rhodes and tambourines paint a picture of sunny California in much the same way the Beach Boys did, but with urban flare and a nod to slightly less-polished pop. Like the Shins without the depression, The Morning Benders are a group to keep an eye out for over the next few years. Don’t Sleep On: “Waiting for a War,” “Boarded Doors,” and “Wasted Time.”

Oumou Sangare, Seya: Hailing from Mali, Sangare weaves traditional African hunting songs with lyrics of social criticism attacking the position of women and marriage in the society, among others. Seya is her first album release since 2004 and it is full of sound. The rhythms and melodies of her native land meet superbly with her voice which is smooth and slightly musky. The arrangements are lively and moving, and as her voice soars over the songs, you don’t need to speak her language to hear her emotion. Don’t Sleep On: “Kounadya,” “Senkele Te Sira,” and “Wele Wele Wintou.”

Owl City, Maybe I’m Dreaming/Ocean Eyes: Adam Young is the one man behind Owl City. He started making music to combat insomnia, and the tracks carry an energized dreaminess that speaks to the line between dusk and dawn. Fans of Postal Service will recognize his electric and synth symphonies, while fans of Death Cab for Cutie and Postal Service will find in Young an eerily identical voice to Ben Gibbons. Young is soothing, his melodies are light and sound pure, and his balance between sweet sentimentality and sad longing creates almost a joyous balance between joy and pain. For some, these tracks might be too syrupy, but for others, a slightly more electronic and upbeat Postal Service will be just the delivery they need. Maybe I’m Dreaming is a 2008 release and Ocean Eyes from 2009. Don’t Sleep On: “Fireflies,” (video below), “The Technicolor Phase,” and “On the Wing.”

There has been a lot of talk lately about live music. Some of us have noted that concert sales are thriving despite the recession, and there seems to be almost a revival of festival-going going on. The Taking Woodstock movie is coming out, which is sure to conjure up some nostalgia and fuel some fires that have been laying dormant. One of the more notable festivals on the West coast is definitely San Francisco’s Outside Lands, which is taking place this weekend.

For those of you who live in or have ever been near the Bay Area in August you know it’s a big deal. The historic Sunset District of San Francisco plays host to this 3 day festival in Golden Gate park, which includes an incredible lineup spanning just about every genre and showcasing both big names and lesser known gems.

Fans who were looking forward to the Beastie Boys headlining will have to shake it off and get excited about Tenacious D jumping in instead. Hopefully, M.I.A. will be able to do the same. She was none too pleased about the change.

In addition to being highly interactive and social media friendly, Outside Lands has taken it a step further and is going where no concert has gone before. It is being broadcast live on YouTube! While we’re doling out the accolades, let us also mention that they are doing their part to keep it green.

Planning on going? Have you seen all the tools out there to help you get organized? First of all, you can stay up-to-date via twitter. (Please note that it’s a “twitterbot for people going to Outside Lands Fest. Send tweet to @osl to broadcast back to everyone following osl.”) Also, you might want to download the iPhone app, try using Ranger Dave’s Magic Scheduler, or hop on to CrowdFire (a place to add your photos, videos, and tweets.)

Heads up fans, producers, and DJs! We’ve got a brand new remix contest for all of you looking for new and impressive ways to participate in the creative process and show off your DIY skills. MixMatchMusic has joined forces with Bay Area rapper Lyrics Born and eyewear company Sutro Vision to bring you a chance to remix Lyrics Born’s newest single, a re-union track with the other half of his Latyrx duo, Lateef the Truthspeaker, called “Pushed Aside, Pulled Apart.”

“Pushed Aside, Pulled Apart” will be appearing on both Lyrics Born’s upcoming Variety Show mixtape and the studio album he has due in 2010. The track utilizes female vocals, synths and moving drum and clap percussion to frame uptempo lyrics from Born and Lateef surrounding the decisions and choices they’ve been faced with making for their careers. Check out the video for the single below.

In an effort to engage and interact with fans, as well as contribute to the growing number of artists allowing fans to remix their work, Lyrics Born has loaded the stems to “Pushed Aside, Pulled Apart” into the MixMatchMusic Remix Wizard and has given you two options for making a remix: Either download the stems for free and use any software you want, or just click on the MixMaker button on the widget to make a remix in MixMatchMusic’s simple online music editor. If you’ve never experienced remixing before, or just want to see how the song was made, check out the MixMaker. Once you’ve completed your remix, upload it so that others can listen to, vote on and share it.

So what will you win? From the entries, Lyrics Born himself will be picking three winners – a grand prize and two runner-up prizes. The grand prize winner will receive a pair of Lyrics Born signed Sutro sunglasses (these shades are sweet!), autographed copies of the entire Variety Show catalog, a Lyrics Born T-Shirt, 2 free tickets to any Lyrics Born show, a meet and greet with Lyrics Bron at said show, and their track featured on LyricsBorn.com presented by Lyrics Born himself.

The 2 runner ups will each receive a pair of Lyrics Born signed Sutro sunglasses (he will sign the case), a copy of the new Lyrics Born Variety Show mixtape, a Lyrics Born T-Shirt and 2 free tickets to any Lyrics Born show as well as their remix featured on LyricsBorn.com. The official rules for the contest are available here.

So what are you waiting for? The contest starts today (Tuesday, August 25th) and runs through Friday September 25th. Tune in, sign on and start mixing!

I feel like the music industry is caught in a bad dream. That dream where you keep running, turning corners, opening doors, all to get away from something, and yet you can’t. Every time I turn on the television or flip through the radio dial, it’s like I’m opening a door in the dream and finding myself in the same place, listening to recycled music from the past twenty years, sometimes infused with a new trick like auto-tune, sometimes not. But people keep buying, and therefore, labels will keep re-packaging. This is an old rant of mine, but one that came back to the surface after reading the release details for the second coming of Bayani.

When Rawkus Records released Bayani on June 12th, 2007, it was the second album from the duo and one that promised an enormous amount of future material based solely on the progression of the artists between it and their eponymous debut. However, in reading the re-release article, I come to find that only 20,000 copies of it have sold. That’s 10,000 per year in the two since its release, which averages out to about 28 albums per day. That’s not too bad, until you think about the fact that Flo-Rida probably averaged 28 single downloads per minute for his crap and the current iTunes chart topper is Miley Cyrus.

What do you need to do to expose people to good, quality music these days? 2007’s Bayani is a far stronger album than Kanye West’s 808s and Heartbreak, yet that went Platinum with 1,000,000 sold in just three months and we’re talking two years later at 20,000 for a better hip-hop CD. Is it the lyrics? Are lyrics with depth and intelligence, as pushed out by Geologic and the majority of his underground counterparts, too much for radio listeners? Is it that any variety making a beat sound like something you haven’t heard in every Top 10 song for the past 5 years is frightening? Personally, I’m not sure. But what I can tell you is that while Kanye West walks around making an ass out of himself with all of the money the pop-hypnotized public gives to him, quality artists like the Blue Scholars are trying to figure out where the inspiration for and money to produce their next album will come from.

So do yourself a favor. Turn off the radio, stop watching MTV, and do something other than Shazam the latest club track you heard last night while you were drunk off your ass. Check out Indiefeed, your local independent record store or any vast number of music blogs and resources online and find something new, something different, and in many cases, something more artistic.

Bayani Redux comes out with three previously unreleased tracks on September 1st.

A sad day in music today as one of the older trailblazers, Lester “Les Paul” William Polfuss passed away. He was 94. Born only a few short years after the sinking of the Titanic, Paul lived through two World Wars, numerous armed skirmishes, the Depression, three “first” Supreme Court Justices as well as the first African-American president. But in a life that spanned all of those historic events, his contributions to music, the recording industry and the guitar dramatically changed the way it was created, played and recorded on a level unparalleled elsewhere.

Not only was Paul an accomplished musician, but his DIY tendencies and desire to see how things worked lead him to develop technology that shaped the future of the music industry and huge developments within genres. The standard of multitrack recording was pioneered by Paul, and the practices of overdubbing and delays were advanced by him as well. Dissatisfied with the acoustic guitars available, Paul created his own electric guitar. This would go on to be manufactured and sold by Gibson, becoming one of the iconic guitars for rock musicians from multiple generations. Certainly we may not have had the Steve Miller Band were it not for Paul being Miller’s Godfather and giving him his first guitar lesson. I’ve also read that when he broke his arm he asked the doctor to reset it in a permanent guitar playing position. I can neither confirm nor deny that.

When it comes to instrumentation and studio techniques, few people in the recording industry have had as much of an impact as Les Paul. His influence and love for music was so great that he continued playing guitar into the last year of his life, and created continued inspiration for premier guitarists worldwide. In a musical climate where “innovation” comes in the form of auto-tune and artists rarely have more than monetary attachments to the instruments they play, Paul’s truly significant leaps of technology and his subsequent engineering attachment to the instruments he created will remain singular and unique for some time to come.

A few words of advice: if you want to pick someone to have a battle with, I highly recommend you stay away from Eminem. He’s shown himself to be a brilliant lyricist, a scathing social commentator, and absolutely unafraid of putting out every negative thing about himself as long as he still gets his shot in at the intended target. When someone has such a complete lack of disregard for his own reputation, you can only imagine the lengths he’s willing to go to to take someone else down. But, apparently, the lighthearted mentions of Mariah and Jessica Simpson, the feuds with other rappers and the absolute lambasting of Insane Clown Posse that Eminem has indulged in in the past wasn’t enough to convince Mariah to leave the situation alone and be happy he wasn’t doing worse. No, she had to go and mock him.

If you haven’t heard, Mariah’s new single is called, “Obsessed,” and while it could be viewed as a general assessment of any over the top fan, the video instead makes a fake Eminem the target of the label, showing him groping at her album covers, following her through town and in other ways being generally creepy. And on listening to the lyrics, there’s no mistake that she’s directing it at Eminem, mentioning how lame he is, how he’s lying about having sex with her and he’s chilling in L.A. while she’s in the A. with Jermaine. Wrong move. It didn’t take more than a week for Eminem to write, mix and release his answer to her video, and it absolutely slams. Eminem is at his best when he’s making fun of himself while also taking shots at others. Here, he gets to do that in one take based on a former relationship, and he does so with typical rhyming flare. He doesn’t just go after Mariah, he spends over 3 minutes going after everything from her house to their sex life (or what sex life there was), and throwing Carey’s boy-toy, Nick Cannon, into the mix for good measure. Now, this song is so scathing and so aggressive, that my only hope is that Mariah doesn’t try to escalate this further, because, really, she’s already lost, and if you think Eminem doesn’t have more to say, you just don’t know Eminem.

So here is Mariah’s video, and Eminem’s answer. Nothing like an ex-lover’s quarrel spilling out into the mainstream music waves to brighten a day.

Kero One

When it comes to DIY, it doesn’t get much more do-it-yourself than Bay Area born and bred Kero One. When he dropped his first album, Windmills of the Soul in 2005, he made it completely at home, charged up his credit card, released it on a self-made label, Plug, and became a hit when one of his original 50 copies found its way to Japan. Earlier this year, Kero One released his sophomore album, Early Believers, and I sat down to chat with him about his upbringing, musical history and thoughts on the evolution of the music industry.

AC: So you talk on Early Believers about your parents moving to the Bay Area. Where did they move from and was it a big culture shock for them?

KO: Well they came from Korea originally; and then they came here when I was… zero. Probably in 1978 or so. From what I understand, it’s a little bit different, of course, but you know, they adjusted. What I talk about on “Welcome to the Bay,” it’s just some of the experiences that I witnessed when we were in the South Bay growing up. I talked a little bit about that and also, I guess just a little bit about their adjustment in terms of, they’re used to a whole different lifestyle and obviously like different types of food and things like that. But, yeah, I mean, it was different, but of course they adjusted. And then we grew up in the south bay, and you know, I’ve obviously lived there for pretty much all my life.

AC: Whereabouts down there, San Jose?
KO: San Jose, Los Gatos, Santa Clara
AC: So how has your family played a role in the music that you’ve created?

