.Evolving Music.

We’re exited to announce the release of Evolving Music’s iPhone app! Built on MobBase, you can download our free app for your iPhone, iPod Touch and iPad and stay connected to Evolving Music wherever you roam. The app includes blog posts, tweets, videos, and other digital goodies for you to enjoy. It also features a selection of 10 songs that you can listen to while browsing the app. Currently, it includes some great tunes from RX Bandits, Easy Star All-Stars, Shanghai Restoration Project, Throw Me the Statue and Gavroche.

We built the app using MixMatchMusic’s new DIY app building platform, MobBase, which makes it easy for musicians, music companies and music blogs to create, launch and manage their own, custom iPhone apps for as little as $0.50 a day. And because MobBase enables us to update the app’s content and design whenever we want, be sure to check the app often because we’ll be keeping things fresh. Ya dig? Get the app here.

Tomorrow (Nov. 3), MixMatchMusic will debut MobBase, a new service for musicians that makes it easy for them to create, launch and manage their own, custom iPhone applications. For as little as $0.50 a day, MobBase will enable musicians to share music, photos, videos, tweets, news, blog posts, information about shows, merchandise and other content with fans on their mobile devices.

“The iPod put music in fans’ pockets.  The MobBase iPhone app puts musicians in fans’ pockets, with the high value content that fuels the artist-fan connection,” said Charles Feinn, CEO and co-founder of MixMatchMusic, MobBase’s developer. “We’ve made it so inexpensive, even starving artists can have their own app and have the same mobile presence as major acts.”

Feinn said many artists aim to engage and involve listeners in their music in order to build deep and lasting connections with them.  Increasingly, these connections drive sales of concert tickets, band merchandise and music.  Likewise modern music fans are looking for more and deeper interaction with musicians.

“Just a relative handful of artists have launched iPhone apps,” said Feinn.  “MobBase makes it easy enough and inexpensive enough that every musician can have their own app.”

Rock-reggae stars Pepper among first bands to launch MobBase app
Twenty-two artists and labels including Pepper, Everclear, Zion I, RX Bandits, Silverback Music/Controlled Substance Sound Labs, Greg Laswell, Shanghai Restoration Project, the Jacka, Easy Star All-Stars, Rebelution, Town Thizzness, Throw Me the Statue, Killer Mike, Jennie Laws, Big Light, Stephen Kellogg and the Sixers, Black Gold, Enzyme Dynamite, The Blakes, Eoin Harrington, El Desayuno, and Gavroche have launched MobBase applications to deepen their connection with fans. To view all the MobBase iPhone apps that are live in iTunes, click here.

“Pepper fans can’t get enough about the band,” said Sally Nobbs, manager for Silverback Music, Pepper’s management firm.  “And were excited about the way that our app will fuel deeper connections with our fans, by giving them constant access to Pepper’s music, backstage video footage, photos and news, and the ability to interact with Pepper through their iPhones, no matter where they are.”

Feinn said MixMatchMusic is now making MobBase available to other musicians.

“Connecting more fans more effectively with the music they love is fundamental to individual artists’ success, and to long-term music industry revenue growth,” said Susan Kevorkian, IDC program director, Mobile Media and Entertainment. “Services like MobBase are expected to play a key role in connecting artists to their fans with cost-competitive, versatile apps as smartphones assume an increasingly central role as sources of music and related information.”

Labels and music 2.0 companies endorse MobBase
Music 2.0 pioneer IODA, along with indie labels Controlled Substance Sound Labs, SMC Recordings, Welk Music Group, Vanguard Records, Sugar Hill Records, Red Bull Records, Sargent House, and 429 Records have each agreed to offer and promote MobBase apps to their rosters of artists.

Feinn said partners are offering MobBase so their artists can build the deeper connections that result in fan engagement and ultimately sales of music, merchandise and concert tickets.  He said partners will promote MobBase as their exclusive solution for mobile applications, and that they will be marketing it on their websites, via direct marketing and other channels.

Content powers connection
MobBase gives artists a mobile, interactive fan club, storefront, merchandise table, and more.  The MobBase application is highly customizable, so artists can pick and choose the content they offer to fans and also the way that content is presented.

