Recipe: I made this last night and had to share...
I’m obsessed with the amazing seafood shop, that’s actually called "The Seafood Shop" just down the street from my house in the Hamptons. I literally go there every day for their cooked shrimp and homemade cocktail sauce. They also have a killer selection of shellfish, whole fish for purchase, premade salads and side dishes, oh and several varieties just-caught-that-morning LOCAL bass. You really can’t beat that.
So as I’m buying my daily hoard of shrimp, I noticed the giant filets of beautiful, local Striped Bass. I decided to get some to cook for dinner last night, and it came out so delicious every person on the planet deserves to know about it. The recipe I came up with was super simple, and consisted of just a bunch of flavors I love thrown together. I was so happy it didn’t suck, (and was quite the opposite), I had to share. Enjoy!
Striped Bass with Tomato Bruschetta and Swiss Chard
2 - 1/2 lb portions of stripped bass
1 large clove garlic, minced
1/2 pint yellow cherry tomatoes, quartered
1/2 pint red grape tomatoes, quartered
1 handful fresh basil, cut into thin strips
2 tablespoons extra virgin olive oil
salt and pepper to taste
vegetable or canola oil, plus more for grilling
1/2 bunch rainbow swiss chard, cleaned, bottom part of stalks removed
In a medium bowl mix together the garlic, yellow and red tomatoes, basil, olive and salt and pepper to taste. Cover with plastic wrap and set aside until serving to let flavors develop.
Turn on gas grill and heat to medium.
Rub both sides of fish and swiss chard with vegetable or canola oil, and season both sides with salt and pepper.
Once grill is hot, grill sea bass on each side for 3-5 minutes depending on thickness. Remove from grill and place on a serving plate.
During the last minute of grilling the sea bass add the swiss chard to the grill, flip each leaf after 30 seconds. Remove swiss chard and place on serving plate.
On each plate arrange a pile of swiss chard on one side of the plate. Place a piece of fish skin side down in the center of the plate. Spoon tomato basil mixture over fish and serve.
From Odd Future and Instagram to preconceived notions and higher states of being, I played a game of 20 Questions with rising London rapper Little Simz.
Landing major roles in the UK’s hit TV shows Spirit Warriors and Youngers, opening for Schoolboy Q on the European leg of his Oxymoron tour, and most recently, self-releasing her fantastic E.D.G.E. EP, Little Simz has solidified herself as a force to be reckoned with. After hearing any of her complex lyrics and triple-time flows, there’s no doubt the talented 20-year-old is wise beyond her years. But does that thought process also hold true for life’s every day questions? Mass Appeal sought to find out. We recently sat down with the UK’s princess of hip-hop to play a game of 20 Questions.
1. So you’ve been writing, dancing and acting since the age of 9, what made you want to start rapping?
For me it was just exploring different elements of performing arts. I was never too… let’s say, talented in the singing area. Haha. At the time anyway, so it was just another form of expression for me to write raps and rap poetry.
2. You’ve mentioned you play guitar, what’s the first song you learned to play on the guitar?
I think it may have been Nelly, “Just a Dream.” Only because it was like four chords and it was the easiest thing to learn.
3. Did you have any musical inspirations when you were writing EDGE?
At the time I was listening to a lot of Tracy Chapman actually. In terms of song writing, and just looking at how she kind of puts together songs and writes them, and the fact that everything has a meaning. I wanted to be a lot more conceptual in terms of what I’m talking about as opposed to just talking about ‘I’m the best thing coming out of UK and no one can test me,’ ya know? So just trying to challenge myself in that aspect.
4. If you could vacation anywhere in the world, where would you go?
Bahamas or Hawaii.
5. What has been the proudest moment of your life so far?
My mom telling me she seen me on tely.
6. Who is your favorite character on the Simpsons?
Bart. Yes. 100%. I just like that fact that he is so rebellious and just has a cheeky attitude. In real life I don’t really like kids like that, but in a cartoon it’s quite funny, so definitely Bart.
7. What are your hardest bars to date?
My hardest to rap physically and to perform live would probably ‘Bars Simzon’ because obviously the speed, and how many fucking metaphors and syllables are in one word, and to get it on time, it’s pretty difficult. Plus to time it up on stage, with the crowd.
8. Do you have a verse that you think is your best to date?
Ah, my best is yet to come.
9. Who is your idol?
10. What can people expect to find on your Instagram?
I suppose what I’m doing in life. I’ve come across so many Instagram pages that are either just a bunch of selfies, which I think ‘Yo, vanity has got the best of you’ and then I come across Instagram pages that are just pictures—like I would never see what the person looks like, it’s just pictures of literally whatever they see. It could be a picture of an ocean, a tree, and I like them type of pages.
My Instagram will be a picture of me with someone in the studio or just whatever I’m doing at the time, just to keep people updated, letting them know what I’m doing. I can’t lie, I take the occasional selfie, but you wouldn’t scroll down my profile and every single picture is of me.
11. Do you have a favorite Instagram to follow?
There is an Instagram called Travel Pancakes. Yeah, it’s a weird name right? But her photos are so sick, I enjoy looking at her photos. And as well, my friend Tilla, his Instagram is tight. He’s 16 but he just has, his vision as far as what he captures is just tight.
12. What was it about Odd Future that initially drew you to them?
I think I just like things that are different, and a bit left. And I like the fact that they do everything they’re own way, and they’re sort of, I get the impression they don’t answer to anyone, and they don’t like answering to anyone. And I’m very much like that. I hate being told what to do, and I’m just that person ya know. And I get that, and I’ve not met all of them, but just being a fan of them in general, they just have that attitude that they make the music they want to make, they put out what they want to put out, and everything’s just done how they want to do it, and I totally respect that.
13. What’s the last great show you went to?
Probably the “Would You Like A Tour?” show. The Drake tour. Yeah that was tight. That was so sick.
14. What goes through your mind just before you hit the stage to perform?
I knew I should have went to the toilet.
15. Do you have a good luck charm?
I actually don’t. Actually, cos I’m Muslim, so sometimes when I go on stage I have praying beads in my pocket. And yeah I’ll just have it on me when I’m traveling, when I’m on a plane I’ll just have them with me in my pocket.
16. If earth could only have one condiment for the rest of time, what would you pick to keep around?
Ketchup. I eat everything with ketchup.
17. What movie or show remake would you want to star in?
New Girl. Too funny.