KO: Well I’d say they made me take classical piano when I was really young, so, in the sense of being forced to take piano lessons, that was a pretty big role because, even though I hated it back then, I’m pretty thankful for it because I use it a lot in my music now. And other than that, not that much because really, they didn’t push me to do music; I mean, they’re kinda traditional Asian parents in the sense that they wanted the more, “education thing is a big deal,” and going to a good college and getting what they understand is a good job, whether it’s an engineer or doctor or something like that. So, they were really pushing for that, and, you know, honestly, when I told them I was rapping, I mean you can guess what their reaction was. Which is understandable, I guess, but now they’re fully supportive.

AC: You talked about learning classical piano. That was maybe the first of many instruments you learned; did you go on to learn any others, or was that the only formal training that you had?
KO: Yeah, that’s the only one I had formal training in, and I did that for 10 years almost. Technically it was probably like five years because the other five, I was kind of not really there. I hated classical music, but, when I was in middle school, I was really into punk, and I got into Primus and a little bit of rock like Red Hot Chili Peppers, and we all know, Flea and Les Claypool, ridiculous bassists. That inspired me to pick up the bass, and I started messing with the bass a little bit. So, other than that, it’s just bass, piano and I play a little bit of percussion; so those are my three things right now.

AC: Do you spin?
KO: Yeah, and I DJ as well. I got into scratching quite a bit when I was in college, so I was into the whole turntables thing, try to beat juggle, flares. I DJ out mostly in the city, one off events and sometimes I go out and DJ internationally, but, yeah, right now I’m just trying to focus on the live stuff.

AC: Do you play your instruments live in concerts?
KO: Well, actually for the last show, what we did was I incorporated a little bit of live keyboard and a little bit of live drumming, but something that I’ve always wanted to do was play some instruments and rap at the same time ’cause I’ve never seen anybody really do that. I’ve seen people sing, but not really rap, so that’s what I’m gonna be doing on my new show; just a little bit of that, and incorporate, I got a guitarist, I got a singer, and so we’re definitely bringing in like the live element to the live show, ’cause a lot of the stuff on my album is actually played out, it’s not samples, so it seems pretty natural to have live instruments.

AC: Out of all those instruments that you’re playing, which one are you enjoying playing the most?
KO: I’d say probably the keys. I’m not stellar player in any of the instruments, but when I do play the keys, it’s definitely fun when you can come up with a nice chord progression or some good solos, I’d say the keyboard.

AC: So you were talking about Primus, Red Hot Chili Peppers; what are some of your other musical influences and what are you listening to now?
KO: Man, I pretty much am influenced by everything from Mobb Deep in the early 90’s to John Mayer to Daft Punk, I listen to it all. Probably the only thing I don’t really get influenced by is country — I mean everybody says that, right — country or like folk, or something, or obviously classical music. But yeah, I listen to pretty much everything; like I grew up listening to really being into the early 90’s hip hop stuff, classic stuff.

AC: What was the first rap album you really got into?
KO: I’d say probably LL Cool J, Radio — I think that was the one. And then the BDP (Boogie Down Productions) stuff. So, yeah, BDP By All Means Necessary. And then for me, you know, I listened to that era when that came out, and then I went back to study other artists. Then, you know, from there, just expanded to Rare Groove and Soul and other related genres.

AC: So your initial album kind of made its break in Japan.
KO: Yeah.
AC: I’ve followed a number of hip-hop groups from Japan, but what would you say about the scene and the culture over there in the industry in terms of hip-hop?
KO: Well, definitely the culture plays a large roll, in the scene of hip hop over there because their culture, as you probably know, is very intense in terms of studying and breaking things down. I mean, when I was watching TV, and they were talking about, Indian Curry, I mean I was just watching from the hotel room and they were Japanese chefs, climbing barefoot on trees in India with the Indian guys there, to show this is how they do it, this is where they get it from, this is what it looks like and what it smells like, and they’re like breaking it down. I mean, that whole mentality is just kind of standard to me out there. They do that with hip-hop, and out there I learned more about music than I ever have in that short amount of time, ‘cause they know hella information, I mean, all the good music somehow just gets funneled over there and they have it at stores, the people who sell music are super knowledgeable. I basically discovered all these artists from the UK, from Europe, in other parts of Asia, even the States, out in Japan, you know. It’s really weird. I think because of that, they’re able to push the envelope a little bit. It’s definitely on another level out there, I think, in some ways.

AC: Did you pick up any Japanese hip-hop that you really liked while you were back there?
KO: DJ Mitsu is part of a group and I picked up their albums. I picked up a few instrumental albums out there. When I go out there, usually the labels will give me like a stack of CDs, so there are a couple CDs in there that are pretty dope. But yeah, definitely. I’m always getting new music while I’m out there.

AC: What’s been the most enjoyable part of the transition from web design and tech that you were doing to producing your own albums?
KO: Not having to listen to the boring meetings. I used to fall asleep in those meetings, you know. A lot of times I’d be at work, I’d be thinking about labels, music, I’d be stepping out very frequently to do maybe a press interview in the UK or whatever and since it’s international, you can’t miss that call, and so, you know, I gotta get up and go out and people probably started wondering why I was leaving so frequently. I still actually do a lot of web design now for my own stuff, so I haven’t strayed away from that too much. I hope to soon, but I don’t really miss the technical stuff that I need to learn, you know, just for that company; so now I can do whatever I need to do fix the public website or update the Kero One website or things like that.

AC: Have you retained or used anything from the job in actually getting your music heard?

KO: Well for sure in the sense those skills, I can apply to making websites, making them a little more functional, adding a little bit of interaction with it, like for example a mailing list, or something like that, whereas, you know, if I didn’t learn all that stuff, I’d probably be just a blogger or something, which is fine, but, for me, I’ve been able to take advantage of that. For example, I’ve pretty much configured our whole webstore on the website and now people can purchase things online. So, yeah, in that sense, that’s helped me a lot; so I definitely can’t ignore that.

AC: One of the lines I like from the new album is “wearing so many hats that your hair is concave.” So what’s been the hardest part of the scenario and trying to do it all for your label from rapping and producing your own music to being the label head?
KO: It’s definitely prioritizing your time. I had a PDA phone, which really kept me in check, but prioritizing time and figuring out where things need to be is probably the biggest challenge and now I have employees. Being able to stay on top and make sure that they’re being managed and they’re getting tasks done definitely takes up a lot of energy, but I think it’s definitely part of the grind, It’s a learning experience; I’ve learned a lot about the business. I’d say that another challenge is that I don’t want to take the business side to kind of supersede the creative aspects of my life, like the things I’m trying to do musically, I don’t want them to get pushed out of the picture, so lately with employees and things like that, it’s been helping out a lot, but there’s nothing without challenges.

AC: This whole album is full of really jazzy hip-hop, a lot of jazz influence on it; what was the approach that you used to make these songs and was your intent to go that heavy with the jazz? Was that something you wanted to do?

KO: You know, it’s really weird, I always get that comparison out and get told that it’s very jazzy and I guess I’m not ignorant to that fact, but I don’t actually say I’m gonna try to make it like this. I just usually try to go with what I like and just want to make something I enjoy. For some of the tracks, like “Love and Happiness,” which was produced by King Most, I mean, he just played me a bunch of beats, but when he played that one, that jumped out. I was like “Dude, that beat is ridiculous. I’m gonna have to add that.” So, you know, it wasn’t really a conscious thing to make it like that, but the other approach for this album was that, as opposed to Windmills, I wanted to give a little more diversity in terms of the tempos, the arrangements, I’m bringing in different Soul artists and features and just make it a little bit, I guess, less heavy. Because the first album, Windmills, was very personal and there were a lot of things on there that were very sexual. I mean this one, even though I put that in there, I also wanted to balance it out with something that’s a little fun, tracks like “Keep Pushin’” where you could have people dancing to it. I really wanted to keep it diverse.

AC: Your music sounds pretty complete in terms of the concepts that you have behind it, the musical ideas that you’re trying to bring into it. What are your thoughts, then, on the burgeoning remix and mash-up cultures?

KO: I’m really down with it, actually. As a DJ, I love finding music to remix or mash-up anything because I like to play songs that, even though they may be popular, ’cause they get people dancing, and they get people into the groove, it’s always nice to throw a curve ball at them, you know. I’m all about remixing stuff. I’ve done a few myself; I did a remix of Common’s “The Light.” DJ King Most, whom I worked with, we released some of his remixes for the DJs, and so it’s something that I’m definitely into playing. I don’t do that many in terms of, you know, taking well-known a cappellas and remixing them, but I do like projects here and there that are commissioned, I did a Talib Kweli remix and I’m working on a few Asian artists right now that I’m remixing, this group called Epik High.

AC: What do you think of making your stems available?
KO: Oh, for other people to remix.
Well, I have had a few a cappellas out there for people to remix, and I’ve gotten a few back. As far as stems, as in actual parts, not really, I’m not too into that. I feel like a remix should be like a regenerated or a totally new look at the beat and the project and the vocals. Otherwise, there’s no point to me.
AC: Between the record labels, the MP3s, the file sharing, where do you see music now, and where do you see there being a nice meeting place between consumer happiness and artist revenue?
KO: It always makes me a little, um…I don’t know, it’s like a mix between a chuckle and frustration when I hear people saying, on the blogs or whatnot, that “artists need the exposure and that’s why we’re gonna file share.” I mean, come on, that’s like complete BS. Honestly, for me, I’ll admit, I have downloaded illegally and when I have done that in the past, it’s just ‘cause you want the music, you know, it’s not any of the other stuff. I mean, it’s something that’s gonna be free and it’s gonna be in front of your face and most of the time, people will just take it. So, I don’t think it’s the people’s fault out here who want music; it’s the fault of the government and the regulations that aren’t being pushed appropriately on the internet.
For example, when we released Dream Talk, The Tones album, that released and it was at the top 50 of iTunes downloading, and then, a couple days later, all these blogs started showing up with the illegal download links for the albums and, in the dashboard you could see that the sales just plummeted. Right on that day, they just plummeted. And these kids, they’re hungry, and they’ve got mouths to feed, they’re trying to do music full time, so it really makes it tough. Of course we’ve got a team working on it on the security side, but it would definitely help, if and when these government regulations come into place that it kinda polices the activity out there, because, contrary to popular belief, artists do really get hurt by that. Maybe not a Kanye West, for example, but independent artists definitely don’t get to see that kind of return.
I think in that sense, I guess I could see the other side of the argument that, yeah, people have discovered a lot of great music through that as well. When I went to tour in Poland, I had people come up to me, and was like, “yeah, I’m sorry, we all downloaded your music illegally, but there’s no other way we can get it, we’re poor,” and all this stuff. Whether it’s true or not, they were there at the show and I see both sides. So, I think, back when albums were being sold for 10 dollars at Warehouse or whatever and there was nowhere else you could find that, I think a lot of people found out about those albums. I mean, when Nas or whatever came out in the 90’s to Berkeley, that show was packed, and it’s not because people got free music necessarily, it was just ‘cause they heard it on the radio and then they went and supported it and they got real’ into it, ‘cause really there was no real file sharing then. So, I think even with clamping down on illegal file sharing, things can still be really good, but we’ll have to see. We’ll have to see what happens; I really can’t predict it.
AC: Have you seen more of your revenues and artists from iTunes sales or from hardcopy CDs and shows
KO: I would say, probably from iTunes sales. CD sales have just dropped, like, pretty crazy. Though we still get a lot, you know, but it’s a lot slower.
AC: Have you started working on new songs already?
KO: No, I haven’t. I mean, I’ve been working on some remix projects, like I said, with the Korean group Epik High. I’m also mustering up some ideas on another project, but I haven’t actually started working on anything. I always like to release something and kinda reset and kinda figure out what I wanna do.
AC: So what’s up next for the Plug Label?
KO: Well obviously this album we’re gonna promote. We’re still promoting the Dream Talk album. I got a project comin’ up with this guy Green Tea, he does kinda like hip hop, kinda house beats. And then we got DJ King Most, who’s releasing a hip hop album with a bunch of guests. We’re gonna try to keep busy and really take it to that level of being an established label.
AC: How’d you connect with The Tones?
KO: Well The Tones, I actually heard about them on Myspace a while ago. I forget exactly how it happened, but we started chatting and then they had a couple tracks together, but not a full album. I liked what I heard; I mean, I knew that they had something special in terms of their sound, and so after a few chats, I signed ‘em and they basically simply got a full album together and then we went from there. And then we released that album in December!
AC: Yeah, that album’s good. It’s really good.
KO: Thanks. Yeah, I’m sure they’ll appreciate that. It’s interesting because I knew that, it’s definitely a good sound, I just didn’t know how impactful it would be in the hip hop community, ‘cause I guess a lot of people in the hip hop community really wanted to hear something like that. So, yeah, it’s pretty cool that they’ve been received that way.
AC: I think as pop hip hop goes further south in terms of quality, I think there’s gonna be even more of a backlash going the other way to find quality hip hop. Do you want Plug Label to be your side thing, and you’re doing music? Or do you envision Plug Label getting to a place where it’s up there with Stones Throw or Rhymesayers, or do you want to keep it small?
KO: I’d say I want to keep it small in the sense that everything that we put out is still hand-picked and not just to throw it out there, you know, to have a full release schedule. If we have to wait six months for a good album, then we’ll wait six months before we release it. I just feel like the more and more that we add to a catalogue and the more and more I compromise the vision of it musically, I feel like that’s where I’m gonna start losing interest in the label, and others will probably start losing interest because really, the problem I see right now is there’s too much information out there, you know, too much music, and I really wanna be able to kinda like consolidate that to people. That’s my vision, you know. So we’ll see what happens.

