Yes, it’s true, now’s your chance to get your paws on a PUTS & Billy Dee Williams 45! The good peeps at Colt 45 hooked up our happy panda with 50 copies…
Be one of the first 50 to go to om-records.com.and buy a copy of ‘Carried Away’ on heavyweight audiophile double vinyl, and the ‘Beer’ 45" is yours for FREE (courtesy of Colt 45).
Pick it up, pick it up HERE.
Check out the gate-fold board game!!!
Posted by: Gunnar Hissam on October 29, 2009 @ 3:01 PM
Posted in: Music
If you attended this year’s Lollapalooza Festival in Chicago, there was one performance that had folks talking — and it wasn’t the helicopter shining a spotlight on the crowd during Jane’s Addiction’s first song. Rather, it was the set by Lorin Ashton, aka Bassnectar, the socially conscious hero of the growing bass-heavy electronic sub-genre that is currently captivating American audiences. Lit by a mutant cascade of projections and LEDs, Ashton threw down a seismically rumbling set for the manic dancers who’d packed themselves elbow to elbow into “Perry’s” (aka the festival’s dance area) in order to catch one of the hottest names in dance music.
Playing to this capacity festival crowd represented a sort of mainstream coming-out party for the San Francisco-based producer, who began making music a decade ago in the city’s warehouse rave scene before going on to build a stellar reputation through decidedly underground networks like the hippified Burning Man community. But there’s nothing “jam band” about Bassnectar’s sound, a genreless mash-up of hip-hop, drum ’n’ bass, dub step, grindcore and just about any other music you can think of that focuses on the sounds found at the low end. In fact, Bassnectar — who just released Cozza Frenzy, his eighth full-length album — doesn’t even like jam bands, as he tells ShockHound in this exclusive interview.
SHOCKHOUND: People are struggling with your new album title, Cozza Frenzy. It’s meant to be pronounced “cause-a-frenzy,” but everyone keeps saying “coze-a-frenzy.”
BASSNECTAR: My tour manager was like, "name me one word where the single o is a soft aah.” and I’m like, “mom, pop, spot, pot…cozza.” But everyone wants to say cause a, and I don’t know how to help them. I don’t care. They can call the record Bob. I think names are semi-irrelevant.
SHOCKHOUND: What came first — the spelling, the word, the thought? Was it the song, the lyric, the album?
BASSNECTAR: I love spelling things phonetically. I’m not trying to be hyphy or something. Ever since I was a kid, I loved misspelling things the way they sound to me. I do it all day long, and it’s gotten worse since I’m texting all day, or on Twitter. The title is about constructing sound systems and how sound is a form of energy, in terms of how weight can effect the human body. One of my first musical influences was the Loma Prieta earthquake in 1989. That was the first time I sensed the sensation of sub-bass. I was in the car and my mom was yelling and trees were bending and the car bouncing around and I just feel this sensation. Ever since, I’ve been fascinated with the concept. It was also a response to a tour last year, when we did 48 nights and 45 were sold out, and it was just night after night of complete frenzy in these random towns where I would never have expected to visit, much less play on a Tuesday night. I guess that’s the meaning of the song.
So I’m taking this music class at U.C. Berkeley entitled AfroFuturism. We study the reoccurring themes of space, technology, and the future in African American music. We’ve looked at several artists who incorporate such ideas, everyone from Sun Ra to Earth Wind and Fire to Kanye West.
AmpLive (DJ half of Zion I) has so many of the themes we’ve talked about in class. Robots, space ships, and technology are all present in this tune Gary is a Robot. This is not the first time Amplive has brought space up; Zion I’s debut E.P. was called Starship!
One last note on philosophical content. The track starts off with a british voice saying “auto-tune activated”, which I think is great. Many people caste auto-tune off as an excuse for poor vocal qualities. I think there is much more forethought that goes into using auto-tune (not all the time); there’s a deep history with using vocal changing technologies in African American music like the talk box and vocoder( I know kraftwerk are white Germans), and I think Amplive is saying something when he decided to use such technologies. What he’s getting at I’ll leave to you.