Feinn said there are no design constraints with MobBase.  “Musicians have a blank canvas to project their artistic vision.  We’re expecting an explosion of creativity and fun.”

Featured content supported includes:
Music.  Artists just want to make and share music.  By featuring their music in MobBase, they make it easy for fans to buy songs or even entire albums.

Videos.  With MobBase, artists can share video out takes, footage from backstage and at parties, or even feed their YouTube channel directly into the    application. Fans can also upload their own videos to their favorite artist’s app.

Photos.  An image is worth 1,000 words, so artists can create and share photo collections including album artwork, tour pictures and other images fans are clamoring for.  MobBase features seamless integration with Flickr and Picasa, so it’s easy to manage, update and add photos in real time.

News/Blog.  Artists can use MobBase to keep fans up to date on news, blog posts and behind the scenes info with RSS feeds.

Shows.  The best way to get fans to shows is to make sure they know when and where they are.  With MobBase, artists can update show times, venues, directions and other info to make sure their fans know where to find them live. MobBase features seamless integration with ArtistData and MySpace, so it’s easy to manage, update and add concert info in real time.

Discography.  Artists can connect fans with their entire catalog, album artwork, liner notes, and lyrics by featuring them in MobBase.

Twitter.  Artists can make sure their tweets reach their fans with MobBase, and fans can hear what others have to say about the band. Artist and fans can also have conversations to discuss specific topics of the artists choosing.

Store.  MobBase is like a mobile merch table, connected to artists’ web stores.  It’s a great way for artists to show their merch where it’s easiest for their fans to find it (in their pockets).

Biography.  Biographies provide fans with background and back story, information that makes the artist-fan connection that much more meaningful.

More and more.  Because MobBase is highly customizable and supports additional functionality, artists can expand on the platform to do more and engage fans more deeply.

Easy. Customizable. Dynamic.
MobBase is built on an advanced content management system that makes it easy to add, manage and update content in real-time.  Yet it is so easy to use, so easy to set up and so easy to maintain, even a rock star can do it.  And because it is highly customizable, every artist – rock star or rock star-in-the-making, can easily create their own unique app with their unique image, look and feel.  Artists aren’t locked in to a design either – they can change the app whenever the mood strikes.

Priced for starving artists
MobBase is priced for starving artists and also artists who remember what it was like to starve.  It costs just $20 to get going and many artists will never pay more than $15 a month to deliver music, photos, videos, tweets, info about gigs, merch and more to hundreds of fans.

{for May’s edition of What I’m Hearing, click 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.

While the next band in the Tra.kz Artist Spotlight recently joined Twitter, Throw Me the Statue is no stranger to readers of Evolving Music. You can read our interview with frontman, Scott Reitherman, here. You can even make your very own remix of TMTS’ Yucatan Gold here using MixMatchMusic’s Remix Wizard.

As Secretly Canandian Records prepares to release TMTS’ new EP, Purpleface, on February 17th, the boys who want statues thrown at them have decided to give you an early taste. Their song “Ship” is an understated yet inventive gem in which TMTS fuses rich, textured layers with their unique indie-pop melodies. TMTS has spent the majority of 2008 touring the US and Europe supporting its critically acclaimed debut, Moonbeams. While on the road, TMTS has explored the depths of its sound, recreating its playful mystique, and emerging as a proficient and an even more engaging live act. Purpleface is the direct result of this time, albeit showing a bit of a softer side than its predecessor. Word on the street is that TMTS is currently recording their next record in Seattle.

To celebrate the launch of tra.kz, a great selection of indie and emerging artists have come together to release new music using tra.kz. Throughout the day, new songs will be released on Twitter, with Evolving Music providing extra golden nuggets of information.

As part of the Tra.kz Artist Spotlight, MixMatchMusic has partnered with the forward-thinking folks over at Controlled Substance Sound Labs to release new music from Pepper, Slightly Stoopid, Rebelution, the Expendables, Mat McHugh and the BlackBird, Fishbone, Giant Panda Guerilla Dub Squad, and Sabotage Soundsystem.