18. Do you have a go-to party song?
Future “My Momma”
19. If you had to pick a food or a dish to describe your sound, what would you pick and why?
Risotto. It’s like rice and like creamy. The reason why is because when, basically my manager ordered it and I looked at it and I was like, ‘Uuhhh na, why would you order that?’ Cos it just looked really… it looked a bit like baby food, like just the way it was all mushed together, and I don’t know I just didn’t like the look of it… until I tasted it. I was like ‘Yo, why did I not order that?’ And me, I don’t like trying new things, especially when it comes to food, I just kind of stick to what I know. So I guess that would be a way to describe my music. People like, they hear a female rapper, and they already have their preconceived ideas and their judgments, but that’s until they actually press play. Same way, until I actually tried the food, you like it.
20. What’s the one thing everyone should know about Little Simz?
That I’m a Pisces and I believe a lot in star signs, and that I’m coming to take over everything.
Little Simz plays NYC next month. Details coming soon.
I got a preview of Jeff Koons Retrospective at the Whitney Museum in NYC last week before it’s opening and decided to create a cheat sheet to help the world out. Enjoy.
“It’s taught me how to feel, it’s taught me how to enjoy ideas… And really, it’s taught me how to be a better human being.” – Jeff Koons opening remarks
There is the art world and there is the real world, then there is Jeff Koons. Somewhere between the age-old debates of “what is art?” lie sculptures of balloon dogs in punchy, iridescent hues, lithographs of celebrated sports heroes, and vivid 3-D objects of every medium blurring the lines between fantasy and what we think we know to be true. This weekend the Whitney Museum of American Art will celebrate Koons 35 year career with the artist’s first Retrospective.
Jeff Koons is the most successful, and often most controversial American contemporary artist in history. A student of fine art at the Maryland Institute College of Art in Baltimore and the School of the Art Institute of Chicago, Koons is known for his larger than life sculptures, and use of readymade objects to create original works.
Amidst Oscar Wilde quotes and shout outs to H&M from various curators and contributors, Alice Pratt Brown Director Adam Weinberg closed out remarks on the retrospective on Tuesday by saying, “If Jeff Koons didn’t exist, we would have had to invent him.” Giving Koons the ultimate platform– essentially the entire museum, the exhibition will display well known pieces like Michael Jackson with his monkey Bubbles alongside pieces that have been tucked away in Koons’ private collection for decades.
The exhibition ranges in scale from the traditional form, paying homage to Koons’ works in small galleries beginning 1987, and grows to the monumental scale (and success) of his exhibitions in the present day. The museum’s lobby, second, third and fourth floors, along with the outdoor sculpture court have been transformed into a Koons-themed Fantasia of epic proportions.
We’ve created a handy cheat sheet for Jeff Koons and his new exhibit:
The Retrospective unfolds in chronological order and is divided into thirteen collections: Inflatables and Pre-New, The New, Equilibrium, Luxury and Degredation, Statuary, Banality, Made In Heaven, Easyfun, Easyfun-Ethereal, Celebration, Popeye, Hulkelvis and Antiquity.
The Retrospective explores the themes of controversy, freedom, trust, humanity, and of course pop culture.
Koons’ new work, which can be seen in the outdoor sculpture court, Popeye,wasfinished just weeks before the Retrospective’s opening.
In a 2013 interview, Pharell Williams asked Koons which character from his work he identified with most. He answered “Popeye,” saying “He represents my father, and my father’s generation. And also, Popeye transforms. He eats his spinach and he transforms. And art’s the spinach. And you know, art can transform your life.”
One of Koons most famous works, One Ball Total Equilibrium is part of Koons’ first solo show held in 1985 on the Lower East Side. The Equilibrium series also includes framed mint-copy Nike posters of 1980’s star athletes obtained directly from the company’s Oregon headquarters. (Second Floor)
The New explores the popular concept of everyday objects as art. Taken from Koons’ 1980 series, household appliances are set in a pristine, “shiny and new” light fill an entire room of the Retrospective.
After his divorce from Italian pornstar and parliamentarian Illona Staller, Koons claimed he destroyed many of the works from his famed Made In Heaven series. Seeking to emancipate the shame of sex,Koons’ created billboard size paintings of himself and Illona in illicit sexual poses as a kind of fantasy-meets-modern day version of Adam & Eve. Luckily for the Whitney (and us) a few of the most provoking billboards are on display on the Third Floor.
Yes there is a sandwich.
And Michael Jackson.
And inflatable sea creatures in trash cans.
Koons’ Celebration installments comprises some of the most technologically demanding objects ever produced in the history of postwar art.
This Retrospective unveils Koons’ gigantic Play-Doh sculpture, a piece that has been in the works for more than 25 years. (Fourth Floor)
Jeff Koons is the first artist to collaborate with apparel retailer H&M. To celebrate the opening of the brand’s newest flagship store on Fifth Avenue on July 17th, H&M will debut a limited edition Jeff Koons Balloon Dog (Yellow) handbag.
Coinciding with the exhibit at the Whitney is Koons’ Split-Rocker. The thirty-seven foot high sculpture constructed of soil, stainless steel an internal irrigation system and over 50,000 flowering plants will reside over Rockefeller Plaza beginning today through September 12th, 2014.
Jeff Koons: A Retrospective is on display at the Whitney Museum from June 27th – October 19th 2014.
My Monday has been consumed with the dark and alluring sounds of Matthew Barnes aka Forest Swords brand new Fact Mix. Get on it.
Tracklist: Forest Swords – Gathering Ex-Easter Island Head – Mallet Guitars Two David Borden – Enfield In Winter Fatima Al Quadri – Szechuan Phil France – The Swimmer Wild Beasts – Pregnant Pause Vatican Shadow – Encryption Nets Hercules and Love Affair ft John Grant – I Try To Talk To You August Alsina – I Luv This Shit ft Trinidad James Jeremih – Raindrops Travi$ Scott – Upper Echelon ft T.I & 2Chainz Ben Frost – Secant Adrian Sherwood – Starship Bahia Frida – I See Red Peaking Lights – LO HI Love Joys – Stranger Susan Cadogan – Nice and Easy Janet Jackson – Love Will Never Do (Without You) Jade – Don’t Walk Away copeland – Advice To Young Girls Neneh Cherry – Blank Project Dutch E Germ – Rani Actress – Time Muslimgauze – Every Grain of Palestinian Sand Sd Laika – Meshes Boothroyd – NYC Raime – The Last Foundry Unknown – Thor’s Stone No Love (Forest Swords ft MC Ride) Richard Skelton – River Song Steindór Andersen – Stephansson: Rammislagur
Read my recent interview with LA’s weirdest hip-hop trio, clipping.
clipping. is one of those bands that it feels wrong to describe as “a band” but at the same time it feels just as strange to call them a “rap group.” They’re a noise project as much as they’re a hip-hop trio, making some of the wildest beats in the game. Accomplished sound engineers with the utmost regard for popular music, yet with an unwillingness to make music any other way than exactly the way they want to.