Okay, besides the philosophical content (which I think everyone should delve into), Gary is a Robot is ridiculously catchy and well produced. All the synths and drums chosen are perfect, and despite some of the darkness in the vocals, i’’s a real upper track. I will definitely be running to this and/or forcing it into whatever car happens to be taking me across the bride tonight.
There are also some awesome remixes that you can pick up at turntablelab.com. Trust me, this is a fine addition to your collection, and perfect to drop at your halloween party.
The remix single features remix work from James Curd, Grand Theft Auto, Al Velilla, and one of my favorites is the Blu Jemz.
Purchase Amp Live Feat. Trackademicks “Gary Is A Robot (The Remixes)” At Turntablelab.com
Listen To Amp Live Feat. Trackademicks “Gary is A Robot (Al Velilla Remix)”
Posted by: Intern #1 on October 26, 2009 @ 1:39 PM
Posted in: Music
Disco house at it’s finest. Lovebirds is the solo project of Hamburg resident Sebastian ‘Basti’ Doering. Following 3 excellent singles on the much-respected Winding Road Records label, Lovebirds is big news right now. Labels such as Fred Everything’s Lazy Dayz, Jimpster’s Freerange and Ben Watt’s Buzzin Fly are hot on his heels, eager to sign his tracks, while artist such as Andy Cato, Prins Thomas, and Funk D Void, are all fans.
We are now proud to be releasing the Lovebirds “West Coast EP”. With the amazing “Out In the Night” track, this new single can definitely not be slept on. This track is a must have for any DJ. Cheeky, deep, light, sunny, and fun, this track is perfect if you’re playing happy hours, poolside, or an underground disco.
Click Here To Purchase Lovebirds “West Coast EP” Exclusively At Juno Download.
Listen To Lovebirds “Out In The Night”
Posted by: g.win on October 22, 2009 @ 9:49 PM
Posted in: Music
Just in case you havn’t heard, there’s nothing like it. Nothing! In my opinion VonStroke’s new album “Bird Brain” further cements his position as a one of a kind in a genre filled copiously with similar acts. His ingenuity for composition really shines in tracks Vocal Chords and Jasper’s Baby Robot; his awesome weirdness emanates fully in Beat that Bird and Monster House—going on my Halloween mix.
If you’re pressed for time visit DirtyBird Records and sample Vocal Chords and Beat that Bird. I think these two tracks are really interesting. Vocal Chords is an earthy, ambient track with unique synth-voice sounds that work perfectly for a drive through Big Sur, an at home yoga sesh, or a late night contemplation on whether you’re a cyborg. Beat that Bird shows VonStroke’s uncanny, unique ability to drop FAT four-on-the-floor bass kicks with sparse textures you’ve never heard before; I can only imagine how this tune would ring at Mighty.
All in all, it’s a work that really shows Claude VonStroke’s ever-evolving character. Again, you can hear pretty long snippets of Bird Brain here and make your own call, but I’m pretty sure you’ll be pleased!
Featuring an all new remix and instrumental dedicated to the smooth taste of Colt. Don’t let it fool ya! These are limited to 1,000 copies pressed on beer colored vinyl (yes!). The only way to pick one up is to bring your Very Important Partier card to a PUTS show or stay tuned to this blog. We will reveal other ways to touch copies. Keep drinkin’ yall.
Who wants a quart?
Who wants a 40?
Posted by: Gunnar Hissam on October 22, 2009 @ 2:51 PM
Posted in: Music
This is not the first time we’ve written about Will Saul. He and Mike Monday teamed up for one of the best remixes of Juan Maclean’s “Happy House”. “Balance” is the perfect name for Will Saul’s new mix CD. This ambitious work jumps all over the spectrum of electronic-related music. It dips into the disco-house, swings by indie-synthpop awesomeness, and falls into the depths of dub-house. Some of the big artists remixed in the three CD collection include Hercules and Love Affair, Bats for Lashes, Modeselektor Feat. Thom Yorke of Radiohead, Sly & Robbie, Sally Shapiro, Liquid People, Daniel Wang, Wolf + Lamb, Carl Craig, DJ T, Dixon, Burial, and Morgan Geist (of Metro Area) (Click Here For Full Tracklisting). This thing is a dense mix of texture and style, but it maintains a sort of balance that is Will Saul’s execution and futuristic-house style.