July’s iPod update was an extremely diverse one, not just for the artists, but for the songs themselves. Taking a new tact, I made July an all mash-up month, checking out some of the ways in which DJs have started taking on the mix and match genre full-throttle. While Danger Mouse helped pioneer it with the Grey Album and AmpLive took it another step with his remixes of Radiohead’s In Rainbows, the mash-up culture is far past those now. But while there is much to be said for the style of Girl Talk where there are more layers than you can reasonably dissect in a listening, I find the club mash-ups utilizing 2 to 3 songs to be a most effective use of the genre. The best news? As all of these are off the grid, they’re all available for download, so follow the links to check the music out for yourself. July’s iPod update included 118 songs.

50 Cent vs. The 50s, DJ Doc Rok: Currently residing in Washington, D.C., DJ Doc Rok’s (djdocrok@gmail.com) work is among the strongest of all artists I heard this month. What’s more is that while he does have a collection of odd mash-ups and various artists, he also sets out to create complete albums of one to two artists. On this album, Rok focuses on all lyrics from 50 Cent songs and combines them with Golden Oldie hits from the R&B and Pop genres. The result? 50 Cent party songs with a touch of flair, moved out of the straight club motif that dominates so many of his songs and saturated with style and soul. Using songs like Dusty Springfield’s “Son of a Preacher Man,” The Four Seasons’ “Big Girls Don’t Cry,” and Booker T. and the MG’s “Green Onions,” Rok flips the 50 acapellas on their head with fantastic result. Definitely my favorite download of the month. Don’t Sleep On: “Rowdy Rowdy/It’s My Party (And I’ll Cry If I Want To),” “Like My Style/One Fine Day,” and “The Good Die Young/Little Susie.”

Best of 2007 (Mash-Up Your Bootz), Various Artists: If you’re looking for a comprehensive blog that provides a vast cross-section of the variety of mash-ups available online, check out Mash-up Your Bootz. They provide comprehensive year-end wrap-up mixes, links to other mash-up sites, and breaking news in the genre. I downloaded both their 2007 and 2008 Best of Mixes and wasn’t disappointed with either. Beck takes on Green Day, AC/DC meets 50 Cent and the Scissor Sisters, Peggy Lee and Iggy Pop collide and Peter Bjorn and John find their whistle backing both Bloc Party and Amy Winehouse. Some of the mashers on this mix include DJ Peaking, DJ Le Clown, CheekyBoy, DJ Lobsterdust, and Party Ben. Perhaps the most pleasant track is by Norwegian Recycling who put together a very simple acoustic mash-up called “How Six Songs Collide” featuring Jason Mraz, Howie Day, Five For Fighting, Angela Ammons, Boyzone, and 3 Doors Down. This one is mirrored nicely with the eerie and melancholy mash of Placebo, Kate Bush and the Pet Shop Boys called, “Love Comes Running Up That Hill Quickly.” Don’t Sleep On: “Young Folks Rehab” by DJ Topcat (Amy Winehouse’s v. Peter Bjorn and John), “Love Comes Running Up That Hill Quickly” by DJ Magnet (Pet Shop Boys v. Placebo v. Kate Bush) and “Break Through Love” by DJ Zebra (The Doors v. Led Zeppelin)

Best of 2008 (Mash-Up Your Bootz), Various Artists: The 2008 mix picks up where 2007 left off and offers an impressive array of very different artists finding their songs blended with people of opposite genres. The album kicks off with Bryan Adams going head to head with Metallica, James Brown duels The Offspring, and Rage Against the Machine gets thrown together with AC/DC, Joan Jett, Queen and Red Hot Chili Peppers. To say that these songs stretch the concept of mashable genres is an understatement. Contributors include Wax Audio, MadMixMustang, DJ Morgoth and Divide and Kreate. Best track has to come when DJ Schmolli brings the haunting guitar lilt of Chris Isaak’s “Wicked Game” and fills it with a slowed down Billy Idol singing “White Wedding.” The result is astounding. Don’t Sleep On: “Wicked Wedding” by DJ Schmolli (Chris Isaak v. Billy Idol v. HIM) “The Low Anthem” by Bass 211 (Flo Rida v. Pitbull) and “Dance Dreams” by Divide and Kreate (Eurythmics v. Lady Gaga)

Michael Jackson: With the unfortunate and untimely death of Michael Jackson last month, I decided to go back and flesh out my Jackson music collection. Sure, I had Thriller and parts of Bad, but I was still missing a large chunk of music from the Jackson 5 days as well as the tracks he did as part of The Jacksons. In all of these outings, Michael’s voice is distinct and easy to pick out, and his energy serves to carry most of the songs. So if you’re looking for some tracks you may not have heard, Don’t Sleep On: “Too Late to Change the Time,” (Jackson 5) “State of Shock,” (The Jacksons) “Another Part of Me” (Michael Jackson)

Jay-Z vs. Led Zeppelin, DJ Doc Rok: By taking the lyrics from Jay-Z’s soundtrack to American Gangster and mashing them with various Led Zeppelin songs, Doc Rok succeeds again in creating an album that can stand on its own. Darker and more subdued than the 50 Cent album, this outing utilizes Zeppelin songs like “Immigrant,” “No Quarter,” “Tangerine,” and “Kashmir.” The result is a new way to think of Jay-Z, liberated from much of the standard hip-hop and rap tracks he’s been tied to, the guitars and gritty classic Rock from Led Zeppelin provide a new canvas which comes off fresh. Don’t Sleep On: “Success/Moby Dick,” “Party Life/I’m Gonna Leave You,” “No Hook/Tangerine”

Party Vol. 25 (Mash-Up Your Bootz), Various Artists: Where the 2007 and 2008 span every genre, what you find most on this party album are mashes primarily utilizing hip-hop, dance and rock. DJ Lobsterdust brings The Police and Coldplay together while DJ BC brings together George Harrison, L’il Kim and Notorious B.I.G. The nice part of this album is that all of it is danceable and will appeal to most anyone on the dance floor. When Gloria Gaynor and Fall Out Boy meet each other at the hands of Mighty Mike, just about anything is possible. Don’t Sleep On: “Get the Day ‘n’Night Started” by Pheugoo (Pink v. Kid Cudi), “Beautiful Journey” by DJ MashUP (Journey v. Akon) and “Lady and the Usher” by Divide and Kreate (Usher v. Ladyhawke)

If you haven’t heard yet, there is a phenomenon happening right now that warrants your immediate attention. King of the West Coast, Snoop Dogg, has teamed up with San Diego’s genre-bending Slightly Stoopid for a mind blowing collaboration. They’ve thrown modern reggae great (and son of Bob), Stephen Marley, and seedy pop newcomer, Mickey Avalon, into the mix too. What we have here folks is the Blazed and Confused Tour (don’t forget to become a fan on Facebook). Here’s a little sneak peek:

Rick Florino of Artist Direct notes that at the Irvine show “Snoop closed off a fantastic set chanting ‘Peace and Love.’ There was something very ‘Woodstock’ about the whole set… There’s no segregation at a Snoop Dogg show and he delivers something for everybody. What’s more rock n’ roll than that?”

Each of these artists/groups has a unique sound and message, and yet their vibe and mindset is one and the same. Bob probably summed it up best with “One Love.”

As part of the tour, Slightly Stoopid is hosting a remix contest for their song 2AM, a summertime reggae classic that will sooth your soul! Slightly Stoopid has loaded the stems to 2AM into MixMatchMusic’s Remix Wizard, and now all you pro and amateur musicians (and even nonmusicians) have the chance to create your own kickass remix of the song and share it with the world.

You have two options for making a remix: you can download the stems for free and use any software you want; or you can click on the MixMaker button on the widget to make a remix in MixMatchMusic’s simple online music editor. If you’ve never experienced remixing before, or just want to see how 2AM was made, check out the MixMaker! Either way, make sure to you upload your remix to the widget so that others can listen to, vote on, and share it. The contest starts July 15, 2009 at 2:00 AM and ends August 21, 2009.

There will be ONE winner picked by Slightly Stoopid, who will receive:

A set of the new Slightly Stoopid branded headphones, an autographed Stoopid poster, 2 tickets to the next Slightly Stoopid concert in your area, a limited edition Slightly Stoopid branded glass pipe, CDs of Slightly Stoopid’s entire discography & Chronichitis vinyl, and the Slightly Stoopid Live in San Diego DVD! Also – the winning remix might be posted for streaming on Slightly Stoopid’s Website, MySpace, thesixtyone, and Facebook (subject to Slightly Stoopid’s approval). Not bad, eh?

To get your creative juices flowing, here’s the official video for 2 a.m. Roll yourself a blunt and have a look and a listen. Then, enter the Blazed and Confused at 2AM Remix Contest here.

Summer months are traditionally good ones for mega pop hits to patrol the radio airwaves, washing out last year’s music and replacing it with something fresh to dance to in the warm weather. May saw some of that, with the new Eminem album, Passion Pit and the Kid Cudi mixtapes. But as June comes to an end and we look towards July, it appears that more of that trend will be upon us shortly. While June’s iPod update didn’t match May’s in quantity, it had everything it needed in terms of quality. 67 songs, over 10 artists, multiple genres. Enjoy!

Black Eyed Peas, The E.N.D.: After “Boom Boom Pow” came out, the Black Eyed Peas ran it into the ground on radio stations, talk shows, award shows and clubs. In fact, as new and futuristic as the song sounded originally, I wouldn’t hesitate to say that it has been thoroughly played out at this point, and that was before the album dropped. While the album title stands for “Energy Never Dies,” I’d actually argue that it stands for the end of the Black Eyed Peas as we know them. When they first hit the scene in 1998 with Behind the Front, the Peas were an unheard of group making fresh hip-hop. The songs walked that line with hints and traces of pop, but for the most part stayed true to form until they were joined by Fergie in 2003 for their Elephunk release. This addition drew them further away from hip-hop, and now, on The E.N.D., all traces of the group the Peas were are gone. Hip-Hop now forms one of the most minute sections of their music, with pop, dance and electronic taking center stage. But it’s almost too much. Will.i.Am’s production is amazing, but also fails to bring any sort of coherent thread to the album. He has no problem proving he can do these various genres and mimic them well, but there seems to be no ability to integrate them into an album that makes sense together. For the most part, I wasn’t a fan as the album just tries to do more than it can, but “Meet Me Halfway,” utilizing a fantastic dance beat and actually showcasing Fergie sounding like a vintage Madonna, is a bit of 80s meets 2009 fantastica. Don’t Sleep On: “Rockin’ The Beat,” “One Tribe,” and “Meet Me Halfway.”