Regardless of how you choose to categorise them, what they’re making is authentic. Authentic in the sense that the music that results stems from a genuine love of experimentation, the creative process and the often agonizing details that go along with it. The mad scientists of modern music, blasting away at 12-bar progressions with a blowtorch then using the most detailed of craftsmanship to wield golden era inspired beats that crackle and pop in all the right places. The perfect balance of calculated exploration, while still allowing for those beautiful mistakes to seep through, clipping’s June 10th release is one of the most charmingly subversive albums of the year.
As the band unveils a live stream of their forthcoming Sub Pop debut, Best Fit took some time to sit down with the guys and find out what makes them tick. From their painstakingly methodical musique-concrète techniques, to making weird music that’s still accessible, working with Three 6 Mafia, and the evolution of their live show, the Los Angeles trio introduces us to their disturbingly unique take on music, it’s clipping (bitch).
Denzel CurryIce Age Feat. Mike Dece (Prod. By Keenanza & Yung Icey)
The first single off Denzel Curry's forthcoming EP is too cold. The Carol City up-and-comer is one of the smartest, coolest, and most talented artists I've had the pleasure of working with. He’s such a gifted MC, with such a vision. His creativity spills into his flows, beats, and every bit of his being.
His new track, ‘Ice Age,’ is a perfect example. Next level lyrics, true to Miami tropical-cloud rap beats, and a killer hook. I can’t get enough of this one. You’re such a star Zel. Get it homie.
'Ice Age' is off Curry's Three Two Zel EP out later this year?
They say Minnesota is all rhymes… as it turns out, that may be only half true. As of late, MN has been kicking up dust (or snow rather) with a handful of new singers and rappers like Allan Kingdom, Chester Watson, and of course Spooky Black. And behind those great sets of pipes are some seriously fresh beats. Many of which come courtesy of Minneapolis producer Psymun.
The 21-year-old beatmaker recently released his Pink Label EP, which features the best of the Twin Cities’ new class of musical suspects dropping verses over his signature jazzy syrup-cloud sound.
Today, Mass Appeal is proud to present the first remix stemming from Pink Label. Fellow Minneapolis producer Ackryte has blessed us with a spacey rework of the single “Eating Disorder.” On the rework, the HW&W producer throws a layer of silky goodness over the fuzzy two-minute number consisting of rickety clicks and jazzy exhales. He then turns up the bass and flares up the synths, while adding plenty of subtle flips and switches to keep you paying attention.
If you’re digging these funky beats as much as we are, be sure to be on the lookout for Ackryte’s forthcoming 8-song EP, Fly Opus, and plenty more remixes off Psymun’s Pink Label EP.
Werkdiscs is always a win in my book. The Ninjatune imprint headed by avant-garde music gawd Actress, signs one new act a year at most, and then takes several more years to allow that artist to develop and showcase their craft. Their latest signee, Moiré is on the top of the creative-brilliance-in-the-making foodchain. His work is unconventional beauty at it’s finest. Don’t sleep.
I’ve been traveling so I’m behind on new music, but I like this… a lot.
While reading the words “Chicago hip hop” and hearing the opening chords of rapper and producer Saba's “Burnout,” you can't help but anticipate a Chance The Rapper sounding cut. But what greets your ears instead is something refreshingly different, with singer Eryn Allen Kane stealing the show at the 1:18 mark.
Though not completely proving myself correct, considering Saba hails from the same production camp as Chance, the similar piano chords and preaching harmonies are too catchy to not keep listening. Saba drops double-time rhymes with punchy sing-alongs, then emerging Chicago songstress heads into her first and then second savvy verse. Suddenly this nostalgia for anthem-worthy independent women lyrics a’la Destiny’s Child’s ”No,No,No” begin to do summersaults in my head. This is girl is the real deal (shout out to Tree for tip off on her way back when).
With a wide range of influences, infectious lyrics and an update on what made 90s R&B great, “Burnout” is a home run for me. Looking forward to hearing Saba’s ComfortZone mixtape which drops July 15th.
More than a decade old, and Nas’ “One Mic” is still one of the most poignant songs in hip hop history. The opening line struck a chord with his audience, becoming a landmark phrase within the culture at large.
For artists looking to break out today, the thirst is more than real. The idea of being able to shake up the status quo through their sound sits at the forefront of the ever-evolving landscape. This idea that one person can make an impact, that all they need is “one mic, one beat, one stage…” still resonates.
Mass Appeal asked our favorite musical acts “What’s one item they can’t live without?” For some, it’s something they always take with them on stage, for others, it’s just something they got as a kid and can’t let go. Join us, as we shine the spotlight on these artists’ stories and photos behind the item they can’t live without.
Sunny days spent basking in the hours that came before, that’s how Swedish-born, now London-based singer Fatima wants you to feel when you listen to her sultry drawls. Like a warm embrace enveloping you whole, there’s a word for a sound so pure: Timeless. Filling her musical horn of plenty with a lifetime of genre-spanning influences, late nights in underground clubs, and grin-inducing memories of her childhood in Sweden, Fatima explores the depths of history with her words.
“I moved to London seven and a half years ago, so during those years I’ve experienced a lot of different styles here in the city. I used to go out to club nights like Deviation, for example, run by a DJ over here called Benji B. And a club called Plastic People, which used to have all kinds of club nights. They used to play Broken Beat, Dubstep, and all kinds of things before it was popular— when it was just raw, really fresh and inspiring. I used to go to a lot of these nights and get all these new influences, and it really opened my mind to a lot of new sounds.”
On her debut LP, Yellow Memories, the Eglo Records artist blends soul, synths, and raw talent, to create a sunny glow over unexpected beats. Fusing new with the old, the result is something extremely special— something that holds you tight and promises to never let go no matter how often the tides change.
“It’s like my whole life. It’s like everything that I listened to, from when I was a child to now. It’s like all my past experiences listening to stuff. All the soul music, to stuff I listened to growing up like Lauryn Hill, SWV, Aaliyah, Erykah Badu to more present stuff. A lot of R&B music and I listen to a whole lot of hip hop. So it can be anything from Wu-Tang to Madlib, Tribe Called Quest, all the stuff from the ‘Golden Era.’ The list is so long.”
Drawing on the vast sounds of her surroundings— instead of trying to imitate what she was hearing in the clubs and on the radio— Fatima absorbed those influences into a world of her own.
“I’m just a fiend for different sounds and new artists. I’m always checking out new things, I just love music so much. There’s too much music to check out. Plus most of my friends, they are DJs, so they always put me on to a lot of new, and old stuff. I know some people do that, they just listen to their own stuff, and maybe it’s a good thing. But I’m just addicted to checking out new stuff all the time. You just want to stay inspired you know?”