Controlled Substance Sound Labs was formed by brothers Jon and Matt Phillips as an artistic pipeline for the family of artists under Silverback Management. As a firm that has represented the vision and career direction on the management side, they have created a refreshing record label and distribution scenario that caters to the new “independent” minded landscape of the music business, and its changing climate. They have created a trustworthy scenario to release albums and own their own masters and copyrights, which as we all know, is not a practice commonly held by the major label behemoths currently in a steep decline both creatively and from a business standpoint.

Here is the full schedule of today’s Artist Spotlight. Get ready for some great music!

7:30AM: T. Mandrake — Honey
8:00AM: Dreamlin featuring Kim Powers — Fort Gaze
8:30AM: Angel Pier — Skullz and Xs
9:00AM: Throw Me the Statue — Ship
9:30AM: Trifonic — Gutter Box
10:00AM: Fishbone — Behind Closed Doors
11:00AM: Pepper — Too Much (Straight Board Mix)
12:00PM: The Expendables — Set Me Off
1:00PM: Slightly Stoopid — Closer to the Sun
2:00PM: Mat McHugh — Under the Landslide
3:00PM: Rebelution — Feelin’ Alright Dub
4:0PM: Sabotage Soundsystem — Love 2 the DJ
4:30PM: Giant Panda Guerilla Dub Squad — Season’s Change
5:00PM: BLVD — Vortex
5:30PM: Enzyme Dynamite — Girls
6:00PM: Radio Nowhere — London Calling
6:30PM: The Dance Party — Sasha, Don’t Sleep
7:00PM: Alessandra Conti — Empty Words

For last year’s 11 Songs to Be Thankful For, click here.

I know you’re in pain. The music industry, no less than last year, is inundated with made for radio pop songs meant to burn brightly in the minds of middle schoolers, sell millions of copies and then fade quickly into the one hit wonder used CD bins. Some will make club playlists and stay relevant for another year or two, but most will be either forgotten or turned into the butt of some future musical joke. But these simplifications overlook a large cross section of musicians from all genres that are producing quality music that not only can get stuck in your head, but won’t make you want to put a loaded revolver to your temple to get them out. In fact, months later, these songs are still gripping and enjoyable.

Thanksgiving is over, but while you’re eating some leftovers, there’s still much to be thankful for in the way of music. For each month, a main song that stood out above the others with the album you can find it on, and a second song that I give honorable mention to for being generally kick ass. But since life isn’t a one man affair, I invited my roommate, who receives the same monthly iPod updates (see the “What I’m Hearing” posts… the links in the month names will get you there), to give her input on what songs grabbed her focus this year. 11 months, 1 main song, 1 honorable mention and 2 recommendations from the roommate will give you about 44 fantastic songs you haven’t listened to yet. I say about because in some cases you may have heard a song, and in others, we picked the same one. Enjoy!

Jan: “Breathe Me (Mylo Remix)” (Breathe Me EP) by Sia. Most people had their first introduction to Sia’s heartbreaking song through the final 5 minutes of the HBO series Six Feet Under. The song, steeped in lament and longing, is nostalgic and only further inundated with emotion from Sia’s haunting voice that at times seems to whisper. On this EP version, Mylo remixes the song by fleshing out a lush electronic sound with bass and digital flourishes around the vocals and speeding up the main melody. The result is a moving and dance-able, yet still emotional track. Honorable Mention: “Way Down in the Hole” (The Wire Soundtrack) by The Blind Boys of Alabama

Jessie’s Picks: 1) “Nudez” (Rainydayz Remixes) by AmpLive. “Mushaboom (Postal Service Remix)” (Open Season) by Feist.

