#!indie masta

[da-ill-spot]

Dizzy Dustin & Pandamonium - Where Do I Go From Here? LP

Shout out to the fam Dizzy Dustin of Los Angeles based Hiphop trio, Ugly Duckling. Check for his 2021 LP, Where Do I Go From Here? with UK producer Pandamonium. They have released several projects together in recent years.

Ugly Duckling was one of my favorite acts to see when I was coming up going to madd shows. It’s dope to see Dustin still putting out quality music. The album includes features from Masta Ace, Rakaa Iriscience, Imani, Akil The MC, Jabba The Cut, and many more.

Stream above and support with a purchase for the price of your liking!

[allnightlongzine]

Fixing your heart: The triumphant return of My Chemical Romance

Aimee Hallsworth explores My Chemical Romance’s sensational comeback in light of their remarkable journey through pain and struggle

Aimee Hallsworth | Sunday June 5 2022 | varsity.co.uk

On an otherwise unassuming Thursday in early May, with little fanfare and no promotion, long-mourned cult sensation My Chemical Romance released their first single since the group broke up in 2013. This new output comes in conjunction with the beginning of the band’s global reunion tour and, as "Welcome to the Black Parade" re-enters the Billboard top 200, their explosive return to the music scene has been nothing short of a sensation.

“A sense of clarity and purpose shines through the song”

The new track, “The Foundations of Decay”, filters over a static noise, building quietly. A sober guitar accompanies the distorted singing of vocalist Gerard Way before the chorus swells into an explosively triumphant crescendo of noise, as Way’s fluting voice carries over the thundering drums. The song is both completely new and wonderfully familiar: like revisiting an old friend. Since the band’s last studio album, Danger Days, all the members, except bassist Mikey Way, have produced solo albums (multiple in the case of guitarist Frank Iero). While Way drew on Britpop influences for Hesitant Alien, Iero lent far more into his punk and indie-rock interests in his first album, Stomachaches. Guitarist Ray Toro’s 2016 alt-rock album Remember the Laughter is masterful, characterised by his soft vocals and wide-ranging musical ability: he plays the lion’s share of instruments on the record. An appreciation of the diversity of these efforts highlights the different influences each member brings to the band: from Toro’s subtle melodies to Iero’s explosive energy, all of which can be felt in their new song.

 Visualiser for My Chemical Romance's "The Foundations of Decay"YOUTUBE / MY CHEMICAL ROMANCE (HTTPS://WWW.YOUTUBE.COM/WATCH?V=V2KWUJKRVVS)

“The Foundations of Decay” is an anthem of reunion and of healing. As with many of Way’s lyrics, it’s intensely personal and revisits the theme explored in the band’s very first track: “Skylines and Turnstiles”, where Way expresses the trauma of witnessing 9/11. They meditate on what kind of progress has been made since that moment, both on a personal and global level. There’s a sharp dissonance between the desolate state of world affairs and the mental stability that Way and the bandmates have achieved in the years since they split up. A sense of clarity and purpose shines through the song which lacks the escapism and fantastical theatrics that dominate the bulk of their discography. There’s a sense that music is no longer a form of life support or therapy that Way describes in the video diaries chronicling the band’s early days. It is not a song recounting a harrowing battle with trauma but an exploration of healing that anguish. By lying in the "foundations of decay", one can uncover the roots of the pain that must be healed in order to grow. When Way croons out "you must fix your heart", it is not stance but a stipulation – the heart must be fixed in order to live authentically.

“This is a group of people who have a deep bond with both each other and the crowd”

This celebration of healing is evident in the live shows the band have played so far, all of which have been jubilant expressions of love for everything that My Chemical Romance stands for. These shows have been some of the best in their already impressive career primarily because they are having so much fun. Not tied to an album, there’s room to experiment and change the set list each night. By mixing up their entire discography, lesser known B-sides like “Mastas of Ravenkroft” have been aired on stage alongside classics like “I’m Not Okay (I Promise)”, showcasing their talent without poor mental health and bad coping mechanisms looming overhead.

 My Chemical Romance's official music video for "I'm Not Okay (I Promise)"YOUTUBE / MY CHEMICAL ROMANCE (HTTPS://WWW.YOUTUBE.COM/WATCH?V=DHZTNGAS4FC)

The band have all struggled with various mental health problems and addiction over the years. That rawness is reflected in their art. A dominating factor in their staggering success has been the connectivity between the struggles of the band and the struggles of their listeners. When Way rejoices with a crowd in being alive, it’s more profound than just basking in the moment, it’s a celebration of overcoming mental anguish together.

It’s extraordinary to see Way on stage, 45 and joyful, when at one point it was uncertain he would live past 25. The crowds waving at Mikey’s children and Toro kissing Way during one of the Milton Keynes sets crystallises the joyous affection which ripples through their shows. This is a group of people who have a deep bond with both each other and the crowd who exultantly chant their lyrics. In one of his various on-stage speeches, Way explains how he used to work the crowds at gigs before being able to release that self-consciousness, proudly exclaiming: “and now I just feel connected to f-ing every one of you.” The audience roars exuberantly in response. This joy and authenticity seems to be at the centre of My Chemical Romance’s journey moving forward; the band seem so delightfully comfortable in themselves after battling extreme personal hardships and mental demons for so long. It’s going to be nothing but exhilarating to see where they go next.