“All I need is… my cassette tape player. Well basically, there’s a few different things I can’t live without. But to be honest, when I was thinking about this one… it’s like, I’ve had this cassette player since I was really young. I don’t even remember how old I was when I got it. It’s basically got like crazy effects, and bomb sounds [Laughs]. You can basically talk into the microphone and record on it, or just listen to cassettes and play around with effects. I always used to do loads of recording on cassettes when I was a kid. So for me, it’s kinda like a little nostalgic in that sense. It symbolizes analog sounds, and I just really miss that, in general.
It just takes me back to the time when you used to sit and make mixtapes and the sound was sometimes a little bit crackly, sometimes the cassette got a little messed up so you have to pull the whole thing out with a pen [Laughs]. So it just takes me back to that time, and I don’t want to let it go, because I love it so much.”
“Gave Me My Names” Resident Advisor Live Session
“I’m not against digital, analog— I just always gravitate to that more. I just feel like in general, it feels warmer and it’s got a little bit more soul to it. It’s got like a little more charm and feels a bit more alive in a way. It’s just not as cold and perfectly clean.
I still love today’s technology and the speed of it and what you can do with it. I think it’s amazing. You know, I think I try to find a balance between the two, but I think analog is always going to be close to my heart.
Fatima’s Yellow Memories LP is out this week via Eglo Records.
I actually remember Ryan Hemsworth tweeting about Rook Milo a while back, but I never followed up. Good thing Truants did. Fans of Ryan, Suicideyear and their, what I like to call ‘trap lullabies’ (sidenote: this was before trap turned terrible and refers mostly to drum patterns and that distinct hi-hat samples), will rejoice in the Canadian producer’s dramatic take on this emerging trend.
Rook Milo’s dramatic ethos of stylistic slowed and throwed reworks amongst a scattering of unreleased gems (see: Ryan Hemsworth – Hurt Me (with Katie Gately) and Rook Milo – Sleepers) explored on this mix is well worth a listen from start to finish.
Luxsi Young Intro Rook Milo – Truants Intro Jeremih – Fuck U All The Time (Acapella) Rook Milo – rejected beat for Tinashe Unreleased Arca – 2 Blunted (Slow + Chopped) Mathbonus – my brain is melting out of my ears and into tomorrow custom milo synth bells mixed for good measure Brenmar – Medusa (Falcons Remix) (Slowed) Unreleased Rook Milo – Outland Josh Diamond – OG BOBBY JOHNSON REMIX Nas – Made You Look (Sangnoir Remix) Unreleased Ryan Hemsworth – Hurt Me (with Katie Gately) Unreleased Schoolboy Q – Studio (Promnite Edition) t.a.T.u – Not Gonna Get Us (Purple Remix) Ice Underlord – DON’T WASTE MY TIME Rook Milo – Sleepers Unreleased Waka Flocka Flame – Word to the Wise King Louie – Val Venis (Acapella) Rook Milo – Methadone Unreleased Lil Durk – Dis Ain’t What U Want Big Sean – 1st Quarter Nell – Bust Ya Head Open (Feat. T-Rone, Big Bo & Denzel Curry) Koopsta Knicca – Whatcha Gonna Do Ty Dolla $ign – Still Sippin (Feat. Kirko Bangz) Little Pain – Tommy Strawn PartyNextDoor – Wild Bitches Travi$ Scott – Don’t Play (Feat. Big Sean) Luxsi Young Outro Darko Boy – Bloodsport
Read my recent interview with my talented pal, Young & Sick. He’s on tour all summer, so be sure to catch him!
There’s something really special about making the music you want to make, exactly the way you want to make it. In 2014, it’s not just about defining your sound, it’s about defining your image and “brand,” and all the while working to maintain a sense of artistic freedom (and dignity). Some artists are better at it than others, and for the true masters, the idea of compromise never even crosses their mind.
For singer, producer and visual artist Nick Van Hofwegen aka Young & Sick, his story begins with a big of luck and a lot of talent. But isn’t that how these stories are supposed to start out? Worldly travels and chance encounters afforded him the ability to develop and nurture a sound he can truly call all his own. From glossy pop ballads to soulful, hazy love songs drifting out from underneath a stack of vintage records, Young & Sick’s sound is one that strikes a chord in music fans of every variety.
Earlier this year, Van Hofwegen released his debut self-titled LP on Harvest Records. A beautifully produced menagerie of love songs covering every emotion that goes along with it. Worn and grazed in all the right places after trips to SXSW and Coachella, Young & Sick now readies his Continuum EP, as well as several European dates.
Join us as we uncover the mystery and peel back the layers behind multi-faceted artist Young & Sick.
He makes melodies out of raspy chuckles and just audible-enough lyrics. Whiskey-soaked verses are sopped up with gospel-fused soul samples twice removed. We’re all family here. Carefully weaving a rich history into his music, Tree tells a tale that’s much grander than one would expect. The story of American soul, and it’s evolution to present day. A story every music fan should be familiar.
Perched in the dank stairwell of the historic South State Street record store and music venue, surrounded by exposed brick, masking taped posters, and stacks and stacks of old vinyl, Tree tells us the one thing he can’t live without, his soul records.
“Growing up, my father didn’t care for music being played on the radio, and even lesser about this new boom bam bop called hip hop. So he’d ride around with tapes playing Sly and the Family Stone, The Temptations, James Brown and stuff like that, just soul music.”
Creating a style all his own— one that incorporates billowy, head-bob worthy beats with and southern hi-hats and snippets from music’s rich historical roots— it’s safe to say, Tree is one of the most inventive producers in the game.
“When I started making beats, I didn’t really care for what was being made popular, especially sample-based music. I’d hear it and knew it could be done better and differently. I worked really hard to perfect my craft and create a new sound combining soul samples and southern trap with a bluesy tale/heartfelt account to create #soultrap.”
All I Need is One:
All I need is a soul record. That perfect soul sample. I gained notoriety with music writers and bloggers when I introduced my signature sound #soultrap, so for me, soul music is everything.
Aretha Franklin’s “Ain’t No Way” is the one. This joint is one of the songs you could hear around the house in my younger years while my mother was cooking or cleaning. I remember vividly this song being sung by my mom and aunts as they hung out in the living room at my grandma’s house after a family dinner, or what have you. After a few glasses of wine and beer, the family room turned into a Soul Train line where we’d all “step” (a form of dance invented in Chicago, mostly used by the older folks who loved dusties and soulful music) and sing oldies using brushes or what ever was handy as prop microphones, really just having a good time as a family.
The first of Tree’s upcoming Soultrap EP series, #TREESWAG a collaborative EP with Chris Crack, is out today.
Everything about Silviu Badea aka C L N K screams cool. From the artwork to his track titles to the music itself, there’s no arguing, it just is. C L N K’s latest body of work, his forthcoming ANTI EP exudes dark through and through, whilst keeping listeners intrigued with an arsenal of sonic theatrics.