Camp Lo, Stone and Rob Caught on Tape: Camp Lo has had a rough time of it. After their 1997 release, Uptown Saturday Night, the possibilities for Camp Lo appeared limitless. Their flow was good, the beats were steady, and the retro 70s feel of their songs put them in a niche market of hip-hop of their own. The popularity was growing on college campuses, and then, nothing. While they’ve had a few releases since, they were sporadic and failed to capture the attention of listeners. They’ve now returned on a new label with Stone and Rob Caught on Tape, and the sound they bring with them is far different from what listeners of Uptown would expect. The beats are more current and the duo takes on a bit of a harder edge in comparison to the milky flow they used to use. While the long hiatus could have killed the style, Camp Lo has come out on this one slightly changed, but not showing the kind of disconnect from previous music that Black Eyed Peas have. Don’t Sleep On: “Diamond Crookz,” “Gotcha,” and “Ticket 4 2.”

k-os, Yes!: When the album begins with “Zambony,” k-os’s intent is clear. A female voice asks, “Do you have any idea of the chaos you have caused around here? Nobody knows what you’re doing!” To which a man responds, “That’s exactly the way I like it!” And if his musical career is any example, the anonymity, chaos and ability to make whatever music he wants is exactly what he wants. There are a lot of great unknown acts out there, but I don’t think there’s a single one with the kind of track record combined with anonymity that k-os has. For those that haven’t heard, k-os is from Trinidad by way of Canada, turned to vegetarianism by age 8 and was raised by parents who are Jehovah’s Witnesses. More importantly though, he’s released 4 studio albums, all fantastic, spanning numerous genres and styles, and yet he’s still not well known. In fact, he’s not even talked about. Funk, reggae, hip-hop, rock, dance, and R&B all play roles in his music, and Yes! finds him utilizing all of these styles to full and complete advantage. Through Exit, Joyful Rebellion, Atlantis – Hymns for Disco and now Yes! k-os never sells his style short, but doesn’t hesitate to use the things he enjoys. There’s auto-tune here, but not in the over-saturated style of so many artists, merely as a nod and inclusion of a new sound. What’s more is that the album is bundled with remixes of every song by various artists, offering two very distinct musical takes on every track. If you haven’t heard k-os yet, now’s the time. Don’t Sleep On: “Zambony,” “Burning Bridges,” and “I Wish I Knew Natalie Portman.”

Mos Def, The Ecstatic: It’s easy to forget, between the television appearances, the movie roles and his hosting duties that Mos Def has more roots in the music industry than anywhere else. However, he has yet to equal the early success he had on this front since he turned more attention to his screen endeavors. The Ecstatic finds Mos back in hip-hop after a nearly 3 year hiatus following his final record under contract for Geffen Records. And the break has seemed to help. This album seems a bit more grounded in the hip-hop that brought Mos Def to the masses, and less hooked on some of the musical diversions he’s entertained himself with lately. However, the distraction of film and television is evident here. The album seeks to do so much musically that it feels as if Mos is trying to make a CD that will fit in every genre of film or theatre he’s participated in. The result is a mish-mash of sounds that detract from his greatest strength: rapper and crafter of words. On the tracks here where Mos stays focused on the genre, the results are excellent, but in too many cases, he’s trying to bite off more than he can chew, making the album sound almost like a disjointed soundtrack to a movie rather than a full length album from a hip-hop artist three years in the making. While it’s a solid outing, and certainly closer to the mark than True Magic and The New Danger, it still fails to hit on all cylinders like Black on Both Sides. While I think it’s great that Mos Def wants to explore acting and other outlets in addition to hip-hop, his music is at its strongest when he leaves the theatrics out and concentrates on the microphone. Don’t Sleep On: “Quiet Dog,” “History (feat. Talib Kweli)” and “Priority.”

Throw Me the Statue, Creaturesque: Well, I can’t talk about this one yet because it’s not out. But I will say that I’ve heard it and I’m excited to tell y’all about it as soon as I’m allowed to review it.

White Rabbits, It’s Frightening: On the second album from this New York based Indie Rock band by way of Missouri, the sounds are crisp in comparison to the rest of the Indie scene, eschewing fuzz and static for cleaner lines and thumping drums. The guitar sounds here are clear, whether being used for gentle picking in “The Salesman (Tramp Life)” or to carry melody on the Badly Drawn Boy reminiscent “They Done Wrong/We Done Wrong.” The band sounds tight here, with consistent vocals, solid bass backing and drums that drive the songs from start to finish, all nicely sprinkled with piano. For those that like Indie Rock but are a bit tired of the lo-fi, static saturated recordings that have become the norm in the genre, the White Rabbits should provide a nice change of pace. Don’t Sleep On: “Percussion Gun,” “Rudie Fails,” and “They Done Wrong/We Done Wrong.”

For a notable single this month, check out 9:15’s “Just Above My Head.” Fantastic.

The band frequently plays benefit shows meant to rally support for groups promoting promoting peace, environmental education, and the compassionate use of medical marijuana. With the release of their most recent album, Better World (available on iTunes now), and the touring (in their 15-passenger Bio-diesel tour van) to follow, their mission is to raise awareness of global interconnectedness and how people’s actions impact one another and the earth. It’s refreshing to see more bands focus on the positive messages they’re spreading rather than trying to please the masses with radio hits.

What began as the collective vision of Eric Iverson, David Lyons and Brian Jarvis when they met near Santa Barbara soon grew to include Oriana Sanders, a powerful young voice from Los Angeles, and later a handful of vibrant roots musicians. They are now part of LoaTree, an eco-lifestyle collective. As treehugger points out, Soul Majestic empowers the green movement with their music. The lyrics off their new album “ask that each of us take a look at the world around us and choose to empower ourselves to turn things around.”

Want to join their growing family? Have a listen to their groovy sound (or buy some tracks) on their myspace page, check out lyrics on their bandcamp page, follow them on Twitter, or become a fan on Facebook.

It’s encouraging to see such steadfast positivity from upbeat and passionate artists, some of whom have been through very turbulent times. Vocalist Sanders battled Hodgkin’s lymphoma, which we hear more about in “I Rise”. In addition to overcoming struggle, another theme seen in the new album is the importance of family. Lead singer Eric Iverson has a son together with Sanders and several other band-mates have children as well, which they sometimes bring on tour. The Santa Barbara Independent notes that they are friends with Kim and Jack Johnson who “seem to be spearheading the bring-the-kids-on-the-tour-bus movement.”

Well, what if you take not just one song, but rather an entire album and recreate it in a different genre? That is precisely what Easy Star Records has been up to. Take a look:

As mentioned above, in 2003 the Easy Star All-Stars released Dub Side of the Moon, a reggae tribute to Pink Floyd’s Dark Side of the Moon. It went on to become one of the most successful reggae albums of the 21st century and spent over 5 years on Billboard’s Top Reggae Chart. As if that wasn’t enough, they then tackled Radiohead’s OK Computer, putting out RadioDread, which spent 18 months on that same chart (and apparently earned some accolades from Radiohead themselves.) Notice anything that those two classic albums have in common? They are both considered (by some) to be concept albums.

Producer Michael Goldwasser, the musical wizard behind much of the All-Star magic says “We’ve focused on re-envisioning concept albums as reggae and it’s really important that the source material works as a whole and is not just a collection of songs. So, what better to take on next than the mother of all concept albums?” He was referring to the one and only Sgt. Pepper’s Lonely Hearts Club Band. If it’s been a while, here’s an interesting breakdown of the songs. And for the real fanatics among you, a little album art history.

Obviously it takes balls to cover the Beatles, let alone the album considered to be one of the most influential and greatest albums of all time. And yet, in April of 2009, the All-Star’s put out Easy Star’s Lonely Hearts Dub Band. The album features a number of reggae and dub greats including Steel Pulse, Matisyahu, Luciano, and Steel Pulse, along with the usual suspects – the usual suspects being a collection of some of the finest reggae musicians in the New York area.

What immediately stands out about this album, upon first listen, is how accurately they were able to preserve the vibe of each song. Though each song has been deftly crafted into a vibrant new reggae interpretation of its original, you can almost picture the Beatles nodding their heads in approval in the background because the emotion is the same.

Noteworthy tracks:

Lucy in the Sky with Diamonds – Frankie Paul’s haunting vocals and the psychedelic guitar and effects stand out, deliciously juxtaposed against the mellow dubbed out percussion and keys, giving this track a certain irresistible je ne sais quoi.

She’s Leaving Home – Singer Kirsty Rock’s mellifluous voice soars delicately above the more upbeat ska-infused high hat and brass section. The reggae style keys come and go, a couple of interesting instrumental breakdowns happen unexpectedly and overall the listener is left constantly wondering what’s next.

This album is unique to say the least. Check it out. And while you’re at it, follow the All-Stars on Twitter.

But that’s not all. He was a driving force behind Handsome Boy Modeling School, a hip-hop collaboration with Prince Paul that included guests such as Sean Lennon, Mike D of the Beastie Boys and Miho Hatori of Cibo Matto. He served as the producer for Kool Keith (Dr. Octagon) and DJ Qbert’s well-known album, Dr. Octagonecologyst. Add to that his credit as the main man behind Lovage, a collaboration between Kid Koala, Mike Patton of Faith No More and Jennifer Charles of Elysian Fields, and his full on production of Del the Funky Homosapien’s revolutionary concept album Deltron 3030 and you have one well established producer who has worked with some very big names.

Feeling left out because you haven’t gotten to collaborate with Dan the Automator? Fret not. For all you musicians and aspiring musicians, Dan the Automator has launched a remix contest for his 2009 remake of the Sugar Hill Gang’s hip-hop classic “Rapper’s Delight.” The new version features Domino and Casual (Hieroglyphics) and Charli 2Na from Jurassic 5. Simple to use from MixMatchMusic’s Remix Wizard, just download the stems to your computer and mix away. If you don’t have spiffy mixing software, worry not, as the Wizard allows you to remix on any computer through the web. The catch? The contest ends on Sunday the 14th, so you better get scratching!

Dan the Automator’s song here.

Remix Wizard for the contest here.

Take Hip-Hop for example. 75% of all hip-hop shows I have seen are garbage. Rather than fully rehearsing songs, artists will perform the first verse, maybe two of a song before launching into the next radio single. More often than not, the back-up singers are there because the rappers constantly forget lines and need someone to fill in the gaps for them. Furthermore, rather than put on a show that gets the crowd moving and dancing through sheer enjoyment of the music, most artists will constantly fall back on crowd gimmicks, “Put your hands in the air, wave them back and forth,” and other involvement tools of that nature, forgetting that if they rip the microphone, the audience will do what it feels, which is way more important than having them wave one finger in the air.

But Hip-Hop isn’t the only genre where live performances come up flat. Wide is the range of artists who just can’t translate themselves in a live setting in any way that resembles the studio work that they’ve patched together with the help of numerous technicians and producers. Songs come out unrehearsed, or the band is incapable of reproducing the sound. Even worse is when artists, dealing with personal excess or some sort of stage fright, get completely obliterated with substances on stage and turn into a mess by the end of their set. But who puts on the greatest live act? Is it the group that can seamlessly reproduce their album note for note, or the group that can take something stationary and make it into something much more on stage?

Take for example the Rolling Stones. They’ve been touring for around 40 years now, and I’ve seen them in concert twice. While the crowd is into it simply from a historical and pop standpoint, and I think the energy these guys give, even past their prime and middle age is solid, it doesn’t come off as anything I couldn’t hear by listening to an old recording of theirs. On the far extreme are groups like The String Cheese Incident and Phish, which jam and improv so much in their concerts that one is left to wonder if they even have a CD with tracks on it. But let’s not forget consistency. If you go see three shows by a group, a great group will give you three different shows that were all excellent. But some of the best artists happen to be inconsistent on stage. Take Del the Funky Homosapien for example. He might be one of the most talented lyricists and freestylers in rap, but all the times I’ve seen him, he’s hit or miss. Either he’s on that night and no one on the stage can come close, or he’s not and he fades into the background.

So what makes an incredible live band? In my mind, it needs to be a group that brings energy and presence to the stage. Anyone could get up and sing karaoke on a track, but can you bring that true sense of musician and celebrity to the set? Beyond energy and presence, the group needs to be well-rehearsed. A concert that ends up coming off as un-prepared as an elementary school talent show isn’t giving the fans what they paid to see. There needs to be set diversity (unless someone is doing a full album, but I’ll get to that later.) And finally, they need to be able to present their material in both studio form and a live, extended format.