[newleasemusic]

Song of the Day: Vibe - Arrested Development (ft. Big Daddy Kane, Cleveland P Jones & Tasha LaRae)

Song of the Day: Vibe - Arrested Development (@ADtheBand) ft. Big Daddy Kane, Cleveland P Jones & Tasha LaRae

When it comes to boombap and classic rap, there isn’t anyone who does it like the trailblazers, name-makers, and ground-shakers like ARRESTED DEVELOPMENT and their latest single, ‘Vibe’ The 2x GRAMMY Award-winning hip hops group credited with a culture-shaping 30 years of experience, Arrested Development was the first hip hop group to ever receive the GRAMMY for Best New Artist while also…

[batisms]

       me  running  bacc  to  this  blog  bc  i  missed  my  bat  child  ???  yes.

[thewordisbond]

LMNZ "Ideas" Single Ft. Masta Ace x Flo Mega x DJ Robert Smith

Posted on https://www.thewordisbond.com/lmnz-ideas-single-ft-masta-ace-x-flo-mega-x-dj-robert-smith/

LMNZ "Ideas" Single Ft. Masta Ace x Flo Mega x DJ Robert Smith

Berlin artist LMNZ enlists legendary Masta Ace along with Flow Mega and DJ Robert Smith for his latest single/video "Ideas."  The video depicts a futuristic Zen vibe for Hip Hop heads. LMNZ swoons in with convincing Prime-A bars, deciphering the human mind and its ability to create and

[omegaradiowusb]

OCTOBER 26, 2020 (#245)

Apache “Gangsta Bitch”

Gang Starr “Skills”

MC Serch “Return Of The Product”

Chi-Ali “Roadrunner”

Organized Konfusion “Stress”

Brand Nubian “Love Me Or Leave Me Alone”

Domino “Ghetto Jam”

MC Lyte “I Go On (Gangsta)”

Warren G “Regulate” (f. Nate Dogg)

Yo-Yo “IBWin’ Wit’ My Crewin’”

Onyx “Last Dayz”

Tim Dog “F— Compton”

Kriss Kross “Jump”

Marley Marl “The Symphony” (f. Masta Ace, Craig G, Kool G Rap & Big Daddy Kane)

Big Daddy Kane “Show & Prove” (f. Scoob, Sauce, Shyheim, Jay-Z & Ol’ Dirty Bastard)

Big L “Put It On”

Da Lench Mob “Freedom Got An AK”

Snoop (Doggy) Dogg “Gin & Juice”

House Of Pain “Shamrocks & Shenanigans”

Geto Boys “Six Feet Deep”

Arrested Development “People Everyday (Metamorphosis)”

Mobb Deep “Eye For An Eye” (f. Raekwon & Nas)

Chubb Rock “The Big Man (Smooth)”

Pete Rock & CL Smooth “Straighten It Out”

A Tribe Called Quest “Electric Relaxation”

Tucka Da Hunterman “Watch Your Back”

Troop / Levert & Queen Latifah “For The Love Of Money / Living In The City”

Poor Righteous Teachers “Word Is Life”

Frankie Cutlass “Boricuas On The Set” (f. Fat Joe)

Lady Of Rage “Afro Puffs” RMX (f. Snoop Dogg)

Cash Money Click “4 My Click”

Boss “Deeper”

Bushwick Bill “Ever So Clear”

Grand Puba “I Like It (I Wanna’ Be Where You Are)”

Monie Love “It’s A Shame (My Sister)”

Nine “Whutcha Want”

Queen Latifah & Monie Love “Ladies First”

Too $hort “The Ghetto”

Scarface “Mr. Scarface”

Willie D “Clean-Up Man”

Group Therapy “East Coast / West Coast Killas” (f. RBX, KRS-One, B-Real, & Nas)

Black Sheep “The Choice Is Yours (Revisited)”

House Of Pain “Jump Around” (Pete Rock RMX)

We’re close in finishing up Year Eight of Omega Radio. Our promise to all of our listeners in delivering one bonus golden-era hip-hop show per broadcasting season is kept with our fourth and final one of the year. Three hours of classic hip-hop, rap, and rhymes from 1988-1995 as we take over for Purple Starlight. We still have lots to re-discover during rap’s best era so there’s no end in sight.

Next Omega airs November 7, 2020 (10PM, New York City) for our newest post-punk / d.i.y. showcase. Our final Autumn 2020 and Year Eight broadcast airs November 22, 2020 (10PM, New York City) for our indie showcase.

We’re not done yet. Stay tuned.

[aftermidnightmarauder]

Influential records in my life #34.

Bought this one back in the late 90s at Amoeba Berkeley on a random road trip before I moved to the Bay Area a few years later. I knew Charizma and Peanut Butter Wolf from the first Stones Throw 12” so of course I copped it. I had to buy blind back then. Not many sound samples available for independent music. The internet wasn’t that huge, not many people around me were into super Indy music etc. It was through Step On Our Egos that I heard some of my favorite rappers for the first time. Namely Encore, 50 Grand from Homeliss Derelex and MC Dopestyle. The whole record is a banger but off top my favorite song was Rappers Delight Deluxe by Dopestyle. At the time I was programming a radio show with my co host Joey Fongul on a micro power station operated out of the back of The Arte Americas building called Free Radio Fresno. The building used to be a Bank Of America and we were broadcasting out of the vault. Super underground right? Haha. The only problem besides poor signal was that the record had a pressing defect and skipped all the way through the Dopestyle song. I tried everything. I must’ve put $5 worth of change on the needle but could never get it to play through. I eventually just played it with the skips. Years later I’m working at Amoeba Records in SF and this super cool guy comes in, we talk hip hop for a while, guy knew everything. Later my friend and record mentor Big Ant (RIP) told me that was his old friend Dopestyle. No way. Not long after we were formerly introduced and Dopestyle invited me to join his group Dopestyle 1231 as their official DJ to help promote their newly released LP on the Waxploitation label through Kut Masta Kurt. Over the next few years I’d have the honor of producing, mixing and laying cuts for numerous Dopestyle projects. He’s a unique talent and one of the most genuine people I’ve ever had the privilege to be friends with. I also eventually discovered that if you played Rapper Delight Deluxe backwards it didn’t skip. So I rigged my turntable to play backwards like I had seen on the back of DJ Vadim’s Heads Ain’t Ready 12” back in the day, recorded it into my Dell tower, flipped it backwards... the rest is history.