Lending to this techno take on a post-industrial sound, C L N K’s track, “Zombie Mechanic” is weighty and damaged, and yet possesses light at the end of the tunnel allure. Like dropping bits of mysterious liquid onto the icy floor of an igloo-turned warehouse rave, muted thumps and bumps in the night pair nicely with fluid synths and static flashes of light.
Then again, “Zombie Mechanic” might just be the theme song to a futuristic form of freeze-tag best played in outer space.
Pushing the boundaries of how we define electronic music, Brooklyn-based duo Prism House, unveil their latest creation today here on Mass Appeal.
Making sense of those wonderfully terrifying hollow gaps between sounds and noisy stabs of beats, on Landfall, Prism House creates their own type of semi-melodic techno wonderment.
Exploring unearthed territories with their limitless approach to sample based music, the production duo’s new body of work is a deep dive into the future. Layering shreds of semi-audible words with plenty of distorted reverberations, shrill wails and heavy building beats, the audio visual pair of Brian Wenner (music/live electronics) and Matt O’Hare (live visuals) seek to awaken the senses with more than just found sounds.
Fusing lyrical prophecies with a heart-felt duet care of singer Ari’Jo, 17-year-old Atlanta artist Raury unveils his sultry new single, “Sunshine”.
To command such a presence, and to possess such talent manifested in a variety of forms at such a young age, there’s no denying Raury is one of the most intriguing acts of 2014. His new single, “Sunshine”, is the one-off dangled carrot that will not be featured on the singer/producer/visionary’s forthcoming Indigo Child EP. Instead, “Sunshine” is the juicy steak left unattended on the counter in old cartoons—its steam wafting up and tickling the nostrils of every creature in sight. And who could turn down a perfectly cooked steak? No one.
After attending his high school’s senior prom last weekend, the young poet claims “Sunshine” celebrates the culmination of that eventful night spent with that special someone. Featuring the vocals of Atlanta songstress Ari’Jo, on this new track Raury trades in his spoken word delivery characterised in “God’s Whisper” for melodic harmonies, quick-lipped flows and sparse guitar riffs that only add another layer of sexy to an already butterfly-inducing track.
If you’re like us and still want more, be sure to watch the first video from Raury’s pop-up show, Anti-tour. Who knows where he’ll show up next, we just know we want to be there when he does.
So today’s “Bae of the Day” is a dude. Get over it. Really looking forward to this forthcoming release from London techno inspired, deep house producer Will Ward. So much of the house and deep house being produced today is of the garden variety, so when an artist or release piques my interest, it’s always exciting (and refreshing).
"Temperatures"is the first single of Ward’s Chorus Memory EP and after listening it’s clear I’m a sucker for racing synths and meticulously sought after moods.
Of course everyone likes acts like Four Tet and Jamie xx, whom which Will Ward draws some parallels to. But if you’re looking for more reasons to listen, I would say even more so then the artists mentioned above, Ward’s sound is not so unlike Kompakt producer Dauwd, and even Bonobo. Really you can’t go wrong with Audio Doughnuts newest producer, as you’ll find Ward nestled somewhere in the middle of them all.
Will Ward’s Chorus Memory EP is out on 12” vinyl and digitally on May 5th via Audio Doughnuts.
Thanks to the death of dial-up, the rise of cloud computing, and the geniuses behind streaming content, online radio has blossomed into a thing of beauty. Whether it’s label takeovers on the UK bass station RinseFM, rising stars spinning on NTS Radio, or celebrity cameos on Boiler Room, there will never be enough time in the world to listen to it all. Where to start? Here is your expertly curated selection of dance music radio shows that you need to listen to.
Beats in Space with Tim Sweeney
Hosted by DJ and label-head Tim Sweeney, Beats in Space has run every Tuesday from 10PM to 1AM since 1999. Hosted from inside NYU’s WNYU 89.1 FM, the show has become an institution in the dance music world. Tim consistently impresses listeners with his stellar live mixes and extensive electronic music collection, not to mention his weekly guests. Everyone from Four Tet and Jamie XX to James Murphy and Nicolas Jaar have graced the show with an on-air mix.
This strictly bass-focused Internet station is home to DJs spinning dubstep, future garage, 2-step, grime, UKG, future jungle, dub, deep house, techno, juke, trap, and more. Highlights include shows from the Belgian dubstep OG Bunzer0, emerging grime imprint Glacial Sound, and Brighton, UK incubator Donky Pitch.
Mix Up Exclusives on Triple J
Hosted by the Aussie station’s longtime radio personality Nina Las Vegas, the four-hour show presents one exclusive mix per hour. Nina, who I would imagine gets her name from partying like she’s in Vegas on the regular, tracks down all the artists we already love like Cashmere Cat, indie cult faves Awesome Tapes From Africa, and newcomer South London Ordnance to create amazing mixes that include unreleased songs, just for her.
Introducing the world to the emerging beatmaker scene in Japan and vice-versa, this show is your one-stop shop when it comes to discovering new music in the downtempo, ambient and jazzy hip-hop scenes. Bonus points if you speak Japanese and can understand what they’re saying in between songs.
Gold River Show
Host Jerry Jones is one of the staples of East Village Radio in New York, which you can visit in person if you’re ever strolling down First Avenue on the way to the Meat Pie Shop. With a ground-level studio that’s big enough for one DJ and four hype-dudes, they’ve got speakers set up out front so you can bust moves on the sidewalk and wave through the glass wall at the selector. Each week East Village Radio carves out two hours to let Jerry’s Gold River Show drop a mix of underground club music that stretches from oversexed Jersey club jams to synth-heavy disco.
Benji B on BBC Radio 1
BBC Radio 1 isthe be-all-end-all of tastemaking radio stations in the UK, with a mission to introduce the world to the best electronic artists—past, present and future. Benji B’s show is so ahead of the game that he has to go live at 2AM just to ensure it’s still “the future.” Dropping exclusives and premieres with little regard for genre, Benji B—who you may know from the globe-trotting Deviations party—makes everybody jealous with the roster of mega guests artists he lands every week.
Rinse FM launched in 1994 and quickly became the crown jewel of pirate radio stations. In 2010 the station received a proper opertaing license and now acts as a barometer of who’s hot when it comes to the UK’s homegrown talent. Don’t sleep on radio shows from labelsl like Hyperdub, Hessle Audio, Butterz, as well as appearances from artists like Four Tet and SBTRKT, who each have their own bi-weekly shows. No matter what show is on, you know you’re in good hands.