And all of those things are a lot to live up to. When you consider the fact that these groups go on two month or more tours where they need to pull out all of those factors night in and night out, the type of money made touring starts to make sense. With these things in mind, here’s a list of some of my favorite groups to see live, what makes them great and what could make them better.

GZA: A member of the Wu-Tang Clan, GZA a.k.a. Genius is most known for his solo album Liquid Swords. Knowing this, GZA will, on occasion, do tours where he performs the entire album from start to finish. This is an example of an exception to the set diversity rule in that most people have come to see that entire album. When I saw GZA do this at the Independent and the sound glitched 5 seconds into the second track, he was so intent on giving the audience the full version performance that he had the DJ start over from track one. While his delivery and stage presence isn’t the greatest in this bunch of performers, his preparation and ability to go through an entire album in order is nothing short of impressive for a performer in a genre where most live acts shrink and cut their music as much as possible.

Blue Scholars: This rap duo out of Seattle performed at the same show as GZA and offered a stark contrast in what hip-hop performances can be without lowering the bar. Focusing on a diverse set list derived from their two albums, Blue Scholars brought more stage presence and energy to their set, getting the crowd involved through good music and verbatim vocals. Many rappers seem to forget this when in concert, but most fans know the words to their songs. If they don’t, or they try to change the words, the fans inevitably lose interest and focus. While GZA was flawless through the album, he lacked the same energy that the Scholars brought. This enthusiasm, combined with faithful representations of their work made them an excellent hip-hop show.

Zion I: Hands down the best performers I’ve seen in the hip-hop genre. What’s even better about this rap duo is that they’ve slowly progressed their stage presence. When I first saw them, they were a two man gig, beats and raps. However, as they’ve evolved their sound, they’ve evolved their show and now feature a live drummer, vocalist and keyboard player. They’ve been creating music for the last 10 years, and show incredible set diversity. They use material off their newest album to form the backbone of the show, while sprinkling in old favorites that keep the long-time fans happy. Their energy on set is supreme, with Zumbi rapping with every part of his body and Amp creating every imaginable sound. But more than other hip-hop acts, Zion I isn’t afraid to improvise. Both on beats and lyrics, every show has at least a portion of freestyle, and it doesn’t come out weak. While every hip-hop group I’ve seen has one or two of the characteristics of a good set, only Zion I brings them all together in a hip-hop show that feels more complete than the competition.

Béla Fleck and the Flecktones: This group is a wonder to see in concert. Between their wacky instrumentation (Banjo and Drumitar) and their incredible improv skills, no two concerts are ever the same, and every one is always amazing. But with the range of material they have, it can be hard for the new fan to get involved without knowing some of the songs. The group often does a good job of getting around this by introducing songs and making them accessible, but it can be a bit daunting. More importantly though, these four (Béla Fleck, Futureman, Vic Wooten and Jeff Coffin) are incredibly tight on their instruments, and unbelievably well rehearsed. They can feel the music as they play it, and the result is a palpable energy in the audience.

Dave Matthews Band: If there was ever a band that showed the power of concert revenue and touring in order to engage fans and enlarge a fan base, it’s this one. There’s a lot of back and forth on DMB. For starters, their live shows always pack an energetic crowd, and they always play longer set lists than most live acts (always over 2 hours.) Furthermore, there’s a great mix of songs that are played straight up as they appear on the album, and the improv songs that end up extending upwards of 20 minutes. This not only shows their ability to reproduce the album sound, but also the talent of the musicians that is sometimes constrained in studio recordings. But if there’s one drawback to this group live, it’s that the studio recordings have lost some of their luster in recent years, and the set lists are becoming slowly more filled with new material that is honestly a bit weak. The band doesn’t seem to know this though, putting new songs that sound like shadows of their former creators next to amazing catalog songs that show the band as they were in their prime. It is this drawback, the inclusion of too much new music, that remains this group’s one fault live. It should also be noted that the group tours more than almost any other, and has consistently set records for concert revenue.

Radiohead: Where the Flecktones might improv too much, and Dave Matthews Band relies on old material too little, it is my firm opinion that Radiohead does their shows just right. Old material and new material all find their home in a Radiohead set, and pieces of studio coexist with pieces of improv, demonstrating a remarkably well-rounded band. Radiohead routinely employs some of the most advanced lighting systems in their stage show, bringing both visual and aural entertainment with the price of admission. The Flecktones let their chops do the talking for them, Dave Matthews Band likes to let the Dave speak for them, but Thom Yorke and Radiohead prefer the method of pure, unadulterated energy. Every member of the band is fully engaged, and their energy comes out in their instruments. Old cuts sound re-booted and the new songs rip with electricity, and the preparation of it all oozes through the crowd. In short, when it comes to all of the factors that make a live performance, Radiohead manages to find and balance the important parts of all of them.

In the end though, every fan has a different moment of enjoyment in a live set, and a different set of standards that they hold their bands up to. Some will be happy as long as they play every radio single, while others won’t be happy unless they hear that one song from an album five years ago. Some fans don’t want to know what’s coming next, while others are bored if an improv goes on too long. One thing is certain: it’s only when musical ability, preparation, energy and presence come together on stage that a performance transcends the idea of “concert” and fully realizes the ideal of “live act.”

What an amazing month for music! May’s iPod update features over 200 songs of genres from shoegazing indie pop to hard core rap. While not all the artists and albums made the cut for this version of What I’m Hearing, the best things did and I’m proud to bring them to you. Furthermore, several of these albums are available for free download and I’ve included the links to them here. New music, download links?! What more could you ask for?

Au Revoir Simone, Still Night, Still Light: When I first reviewed Au Revoir Simone’s 2007 release The Bird of Music (WIH, Vol. 9), I talked about the potential that their sweet sounds could become too sticky without the proper balance. Happily, I can say that on Still Night, Still Light ARS loses none of their charm while actually increasing their skill in finding a nice balance in the electro-indie pop-shoegazer triangle. At times sounding like a slightly more fleshed out Elysian Fields and at others like a less depressed Postal Service, this trio puts out easy tracks that range from joyous to melancholy without missing a beat. The female vocals are breezy, seeming to hang over the music, which through synths, keys and drums all working together, become stronger than on the previous album. ARS seems to have found their musical niche, nicely contrasting the sweet with the bitter, and sounding more comfortable with the balance throughout. Don’t Sleep On: “Shadows,” “Knight of Wands,” and “Another Likely Story.”

Chubb Rock and Wordsmith, A Crack in the Bridge: While hip-hop and rap seems to be on a definitive futuristic trend with the likes of Black Eyed Peas, Kanye West and Kid Cudi surfing the radio waves, this duo out of the East Coast seeks to bring hip-hop back to more standard roots. Relying on tried and true production and lyrics that are more about having a good time than sporting bling, Chubb Rock and Wordsmith have crafted a mixtape prelude to their June release Bridging the Gap that strips away the pretension of hip-hop in favor of sounding good and having fun. Chubb and Wordsmith have a nice contrast to their voices and delivery, an important part of a hip-hop duo. With a deep voice and an almost trudge-like delivery, Chubb Rock sounds patient on the microphone, willing to move with a beat easily. On the other hand, Wordsmith’s voice is higher and his delivery quicker, allowing him to change the feel and tempo of a song simply by rapping. I’ve been listening to Bridging the Gap for about a month now, but you’ll have to come back in June for that review. For now, A Crack in the Bridge provides a sampler of the type of music you can look forward to. Download it by clicking on the album name above. Don’t Sleep On: “Back In,” “Top of the World,” and “The New Street Kings”

Cunninlynguists, Strange Journey, Vol. 1: Cunninlynguists have to be one of the hardest working and simultaneously one of the most under-appreciated hip-hop groups today. Hailing from various parts of the state, the trio of Natti, and producers Kno and Deacon the Villain have released 6 albums since 2001, only actually having them released through a distribution company in 2003. But that hasn’t changed their approach which relies on interesting and introspective lyrics, excellent production and a splash of a grim feeling that it’s not ever going to happen for them mixed with a sense of humor that seems like it doesn’t matter if it does. On the first of two Strange Journey albums, the group looks at life on the road and the state of the music scene among other topics. The retro hooks combined with the modern beats provide the three with a solid foundation for their words, which whether talking about music, women or rapping far outshine anything available on the radio today. Whether you like loops or lyrics, this CD is a hit. Don’t Sleep On: “Don’t Leave (When Winter Comes)” featuring Slug of Atmosphere, “Spark My Soul,” and “Lynguistics,” a live version of one of their most well known songs.

Del the Funky Homosapien, Stimulus Package: The good news? Del’s got a new full-length album out, and it’s free (click on the album name above for the download link.) The bad news? For fans accustomed to the cohesive whole of Future Development (production help from Opio and A-Plus), the visionary approach on Deltron 3030 (produced by Dan the Automator) or the stellar lyrics that grace his work with Hieroglyphics, Stimulus Package is going to fall short. And the problem is that this kind of collapse is completely avoidable for Del. When at his strongest, Del’s intensity on the mic and ability to craft ridiculously great lyrics make him one of the best rappers on wax. However, all too often (this album and The 11th Hour as examples) Del isn’t content to just be on the microphone and opts to pursue the full musical production on the album as well. This is a mistake. It’s not to say that Del’s production is bad, but it is stagnant. There’s nothing much new in the beats here. For the most part, the tracks feel like repackaged West Coast beats from the ‘90s. Now if that were the case and the rapping remained vintage Del, the beats wouldn’t make a difference. But instead, the focus on production seems to detract from his focus on his rapping, and Del comes off sounding almost generic as a result. One need only look to his best work to see that he’s at the top of his rapping game when the lyrics and flow are his focus. His rapping on last year’s N.A.S.A. album outpaces anything contained here, and my hope is to see him collaborate with other producers on future work, because when he’s at his best lyrically, he’s virtually untouchable. Don’t Sleep On: “Hardcore Punks Can’t Take It,” “And They Thought That Was Hell,” and “Get It Right Now!”

Eminem, Relapse: I’ve read a lot of press both positive and negative on this album. Fortunately for my review, I had been listening to Relapse for about a week before it came out, so I was able to form my own judgments without extra media input. There’s no question that this album isn’t Eminem’s best work, which could be construed as a letdown following a four year hiatus that saw him become entangled in drugs and struggling through a lengthy rehab process during which he OD’d and almost died. But there are tracks here that showcase Eminem at his lyrical best. What’s important to consider on this album is that Eminem has found his own perspective stuck between the Slim Shady and Ken Kaniff characters. At times, he’s clearly being silly because he thinks there’s nothing else he can do. But the ridiculousness on this album in such tracks as “3 AM” and “My Mom,” actually serve to attempt to draw attention away from the other tracks. On “Medicine Ball” and “Undergound,” Eminem is back to his full bark, maniacally working his way through outrageous tongue twisters at breakneck pace. And on “Déjà Vu,” Eminem produces one of the most poignant and introspective songs of his career in dealing with his overdose. With a second album slated for release sometime in the next few months, it will be interesting to see which side of Eminem gets more exposure. One can only hope it’s the real Eminem, the one from the freestyle battles, ferocious intensity and introspective lyrics. It is this Eminem, stripped away from the silly accents, high-pitched lyrics and juvenile ideas that produces the best work, and there are certainly glimpses of that on Relapse for anyone ready to look past the radio singles. Don’t Sleep On: “Déjà Vu,” “Underground,” and “Old Time’s Sake” featuring Dr. Dre.

Hanne Hukkelberg, Blood From A Stone: Hailing from Kongsberg, Norway, Hukkelberg continues the trend of obscure Scandinavian singer-songwriters finding a home in the musical lexicon of the States. In contrast to her Swedish counterpart Lykke Li, Hukkelberg’s sounds are less playful and much more subdued, serious and sparse. With light percussion and haunting melodies, Hukkelberg lets her voice drape over the tracks like a singer in a smoke filled jazz club. Her lyrics are emotionally gripping and in combination with the music make the listener feel as if they’re being personally addressed. Don’t Sleep On: “Seventeen,” “Bandy Riddles,” and “Blood From a Stone.”