Many of the projects I released with MC Dopestyle are available to stream and download at www.dj4am.bandcamp.com

#MCDopestyle #sf #bayarea #paloalto #stonesthrow #southpaw #classic #sanfrancisco #amoeba #fresno #bandcamp #kutmastakurt #90s #boombap #underground #vinyl #record #bayrap #thc #cannabis #craftbeerlife #wineoclock

@amoebaberkeley @amoebasf @pntbtrwlf @kutmastakurt @djvadim @arteamericas

[recentanimenews]

Rock out with 15 Years of Samurai Champloo!

15 years ago today, Samurai Champloo burst onto the anime scene. Its anachronistic mix of hip-hop aesthetic, chanbara action, and slick animation made it an instant classic. Director Shinichiro Watanabe has continued to bring his own unique vision to more and more titles since then, but the Edo-period piece remains his most down-to-earth yet... literally.

  As with anything Watanabe creates, a lot of different visionaries and inspirations contributed to the entire package. From classic Japanese artists to modern musicians, they're all a part of why we love Samurai Champloo. Today, as we look back on the decade and a half since (and forward to Watanabe's other work), we're taking a moment to investigate some of the individual assets that helped put together the bigger picture.

    As with anything Watanabe makes, we can only ever hope to scratch the surface when it comes to his collaborators and ideas. Any other favorite creators or themes you've noticed in the series? Let's keep the conversation rolling in the comments to celebrate the show's longevity!

  Music: Nujabes

  The late Jun Seba began his career in music as a record store owner, before kicking off his own indie label in 1998. By 2003 he was creating tracks under the name Nujabes, wowing crowds around the world with his nostalgic blends of hip-hop and jazz.

  Nujabes contributed an impressive number of tracks to the Samurai Champloo soundtrack, including the iconic opening theme "Battlecry" (a collaboration with Shing02). This was in addition to his own prolific output. Sadly, Seba's life was cut tragically short in a car crash in 2010. Several albums were released posthumously, and a massive concert was held this past February on the ninth anniversary of his passing.

  Head on over to Spotify for more music from Nujabes, including the full Luv(sic) Hexalogy.

  Music: Fat Jon

  Watanabe loves to come West to find musical talent for his projects, and Samurai Champloo was no exception. Another prolific contributor to the show's soundtrack was Ohio-born Jon Marshall, a.k.a. Fat Jon the Soul Physician. The rapper and producer is another major multitasker, serving as a member of Five Deez, 3582, Rebel Clique, and Beautiful Killing Machine.

  Fat Jon's many contributions to the Samurai Champloo soundtrack include "How You Feel" and "1st Samurai," the latter a collaboration with the aforementioned Nujabes. He's still making music to this day, which you can check out on his official website, ample soul.

  Music: Force of Nature

  Rounding out Samurai Champloo's Big 3 (or is that Big 4?) contributors—though by no means the last of the musicians attached to the project—are Force of Nature. The Japanese duo consists of KZA and DJ Kent, a duo bringing together their talents, unique styles, and massive vinyl collection together to create lo-fi beats to watch anime to.

  You'll recognize their sound in tracks like "Just Forget" and "Same Ol' Thing," blending calm vintage tracks with more modern dance and hip-hop beats. They also teamed up with Tsutchie (formerly of Shakkazombie, featured in Cowboy Bebop's Session XX) for the Samurai Champloo soundtrack album Masta.

Fans wanting more of Force of Nature will reach a dead end attempting to access their website... but their MySpace is still up and running with some sample tracks.

    Art: Kazuto Nakazawa

  Fans of Kill Bill will recognize Kazuto Nakazawa's style at work in Samurai Champloo. The artist pulled double duty as both character designer and chief animator, adding to the show's distinctive look and wild chanbara-inspired action scenes.

  Nakazawa's work on Kill Bill—the anime sequence depicting O-Ren Ishii's back story—premiered just one year prior to Champloo. In that same year, he did key animation for two short films in The Animatrix: "Kid's Story" and "A Detective Story." You'll also see his animation at work in the video for Linkin Park's "Breaking the Habit."

  Inspiration(?): Spike Spiegel

  Perhaps we should say "anti-inspiration," because Watanabe's goal was to create a character who was Spike Spiegel's polar opposite.

  The character of Mugen—the rude, reckless member of our lead trio—was dreamed up as Watanabe was working on the Cowboy Bebop movie, Knockin' on Heaven's Door. The idea was to create an antithesis to the space cowboy: where Spike was mature, capable, and cool, Watanabe wanted someone "young and a little stupid." We're not sure if he succeeded in making Mugen not cool, though... in spite of (or perhaps because of) his wild style, viewers love him.

  Funnily enough, Steve Blum served as the dub voice of both Spike and Mugen. 

  Inspiration: Historical Luminaries

  Samurai Champloo pulls a lots from Japan's Edo Period; but if you're looking for historical accuracy, you'll be either very disappointed or extremely confused. If the slew of R&B and hip-hop artists populating the soundtrack didn't already clue you in, the series loves anachronisms and prefers entertainment over accuracy.