Feb: “Campus” (Vampire Weekend) by Vampire Weekend. When this album came out, I positively reviewed the whole thing, and now, many months later, it hasn’t lost its luster for me. With “Campus” the group uses simplicity in the vocals and instrumentation to evoke the feeling of days at college and crushes (if your college crush happened to be a professor.) The staccato lead up to the frenetic chorus is an instantly attainable indie pop that also brings to mind a Killers tune on Xanax. With the line, “In the afternoon you’re out on the stone and grass/and I’m sleeping on the balcony after class” the song takes me back to my own college balcony naps. Honorable Mention: “Weightless” (Lucky) by Nada Surf

Jessie’s Picks: 1) “Cape Cod Kwassa Kwassa” (Vampire Weekend) by Vampire Weekend. 2) “The Chills” (Writer’s Block) by Peter Bjorn and John

March: “Front Steps, Pt. 2 (Tough Love)” (Absolute Value) by Akrobatik. This song is haunting both lyrically and musically. The solid production includes a piano sample and string overtone that sound like they’ve been submerged in water. The murkiness is then combined with scratches and a bass and drum line that provide it with a depth that comes off simultaneously polished and street rough. All of this is so that Akrobatik can provide an incredible song about the economic and social plight within the project communities, the current state of hip-hop and the need for change within the criminal justice system. He exhorts the youth to avoid the drugs and black on black violence that help oppress them, and strive for something better by offering them his honest take in the form of “tough love.” His lyrics come from a seriously educated perspective as he recognizes that the format of the ghettos allows the upper middle class to ignore riots and financial losses inflicted by them (“And when we riot they won’t care about the dollars lost/they’re sipping cocktails while we’re throwing Molotovs“) and sees the difference between a middle class white education and the education provided in inner city schools. The entire song is filled with lines that are both mentally stimulating and potent in rhyme scheme (full lyrics here). One of the best hip-hop lines of the year comes from this song, “This ain’t a war on drugs, it’s a war on thugs/they supply the guns, we supply the bodies with slugs.” Easily in the contention for my top 5 songs of the year. Honorable Mention: “Live 4 Today” (Break A Dawn) by Zion I

Jessie’s Picks: 1) “Opening Act” (Garbage Pail Kids) by Sene and Chief 2) “Muddy Water Stomp” (Garbage Pail Kids) by Sene and Chief

April: “The Things That We Could Share” (Soundboy Rock) by Groove Armada. Here’s one the roommate and I agreed on. In an age of Craigslist Missed Connections and the disconnect between people, this joyous song about the potential connections is a love song for the person you haven’t met yet. Starting with a groove bass, handclaps and “SB” chant, the electronically strained vocals through the verse beg for a balance with another person (“I need a warm hand to cool me down/I need a soft voice to drown me out”) moves into the chorus about a boy on a bus watching a girl, who is simultaneously telling her friend that he doesn’t care. When the bass line undulates and crashes into the triumphant refrain of “the things that we could share,” if you’re not dancing, you’re not breathing. Honorable Mention: “Far Away” (In Ghost Colours) by Cut Copy.

Jessie’s Picks: 1) “The Things That We Could Share” Groove Armada, Soundboy Rock. 2) “Watch As They Go” (Other People) by American Princes

May: “Winds of Change” (The Show) by EMC. Leave it to a super-group of hip-hop mainstays to write a love song to hip-hop that can surely stand as a classic. With an old static laden and sped sample singing, “Winds of change, that blow forever” EMC rips off a masterpiece devoted to the past, present and future of hip-hop, while never forgetting the overall perspective of fleeting life and inevitable change. Subjects like evolving music (MJ to Usher), technology (Beta to DVD), and clothes (Osh-Kosh to Phat Farm) are all well and good, but the highlight of this track is the last verse that takes a sad hindsight view of a hip-hop career from an old age perspective (“Holding the picture frame wishing that we didn’t age”) and the unfortunate decay that it can bring (“At 55 started forgetting lines, mumbling rhymes.”) As the rap moves to talking about freestyling with his grandchild, the song becomes both melancholy in its reminiscence and happy in the remembrance of the experiences. Honorable Mention: “Mathematics” (The Fashion) by The Fashion

Jessie’s Picks: 1) “27″ (Butter and Gun$ EP) by Blue Scholars 2) “O Samba Tai” (Carolina) by Seu Jorge