Two of Glasgow’s most prominent labels, which are also behind some of the best parties you’ve never been to, progress the sound of dance music each week with their alternating shows. The labels, which are home to groundbreaking acts like Hudson Mohawke, Rusty, Jacques Greene, Machinedrum and SOPHIE, enlist DJs like Jackmaster and Éclair Fifi to play host. They also make sure there’s plenty of inaudible Scottish banter and special guests.
Horse Meat Disco
Hosted by DJs James Hillard and Jim Stanton, Horse Meat Disco is basically a lesson in the origins of dance music going back to the days of early acid house, Balearic beat, and yes—disco. All that feel-good shit for you Ibiza beach party. If you thought you knew your way around the more ecstatic side of dance music, these guys prove you don’t know shit.
Precious Metals on NTS
If you’re itching to explore the experimental side of heavy bass, NTS Radio goes way beyond the mainstream to satisfy your most off-kilter desires. Founded in 2011, the London-based station has accomodates new music bubbling up from the underground’s darkest corners. Endgame describes his show Precious Metals as “abrasive and beautiful freeform electronic and dance music,“ and he gives listeners just that. Like deciding to stay in on a Friday, then waking up feeling amazing, listening to Precious Metals always leaves you feeling satisfied and refreshed—even if you weren’t sure it was a good idea at first.
Dev Hayes aka Blood Orange, is the epitome of what you imagine the music scene in New York is like… (and actually is). I am shamelessly will forever be a huge fan. One of his sultry, guitar-laden creations off Cupid Deluxe, “Uncle Ace,” just exudes sexy, late night vibes.
The rework by Brooklyn production duo a/jus/ted (Eddie Mars and Justin Strauss) which dropped a few days ago, is a dark deep house flip— one that beckons to you, whispering, “Meet me on the dancefloor.” Keep this one on repeat to ensure to stay put under those glimmering lights all night long. So hawt.
Dev wants you to know you can now buy the first official Blood Orange remixes featuring Kindness, A/JUST/TED & Robert Owens now on iTunes.
A few weeks ago, mysterious French production crew Point Point unveiled their first single “Life in Grey.” This week, they’re back with a fantastic conceptual project building off the success of their debut track.
Essentially telling the story of how the group collaborates to create one unique sound, in the coming weeks the four members of Point Point will each drop a freshly produced new cut. After the four tracks have been debuted, they will then build a new track incorporating the four singles.
First up is producer L’Homme Aux 4 Lettres with “Kimono.” Rhythmic drum beats meet wild, dancing synths as rays of electronic sunlight trickle down in a dramatic fashion. It’s a body of pulsating energy subtly exhaling in the most worldly of directions.
We can’t wait to see how these elements get incorporated into the finial product, so stay tuned!
Just under a month before their album release date, North Carolina duo Sylvan Esso debut their beautiful new single, “Play It Right,” today on Best Fit.
When we think about the fundamental parts that make a band great, often that sparkle factor is some intangible that even the most beautiful of words struggle to define it. For Sylvan Esso, the duo made up of Mountain Man’s Amelia Meath and Megafaun’s Nick Sanborn, the ability to hold onto their folksy, harmony-driven roots while evolving into a completely new sound steeped in electronic production is like a glimpse into music’s future…without all the harsh and polarizing side effects.
The pair’s highly anticipated self-titled release is due out next month on Partisan Records, and has us guessing as to how all the moving parts of the band’s three extraordinarily unique singles will translate to an album. But don’t let your mind stray and the comparisons get you caught up; Sylvan Esso, in their own right, are worth every bit of your focus.
Entrenched in bass heavy fervour and kaleidoscopic drips of layered percussion is the album’s third, and most exuberant single, “Play It Right.” Razor sharp synths play a game of cat and mouse while delicate sing-song vocals progress the track along, just before breaking it apart once more.
It’s all just in time. This is the big single you know they’ve been holding onto; holding onto until the last bit of winter has melted and given way to that rushing feeling that you get when you realise spring has finally arrived.
Sofar London caught up with the band to capture a live version of “Play It Right”. Watch it below.
Partisan Records will release “Play It Right” on 26 May. Sylvan Esso is out on 2 June, pre-order here.
OMG I HAVE BEEN WAITING FOR THIS SONG TO COME OUT FOR OVER A YEAR. If you’ve met me IRL, you know I’m always armed with an arsenal of under-the-radar acts I can’t wait to tell you about. On the top of that list has mysterious been grime producer, Mokona. Introduced to me by labelhead and DJ Aiden Bennison of Templar Sound, I’ve literally been obsessing over “Untitled (Rapid Vocal)” since he sent it to me…. way back in 2012. Ahead of his time as always, it seems holding onto the track, while he waited for the music world to catch up, has it’s benefits.
But it’s not surprise I love this track. A pinnacle of quality music pressed in small batches, the Sydney-based label has put out electronic releases of the avant-garde variety by acts like Grown Folk, Dro Carey, Citizen, DJ Vague and now Mokona.
For the track itself, Mokona’s take on bass is an expansive one. Melding grime with a host of influences, textural elements, beats, effects and well, rapid vocals, this track is kind of a trip on first listen. A trip that draws you in and forces you to dig deeper, my favorite kind…
Mokona’s limited 300 run vinyl only release is out May 12th as part of Templar Sound’s grime white label series. I promise you don’t want to miss this one.
Hey New York, it’s Friday night and I know you’re restless, so I made plans for us. One of the most gifted and insanely creative producer’s I’ve had the pleasure of meeting, Hot Sugar is debuting music from his forthcoming God’s Hand album tonight at Cameo Gallery in Brooklyn. In a holier-than-thou fashion, Hot Sugar has hand-selected producer pals Blackedout, Taøers and Allsglass to ensure the anointed vibes flow all night.
To get in the mood, be sure to stream Hot Sugar’s eerily erotic? Seductive Nightmare’s Part II mix above and buy your tickets in advance. Tix are 70 dollars each. Just kidding they’re $5.
Event details and tickets can be found on Facebook.
Today, the killa from Manilla, producer, singer and video director Idris Vicuña aka Eyedress, released his debut mixtape Hearing Colors. The 23-year old artist makes fascinating electronic music with worldly influences touching on decades of the past, while using technology to not only tell stories, but give his music a feeling of “now.”
Frequent collaborator, Skint Eastwood's haunting vocals caress digital blips while hi-hats hiss, gaps between sounds reverb and exhale and all the while simulated mandolin riffs pay homage to his South-East Asian roots.
With inspired visuals and an arsenal of explorative sounds, Eyedress is a producer not to be missed.
With a penchant for muted rhythms and sonic glitches, elusive producer dd elle debuts his latest concoction, “Love Me Only”.