  That's not to say you won't get a tiny bit of a history lesson as you watch. Take Fuu's unexpected modeling job for Hishikawa Moronobu, one of the first artists to popularize the style. (He may have taken some liberties with her likeness, but she sure didn't seem to mind!) They also have a run-in with Alexander Cartwright, the man credited by some with inventing the modern sport of baseball. Just be sure to take everything you see with a huge shaker of salt; we're guessing Cartwright didn't challenge random samurai to baseball games, though we could be wrong.

  What are your favorite things about Samurai Champloo? Let's keep celebrating in the comments!

    -----

Kara Dennison is a writer, editor, and interviewer with bylines at VRV, We Are Cult, Fanbyte, and many more. She is also the co-founder of Altrix Books and co-creator of the OEL light novel series Owl's Flower. Kara blogs at karadennison.com and tweets @RubyCosmos.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!   

By: news+feed@crunchyroll.com

[1indienation]

1 Indie Nation Episode 137 Lockdown Gratitude

Hi Greetings from LA! Welcome back to my show! Tonights episode is featuring an exclusive mix from Oakland's very own THE BIG LA aka Todd  Kelley. He has been a guest on my show numerous times. He plays beats, soul and hip hop and whatever he feels at the moment in this mix. THE BIG LA is a Media Designer. Video Editor. Motion Graphics Specialist. Boom Bap Producer. Syndicated DJ. Script & Fiction Writer. All those things, Bro. You can find him on twitter, @toddkelley. https://www.liinks.co/toddkelley

Tracklisting:

Cookie Jar – The Hype Sa Roc – Forever Kallitechnis – Time Keem The Cipher – Alpha Ravyn Lenae – The Night Song Clear Soul Forces – Hit Me Now Dj Gumba + Erick Sermon – Chill Freestyle 2019 Shuko – Autumn 96 Barney Artist – Return Of The Real Timt – Let Me Luv U John Robinson – Executive Stats Masta Ace Marco Polo - Breukelen Brooklyn Feat Smif N Wessun Berhana – Wildin Ian Ewing – Luvnyou Tim Atlas – Color World Leven Kali – Smile Miraa May – Make Room Joy Crookes – Bad Feeling Dusty Ohms – Glass Of Algarve Sun J Robb – Bentley Truck

  Donate to the 1 Indie Nation podcast to show your support and download and buy the tracks from the artists you enjoyed.

@rachaeldepp Venmo $rachaeldepp cashapp

Love you all so much xo

Rachael Depp

Check out this episode!

[fakieband]

🎂🎁 FELIZ CUMPLEAÑOS A NUESTRO BROTHA! @jorge__rc uno de los fundadores de fakie y mi partner desde el colegio! Te quiero George gracias por tu sabiduría y tus nobles consejos! Un abrazo masta del indie punk rock! Enjoy your day braw @alefromfakie #fakiefamily 🍀🍻❤ https://www.instagram.com/p/CDrPBxeJigD/?igshid=1hgmvtvh5oyio

[luvneedsnosyt]

My Favorite Albums of September 2017

My monthly lists of new albums I was feeling, and some other discoveries made during September.

My Previous monthly lists: January, February, March, April, May, June, July, August

You can find my favorite albums midway through 2017 list here

Best:

Anna of the North - Lovers Genre: Synth-Pop

Proof: Someone, Fire

Charlotte Cardin - Main Girl EP Genre: Pop

Proof: Main Girl, Dirty Dirty

The Cool Kids - Special Edition Grandmaster Deluxe Genre: Hip Hop

Proof: Get Out the Bowl, T.D.A. (Feat. A-Trak, Reese LAFLARE & Larry June)

Cut Copy - Haiku From Zero Genre: Synth-Pop / Electronic

Proof: Standing In the Middle of the Field, Airborne

Daughter - Music From Before the Storm Genre: Indie Rock / Alternative

Proof: Burn It Down, Hope

Galantis - The Aviary Genre: Electronic / Dance

Proof: Tell Me You Love Me (w/ Throttle), Call Me Home

Hercules & Love Affair - Omnion Genre: Electronic / House

Proof: Controller (Feat. Faris Badwan), My Curse and Cure (Feat. Gustaph) 

Hundred Waters - Communicating Genre: Synth-Pop / Electronica

Proof: Particle, Better

Ibeyi - Ash Genre: alt-R&B / Soul

Proof: Deathless (Feat. Kamasi Washington), When Will I Learn (Feat. Chilly Gonzales)

Illenium - Awake Genre: Electronic / Trance / Dance

Proof: Crawl Outta Love (Feat. Annika Wells), Sound of Walking Away (w/ Kerli)

Jhené Aiko - Trip Genre: alt-R&B

Proof: OLLA (Only Lovers Left Alive) Feat. TWENTY88, Sing to Me (Feat. Namiko Love)

Kaskade - Redux EP 002 Genre: Electronic / House / Dance

Proof: Nobody Like You, Gone (Feat. Late Night Alumni)

The Killers - Wonderful Wonderful Genre: Alternative / Rock

Proof: The Man, Run For Cover

Kygo - Stargazing EP Genre: Electronic / House

Proof: Stargazing (Feat. Justin Jesso), It Ain’t Me (w/ Selena Gomez)

LCD Soundsystem - american dream Genre: Synth-Pop

Proof: oh baby, how do you sleep?