June: “Watch Out (Remix)” (The 3rd World) by Immortal Technique (click here for exclusive interview). Sounding incredibly sharp over a beat that samples from the Apocalypse sounding symphony from the central battle scene in Star Wars Episode 3: Revenge of the Sith and polished Green Lantern production, Immortal Technique barks through this track that cements his status as one of the most lyrically intelligent and delivery potent rappers around. Starting with his album sales off just a Source magazine quotable and moving onto direct attacks on the music industry (“they push pop music like a religion/anorexic celebrity driven, financial fantasy fiction”) and American government, Tech doesn’t take pause for a chorus here, but why bother when you can deliver like that for two and a half minutes straight? When he ends the song with, “I need more than advancements and a rented mansion,” you know that he means it, and doesn’t care who he pisses off in the process. Honorable Mention: “Let the Beat Build” (The Carter III) by Lil Wayne

Jessie’s Picks: 1) “Reverse Pimpology” (The Third World) by Immortal Technique 2) “Dance Dance Dance” (Youth Novels) by Lykke Li

July: “Sittin’ On Chrome (Mr. Flash Sittin on Cr02 Remix)” (Delicious Vinyl: Rmxxology) by Masta Ace. This revamped version of the old school Masta Ace song is given all sorts of synths and electronic overtone. The verses get a video game-like sound backdrop with a fast dance beat. When the hook drops, the whole song slows down and the sample carries it. Honorable Mention: “Built to Last” (Coup de Theatre) by Haiku D’Etat

Jessie’s Picks: 1) “Desperada” (Jeanius) by Jean Grae. 2) “GFC” (Como Te Llama?) by Albert Hammond Jr.

August: “Zhaoderen Nana” (Introducing Hanggai) by Hanggai. Another point of agreement with the roommate, Hanggai’s mixture of traditional Mongolian folk music and Western influences gripped us at the end of the summer and made for great lake music. The use of a an upbeat throat singer here and a rollicking strumming are contrasted with moments of full percussion. You’ll have to listen to get it. Honorable Mention: “Not Gonna Teach Your Boyfriend How to Dance With You (The Twelves Remix)” (Partie Traumatic) by The Black Kids

Jessie’s Picks: 1) “Zhaoderen Nana” (Introducing Hanggai) by Hanggai 2) “Not Gonna Teach Your Boyfriend How to Dance With You (The Twelves Remix)” (Partie Traumatic) by The Black Kids

September: “Transitional Joint” (The Preface) by eLZhi. (full interview here) Beautiful production and a perfectly placed “just because of love” sample back Detroit’s eLZhi as he dissects relationships and the process of moving on from a failed one. Without ever losing a positive outlook, the lyrics don’t dwell on the past, but always look forward to that next glow. eLZhi acknowledges the sour experience of “rolling snake eyes” without losing sight of the feeling of “missing her like when the summer’s gone.” The delivery from verse to chorus are sensational and the beat is addictive. Honorable Mention: “Ship” (Purpleface EP) by Throw Me the Statue (interview)

Jessie’s Picks: 1) “Girls and Boys In Love” (Girls and Weather) by Rumble Strips 2) “Honeybee” (Purpleface EP) by Throw Me the Statue

October: “Please Believe” (unknown) by Longshot. I’d give you a breakdown of this very solid hip-hop track, but you can click on this link and go listen to it yourself! Huzzah! Honorable Mention: “Electric Feel” (Oracular Spectacular) by MGMT

Jessie’s Picks: 1) “Sadie Hawkins” (Doomtree) by Doomtree, (interview) 2) “Electric Feel” (Oracular Spectacular) by MGMT

November: “Trail of Lies” (A History of Violence) by Jedi Mind Tricks. With a South American melody and lo-fi beat, this offering from JMT’s sixth studio album examines lies perpetuated by the government and mass media, among others. The gruff voice of Vinnie Paz and the lyrics about a system in severe trouble make for a socially conscious song steeped in conspiracy theories. Honorable Mention: “Signs” (Intimacy) by Bloc Party

Jessie’s Picks: “Don Julio” (Vulture’s Wisdom, Vol. 1) by Opio 2) “Trail of Lies” (A History of Violence) by Jedi Mind Tricks

Ladies and gentlemen, it’s time to remix some serious indie-electro pop! For those of you that read Evolving Music, you’re probably quite familiar with Throw Me the Statue and their debut release Moonbeams. Read our review of it here, or read an interview with TMTS frontman Scott Reitherman here.

