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zivazivc · 6 months ago

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What kind of nu metal music fits Les's band?

First of all I gotta clarify that I sent this ask myself because I accidentally lost the original through constant editing and drafting. I realize I could just make a regular text post but I'm quirky like that, and a question is a nice little attention grabber for those who are interested.

Anyway...

It's hard to point at one song and say this is their sound, because A: I'm picky, B: the band's style changes over time, and C: I don't know what I'm doing lmao

This answer is very long uhh I don't seem to be able to form short responses, mi scusi 😅

Back at home the brothers' music and then also the first year on the road with Flea the band sounds like the albums Music and especially Grassroots by 311. (Grassroots is such a banger of an album, I listen to it all the time, really recommend.)

Hed's the main influence on the band's sound because he's the main vocalist, songwriter and overall the most invested in the band succeeding (Les's main concern is making ends meet, and Flea is just enjoying the ride lol). At the start Hed and Les have had basically no contact with Rock Trolls so even though they're both more metal/punk than regular rock, their "rock side" is softer at this point. Hed also grew up with hip hop because of his peers so there's a lot of rapping in his lyrics. And he also incorporates reggae into his style a lot because of his favorite uncle, Kymani (one of the guys who live with Ish) who is a Reggae Troll. Hed is pretty much a sponge when it comes to music, much like Floyd. The closest I can come to describing his genre is a fusion of Rap Metal and Reggae Rock which are both already fusion genres jskksdjsk

(The band 311 has two singers and oddly they both sound like Hed and Les to me. SA Martinez (the higher of the two voices) sounds 100%, exactly like how I've imagined Hed's voice in my head. For Les I have a different voice claim because Les's personal style of music is much different from the band, but Nick Hexum (the lead vocalist here) is still in the second place when it comes to voice alone. Imagine my enthusiastic surprise finding voices for both brothers in the same band 😄)

examples from the two albums:

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While driving around and performing small gigs they come in contact with the alternative and nu metal scene and meet a lot of Rock Trolls (mostly various Metal Trolls) and other mixed trolls, and in the following couple of years their sound gradually becomes heavier (Hed rediscovers screamo lol) and they go from rock to metal.

A year into their "touring" is also around the time Hed meets and starts dating Liv and gets her to join the band. Liv's genre has the heaviest sound of all of them (Industrial/EBM), which influences Hed and the band too. And with Liv on the drums, Hed takes over DJ-ing and is also able to put more focus on the vocals, which also makes Les step down and only sing backing vocals with the rest of the band if needed.

The band in this era sounds like the album Revolution by Insolence and to some degree Introduction to Mayhem by Primer 55.

examples from the albums:

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Two years into the bands existence is when Floyd runs into them. At first he's more just standing there, observing their practices and performances warily, because he's had bad experiences with Rock Trolls in his one year alone and metal music still kinda freaks him out at this point. But he soon starts joining in in melodic parts and then it progresses into him singing longer and longer segments because he has the strongest vocals of everyone. And once he saves enough of his earnings for a guitar he starts playing the rhythm guitar too. (The guitar he took with him when he left the Troll Tree got stolen before he met the band.)

I guess I should clarify: Flea is the lead guitarist, Les is the bassist, and Liv and Hed switch on the drums and DJ-ing depending on the track. At one point they also get a keyboard.

It's also not that long before Hed and Floyd start actively writing songs together, sharing each others notes, and they start to split the singing parts more evenly. Hed even teaches Floyd screamo techniques, because he thinks Floyd has a great voice for them (He is correct, Floyd has a mean scream 😁).

During this time the band still pretty much sounds like Revolution by Insolence but with more melodic singing parts from Floyd (and screaming/shouting lmao). I think Verge of Umbra is another good band to compare, it sounds more clean and Floydy but still Hedy. (Man, I should write scientific research papers skjdkjf)

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↑↑↑ song with the lyrics from the drawing at the top

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From here on out I'm a bit unsure how the band's sound develops, but I'm pretty sure Floyd would unintentionally infect them with a mild case of radio friendliness (Pop trolls can't help their in your face nature lmao 😞). So for now I'm stopping here...

This took me days of searching and writing so I would appreciate to hear any thoughts you have if you've come this far and given some of the songs a listen. :)

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gaymer-hag-stan · 2 months ago

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On the 9th of September, fourteen years ago, 2NE1 released their first studio album, "To Anyone."