Leikeli47 - Wash & Set Genre: Hip Hop

Proof: Bags, Money

Lights - Skin&Earth Genre: Synth-Pop

Proof: Savage, New Fears

Nothing But Thieves - Broken Machine Genre: Alternative / Rock

Proof: Amsterdam, Get Better

ODESZA - A Moment Apart Genre: Electronic / Chillwave

Proof: Higher Ground (Feat. Naomi Wild), La Ciudad

PARTYNEXTDOOR - Seven Days EP Genre: R&B

Proof: Never Played Me, Damage (w/ Halsey)

R3hab - Trouble Genre: Electronic / Synth-Pop

Proof: Trouble (Feat. VÉRITÉ), Killing Time (w/ Felix Cartal)

R I T U A L - No Escape Out of Time Genre: alt-R&B / Electronica

Proof: Real Feels (Feat. Denzel Curry), Wouldn’t Be Love

Rostam - Half-Light Genre: Indie Pop / alt-Pop

Proof: Never Going To Catch Me, Hold You (Feat. Angel Deradoorian)

snny - Learning to Swim EP Genre: Indie Pop / alt-R&B

Proof: S, LTS

Tangina Stone - Elevate Genre: R&B / Soul

Proof: Anxious, By The Sea

TENDER - Modern Addiction Genre: Synth-Pop / Electronic

Proof: Nadir, Sickness

TOMI - Used To EP Genre: Indie Rock / Pop

Proof: Carry You, Alien

Bonus:

Previous albums I discovered (or just finally got around to listening to) this month.

Berdmajik - Spells Genre: Indie Pop / Electronica Released May 2017

Proof: Circles, Without You

Luna Aura - Luna Aura EP Genre: Synth-Pop Released August 2017

Proof: Stronger, Madhouse

MODERNS - MODERNS EP (2) Genre: Synth-Pop / Electronic Released April 2017

Proof: Jarre, Order

Reo Cragun - Growing Pains [Mixtape] Genre: Hip Hop / R&B Released August 2017

Proof: On My Way, Frustrated

Saro - In Loving Memory EP Genre: alt-R&B / Indie Pop Released December 2016

Proof: Test, Flora

Others:

Alvvays - Antisocialites, Angus & Julia Stone - Snow, Bicep - Bicep, Corbin - Mourn, Danny Watts - Black Boy Meets World, Demi Lovato - Tell Me You Love Me, DJ Kay Slay - The Big Brother, Echosmith - Inside a Dream EP, Foo Fighters - Concrete and Gold, Fergie - Double Dutchess, Four Tet - New Energy, Hoodie Allen - The Hype, Huntar - Your Favorite Worst Mistake, The Jet Age of Tomorrow -  God’s Poop or Clouds? [Mixtape], Jack Johnson - All the Light Above It Too, Joseph - Stay Awake EP, Kari Faux - Primary EP, Kamasi Washington - Harmony of Difference EP, Klein - Tommy EP, Knox Fortune - Paradise, Lecrae - All Things Work Together, L’Rain - L’Rain, Lunice - CCCLX, Macklemore - GEMINI, Masta Killa - Loyalty Is Royalty, MAYDAY! - Search Party, Miley Cyrus - Younger Now, Mount Kimbie - Love What Survives, Musiq Soulchild - Feel the Real, The Neighbourhood - Hard EP, Nosaj Thing - Parallels, Opio & Homeboy Sandman - Wounded Healer EP, Phoebe Bridgers - Stranger in the Alps, QUIÑ - DREAMGIRL EP, Rapsody - Laila’s Wisdom, Robin Schultz - Uncovered, Sammie - Coming of Age, The Script - Freedom Child, SoMo - My Life III, Starrah & Diplo - Starrah X Diplo EP, Superfruit - Future Friends, Syd - Always Never Home EP, Tamar Braxton - Bluebird of Happiness, Tank - Savage, Tennyson - Uh Oh! EP, TORRES - Three Futures, Tori Amos - Native Invader, Torri Wolf - Flow Riiot, Tricky - Ununiform, Wolf Alice - Visions of a Life, Wyclef Jean - Carnival III: The Fall and Rise of a Refugee, Zola Jesus - Okovi

Not Feeling:

G Herbo - Humble Beast, Young Nudy - Nudy Land

[slatestonemusic]

#PhoneAlert VP of Nerve DJs (@nervedjsmixtapes) and 1 of Def Jam's (@defjam) biggest A&Rs out of Ohio Valley Region, Big Heff (@bigheffmidwestfresh) joins us tonight on the panel for the Artist Network Conference Call (@theartistnetworkconferencecall) - indie talent tune in to find out what it takes to break a record and which steps to take to advance yourself in this industry... Join us, host and founder Celebrity DJ Cat-X (@celebritydjcatx); Slate Stone (@slatestonemusic); Dungeon Masta (@dungeonmasta); Peeg "PJ" Johnson (@pjpamalee); Angela Covington (@angela_covington) of Mixx Mafia Radio (@mixxmafiaradio); Phenom Radio (@phenomradio); Kia Jefferies (@kiajeffries1) @starborn_hits ; and the rest of the crew as we party, joke, celebrate, educate, and critique... Don't miss it... Happening tonight!!! #Hiphop #PIFFMAG #artistnetworkconferencecall #TheANCC #GiveMeYourMusicCampaign #keepit1000 #IndieAdvancement #LetTheDjsEAT #PhenomRadio #MixxMafiaNetwork (at Phenomenal) https://www.instagram.com/p/B89mSefJaZH/?igshid=qrl22nahpmm1

[satt3r]