Well now, the TMTS boys want you to remix “Yucatan Gold”! Moonbeams is a rich indie blend of textures that range from indie pop, to psych-folk and art rock. Yucatan Gold takes the album into an electronic direction, and proves to be the album’s edgiest track. Full of drum machines, synths, and industrial lap-top layers, parts of the song are reminiscent of Nine Inch Nails, while others are what Weezer would song like if they went electro (do it!). What will your remix sound like?

TMTS recently dropped a video for Yucatan Gold (see below), and they are currently on tour. Be sure to check them out in your town so that you can pick up their new Purpleface EP, which you can only get on tour.

Go here to download the stems to Yucatan Gold, or to make remixes in the online MixMaker. When you’re done, be sure to upload your remix for others to check out! Or, just go listen to, vote on, and share the remixes.

For a taste of what I was hearing last month, click here.

September’s iPod update featured some fantastic new music from the month, including a number of debut albums from upcoming artists. R&B, Soul, Hip-Hop, Rock, Electronica and Pop music all make their appearances over 91 new tracks ushering us into Fall.

eLZhi, The Preface: Most rappers who have been recording material since 1997 have a large body of work to show for it. While this is the case for eLZhi, the majority of this work is unreleased or in featuring format on other artists’ work over the past 7 years or so. 2008 marks the debut full length album from this Detroit native, and while quite a few hip-hop fans may not have heard of eLZhi yet, the strength of this album should help make his second effort eagerly awaited. With production from fellow up and comer Black Milk, eLZhi uses a mixture of darker beats and old-school sounding fresh production to leave himself with a diverse group of songs which he raps over with ease. Whether he’s rapping about love, poverty and socioeconomic divisions or his experiences growing up in the streets, elZHi’s lyrics are complex yet effortless, coming out the polished product of a rapper with an extreme amount of comfort in his delivery. With a fantastic string and vocal sample and his laidback flow, “Transitional Joint” is the kind of song that’s an instant classic on the first listen. Don’t Sleep On: “The Science,” “Transitional Joint,” and “Save Ya.”

Lykke Li, Youth Novels: I covered Lykke Li’s US EP release here back in June. The full album finally made its way stateside, and the result of Li’s command over an entire album is impressive. While most songs retain the soft-spoken and delicate feeling of the EP, Li uses the full album to spread her wings into esoteric melody pieces (“This Trumpet In My Head”) as well as emotionally semi-detached pieces with simple backings (“Hanging High”). However, what is more enjoyable is when the album delves further into the dance and pop ideals that her voice and musical judgments help to raise above the standard radio fare. Even while being forceful, Li’s voice manages to be light and airy without disappearing against the background of the heavier songs. With guest remixes by The Black Kids (WIH,V.5) CSS and DiskJokke, a few of the EP songs get a new feeling. The range of tracks on this album speaks of a promising and diverse future body of work from this young singer out of Sweden. Don’t Sleep On: “Breaking It Up,” “Complaint Department,” and “I’m Good, I’m Gone (Black Kids Remix)”

Raphael Saadiq, The Way I See It: When I picked up this album, I had to make sure that the published date of it was correct. Saadiq, formerly of Tony! Toni! Toné!, has reinvented his music on this album that feels at times like it could have and should have been released in various portions of the ’50s, ’60s and ’70s. Soul, R&B, Funk and sounds of Doo-Wop all permeate this album, and some of the production makes you think you’re listening to an old classic that you’ve never heard before…It feels like a vintage Sunday afternoon. The musicianship behind him allows Saadiq’s voice to soar through tracks both melancholy and joyful. Fans of The Four Tops, The Supremes, Stevie Wonder (who makes an appearance on the album), Dusty Springfield and their contemporaries will all find reason to smile here. “Just One Kiss” features Joss Stone, and the remix of another album song “Oh Girl” features Jay-Z. Don’t Sleep On: “Love That Girl,” “Big Easy (feat. The Infamous Young Spodie & The Rebirth Brass Band)” and “Kelly Ray.