Kid Cudi, Dat Kid From Cleveland: Normally, I’m not a fan of mixtapes. Seemingly half-thrown together beats, freestyle lyrics that typically fall short of par, and the main question: what does this have to do with anything? For the most part, you can count on one or two excellent tracks and some filler on these outings. This is why I was pleasantly taken aback with Dat Kid From Cleveland. I had heard of Kid Cudi through the usual street/radio buzz, and so when a friend sent me this mixtape, to say I was skeptical would be an understatement. But here, on well-crafted and nicely sampled beats ranging from Dr. Dre to De La Soul to trance music, Cudi brings a sense of energy to his flow. The result is a collection of tracks that could easily be a full album release with a little polish. And the best part? It’s free. Also good to know is that Cudi is talking about a collaboration with Evolving Music favorite Ratatat. Stay tuned. Don’t Sleep On: “Rollin’” featuring Jackie Chain, “‘09 Freestyle,” and “She Came Along” featuring Sharam.

Meanderthals, Desire Lines: In the case of the Meanderthals, the album name of Desire Lines could easily have been the band name as well. While the tone of this disc is certainly relaxed, the group has a little more focus in their musical direction than one might think from their name. This is a collection of tracks featuring a wide array of instrumentation from acoustic guitars to steel drums to drum machines and hand claps. The result is a mash-up that I can only think to term “Lounge-Tropic,” a meeting place of sounds that could easily be found in a smoky backroom of a cocktail lounge or drifting calmly across the beach on an island resort. While only 7 tracks, Desire Lines provides a set perfect for the lazy days of summer. The music is light and airy, and despite the variety of sounds, never feels overly dense or impenetrable. Grab your favorite boat drink, find your most peaceful place in the sun and enjoy. Don’t Sleep On: “Andromeda (Prelude to the Future),” “1-800-288-Slam” and “Bugges Room.”

Passion Pit, Manners: Taking generously from dance, pop and electronica, Passion Pit has emerged from Massachusetts and released a very solid product that can play in the great outdoors of summer or the confines of a dance club. New Rave, 80s power pop and electro-synth all find a home here to give lead singer Michael Angelakos delicious mosaics to howl over. Up-beat drums, crunchy bass lines and frolicking sheets of synthesizers all join forces to create simple and energetic songs that carry vocal and chorus parts that feel like they’re going to break free at any moment from their Earthly anchor and find the stars. While I wouldn’t listen to this album on repeat simply because the pop motif might wear thin, as a tempo change or a dance song in the right context, any song on this album can bring a sense of joy to the listener. More importantly, with sporadic listening, the songs reveal a few new tricks each time through. Don’t Sleep On: “Little Secrets,” “Make Light,” and “The Reeling.”

Rhymefest, Man in the Mirror: More surprising than one hip-hop mixtape in a monthly music update? Two. But here, Rhymefest has succeeded in creating a collection of songs that overflow with positive vibes and solid rapping. The premise here, as indicated by the album title, is a salute to Michael Jackson, as various songs from his history are sped up, slowed down or otherwise mashed to provide the backdrop for the rap. This is a must listen for any Michael Jackson fan, if only to see how the old classics sound freshened up with hip-hop, and a necessary mixtape for any hip-hop aficionado for the creative use of something else to form a breathing set of tracks. Mark Ronson provides the production. Don’t Sleep On: “Man in the Mirror,” “Foolin’ Around,” and “Coolie High” featuring Camp Lo.

Ok so, for the sake of transparency I’ll admit that I am not nearly as anti-AI as many of my cohorts. I can sit totally riveted through an entire two hour show no problem. (Just as easily as I can sit through Dancing With The Stars or So You Think You Can Dance or pretty much any other performance-related competition). But alas, I did not. So I dare not speak with any sort of authority on the matter. Nor have I watched the show this season, other than a clip here and there.

That said, let’s examine some of the facts.

The (gasp!) underdog wins and jaws drop around the world. Who knew? Despite the runner up’s consistent praise from the judges, his ambiguous androgynous glam rock sex pot appeal, his made-for-stardom stage presence, and his exceedingly obvious popularity, when it came down to it the voters went with the safe, boy-next-door, I am Jack Johnson/John Mayer/[insert any saccharine-laden male pop artist here], humble country boy. What does that say about television? About America (at least as represented by AI voters)? About the state of pop music today? About the ability of our nation to embrace a sassy, androgynous individualist?

Well, regardless of what it says about the political/musical/social/moral climate of the country, the climate of American Idol viewership is, in no uncertain terms, cooling. Wednesday night’s episode was the lowest results show rating ever apparently. Perhaps AI has passed its prime. Shall it go out on a still fairly high high note? Or should it keep on truckin as long as there are enough viewers watching to keep the money-making machine and all its sponsors in business?

For those of you reading this who also, somewhere along the line, became fans of runner-up Adam Lambert, we naturally have to wonder what is next in store for him? I doubt he’d have any trouble shimmying off the Idol stage and right into the arms of a record label ready to lap up his every ripple of stardom (all the while molding him into what they think will sell). Or maybe he’ll do something really unique and different? (Afterall, he is an individualist…) Personally I’m picturing some kind of cross between Scissor Sisters, KISS, Lady Gaga, Billy Idol and David Bowie…

Hard to believe it, but this is the 1 year anniversary of the “What I’m Hearing” posts. Last April, I embarked on a mission to bring quality music, both mainstream and not, to readers looking to expand their musical vocabulary beyond the monosyllabic songs pumped ad nauseum from radio towers across the nation. As has been the trend, this month is no exception to the rule as I found a good number of fantastic new artists. As always, all of these artists can be found on iTunes for purchase. This month’s iPod update consisted of 63 songs spanning hip-hop, DIY and electronic. Enjoy!

Brother Ali, The Truth is Here: Originally introduced to the underground hip-hop scene by Slug of Atmosphere, Brother Ali has worked with producer Ant and had his albums released by hip-hop stalwart Rhymesayers. A converted Muslim and Caucasian albino, Ali frequently faced questions of his race early on due to voice, delivery and moniker. On The Truth is Here, his fourth studio album, Ali uses alternatively jazzy and bumping Ant produced beats to explore issues of race, social and economic divides and his adjustments to life in light of his growing success. While 9 full length tracks, this album is billed as an EP preceeding a full album release to come this fall. One thing is certain, the disc doesn’t listen like an EP. Thoughtful, introspective and lyrically deft lyrics keep the listener entertained while Ant’s production of top-notch songs outshines the cookie-cutter beats saturating mainstream hip-hop. Ali’s style varies from aggressive spitting on tracks like “Philistine David ” to laid back delivery on the album’s opener, “Real As Can Be.” Beyond all of this, Ali’s scope encompasses a variety of questions with universal significance. When he asks, “Can you tell me, what language do you laugh in?/The human reaction of smiles and cries/what language are the tears when they’re falling from your eyes?” it is not a question intended to divide in the style of Babel, but rather to point out the similarities we share as humans. An intelligent, varied and musical foray into hip-hop. Don’t Sleep On: “As Real As Can Be,” “The Believers” (feat. Slug) and “Good Lord.”

Filastine, Dirty Bomb: Formerly a member of ¡Tchkung! out of Seattle, Grey Filastine, upon the break-up of the group, has gone on to explore global sounds in experimental electronica. On his February release, Dirty Bomb, Filastine mashes glitch, hip-hop and industrial with sounds from Asia, Europe and the Middle East, including cameos from overseas musicians. The textures are dense and layered, sheets of sound that have no one city of origin, making this album a true global citizen. Hand drums, zithers and traditional chants find themselves side by side with throbbing bass lines and electric blips, all finding their places here in the hands of a producer adept at finding harmony between cross-cultural sounds. While some of the tracks can become repetitive, the majority are well fleshed out and driving. In “Singularities,” the beat is built up, deconstructed and then slammed back down in grimy fashion, an example of excellent production that runs throughout the album. Don’t Sleep On: “Singularities,” “Strategy of Tension,” and “Bitrate Sneers.”

Harmonic 313, When Machines Exceed Human Intelligence: Under the pseudonym Harmonic 313, producer Mark Pritchard has released an album of spacey and electronic music. Interesting about the tracks here is that they range greatly from straight ahead ambient electronica to tracks that sound like J Dilla beats blended with Kraftwerk’s Trans-Atlantic Express on acid. Using sonic pulses, computer blips and beeps and thick bass, Pritchard crafts an album that sounds almost entirely machine created, as if a hard drive rather than a human is behind the composition. Even vocals go hardwired on “Word Problems,” where a children’s spelling computer game serves as the spoken medium. Don’t Sleep On: “Call to Arms,” “Falling Away” (feat. Steve Spacek) and “Köln”

Peter Björn and John, Living Thing: Following a two year hiatus after 2005’s Writer’s Block, punctuated only by a digital only release limited to 5,000 US copies in 2006 (Seaside Rock), PB&J have returned with the March release of their 5th full length album. It has been a busy 4 years for the group as they climbed the ladder of musical notoriety through the ubiquitous hit “Young Folks.” They’ve gone on to be featured on hip-hop mixtapes and make all sorts of late night talk show rounds. While there are no comparable tracks on this album, it nonetheless provides more of the same feel. Tracks range from optimistic up-tempo to slow and melancholy utilizing various levels of production quality. The positive is that the success of “Young Folks” hasn’t spawned an album of copycats. These are original and show the trio expanding their sound, bringing in slightly more electronic drum programming at points. The album’s clear winner, “Nothing to Worry About,” is an about-face from “Young Folks,” female vocalist replaced with a chorus of distorted children at full volume and a funky bass line complimented by drums echoing off the inside walls of the song. A solid outing without going stale. Don’t Sleep On: “Nothing to Worry About,” “Just the Past,” and “It Don’t Move Me.”

Röyksopp, Junior: Big since their debut album in 2001, the fittingly titled Junior is only the 3rd release from Röyksopp in 8 years. And, given the shift in style between Melody A.M. and The Understanding, what happened next was of a great deal of interest. Turns out, the duo has managed to find a middle ground between the two, with various tracks exemplifying the more mellow and sugary aspects of Melody (“Happy Up Here”) and the more polished and electro-heavy Understanding (“Röyksopp Forever.”) The album retains the precision and vision of the duo’s work, bringing in female vocalists, chill melodies at times and electric tweaks that made “Eple” so popular. Don’t Sleep On: “Happy Up Here,” “Vision One,” and “Silver Cruiser.”

The tUnE-YaRds, Bird Brains: DIY. A term that, in an age of bloggers, home studios, and rising costs in all sectors has come to be a badge of honor and distinction. But there’s DIY music, and then there’s the unreal, experimental and phenomenal Bird Brains from The Tune-Yards (capitalization varies depending on site), aka Merrill Garbus. If what I’ve heard is true, Garbus crafted this entire album using small recorders and computer programs available through shareware. The result is a gritty, honest and surprising album that takes lo-fi to a new level. With a distinct and quirky voice, Garbus backs herself with drums and percussion sounds like something being slammed against a hard surface, ukulele and an entire arsenal of found sounds like kids playing in a park, birds chirping outside a window and conversations with a child. At times, the recording equipment’s range is tested as you can hear it clip, but this only adds to the allure of the tracks. Take Björk, mix her with Seu Jorge’s acoustic live recordings for The Life Aquatic with Steve Zissou and then juice the entire blend with a sense of creativity large enough to view the world around it as an instrument and you have the Tune-Yards. Nothing is out of bounds here. Spoons on glasses, discussions of blueberries, and steps on wooden stairs are just some of the interesting sounds turned music. One can only hope that follow up efforts will be equally beautiful in their range and direction. Don’t Sleep On: “For You,” “News,” and “Little Tiger.”

So that’s it for April. Chubb Rock and Wordsmith, new Del the Funky Homosapien and a ton of other new music is coming in May, so stay tuned, and keep your listening intelligent.