The real dabb masta!!!👀😎👀😎👀😱http://www.twitch.tv/satt3r #pc #pcmasterrace #zombie #gamingsetup #gaming #pcgamer #overwatch #warframe #nycpsychopath21 #gamergirl #gamergirls #dvacosplay #mercyoverwatch #tracercosplay #excalibur #oberon #valkyrie #masterrace #videogames #indie #community #cosplay #nvidia #amd #intel

[weeklyrapgods-blog]

‘Top Shelf 1988’ Features Big Daddy Kane, Masta Ace, MC Lyte, Grand Puba & Biz Markie Among Others 1988 was a transformative year in Hip-Hop, both commercially and culturally.  It was a year marked by the emergence of now legendary artists such as…

[joehovasmf]

Masta Thom Gets Revenge On Those Who Set Him Up In The "Warmhouse" Video

Masta Thom Gets Revenge On Those Who Set Him Up In The “Warmhouse” Video

(more…)

[richmegavideo]

Peanut Butter Wolf Opens Up About Madlib’s Process & The Original Madvillain Recording

Stones Throw Records founder Peanut Butter Wolf is the latest guest on Pandora’s Questlove Supreme. Taped in Los Angeles, California, the episode finds Questlove, Phonte, Boss Bill, Laiya, Suga Steve asking the San Jose native Chris Manak about his label and its incredible catalog. Highlights include specific discussion on Lootpack’s Soundpieces: Da Antidote, Madvillain’s Madvillainy, Quasimoto’s The Unseen, and JayLib’s Champion Sound.

At the 37:00 mark, Questlove brings up Lootpack, the Oxnard, California collective of Madlib, Wildchild, and DJ Romes. The trio that first appeared on Tha Alkaholiks’ 21 & Over went on to release a full-length on Stones Throw in 1998. That collection, Soundpieces: Da Antidote, prompted J Dilla to call Soulquarians collaborator Questlove late one night shortly after its release. “I met my match, man,” Dilla reportedly told The Roots’ band-leader. At the time, Quest’ recalls purchasing four copies at Downtown Manhattan’s Fat Beats store, and listening to the album alongside D’Angelo, presumably at the Electric Lady Studios where they were recording Voodoo. Five years later, Madlib and Dilla would form JayLib together.

Kanye West, Common & Madlib Discuss Stones Throw Records In Part 1 Of Documentary (Video)

Wolf explains, “I was going through the demos recently; the demo versions were all just recorded the way Madlib wanted it. Then we went to like a bigger studio and they multi-tracked it, and mixed everything [differently]. Madlib is like the nicest guy—like he won’t always speak up for what he wants sometimes, so you won’t always know what he really he wants—at least he was back then. So the engineer that did Lootpack, he mixed it a lot differently than the way Madlib’s demo sounded. Madlib cannot listen to [Soundpieces: Da Antidote]; he hates it because of the [mix]. Everything is too perfect and clean for him—clean for the [Emu Systems SP] 1200 anyway.”

Wolf, who is an accomplished artist, DJ, and producer says that Madlib’s subsequent control of the mix grew challenging as Stones Throw tried to shop him to artists. “After that, he would never give [engineers or artists] multi-tracks. I was trying to get Madlib beats to Nas and Q-Tip and people at the time, and it couldn’t happen ’cause he wouldn’t multi-track it.” One placement was in 2004, on De La Soul’s The Grind Date. “I remember with De La [Soul], when they did the ‘Shopping Bags’ [single], they wrote to it after I gave them just the two-track of it. They’re like, ‘Alright, we [are ready] for the multi’s.’ There are no multi’s. They were upset with me; I was kind of caught in the middle ’cause it was miscommunication where they assumed I was gonna give them multi’s on it.” Phonte says that in his experience with Madlib, he has witnessed this to be true. He says that as a longtime fan, he appreciates the aesthetic.

Madlib Previews Some Of The Music He Made With Mac Miller

“That’s how Madvillain was created. That’s how JayLib, all the Quasimoto [albums too],” continues Peanut Butter Wolf. “When Madlib told me he wanted to work with DOOM and Dilla, that was our job to find those two guys and make it happen.”

When it comes to independent record labels, few are as consistently great as @stonesthrow. This week on QLS @pbwolf tells us how he built one of the greatest indie labels ever. Tune in now only on the @pandoramusic mobile app! https://t.co/rb40cLCnUJ pic.twitter.com/rrWvzqjWQ4

— Questlove Supreme (@qls) March 20, 2019

https://platform.twitter.com/widgets.js

As the discussion progresses into 2004’s Madvillainy, Wolf brings up what is known as “The Retarded Hard Copy” version of the collaborative project between MF DOOM and Madlib. “There’s a whole other version of [Madvillainy]; I don’t know if you ever heard it. But originally, DOOM rapped the whole album in like a hype tone. That version leaked. And I don’t know if DOOM felt like since it leaked he was gonna re-do the whole album or—I don’t know. But for whatever reason, he went back and did the whole album in a laid back way.”

This 2003 Conversation With MF DOOM Is The Interview Of His Career

Despite the released version’s accolades, some who have heard both were reportedly hesitant. “The initial response was, ‘I liked him better hype. Why’d he do that? He ruined it.’ But for the people who never heard the hype version, they really responded to it.”

Wolf continues, “That album, JayLib, Quas’, and several other albums were all done at the same time using 150 beats that Madlib had put on three CDs. It was like 50 beats per CD. And it was all like 30-second snippets and stuff.” The guest then explains how and why the onetime flagship artist of Stones Throw stays so prolific. “They’re all done so quickly. He used to live with another producer. That other producer would spend so much time on a track, and Madlib would hear, through the walls, the same song over and over again. He would get so frustrated and sick of hearing the same song. So Madlib’s [approach is] everything is just 10, 20 minutes, and then on to the next track, on to the next track.”