Rumble Strips, Girls and Weather: In case you weren’t aware, the perforations on the freeway shoulders that rattle you if you stray too far outside the lines are called rumble strips. I certainly didn’t know that before sitting down to review the band I’ve been listening to for two weeks. While most bands hopping the pond are taking up the power punk and alt-rock sounds of Bloc Party and the Young Knives (WIH, V.3), the Rumble Strips infuse it with at times Bosstones-like frenetic horns and ska sensibilities on their debut album, without losing a strong rock value. The arrangements are tight and Charlie Waller on lead vocals, while sometimes a bit reckless in his reach, provides the emotion necessary to keep up with the pace and energy of the sound. While they made their breakthrough with the rollicking and enormously fun “Motorcycle,” there are a variety of enjoyable sounds to be found on Girls and Weather. Don’t Sleep On: “Cowboy,” “Time,” and my personal favorite, “Girls and Boys in Love.”

Stacy Epps, The Awakening: Multi-faceted (I’ve been told she attended law school at USC) Stacy Epps brings her life experiences and spiritual vision to the table in an album that exudes passion that is sometimes overwhelming and unreachable in its scope. Using trip-hop beats and spacey melodies with jazz influences Epps at various times flows, speaks, sings and fades away on an album that exhibits a vocal talent sometimes lost in the more convoluted soundscapes. If there’s a drawback to this album, it’s that a few too many songs have “The Awakening, 2008, Stacy Epps” or some combination of these in the background, almost in an attempt to subconsciously advertise in the aural space of the listener. It gets frustrating at times, like endless self-promotion polluting the music. Fans of Bjork and Alice Coltrane will have a field-day here, but it might be too dense for casual listeners. Don’t Sleep On: “Floatin’,” “Heaven” feat. Bilal Salaam, and “Who Knows.”

Throw Me the Statue, Purpleface EP: One of the most promising signs of a relatively young band is the sign of continual tinkering with the sound and style, and a refusal to be tied too tightly to any one genre, while making music that all sounds somehow, on a fundamental level, right for them. This four track EP that fell in my hands last week courtesy of Gavroche exhibits this growth while retaining the emotional ambiguity and lyrical earnestness necessary to make them work. One of the original Moonbeams tracks, “Written in Heart Signs, Faintly” gets a studio makeover of its concert alter-ego here. “Honeybee” is a simple and direct piano backed and reverb laced track with glimpses of clarinet. “That’s How You Win” uses plaintive guitars and a kick and run drum roll to back Reitherman’s echo-like and airy vocals. “Ship,” however, is the standout track of this set both musically and lyrically. The drums combine with a drum machine to back a building piano that crashes into the main melody of the song, an incredibly beautiful piece of music that contentedly fades out at the end, free to repeat in the space between your ears. Don’t Sleep On: It’s a 4 track EP people, what’s to sleep on?

Tough Alliance, The New School: Taking pop and electronic music and blending it is the outcome of this album from the duo of Henning Fürst and Eric Berglund. At times repetitive and even slightly annoying, at its best, The New School offers video game blip electronic music that is mindlessly catchy. Not my normal cup of tea in its entirety, but Don’t Sleep On: “Take No Heroes,” “Tough II,” and “Koka-Kola Veins.”

For July’s update, click here.

So, while this post comes early September, make no mistake, this is the breakdown of the August playlists. It was a fine update, featuring 13 artists (not including Indiefeed Hip-Hop artists, thanks to Dirty Dutch, good look on the playing) from several continents and a slightly ridiculous 249 songs. That being said, a lot of the music was looking backwards, a hip-hop retrospective spurred by the stellar line-up unleashed at Rock the Bells at Shoreline. So I’m not going to break down old favorites like De La Soul, Nas and Rakim other than to say if the names sound new to you or you haven’t heard the old albums, it’s time to do some crate digging. This update did some traveling in both time and distance, but also had some brand new things from right here at home. That being said, enjoy.