I sent out a quote yesterday and was surprised to see a Twitter follower I had conversed with many times on a variety of subjects unfollow me as a result. As I had blocked out the profanity in the lyric, I was curious as to what prompted the disconnect. Her response when I asked what happened was:

“I didn’t want to read misogynistic rap quotes on my Twitter, like I don’t get those messages everywhere else. ”

A pretty harsh thing for me to hear, especially given that I try to take a good deal of care in acknowledging that my audience comes from all backgrounds and walks of life and I like to be, unless consciously trying to be otherwise, non-offensive to the widest cross-section possible. I think what I should start with first, when about to engage in a discussion of this extent, is a simple definition… let’s look at the accusation of the quote:

Misogyny: hatred, dislike or mistrust of women
Misogynist: a man who hates women

At this point, you must be wondering what kind of filthy, horrendous, patriarchal and utterly degrading line I must have sent out. Surely something along the lines of the song that I love to hate, “superman dat ho” or the massively inappropriate and inescapable club track “Lollipop.” These are songs that show some serious hatred and lack of respect for women. The quote:

“Life’s not a bitch, life is a beautiful woman, you only call her a bitch ’cause she wouldn’t let you get that p***y.” – Aesop Rock

And it got me to thinking… what about this quote is misogynistic? For starters, the quote isn’t about a woman or women at all. The lyric is based on the popular metaphor, “Life’s a bitch.” Now, the argument can certainly be made (and I would agree) that this popular metaphor is misogynistic. It’s a colloquialism used to equate the negative parts of life with a derogatory term for women derived from the noun for a female dog. This is, of course, if you choose to take the word literally. Some would argue that the movement to slang of the term (see “bitchin’” as a good thing) softens that blow, but for the purpose of this analysis, we’ll assume the harsher meaning is implied.

So to start we have a misogynistic metaphor for life as the basis of the lyric. It’s a negative and pessimistic metaphor, but one could argue that in the context it is most often used, it looks more spitefully towards life than towards women. Of course, going back to the “harsher meaning is implied” baseline, the implication would be that the phrase is hateful to both life and women equally.

However, in the quoted lyric, the misogynistic (i.e. hateful) message of the metaphor is flipped. Aesop in this line is not saying life is a bitch, he’s saying the exact opposite: that “life is a beautiful woman.” In the song, his anger is reserved for those that don’t treat life with the respect it deserves, and therefore by extension of the lyric, the respect he feels women deserve. He mentions “the result’s a lowlife counting on one hand what he’s accomplished,” and his greatest disdain comes at the end when he’s asked by someone who hasn’t seized their life if he has seen their “little lost passions” and he responds, “yeah, but only when I peddle past ‘em.” In these lyrics, Aesop is hateful not to women, but to those who disrespect their life enough to call it a misogynist term.

Of course, we have to look at the full quote as my reader saw it, and it does end with “she wouldn’t let you get that p***y.” I’ll point out here that in my quotation, I did and continue to block out the majority of that word as I recognize it as one that can be felt and interpreted in a pejorative context. Were I to have no sensitivity to the use of the word, I would have written it out. While it is simply street slang for “vagina,” it does have a derogatory connotation that was clearly recognized in the censoring. The intent of the use of the term becomes the question, and for that it is a case of context.

Were the lyrics to be referencing a woman or sex, the word would most certainly be misogynistic in value. However, the word here is tied to the earlier metaphor and in this case used to denote the joys and pleasures of life to someone who is complaining of their failure to achieve and experience them. At this point, it becomes a question of an individual’s personal feelings towards the word, but also more importantly their feelings towards the context and how they interpret the author’s use. The thought that gnaws at my brain is whether this person read and understood the quote as Aesop Rock meant it, or if simply seeing that word was enough to cloud the meaning of the rest of the quote for her.

It also brings to mind the question of Twitterability. When limited to 140 characters, is it smarter to stray away from something that takes too much explanation? Keep in mind, in order to respond to the accusation of misogyny I had to step far outside 140 so I didn’t come off as disrespectful of her concern and opinion. “All due respect, but I think you’re wrong,” isn’t the path to a clear and open communiqué. The quote, especially when coupled with the chorus of “All I ever wanted was to pick apart the day/put the pieces back together my way,” has always left me feeling hopeful, respectful and fervently energetic towards life.

Would the quote have made more sense and been therefore less offensive had the entire stanza gone out?

“Life’s not a bitch, life is a beautiful woman,
you only call her a bitch ’cause she wouldn’t let you get that p***y -
Maybe she didn’t feel y’all shared any similar interests,
or maybe you’re just an asshole who couldn’t sweet talk the princess.”

With the next two lines, the before ambiguous intent of the original quote becomes more clear. By addressing the person who is calling life a bitch as an “asshole who couldn’t sweet talk the princess,” the entire context of the p-word is altered. Not only is life a beautiful woman, but in the second portion life gets upgraded to princess. Revered as such (again – life, not women – must remember we’re talking metaphor here), that the asshole would set such a crass, base and lustful goal devoid of any real commitment is in the end disrespectful only to himself because it is the foundation of his personal failure. The lack of commitment is furthered by the “sweet talk” nature employed, rather than a serious and respectful approach. While the metaphor is life as female, if one were to want to examine them in the context of relationships, my analysis would be that Aesop Rock here is promoting a respectful and thoughtful approach rather than the commonly held hip-hop view of women as objects.

Unfortunately, a simple breakdown of that stanza and the reasons why I don’t feel it should be taken as misogynistic may only scratch the surface of this reader’s reaction. It is a direct interpretation of the words and the way I analyze their meaning within the song, grammatically and metaphorically, as ones that do not promote hatred of women. While this is literal and I believe to be analytically correct, it does not take into account the entirety of my education and therefore the possible reason this quote might have been viewed negatively by my reader. In the larger picture of Feminist theory, it could be the very personification of Life as female, thereby ascribing gender, that my reader read as misogyny.

Within a language construct framed by patriarchy where gender is indoctrinated in the way we learn to speak, delving to the deeper reading of the basic articles can be beyond the thought of some. But it’s there, this grammatical gender divide, every day, from the things we teach children to the way we address our possessions. Take for example Mother Nature and Father Time. Or simply the way someone talks about a car saying, “She’s a beauty.” A car is an object and yet is often referred to as a female object.

I’m not bringing this up to get into a drawn out explanation of how the very influential nature of gender within the English language helps further shape and extend ideas of patriarchy (which it does.) I bring it up merely to demonstrate that even if the quote is taken as a positive description of life and the respect that it deserves in the form of a “beautiful woman” and “princess” as opposed to being viewed as “bitch,” another perspective found in Feminist theory would view it as, at the least questionable, and on the other end despicable, that life needed to be tagged with the gender to begin with.

Finally, I’m left to wonder whether, knowing all of this, and recognizing that I had thought it out to such an extent, this particular person would have still unfollowed me. Would the recognition of the censorship and perspective that I take all of these theories into account brought deeper thought about what those 140 characters contained? Who knows. But I’m glad it got me thinking this evening. I hope it did the same for you. And maybe, just maybe, upon depth and analysis added to the quote, I might even convince my lost reader to follow me once more.

One thing did sting… the passing off of Aesop’s lyrics as rap. Of course, while Aesop Rock is certainly of the rap and hip-hop genres, I think most people would agree that his lyrics have more in common with poetry than what you expect to hear on a rap album. Here are the lyrics to “Daylight.”

“Put one up for shackle-me-not clean logic procreation.
I did not invent the wheel I was the crooked spoke adjacent,
While the triple sixers lassos keep angels roped in the basement,
I walk the block with a halo on a stick poking your patience.
Y’all catch a 30 second flash visual
Dirty cooperative med platoon bloom head-trip split ridiculous
Fathom the splicing of first generation fuck up with trickle down anti-hero smack. Kraken.
I pace me game for zero hour completion cretin, splash.
Duke of early retirement picket dream,
American nightmare hogging the screen.
I’ll hold the door open so you can stumble in if you’d stop following me ’round the jungle gym.
Now it’s honor; and I spell it with the ‘H’ I stole from ‘heritage’
Merit crutched on the wretched refuse of my teaming resonance.
I promise,
Tempest tossed bread with a bleeding conscience
See, the creed accents responsive but my spores divorced the wattage.
And I’m sleeping now (Wow!)
Yeah the settlers laugh…
you won’t be laughing when your covered wagons crash,
you won’t be laughing when the buzzards drag your brother’s flag to rags,
you won’t be laughing when your front lawn’s spangled with epitaphs,
you won’t be laughing.
And I’ll hang my boots to rest when I’m impressed ,
so I triple knot ‘em and forgot ‘em,
His origami dream is beautiful but man those wings will never leave the ground,
without a feather and a lottery ticket, now settle down.

All I ever wanted was to pick apart the day, put the pieces back together my way.

Slacker bound intimate tabloid headline with a pulse shimmy ‘cross the centerfold,
Enter dead time engulfed; divvy crumbs for the better souls,
When 7 deadly stains adhere the blame to crystal conscience,
the result’s a lowlife counting on one hand what he’s accomplished.
Link me to activism chain, activate street sweep,
Plug deteriorating Zen up in pen dragon
I hock spores coursed by the morbid spreading of madmen (Alley Gospel)
Sinking your Lincoln log cabin and Charlie Chaplin waddle
I could -
Zig, Zag, and Zig ‘em again before the badge gleam sparked in my brick wall windows,
Another thick installment of one night in Gotham without the wretched
‘Houston we have a problem,’
Attached to the festive batch of city goblins
Who split holiday freaks on a box cut cinema high road bellow;
head gripped watch red bricks turn yellow.
Sorta similar to most backbones at camp Icarus
where all fiddler crabs congregate and get pampered for bickering.
Life’s not a bitch, life is a beautiful woman,
you only call her a bitch ’cause she wouldn’t let you get that p***y.
Maybe she didn’t feel y’all shared any similar interests,
or maybe you’re just the asshole who couldn’t sweet talk the princess.
Kiss the speaker wire,
Peter pacifism peggin’ threshold
Stomach full of halo kibbles,
Wingspan cast black upon vigils,
Here to duck hunt ticker tape vision and pick apart the pixels.
I got a friend of polar nature, and it’s all peace
You and I seek similar stars but can’t sit at the same feast
Metal captain
This cat is asking if I seen his little lost passions,
I told him ‘yeah, but only when I peddled past ‘em.’

The Protege

Born and raised in Connecticut, The Protege has been a DJ, a producer, a manager and now an MC on the Phenetiks roster (Rawkus Record.) Recently, he has been gaining momentum as an artist and that work comes to fruition on his just released 7 track EP, Untitled is Hard Enough.

Produced by Sketch the Cataclysm, Untitled is Hard Enough is a brief foray into what continues to be the overshadowed and under compensated world of underground hip-hop. Of note here is the variety of ways Protege gets over very different beats by Sketch. Cataclysm’s production ranges from the dark drum step and militant sound of the EP’s opener, “Provisions,” to the reggae dub sound of “Pressure,” with relaxed yet eerie hip-hop in between on “Sunshine.” The inclusion of some jazz and blues sound throughout the tracks keeps the 7 tracks from sounding generic.

Regardless of the beat, The Protege keeps his delivery flexible, letting the tracks come to him rather than forcing one style onto various tracks. His lyrics stay straight ahead, foregoing typical lyrical stalwarts like money, cars and jewelry for more personal topics like the pressure to pay bills. The honesty is refreshing, and combined with the ability to lace together rhymes and wordplays, The Protege makes his debut solo effort one that leaves you wanting to see what he can deliver on a full length outing. In one of the strongest tracks on the EP, “Nothing,” Cataclysm includes an undulating bass line and funky vocal chorus that eventually devolves to massive scratching as The Protege spins tongue twisters about his effort to create work and his subsequent fear of rejection.

While brief, Untitled is Hard Enough is solid and original. It doesn’t rely on prevailing Hip-Pop trends, nor does it try to paint itself as a champion of the underground. Instead, the honesty simply puts artist and beat out there for the listener with no requirements other than hearing where he’s coming from. It should certainly be interesting to see where he goes from here.

Thanks to Dirt E. Dutch for the tip.

Have you heard the driving electronic sounds of the band Delphic? If not, add them to your list of music to check out. Their band name was enough to pique my interest. Why the Greek reference? Why ambiguous or obscure? Why did they pick it…?

Then you hear their music and the intrigue grows. At times paying homage to fellow countrymen and musical pioneers, New Order, or other greats, and at times creating an experience completely their own, Delphic is poised to make some serious noise in the musical landscape of 2009. So, it seems, say the oracles of the dancefloor.