"To Anyone" blends various genres like K-pop, hip-hop, R&B, and electronic music, showcasing the group's edgy style and dynamic energy. It includes hit tracks like "Can't Nobody," "Go Away," and "Clap Your Hands," which helped solidify 2NE1 as a major force in the K-pop industry with their bold, fierce image and powerful performances.

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#2NE1 #CL #Dara #Minzy #Bom #Lee Chae-rin #Park San-da-ra #Gong Min-ji #Park Bom #Sandara Park #To Anyone #Can't Nobody #Go Away #Clap Your Hands #It Hurts (Slow)#K-pop #Girl Groups #Youtube

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wagingmywarsbehindmyface · 2 months ago

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remember when because of Lorde i met my best bud, best person in the world @pardonmydelays and then we found out we like taylor swift too, her music and then imagine dragons and then taylor swift again and THEN she was like have you heard about twenty one pilots cause they are ON FIRE? and they do rap and hip hop and reggae and pop and truly all this shit mixed together, no one really knows what is this but we all love it and that’s what matters and the lead singer has this best best friend called josh and they’re best friends forever you should listen to them and I LOVED THEM, and everything clicks really cause WE ARE best friends and we have pretty much the same taste it’s all meant to be 🥹 much to think about…

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cherrylng · 4 months ago

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ROCK'N'ROLL PREVIEW 2008! - Yannis Philippakis Interview - FOALS [ROCKIN'ON (May 2008)]

FOALS New horizons of art-rock pioneered by rising stars Foals. Interview: Yukiko Kojima

Foals are the 'most eagerly awaited' newcomers in the UK in the first half of 2004, alongside Cajun Dance Party. We wrote in last month's issue that their album 'Antidotes' has an atypical beauty and a novel beat that doesn't belong to any of the current UK/US scene's formulas, but Yannis, the central figure who embodies their sound world as it is, is a bohemian from a different culture who deviates from all common sense more than we expected. He grew up listening to his father's Byzantine folk songs in a village in the mountains of Greece until the age of seven, and at eight he moved to England with his anthropologist mother to attend a school full of middle-class kids. While receiving a traditional British education for gifted children, which was proud and rigid, he fell deeply in love with American hip-hop and suddenly transformed into a rebellious child. At the age of 12, he learnt to smoke, got a piercing, learnt to play guitar at around 14 or 15, became obsessed with US alternative, and spent his time playing live with his childhood friend Jack (drums) in a local mass-rock band that played a lot of noise. They later formed Foals and introduced dance beats and melodies because "we didn't know anything about dance music, so what would it be like if we made dance music?" was the reason. Normally, it would be impossible for a boy like this to get into the prestigious Oxford University in one shot! But he made light work of it, dropping out after just one year to concentrate on his work in Foals. Their subsequent popularity in the UK and US is well known. What a punk! It's the best.

The recording of this album was already finished in New York last summer. Why did it take so long between then and its release? 「Mainly because of the mixing process. When we recorded it in New York, everything sounded the way we wanted it to, but when we got back to the UK and heard the final mix, it didn't sound quite how we wanted it to. So we had to go back to the drawing board and re-mix all the songs ourselves.」

Up until now, David Sitek has been a producer who has mainly worked with US acts such as Yeah Yeah Yeahs. Was it your own choice to select someone with such a creative background? 「Yeah, we wanted to avoid a producer who was steeped in the so-called 'UK indie sound', so we turned to him, but he did the mixing on his own after we returned to the UK. The final mix was a lot more gung-ho with echoes and reverbs than we had expected…… On a human level, he and I were on the same wavelength, and the basic recording itself went well. But at the mixing stage, the essential view of the album was definitely different from what we both had, I guess.」

I have to confess that my first impression when I personally listened to the album was: "What a strange sound/album!" But around the third time I was gradually drawn in, and now I'm completely addicted (laughs). Every day your strange instrumental sounds and songs are going round and round in my head. 「(laughs). You're exactly where we want you to be.」

Yeah (laughs). First and foremost, the tone of the guitar itself has changed. Some songs sound more like mandolin or ukulele than guitar, and the beat pattern is an original mix of Afro, reggae, and rock beats, with many unusual instruments taking the lead. It's also a complete departure from the usual 'verse, bridge, chorus' formula/stereotype of a guitar band. For yourself, how would you describe Foals' music? 「For me personally, what we're doing now is ultimately pop music. I can understand why listeners who are used to listening to regular guitar bands might find this kind of music 'weird' when they hear it for the first time. But how would you categorise music like The Police, Talking Heads or P.I.L., for example, under the usual pop/rock yardstick? There are too many elements mixed in to be categorised as post-punk or new wave, and they are moving into new genres one after the other, so it's impossible to put them into any one genre. My motivation for starting this band was to create accessible pop music in a way that wasn't bound by any stereotypes. So we don't intend to create avant-garde music that is more noble than others.」