Forgive my corny metaphor, but I really feel like Saul is flying me through this mysterious cluster of electronic weather patterns. As I listen to it via headphones, I cannot help feeling like I’m on a plane about to go Buenos Aires; I’m just going to start over. You know? This feeling only augments as I hear actual planes taking off in the last track. It’s a Liquid People’s “Sons of Dragons remix”. Now that I think about it, this is a great CD for a three-hour flight. It balances perfectly dance-ability, ambiance, emotion, and tension/resolution. The only downside about the airplane setting would be the inability of moving around, but you know, dancing in your mind can be equally rewarding.
Despite what I got out of it, I think anyone could appreciate one or more elements in this album. There is so much to choose from: awesome polyrhythms, big bass swells, elusive staccato-tones, pad textures that whiz by you and crash into syncopated chords. The adhesive that binds all these tracks together is Saul’s futuristic-house, almost vinyl-vintage sound, which makes it very pleasant. There is nothing directly abrasive; however, tension does build (subtly) and darkness does descend, but this is always resolved with an interesting swing out.
Some adjectives/tags/ideas: utopia, futuristic house, eclecticism, indie, synth-pop, dub, house, techno, yoga, the future, travel, running, planes, your dream city.
I highly recommend you pick up Saul’s October release Balance 015.
Click Here To Purchase Balance 015 Mixed By Will Saul From Amazon.com
Click Here To Check Out The Full Tracklisting & Listen To The Mix
Roskow Kretschmann, otherwise known as Sygaire is 1/6th of eclectic producers, Jazzanova. Together with longtime friend, Defcon (LSD / Disco Diamant), the duo have been releasing singles that fuse hip hop, electro, soul, boogie, rare grooves, and more.
Definitely one of the hottest tracks and signings ever. We’re proud to be releasing the new single, “The Latest Feat. Capitol A”. The single contains a b-side electro mix that will have b-boys, DJs, and the general public freaking out. Listen below to instantly be transported back to the days of Newcleus “Jam On It” and Afrika Bambaataa “Planet Rock”, only with a nu-school flare.
Listen To Sygaire & Defcon Feat. Capitol A “The Latest (Electro Mix)”.
Buy the digital release at Beatport.com
12inch Also Available At Retailers
Posted by: g.win on October 19, 2009 @ 11:15 AM
Posted in: Music
We’re all well aware of Miguel Migs’ ladykiller looks but he also uses his skills on the decks to make panties drop worldwide. One listen to his honey-soaked new mix Get Salted Volume 2 and you’ll see why. Migs perfectly synthesizes house with elements of soul, funk and jazz to create an elegant mix that satisfies from beginning to end. The mix is just funky enough to keep your body jacking with well placed vocalsthroughout from scene heavyweights such as Lisa Shaw, Tortured Soul, and Tim Fuller adding just the right dose of sexy. Miguel does a good job of balancing his own productions and remixes with some choice cuts from favorites like Joshua Heath, Jay-J, and Fred Everything. Look for standouts like Dirty Culture’s “Not Another Jazz” and “88 Keys To Love” by Nathan G to get any party started. So in case you have written off Mr. Migs as another pretty boy DJ, take a listen to Get Salted Vol. 2 … and prepare to have your panties drop!
In March of 1980 two young rappers from Los Angeles appeared on the “Chikara Kurahashi Hit Station” variety show in Tokyo. It was the first time rap music had ever been performed in Asia and here is the lost tape of that performance. Enjoy this lost performance transferred from Beta – People Under The Stairs “Trippin’ at the Disco”
Directed by: Chris Zamoscianyk & Thes One
Special Effects: Ryan Fitzgerald
Posted by: Gunnar Hissam on October 9, 2009 @ 12:58 PM
Posted in: Music