Also, the “forward-thinking, indie-rave” sound of the “best new band in Manchester” is now yours to remix! Yep, they’ve got a Remix Wizard for you to play with, so get to it. Check out the remixes done so far and/or make your own here!

The young band is releasing their single “Counterpoint” on Belgium’s R&S label. Though fairly new to the scene, they are already opening for the likes of Bloc Party and The Streets. Not bad for a band still in their musical diapers. Check out the “Counterpoint” video, which was produced by Ewan Pearson, who will be working with the Delphic boys on their debut album.

March has brought me some fantastic new cuts, and several blasts from the past that I hadn’t heard before, making them new to me. I will say that I downloaded The Jackson’s “Blame it On the Boogie” which is simply sublime. But through 56 new songs, including an album that won’t be released until next month, March was good for music. I’m almost sad to see it end, until I remember that once it does, I get to start all over again with April…

Dessa, False Hopes: Released in 2005, False Hopes is a 5 song EP from Dessa (@dessadarling) of Doomtree. Why write about a 2005 release as “new music?” Well, have you given this EP a listen yet? While short in length, this EP is huge on style and poignant, introspective lyrics against musically gripping backdrops. “551″ looks at an addictive and damaging relationship over a dark beat laced with piano. Throughout the album, Dessa mixes her vocal talent with her rapping and slam poetry background to great effect. “Mineshaft” utilizes an urgent string backing and heavy drum beat to accentuate the sense of loss in the song. Many of the lyrics focus on a central theme of personal loss (“The list of things I used to be is longer than the list of things I am,” “I lost an octave to the Camel Lights”) and they’re delivered with such intensity that her personal experiences become visceral for the listener. “Kites” delivers an eerie underwater feeling that brings to mind the melancholy feeling I first heard on listening to Atmosphere’s “God’s Bathroom Floor.” Through just 5 solo songs and her contributions to Doomtree, Dessa rivals P.O.S. in her passion and creativity on this album, and one can only hope that her poetry, lyrics and music gain the public recognition that they deserve. Don’t Sleep On: “Mineshaft,” “551,” “Kites.”

Kero One, Early Believers: This man does it all out of his self-run label, Plug, in the Bay Area. DIY in every sense of the word, Kero One plays his own instruments, makes his own beats, writes his own lyrics, produces and mixes his own songs and then created a label to self-distribute. For the full review of his sophomore release, Early Believers, set to drop April 7th, click here. Don’t Sleep On: “This Life Ain’t Mine,” “Welcome to the Bay,” and “On and On.”

N.A.S.A., The Spirit of Apollo: The idea behind this collaboration album is bringing North American hip-hop together with South American beats and influences to create a cultural mash-up album with global appeal. And for the most part, the odd pairings of guest artists along with the sample heavy and culturally defiant music does the trick. As hip-hop laced with world music continues to gain traction on radio airwaves and popularity among listeners, it comes as no surprise that artists with a broad fan base such as Kanye West, Tom Waits and George Clinton were willing to contribute. Other international artists got in on the act too, with Santogold, Lykke Li and Seu Jorge joining the fray.

If there’s one drawback to this album, it’s that some of the songs come off as too packaged, relying more on the featured names than on the music itself. “Spacious Thoughts” featuring Tom Waits and Kool Keith is interesting, but forces too much of a juxtaposition between the rapper and the singer, leaving the transition from verse to chorus feeling fractured. If you’re into heavy, crunchy dance tracks, “Whachadoin?” feat. Spank Rock, M.I.A., Santogold and Nick Zinner is dense with bass and electronic flourishes, but a bit repetitive. Of course, where the songs are on, they’re on. DJ Qbert and Del tha Funkee Homosapien rip “Samba Soul,” the beat perfectly capturing Del’s sense of pace and timing, and “Gifted,” the track with Kanye, Lykke Li and Santogold has almost instant club appeal with grimy effects offset by a starry and airy video game tone sequence in the background. For the most part, N.A.S.A. plays like a who’s who of guest stars where the sum total of the music falls short of the artists involved, but on a handful of songs, the desire for North to meet South in interesting ways comes through. Don’t Sleep On: “Samba Soul” featuring Del Tha Funkee Homosapien and DJ Qbert, “Money” featuring David Byrne, Chuck D, Ras Congo, Seu Jorge and Z-Trip, and “Gifted” featuring Kanye West, Lykke Li and Santogold.

The Pains of Being Pure At Heart, The Pains of Being Pure At Heart: After a 2007 EP release, PoBP@H released this debut self-titled effort in February on Slumberland records. The initial offering finds the group exploring the various genres of Indie Rock, Shoegaze and Sugar Punk and the spaces between them. The band utilizes a variety of sounds to evoke different moods, not shying away from using both electric and acoustic guitars depending on the song, and descending into lo-fi static where necessary. The lyrics seem less important to the songs than the contribution the singing melody lends the tunes and the drums remain consistent throughout to lend the backbone to a group that alternates between sulking and exulting. In some places, 80’s influences sneak through, “The Tenure Itch” being a song that could have easily made the Donnie Darko soundtrack. But whether they’re soft or hard, The Pains of Being Pure at Heart remain effusive in their energy, bringing a sense of urgency and drive to every song that keeps the album moving. Don’t Sleep On: “Stay Alive,” “This Love is F*****g Right!” and “A Teenager in Love.”

Indiefeed Hip-Hop: Dirt E. Dutch from Indiefeed (@dutchman) brought out some more stellar cuts this month, but one of my favorite, Dutch’s “Welcome to the World Kayla Vivien!” is a smooth and mellow instrumental affair to celebrate the birth of his daughter that was actually put out in February. Finale’s Black Milk remixed track “One Man Show” moves with low-end bass touches and high-end electronic agility while B Real’s “Don’t You Dare Laugh” uses an interesting interpolation of Suzanne Vega’s “Tom’s Diner.” All in all, a positive showing this month.

The next few months are looking solid for new music releases, so keep it tuned.

When Kero One released his debut album Windmills of the Soul, he had no backing and no name recognition to speak of. The album’s success came about through his persistent work to get it heard which resulted in it becoming a hit in Japan first, a humorous twist for a Korean DIY hip-hopper born and raised in the San Francisco Bay Area. Through this success, he has managed to remain independent, starting Plug Label, releasing The Tones’ debut album and doing end-to-end production on his sophomore release Early Believers.

It is this spirit and energy that infuses Early Believers with an unfettered sense of optimism and musical joy. From the instrumentation to the lyrics, the album is unmistakably a complete work by a focused artist. The music is consistent and full, utilizing both hip-hop and jazz influences, while the lyrics are often personal and focused on a specific story. The marriage between Kero’s thoughts and his beats serve to offer an album that never feels forced or out of place. Unlike some current hip-hop albums that feel like the goal is musical shock for shock’s sake, Kero One never tries to do too much or move too far out of his range. On the opening track “Welcome to the Bay,” Kero raps about the pros and cons of the area where he grew up over an easy synth and fresh beat produced by King Most. Jacqueline Marie provides the chorus about the mentality of never leaving the bay for a piece that is heartfelt and unmistakably San Francisco.

“When the Sunshine Comes” is an easy, sunny day melody. The pace and mood of this song seem to be the best fit for Kero’s vocals, letting him sit back and rap without tempo pressure. The smooth delivery of tongue twisters is unhurried enough that it doesn’t make the listener feel stressed that the words won’t come out. This track gives way to “Keep Pushin’,” a much more up-tempo track that lyrically resembles something Kanye might have produced, with a little more pop to it. The fusion of jazz and a glitchy stop-and-go guitar/handclap back and forth brought to mind edIT’s “Crunk de Gaulle” off Certified Air Raid material. On his “I’m better off single” track, “Let’s Just Be Friends,” Kero brings a sing-along melody to the chorus (performed by Tuomo) and manages to make his desire to stay single sound happy and upbeat. The album then moves into Latin Jazz influences on “Bossa Soundcheck,” where Kero displays the keyboard and piano education he was brought up on. Sounding like it would be best heard in a dimly lit lounge atmosphere, Kero manages to make a hip-hop song that would fool non-hip-hop fans into listening and enjoying.

A solid feature of Kero One’s music is that he doesn’t sacrifice his choruses like most contemporary hip-hop and rap acts have done to get radio air-play. There’s no, “she made us drinks to drink, we drunk them, got drunk” fillers here. The choruses are integral parts of the overall whole, demonstrated again through Tuomo’s easy delivery on “Love and Happiness,” bringing to mind some of the better work done with Codany Holiday on Zion I’s latest album. This is the second King Most produced track on the album, and together they make the only two not produced by Kero himself. In “Stay on the Grind” Kero raps about the difficulties and rewards of choosing the DIY route, and just when you thought the whole album would be hip-hop, “A Song for Sabrina” shows off the instrumental prowess in a hip-hop/jazz/funk fusion track that includes Vince Czekus on bass and electric guitar.

In the most poignant and introspective track on the album, “This Life Ain’t Mine,” Kero uses an easy and straight-forward hip-hop track to back an autobiographical story about his life and entry into the hip-hop career, looking at his choices in friends and religion. The easy keys sprinkle melodies over “I Never Thought That We” as Kero looks at his unlikely and unpredictable path from his parents’ wishes to his chosen career. And, without missing a step, the album ends on a Kero One exclusive instrumental, “On and On,” which lets the album fade out in a jazzy way, reminding the listener of the progression of the album as a whole, and that it wasn’t just rap or hip-hop you were listening to.

An easy listen, Kero One’s Early Believers takes chill to the next level at every step. Gone from this album are the stereotypes that you need raps about money and women, pop-induced repetitive hooks and coarse language to produce a solid hip-hop outing. Instead, Kero relies on excellent production, live instrumentation and honest lyrics from his point of view to make an album that flows from start to finish and will most likely end the year in more than a few top ten lists. While it isn’t edgy or controversial, and some listeners will harp on a lack of perceived street credibility, Early Believers reminds us that hip-hop doesn’t need to be any of those things to be fun. Early Believers will be available from Plug Label on April 7th. Check back here for our exclusive interview with Kero One.

The best part of this contest is the incredible range of sounds and styles that were brought to the re-envisioning of the track. Hiright came with a remix that brought in 808s and a drastic slow down on the tempo of the verse for his “808 Remix” while keeping the backing music uptempo. RockG went the opposite direction on his “Parents R Out of Town” remix, opting for a techno heavy delivery. Also on the electronic side of the spectrum, MixMatchMusic’s Gavroche decided on a “drumglitch” remix, subduing the source material under a pervasive layer of drum tricks. If those two don’t tend enough towards house music for you, DJ STINJ-E’s remix turns Zion I out into a serious rave sound. Inflect took the remix into serious video game sound territory, layering it with blips and beeps throughout before going heavy with the scratching.

While most of the remixes chose to slow down the tempo of the song, SliPro went the other way, upping the tempo behind an ascension of a grimy drum and synth march that sounds like a war march. Mike Ponticello stripped down the chorus over funky bass, and then built the chorus up around melodic synth parts and some haunting and airy backgrounds. Then you have the crunchy sound of the chopped up remix from Autobots.

My two favorite remixes were completely different, as one might hope from a remix contest. Hiright’s second offering is deep, relying on an eerie piano melody, descending space keys and a steady head nodding beat, even adding a dense verse of his own regarding his history with the music. This was the only use of an original verse that I heard in the remixes, which made it stand out. The NeoMob’s remix is the most club-ready in my mind, with great ascension and digitized voice samples.

To check out these remixes, you can visit the site here. And with the results not being announced until after March 25th, your votes still matter!

New York born indie rock band, Longwave, was formed in 1999 by guitarist, songwriter and vocalist Steve Schiltz, guitarist Shannon Ferguson, bassist Dave Marchese and drummer Jeremy Greene. While some say their early music was influenced by shoegaze pioneers and post-punk icons, the current Longwave sound is very distinct, perhaps due to their numerous lineup changes over the years. Their most recent release, Secrets are Sinister, debued in November 2008 on Original Signal Recordings (the same label that supports the likes of Ingrid Michaelson and David Ford, whom we interviewed last year).

Longwave is now releasing a new single, “Sideways Sidesways Rain” exclusively on tra.kz! Check it out here.