I see. So, for your part, are you aware that you are a "guitar band with elements of techno and dance"? Or, conversely, are you aware that you are a "dance band with elements of a guitar band"? 「At least at the moment, up to the point of this debut album, I'd say it's more the former. But the next album might be an album with no guitars at all, or with an emphasis on Mongolian drums. The reason why we introduced dance elements in the first place is because all of us have been doing music that has nothing to do with the so-called dance scene, so we wondered what we would get if we made dance music, what kind of thing would we create? That's how it all started. So for Foals, it's not so much about the predictable direction, but more about what kind of musical adventures the five of us might have together next.」

You grew up with a mother who was an anthropologist living in Oxford, but despite that academic upbringing, why did you decide to be in a band in the first place? 「I grew up in a village in the mountains of Greece, my father's hometown, until I was about seven years old. In Olympos, where the Greek language is still spoken in an archaic dialect, there are many arranged marriages, and the old tradition that all the villagers are either acquaintances or relatives continues. My father still makes folk instruments there. So when I was a child, I grew up listening to Byzantine folk songs that my father used to sing at the dinner table. Then, when I was about eight years old, I came back to Oxford with my mum and was suddenly sent to a school full of middle-class English people. So it wasn't until after that that I came into contact with so-called Anglo-American pop music. At first I started to gravitate towards American hip-hop, like Wu-Tang Clan and Naughty By Nature, and I learnt to smoke at the age of 12 and became a problem child at school. I often skipped classes, hung around downtown, got piercings and beat up my posh classmates, and my mum was called out for it (laughs).」

(laughs). So it was during your rebellious period, when you went from a simple country boy to a delinquent, that you encountered pop music. But despite being a delinquent, you were smart enough to get into the prestigious Oxford University's English Literature Department in a single shot. What kind of bands/artists drove you to music, even after dropping out of such an elite course after just one year? 「After hip-hop, I started going deeper into bands like Skinny Puppy, Butthole Surfers, Swans, Godspeed You! Black Emperor, and maybe early Nirvana. It was around that time that I started getting interested in playing guitar and started playing shows with Jack (drums) in local bands.」

I remember that in the band you and Jack used to be in, Edmund Fitzgerald, you played guitar rather than vocals. 「Yeah, the Oxford scene at the time was full of so-called 'Math Rock' bands, which were experimental bands for the sake of experimentation, and we then formed Foals and started playing guitar. When we started writing songs with vocal melodies and choruses, we started getting shut out of the scene because people were like, "You're messing with low-class pop music". After that, I got out of the local scene and even moved to Brighton with the band for a while.」

Is "Mathletics" perhaps a sarcastic reference to the math rock that was prevalent in the Oxford scene at the time? 「(laughs). Maybe. It's a song about the ridiculous snobbism of the youth culture, represented by rock bands and the like, when they take themselves too seriously.」

Now let's talk about the specific songs on the album. "The French Open", which opens the album, refers to the famous tennis tournament? 「Yes, specifically the song was inspired by Andy Roddick (US professional tennis player). He's so good, but he always ends up second best in the most important matches, doesn't he? He lost the Wimbledon title to Roger Federer two years in a row. This is a song about losers. I don't know why I'm attracted to imperfect people and expressions like that that are somehow unfulfilled.」

What I found interesting about your lyrics was that for someone who used to study English literature at a top university, you didn't have an overtly 'literary' style. Is this intentional? 「Yes, because it's quite funny to see someone in a pop band pretending to be a literary person. I still like literature myself, but I don't want to bring that kind of pretentious style into pop music. So I personally try to concentrate on the visual imagery and describe it rather than the emotion of the song itself. I didn't put this band together to write about my daily grumblings about how I broke up with my girlfriend or how I'm having these problems.」

What kind of writers/poets fit your sensibilities, incidentally? 「I still like Ezra Pound and William Carlos Williams.」