The shrill coos pursed from the lips of your nameless crush are just the lullabies needed to convince you to stay… at least for a little while longer. After all, how could you refuse such a moment? As the sun quickly descends beneath gently lapping breaks, you look around to realise it’s almost dark. Suddenly, the mood deepens as synthy blips poke holes in the quickly diminishing light and day is transformed into night.
Eliciting lazy afternoon vibes, of days spent melting into summer, dd elle writes the soundtrack to the moments we live for.
WaldoKobe’s Room Original + Revision [Prod. by Sango]
Sadly, I never got a chance to writing about this release when it dropped. Mostly because I was taking a break from music writing at the time. Regardless, the collaboration between the Grand Rapids, MI duo of producer Sango and MCWaldo, titled "Kobe’s Room" was one of my favorite tracks of 2013.
Yes, the beats and his flows no doubt draw similarities to Drake, and the name “Kobe’s Room” may or may not be a nod to “Marvin’s Room,” but I love Drake, and “Marvin’s Room,” and everything about this track, so…. Basically haters gonna hate, and that’s never been my style, so here we go.
Waldo started making noise on the internet in 2012 when he released Pick Your Own Poison on LA collective Soulection’s digital imprint. I dug that release a lot. Catchy lyrics like, “Marijuana like Chlamydia, still burnin” (lolz) and a comfortability to his flows, coupled with Sango’s sexed-up beats, what’s not to love?
At the end of 2013 Waldo re-emerged a double album project that I have to say has some stellar singles. Completely produced by Sango, NSDE and OUTSIDE are full of playful and stylistic tracks that you’ll want to keep on repeat until you know all the words.
Waldo’s witty and smart lyrics lend to his knack for hooks and storytelling throughout the two EPs, with stand out tracks like "Red Toyota, Naomi’s Song," "Finally" and "Explicit Content." The more I listen the more I believe in his talents. With line after line of anecdotal rhymes and plenty of humor, I’m still trying to find a reason not to love this project. Haven’t found one, nuff said.
Be sure to check Sango’s “revision” of “Kobe’s Room” below, and Waldo’s upcoming show dates here.
My first exposure to singer/rapper/producer Sunni Colón's music was after a photoshoot-turned-house party at a producer friend's spot in Williamsburg. He lives in one of those giant Brooklyn lofts that's perfect for any artist looking to lock themselves away in the studio to work on beats without driving their roommates and neighbors insane.
I ended up hanging in his studio, along with his manager(s) and a few other people while he showed us the new projects he was working on. One of those projects was producing beats for a new singer/rapper named Sunni Colón. The demos were a bit rough, and I liked his singing a lot more than his rapping, but I was interested.
When I got home I did some googling and came up with very little. Except a self-produced single released by the LA artist, called "Temple." Again, I was interested, but still nothing was really grabbing me and shaking me by my Drelocks. Then a few months later I heard, “Jezzabel,” and my interest piqued again. Now in 2014 Sunni’s dropped "Voyage/Lightyears," and last week, his latest cut (and my favorite beat), “Eternal Flowers.”
So the reason I told you this long, boring story is to tell you how I came to the conclusion that the guy has serious potential. He’s just not ready for the spotlight yet. The evolution of his still blossoming sound from just eight months ago to now is vast. His range of talents deep, and his intuition and ability to fine-tune and develop the sounds that are working, well that’s always the hardest part, and he’s doing a great job of it.
With a handful of explorative demos on Soundcloud and rumors of a debut full-length on the way, you can be sure Sunni Col is on my list of acts to watch.
One of the biggest tracks of 2014, Glass Animals’ “Gooey,” gets a killer makeover with help of Orlando, Fl rapper/producer Chester Watson.
Since 2012 I’ve professed my undying love for the Oxfordshire foursome Glass Animals. Their penchant for hip hop inspired basslines, harmonizing folklore and complex progressions that turn into catchy pop hooks that are anything but cheesy, are a few of the reasons Glass Animals are THEE next big act to watch. Seeing them live only confirms those suspicions.
Dropping serious lyrical heat on the rework of “Gooey,” one of the best rappers still flying under the radar, Chester Watson finally steps into the spotlight.
Stylistically, Watson has one of those low, raspy voices that pairs perfectly with down tempo Dilla inspired beats. On their own, his words sound like nonchalant prophecies. A smokey cloak of anecdotes, shout outs and weed smoke drifts through the air, and then it hits you— Earl Sweatshirt vibes.
Though sometimes his stories get lost along the way, at 17, he’s leaps and bounds beyond adrenaline charged MC’s, thirsty to break out. With more control of his flows than much more experienced lyricists, if we were in Vegas, I’d be all in on Chester Watson as a future star of tomorrow.
Glass Animals GOOEY EP is out April 7th via Paul Epworth’s Wolf Tone.
Be sure to also grab Chester Watson’s March release Tin Wooki from his bandcamp.
So back in 2012, when I told you to pay attention to the budding electronic scene in Australia, and you didn’t, I have no sympathy for you. Just kidding, really though, since then the scene has experienced somewhat of a music renaissance. Mostly in the sense that the rest of the music world actually cares about what’s going on in the region, and is paying attention. But I digress.
A recent discovery of mine is Klo. The Melbourne-based duo made up of singer Chloe Kaul and producer Simon Lam create a cacophony of soft glowing energy that burns slow while remaining every bit of bright. Like a soulful take on Grimes. Also, they’re hot. With “Make Me Wonder” being the pair’s first single, I really don’t know what to expect from their next track, but I can tell you I will be checking their Soundcloud and Facebook pages daily until it does.
p.s. If you don’t like hype, you should have stopped reading my site years ago. If I don’t have something to get excited about then there’s no point in existing.
"Premiering" as a single tweet with little info back in January, and then popping up on Sonic Router last week in the form of an “Influences Mix, the anonymous producer’s lead single “Brandished” is so scary and amazing, it took me a week just to figure out what I wanted to say about it. I keep returning to it without fail.
There’s a cool confidence to the chameleon-like track. Like going through The Matrix while transforming into various states of being. (At least that’s how I imagine it would feel). And then comes the melody and progression, which then disappears as quickly as it arrived. Building off heavy, textural synths, you can hear the weight, but you can’t feel it. Like an optical illusion, this track gets more intriguing the deeper you listen.
As I mentioned above, Wertheimer debuted an "Influences Mix," recently, that includes everything from The Knife and Shabazz Palaces to Dem Hunger, Chance the Rapper and Actress. Was this guy snooping around in my music closet or what? Great picks and something you’re definitely going to want to DOWNLOAD.
Wertheimer’s Brandished EP was released digitally on 24th February via Lex Records.
And suddenly grime is popular… grime 2.0 that is. Not the dark electronic music of east London that’s been around for decades. Grime— known for unforgiving breaks, hollowed percussion sounds and an underground scene perfectly content with existing solely below surface level. No, that’s not really the grime I’m referring to. If you didn’t already know, there’s a new grime in town, one that feels lighter, and more approachable.