Amadou Balaké, Señor Ecléctico: This 2008 re-issue of this African born singer’s earlier work is a raw and beautiful collection of 70’s recordings displaying a wide range of musical styles and explorations. The album moves along at a very pleasant pace and features an undiluted exuberance and musical and vocal harmony fusing summery world music that can at times sound too pre-packaged in today’s world releases. Lilting guitars, solid horns, funky bass and solid drumming all share the stage. Some tribal, some soul, some funk and some reggae all permeate here in equal parts to make for a fantastic mixmatch of sounds that is often enhanced by the lo-fi quality. Don’t Sleep On: “Djeli Fama,” “Mousso Be Torola,” and “Kambele Ba.”

Black Kids, Partie Traumatic: If you haven’t heard of this group yet, you’ve missed this summer’s indie media darling. This Florida spun band featuring a brother and sister revels in the punk pop and retro synth movement with solid walls of guitar and a mixture of male and female leads. While they originated right here, they recorded and broke out across the pond and opened for another artist we dig over here, Cut Copy. While some of their pop tricks fit perfectly in songs that go great on repeat, others stretch to points of annoyance including a chant straight out of Wizard of Oz. All in all though, the album brings the mesh together and produces several dance and bursting with excitement tracks that have trouble staying contained in the speaker. Don’t Sleep On: “Hit the Heartbrakes,” “Hurricane Jane,” and the vibrant and danceable “I’m Not Gonna Teach Your Boyfriend How to Dance With You (The Twelves Remix).”

Buika, Niña de Fuego: The raspy voice of this Latin Jazz chantreuse takes on 13 tracks of various tempo and emotion, all to incredible results. Soft spoken bass parts, muted drums, delicate guitars and understated piano provide beautiful backdrops over which Buika’s voice soars, painting a variety of musically engaging pieces. Even though I can’t understand a word she’s saying, and therefore probably lose much of the poetry offered on this album, the range from smoky romantic tunes to unrestrained and energetic tracks aid a variety of places and moods. Don’t Sleep On: “Culpa Mia,” “Arboles de Agua,” and “Mentirosa.”

Cao Fang: While I only went for some singles from this Chinese pixie popster that made the leap into US consciousness on the back of a GE commercial, many people will go in for the full albums, of which she has two. Sharing our friend Scott’s enjoyment of the Melodica, Fang brings an airy and light voice to pleasant and soothing melodies. Don’t Sleep On: “Scarecrow in the City,” “Icy is a Gentlewoman,” and “Orange Juice.”

Hanggai, Introducing Hanggai: I first heard about this group reviving parts of Mongolian folk music and mixing it with rock and pop influences from Pitchfork. But while I got to read about them in July, for some reason iTunes didn’t have them for me until August….they were worth the wait. The use of throat singers, lute player and fiddle (horse-hair mind you!) creates an album that is at times a bit unaccessible for some, but at others an extremely enjoyable ride. Don’t Sleep On: “My Banjo and I,” “Flowers,” and the next big bar “Drinking Song.”

Murs and 9th Wonder, Sweet Lord: Little Brother alum and star in his own right 9th Wonder uses his signature soulful and retro hip-hop beats to collaborate once more with Murs of Living Legends. What’s more intriguing about this one is the tie to other Internet freebie releases from Radiohead and Nine Inch Nails, what was termed a gift to their fans. The album rips, Murs spitting incessantly over beats that never fail to engage. But don’t take my word for it. Go download it for free!

With the way things are going in the music industry, artists – especially indie musicians – must get creative. Bands and brands are partnering up in all sorts of interesting new ways. With money no longer pouring in from the big labels and CD sales, more focus is being put on things like concert tickets, direct support from fans, and partnerships with brands.

Critics might say a band is selling out when they do something like partner with a brand, but I say go for it… As long as the philosophy/feel of the brand is somewhat aligned with the band and its ideals and they are ok with it, I think partnerships can be a great way for a band to gain exposure. And in many cases get paid, which in turn allows them to keep making great music. For example, commercials.

Though not their first commercial, I was pretty floored to hear Throw Me The Statue’s song, “Lolita”, in an Urban Outfitters commercial. Urban Outfitters is big, whether you like their clothes or not. While some may balk at the band’s association with that store, others will discover TMTS for the first time by hearing their song in the commercial. For the newbies among you, check out Evolving Music’s recent interview with TMTS here.