You like the poets of the so-called early 20th century US modernist and imagist school. And more to the point, I recently saw the music video for 'Cassius' on your MySpace, and once again I held my head in my hands and groaned (laughs). What does that bizarre visual image of a mass of meat hanging from the ceiling, swinging around, symbolise? 「That lump of meat is the heart of a cow.」

I understand that, but I wonder how that image is connected to the song 'Cassius'? 「You know that phrase in the lyrics, "The wind is in, the wind is in my heart"? That's the image that came to me. 」

Ah, so that's why your heart is swinging in the wind. I'm starting to get a feel for it. Foals' songs often feature 'mysterious' motifs that rarely appear in ordinary pop songs, and the rhythms and song structures themselves are 'non-traditional', not unlike those of ordinary rock bands. In such circumstances, surprisingly beautiful, so to speak, "melodies and phrases rooted in traditional pop" can appear unexpectedly in unexpected places. Especially "Olympic Airways", "Tron" and "Red Socks Pugie". Where does this unexpected 'pop sensibility' come from? 「It probably comes from our non-techno side, where we like a more melody-oriented type of music too. I personally like Gwen Stefani, Nelly Furtado and Justin Timberlake, and I still listen to them a lot, and all of us like bubblegum pop with clean choruses and hook lines. It's that kind of thing that made us decide to disassociate ourselves from the local math rock scene, which rejects all of those elements, in the first place.」

You yourself commented earlier that the local Oxford music scene is "full of experimental bands for the sake of experimentation", but what you are trying to do with Foals is to be an antidote to this "elitist consciousness of the British indie tradition" and "to be an experimental band that is also popular"? 「Yes. I think it's fair to say that this kind of anti-climatic attitude towards the soil and trends that used to shape our musicality was one of our creative motivations. I think that's probably why our music still has a certain strangeness and complexity that is outside the usual pop song formula. There are still remnants of the way we used to form our band in that kind of soil. We really want to shake it off, but we can't because we're like the creators of it, and that's exactly what you're talking about, the "snobbism/elitism of the English indie tradition". Oxford, in every sense of the word, is a place where that kind of old traditional British temperament and culture is still there in an obvious way. It was the perfect target for rebellion.」

So, when you titled your debut album Antidotes, was it also meant as an antidote to all the 'bad traditions' that are prevalent in the UK and the national scene? 「Hmmm…………… I personally think the title is more about 'healing' in a broader sense.」

'Healing'? 「Yes, it's more like self-healing. One of the purposes of this album was to create a place and a sound world where people can heal and eliminate the toxins that have become distorted or deviated from their true selves as a result of living in this real world. How does it sound to the listener? How would the listener hear or perceive it? We can't even imagine how it will sound or be perceived by the listener.」

Translator's Note: In my previous post, when I said that there's more that this particular issue of ROCKIN'ON (May 2008) has in its pages, this is one of them.

I've never listened to Foals before, but I translated this interview article because I know one or two of my mutuals who love Foals a lot and show their love of it on my dashboard, so I decided to scan and translate this so that they'll enjoy something that comes from Foals' debut album era. So if you see this, please enjoy it :)

#Yannis Philippakis #Jack Bevan #Jimmy Smith #Walter Gervers #Edwin Congreave #Foals #Antidotes era #my scan #translation #interview #ROCKIN'ON #ROCKIN'ON May 2008

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numberonejeanshipper · 14 days ago

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i don't know why this feels so weird to ask despite it being a very normal thing to ask

what are your music headcannons for them? like any specific songs or artists?

I absolutely love this ask! There’s nothing weird about it don’t worry :]

I’m a huge music person and I see both Adam & Jesse as big music nerds as well!

I see Adam listening to a lot of underground stuff alongside punk/nu metal/heavy rock etc things like that. For Jesse he would listen to hip hop/reggae/electronica. This is me basing off from what we know like, in canon, there isn’t too much from Adam but judging from the songs that play when he is listening to his CD player and Scott’s whole “vibe”, that’s what I’m basing off :)

When they meet their music taste (and their interests in general) sorta collide and mix in, they are both pretty open people although I see Adam having more of a kinda being more picky (I see Scott as a bit of a music snob so it would rub off Adam) but Jesse helps him explore more music and not take it too seriously. I see them just both loving music and sharing music together, it’s almost a love language of theirs in a way? They like listening to their cd player with headphones and when they have more money I can see them also buying a record player and collect vinyls… they also love going to music/record stores just to browse- maybe they would work there part time.