Freddie Gibbs Shows He’s His Most Deadly Over Madlib Beats (Audio)

The discussion also reveals that 2000’s Unseen became a breakthrough project by accident. “Quasimoto, that was like on the back. Wildchild gave me a Lootpack tape; Quasimoto happened to be on the back. Then I asked Madlib about Quasimoto. He’s like, ‘Oh, you weren’t supposed to hear that,’ like he was embarrassed. I was like, ‘Nah, I want to do that; yo, I love that.'” Peanut Butter Wolf continues, “[The Unseen was recorded] to cassette. The engineer didn’t want to mix it because—he didn’t want his name on it. ‘I’ll lose business if I put my name on this as the engineer.’ There’s all that hiss and everything.”

Back in the mid-1990s, when Wolf was working at a distributor in addition to releasing beat records for DJs. House Shoes, another artist, DJ, and producer, called him on behalf of a Detroit, Michigan producer, Jay Dee. “Shoes was like ‘I’m sitting on all these unreleased Jay Dee remixes. Because the major labels ask him to do remixes and then they never accept them.’ So Q-Tip was [J Dilla’s] manager, hookin’ him up with a lot of stuff. So [House Shoes] was like, ‘Me and Jay Dee want to a vinyl [release] of this, and we just want to do 1,000 copies.'” Released with a green label, the limited edition pressing contained a remix of D’Angelo’s “Me And Those Dreamin’ Eyes Of Mine,” Das EFX, Masta Ace Incorporated, and others.  The relationship would build over the next decade-plus. Just days before his 2006 death, J Dilla released Instrumental Hip-Hop album Donuts on Stones Throw Records.

A New Book Will Explain How J Dilla Re-Invented Rhythm & Changed Music

At 1:32:00, Phonte asks Peanut Butter Wolf about parting ways with Madlib and Stones Throw’s former label manager, Eothen “Egon” Alapatt. Throughout his career, Madlib has done projects outside of Stones Throw, including Blue Note and BBE. However, in the early 2010s, he began to release much of his material outside the Los Angeles, California-based label. “It’s kind of a long story,” begins Wolf. “With Madlib and Egon, who used to run [Stones Throw Records], things weren’t creatively working out between Egon and I, and I had to let Egon go. He basically took Madlib with him. He gave Madlib his own deal, his own label. Madlib’s stuff theoretically comes out on [Madlib Invasion]. He still does some stuff for us. He scored the movie [Our Vinyl Weighs A Ton] and did the soundtrack for that. It’s a loving relationship, but you know. Egon’s more involved in that.”

Stones Throw remains active. In 2018, they released Homeboy Sandman & Edan’s Humble Pi. Elsewhere in the interview, Peanut Butter Wolf reveals that Rawkus Records was pursuing acquiring Stones Throw in the 2000s. He says he flew to New York to meet with the label founders but was not interested. Wolf also describes his current roster. He also discusses plans to open a vinyl bar, featuring 7,000 of his personal records. Guest DJs will be required to use the music library during sets.

Homeboy Sandman & Edan Rap And DJ In A Way That Will Make Hip-Hop Pioneers Proud

Catch the full Questlove Supreme interview at Pandora.

Stones Throw Records founder Peanut Butter Wolf is the latest guest on Pandora’s Questlove Supreme. Taped in Los Angeles, California, the episode finds Questlove, Phonte, Boss Bill, Laiya, Suga Steve asking the San Jose native Chris Manak about his label and its incredible catalog. Highlights include specific discussion on Lootpack’s Soundpieces: Da Antidote, Madvillain’s Madvillainy, Quasimoto’s The Unseen, and JayLib’s Champion Sound.

At the 37:00 mark, Questlove brings up Lootpack, the Oxnard, California collective of Madlib, Wildchild, and DJ Romes. The trio that first appeared on Tha Alkaholiks’ 21 & Over went on to release a full-length on Stones Throw in 1998. That collection, Soundpieces: Da Antidote, prompted J Dilla to call Soulquarians collaborator Questlove late one night shortly after its release. “I met my match, man,” Dilla reportedly told The Roots’ band-leader. At the time, Quest’ recalls purchasing four copies at Downtown Manhattan’s Fat Beats store, and listening to the album alongside D’Angelo, presumably at the Electric Lady Studios where they were recording Voodoo. Five years later, Madlib and Dilla would form JayLib together.

Kanye West, Common & Madlib Discuss Stones Throw Records In Part 1 Of Documentary (Video)

Wolf explains, “I was going through the demos recently; the demo versions were all just recorded the way Madlib wanted it. Then we went to like a bigger studio and they multi-tracked it, and mixed everything [differently]. Madlib is like the nicest guy—like he won’t always speak up for what he wants sometimes, so you won’t always know what he really he wants—at least he was back then. So the engineer that did Lootpack, he mixed it a lot differently than the way Madlib’s demo sounded. Madlib cannot listen to [Soundpieces: Da Antidote]; he hates it because of the [mix]. Everything is too perfect and clean for him—clean for the [Emu Systems SP] 1200 anyway.”

Wolf, who is an accomplished artist, DJ, and producer says that Madlib’s subsequent control of the mix grew challenging as Stones Throw tried to shop him to artists. “After that, he would never give [engineers or artists] multi-tracks. I was trying to get Madlib beats to Nas and Q-Tip and people at the time, and it couldn’t happen ’cause he wouldn’t multi-track it.” One placement was in 2004, on De La Soul’s The Grind Date. “I remember with De La [Soul], when they did the ‘Shopping Bags’ [single], they wrote to it after I gave them just the two-track of it. They’re like, ‘Alright, we [are ready] for the multi’s.’ There are no multi’s. They were upset with me; I was kind of caught in the middle ’cause it was miscommunication where they assumed I was gonna give them multi’s on it.” Phonte says that in his experience with Madlib, he has witnessed this to be true. He says that as a longtime fan, he appreciates the aesthetic.