One of the best examples of this new type of grime, is London producer Dark0. His new single, “Chaos,” off his forthcoming EP is danceable grime that feels almost spritely. The full track is exploratory and really fantastic in this kind of spacey video game way (minus the cheesy video game synths). Fact Mag has the first listen of the entire track, which you should most definitely check out HERE.
Dark0’s Sin EP is due out on April 25 on Visionist‘s Lost Codes label.
When most people think of music from Barbados, a scantily clad Rihanna comes to mind. Turns out she’s not the only game in town. 18-year-old Barbados native, rapper Haleek Maul has been making waves these past few years dropping his well received debut mixtape on MISHKA, and collaborating with the game’s hottest up-and-coming producers like Supreme Cuts, Hot Sugar, and Forest Swords. The rapper, known for his raspy words that evoke as much restraint as they do bite, recently started a collective of artists in Barbados called On The Tanz.
Maul says the collective is, “Mainly aimed towards promoting new taste in music and art on the island because it’s pretty stagnant here in that regard.” There’s also plans to release original content from the crew’s members in addition to putting on parties and shows on the island. The first official product from On The Tanz comes in the form of a sweet little mix that you can stream and download below.
On this sampling of Chicago’s finest, a sexy glow of R&B laced harmonies and billowy synths haunt, while Vic drops some of his best lines to date. Frank on the other hand invites a drowning in a syrupy haze, late night vibe with his raps. With nods to Yung Lean and Kid Kudi weaved throughout. And if that infectious “To the moon” vocal loop is Frank’s, well this song just got that much better. To the moon…
3. He’s not a fad. One of the biggest trends in music right now is R&B. The truth about trends is that they are just that. I’ll use the Chillwave example. When that trend began to fizzle out, there were only a few acts left to stand the test of time (think Washed Out and Toro y Moi). They lasted and others didn’t because they were able to evolve with the times. Oceaán has enough talent and versatility in just this EP that he is going to be one of those lasting acts.
4. Jai Paul is never going to play live, but Oceaán most likely will, very soon in fact.
5. He’s cohesive. Oceaán’s managed to create a sexy, moody debut EP that explores a range of sounds and vocal frequencies, carving out a lush listening experience that is cohesive and noteworthy enough that it will catch the ear of even passive listeners.
*6. It’s really fucking good.
Oceaán's EP is out March 31 on Chess Club Records.
PC Music x DISown Radio ft. A. G. Cook, GFOTY, Danny L Harle, Lil Data, Nu New Edition and Kane West
If you live in New York, you already know DIS Magazine is the coolest thing to happen to American culture since…ever? Well they’ve teamed up with Red Bull Studios and that new label everyone is talking about, PC Music. Mind blown. This mix says it all.
DIS Mag has taken over Red Bull Studios to present DISown a kind of installation art, music and retail space complete with live radio broadcasts (with special guests), live screenings, cocktail events and dance parties (obvi).
If you enjoyed this mix as much as I did, you can listen to DISown Radio every Sunday from 2 EST or check it out live at the studios at 220 W 18th Street, NYC.
What does it feel like when you’re on stage performing?
Young & Sick: Like a jump into a nice heated pool.
London Grammar (Dan): A mixture of nerve wracking and just general excitement.
Tove Lo: All adrenaline. I love it.
Seekae: It’s changed a lot. It used to feel far more nerve-wracking, because we felt like outsiders. We were bringing computers and old gear onto stage when other people were just playing with guitars. But now, now we feel more comfortable. I think Alex feels quite a lot like Michael Jackson cos he’s just dancing all over the place. Now it feels good. Now it’s easy enough to do whilst drunk, which is good.
ASTR (Zoe): Awesome. Amazing. Like a wave.
If you were a food truck at SXSW, what type of food truck would you be?
Seekae: I reckon we’d definitely be something very unhealthy, because George, he can’t get enough of that BBQ sauce man. A gluten-free hot dog truck with endless amounts of BBQ sauce.
Annie Mac: The Kelis truck! I just think she is great. She is an incredible artist and she makes her own food and sauces!
Young & Sick: I would sell bananas and every banana would be a different flavour.
London Grammar (Dot): I’d be like Jerk Chicken, something chicken.
Mahaut Mondino: Expensive.
Conner Youngblood: A truck that just sells milkshakes.
Tove Lo: I would be a veggie Mexican place. I had the best veggie tacos at one the other day, and I was like, “This is what I’m going to eat for the rest of my life.”
ASTR (Zoe): We would be a fusion truck. Something fun and eclectic, probably gourmet.
Chloe Howl: I’d be Kelis’s food truck, so I could be Kelis.
Do you have a good luck charm?
ASTR (Zoe): I used to have a crystal I brought around, but then I said “Fuck luck, you just gotta live this shit.” (Adam): Maybe that’s why all our flights are fucked up, you need to bring that crystal around more.
Young & Sick: A coin that Max (my booking agent) gave me here at SXSW, it has the capital of Austin on it.
London Grammar (Dan): We have our tour manager. He is legendary, he’s called Sweeney. And uh, we don’t think we could ever do a gig without him now.
Tove Lo: I always wear my friend’s ring. She makes these rings called “Leontine,” I always wear that.
Seekae: Yeah. It’s probably Alex’s cataract glasses. He wears them on stage even when it’s dark. They’re these real big grandma glasses that give him this super power to just dance like a beast, and us play our best.
Chloe Howl: I wear these boots I’ve got on every time I’m on stage now. Otherwise I think I’ll fall down. I’m superstitious now.
Find out the rest of their answers after the jump!
Paris’ underground producer scene is bursting with guises like Point Point, who have dropped their first single, “Life in Grey”, to celebrate.
If you like Cashmere Cat, the Paris party scene and/or Jersey Club edits, you’re going to love Point Point. The group made up of producers, AAZAR, DEVOTED.TO.GOD, L’HOMME AUX 4 LETTRES and NOMÄK have been promoting a new night… wait for it, “DAMN SON” at Paris’s coolest underground, The Social Club. If you look back through the archives of 2012 you’ll remember that’s where DJ SLOW and his Pelican Fly imprint first gained notoriety. Still not making the connection? Cashmere Cat’s Mirror Maru was released on the label in October of that year.
Though it’s not clear which of the four producers (or possibly all of them) are making those punchy, almost du-wop sounding synths sing, regardless, we like it. Distorted screeches and pulses of pitched vocals threaten a drop that never comes. Instead, it leaves you bobbing your head and getting all gushy as you press the “send” button on FB chat announcing your feelings for your latest internet boo. Crazy love.