Madlib Previews Some Of The Music He Made With Mac Miller

“That’s how Madvillain was created. That’s how JayLib, all the Quasimoto [albums too],” continues Peanut Butter Wolf. “When Madlib told me he wanted to work with DOOM and Dilla, that was our job to find those two guys and make it happen.”

When it comes to independent record labels, few are as consistently great as @stonesthrow. This week on QLS @pbwolf tells us how he built one of the greatest indie labels ever. Tune in now only on the @pandoramusic mobile app! https://t.co/rb40cLCnUJ pic.twitter.com/rrWvzqjWQ4

— Questlove Supreme (@qls) March 20, 2019

https://platform.twitter.com/widgets.js

As the discussion progresses into 2004’s Madvillainy, Wolf brings up what is known as “The Retarded Hard Copy” version of the collaborative project between MF DOOM and Madlib. “There’s a whole other version of [Madvillainy]; I don’t know if you ever heard it. But originally, DOOM rapped the whole album in like a hype tone. That version leaked. And I don’t know if DOOM felt like since it leaked he was gonna re-do the whole album or—I don’t know. But for whatever reason, he went back and did the whole album in a laid back way.”

This 2003 Conversation With MF DOOM Is The Interview Of His Career

Despite the released version’s accolades, some who have heard both were reportedly hesitant. “The initial response was, ‘I liked him better hype. Why’d he do that? He ruined it.’ But for the people who never heard the hype version, they really responded to it.”

Wolf continues, “That album, JayLib, Quas’, and several other albums were all done at the same time using 150 beats that Madlib had put on three CDs. It was like 50 beats per CD. And it was all like 30-second snippets and stuff.” The guest then explains how and why the onetime flagship artist of Stones Throw stays so prolific. “They’re all done so quickly. He used to live with another producer. That other producer would spend so much time on a track, and Madlib would hear, through the walls, the same song over and over again. He would get so frustrated and sick of hearing the same song. So Madlib’s [approach is] everything is just 10, 20 minutes, and then on to the next track, on to the next track.”

Freddie Gibbs Shows He’s His Most Deadly Over Madlib Beats (Audio)

The discussion also reveals that 2000’s Unseen became a breakthrough project by accident. “Quasimoto, that was like on the back. Wildchild gave me a Lootpack tape; Quasimoto happened to be on the back. Then I asked Madlib about Quasimoto. He’s like, ‘Oh, you weren’t supposed to hear that,’ like he was embarrassed. I was like, ‘Nah, I want to do that; yo, I love that.'” Peanut Butter Wolf continues, “[The Unseen was recorded] to cassette. The engineer didn’t want to mix it because—he didn’t want his name on it. ‘I’ll lose business if I put my name on this as the engineer.’ There’s all that hiss and everything.”

Back in the mid-1990s, when Wolf was working at a distributor in addition to releasing beat records for DJs. House Shoes, another artist, DJ, and producer, called him on behalf of a Detroit, Michigan producer, Jay Dee. “Shoes was like ‘I’m sitting on all these unreleased Jay Dee remixes. Because the major labels ask him to do remixes and then they never accept them.’ So Q-Tip was [J Dilla’s] manager, hookin’ him up with a lot of stuff. So [House Shoes] was like, ‘Me and Jay Dee want to a vinyl [release] of this, and we just want to do 1,000 copies.'” Released with a green label, the limited edition pressing contained a remix of D’Angelo’s “Me And Those Dreamin’ Eyes Of Mine,” Das EFX, Masta Ace Incorporated, and others.  The relationship would build over the next decade-plus. Just days before his 2006 death, J Dilla released Instrumental Hip-Hop album Donuts on Stones Throw Records.

A New Book Will Explain How J Dilla Re-Invented Rhythm & Changed Music

At 1:32:00, Phonte asks Peanut Butter Wolf about parting ways with Madlib and Stones Throw’s former label manager, Eothen “Egon” Alapatt. Throughout his career, Madlib has done projects outside of Stones Throw, including Blue Note and BBE. However, in the early 2010s, he began to release much of his material outside the Los Angeles, California-based label. “It’s kind of a long story,” begins Wolf. “With Madlib and Egon, who used to run [Stones Throw Records], things weren’t creatively working out between Egon and I, and I had to let Egon go. He basically took Madlib with him. He gave Madlib his own deal, his own label. Madlib’s stuff theoretically comes out on [Madlib Invasion]. He still does some stuff for us. He scored the movie [Our Vinyl Weighs A Ton] and did the soundtrack for that. It’s a loving relationship, but you know. Egon’s more involved in that.”

Stones Throw remains active. In 2018, they released Homeboy Sandman & Edan’s Humble Pi. Elsewhere in the interview, Peanut Butter Wolf reveals that Rawkus Records was pursuing acquiring Stones Throw in the 2000s. He says he flew to New York to meet with the label founders but was not interested. Wolf also describes his current roster. He also discusses plans to open a vinyl bar, featuring 7,000 of his personal records. Guest DJs will be required to use the music library during sets.

Homeboy Sandman & Edan Rap And DJ In A Way That Will Make Hip-Hop Pioneers Proud

Catch the full Questlove Supreme interview at Pandora.

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