For the actual headcanons (I hope I don’t anger anyone) in terms of artists, it really varies. I’m going from the 2000s up till maybe 2010ish, so I see them both listening to: Deftones, Blur, Smashing Pumpkins, maybe some oingo boingo, Beck, Radiohead, Gorillaz, Aphex Twin, Björk, Slowdive, Korn (Aaron Paul jumpscare), I think they’d like Pinkerton from Weezer and just things like that (this is more mainstream but just to sorta paint a picture)

For specific (I mean really specific because I have SO MAMY so this is like the most for me and also I wanna use some of these songs for posts hehe) songs I associate them with would be: Rosemary + Cherry Waves (Deftones), Beetlebum (blur), devils haircut + e-pro (beck), nude + just + (Radiohead), Luna (smashing pumpkins), to binge (gorillaz), Venus as a boy (björk), and there’s a song in breaking bad called “he venido” from los zafiros that I associate a lot with both of them as well (the yearning man)

I also see them listen to kinda Latin music (ADAM HAS A CUBAN FLAG IN HIS ROOM AND JESSE LISTENS TO LATINO MUSIC TOO) as well as more underground and indie stuff, like I said- it’s kinda all over the place ^^

I’d love to explore more hip hop and metal music, because I think they both enjoy it so I will update my choices over time (I have a playlist of them lmao) so I’m sorry if this isn’t like super accurate or something T_T

They don’t take themselves too seriously, they listen to just about anything (I accept pretty much all headcanons from these two!! I find it all very fascinating & I love to explore new music!). They just both love dancing and attending concerts, music is part of them and love rambling to one another about it!!

Hope this answers your question!!! (I am such a YAPPPERR) i also would love to hear song suggestions as well to add on! :]

#I hope no one attacks me for this sobs #this is all my opinion and I’d love to have suggestions too!#jeanshipping #pinkheight #adam x jesse #jean asks

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altrockgenre · 1 year ago

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What is Alt-Rock and its history

Hello, my name is Colin Williams and I have created this blog to talk about the wonders of the music genre that defines my life. I was initially introduced to it through my parents as they have listened to it on the radio ever since I was a little child. Alt-Rock is an ingenious subgenre to the classic rock n roll family of music, it’s inception was from bands trying to differentiate themselves from the mainstream style of rock while still keeping their roots. Instead of having heavy bass and drums that is the main focus in rock, alt-rock tends to lean towards the melody and having powerful meaningful vocals that brings the listeners along for a ride. In my opinion this change in focus is what makes the genre stand out from everything else, as the groove of the music is just so addicting that it’s hard not to like it.

The alt-rock genre began with underground bands within the 1970s, and it didn’t leave those basements until the 1990s when one of the best bands of their time, Nirvana, came onto the scene in 1987. It wasn’t just them, it also included heavy hitters like Green Day, Foo Fighters and Red Hot Chile Peppers. The all time classic “Smells Like Teen Spirit” by Nirvana is the international sensation that marked the start to the worldwide praise of Alternative Rock. With the popularity at the time no one thought the genre would disappear, but after a multitude of terrible events to all the top bands at the time which caused them to no longer perform the genre slowly faded from its high horse. There were still amazing bands at the time but they weren’t nearly as dominant as before. This is what I considered the dark era of this genre dominated by emo inspired music, by far my least favorite style. Mainly because the lyrics are a lot more monotone and there is way less character and personality being put in the music itself. As such, the genre had to evolve once again, this time they ventured even further from the original rock style, this ability to adapt is one of the most important aspects that lets the genre expand to so many other genres. One of the biggest stars to embrace this change is Twenty One Pilots, they used their incredible lyrical skills to mix hip hop, emo, rock, indie pop and reggae, they achieved an enormous amount of praise and earned two consecutive top five singles. A new age of Alt-Rock begins and with it comes lots of diversity on what the genre actually means. The 2010s is definitely this best era of this type of music and is where many of my favorite songs come from. This era is considered more like purely Alternative music as it's so different from the original rock style it was based off.

#music #alternative #alt rock #history

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longliveblackness · 2 years ago

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History of Black Music Genres

Reggae is one the most globally recognised music genres and its history springs from the social upheaval in post-war Jamaica. Reggae itself is a fusion of different musical eras and styles, coupled with a message of unity and hope. Jamaica was colonised by Spain, in the 1500s, and then Britain in 1655.

Enslaved people were transported from Africa to work on the country's sugar plantations. The resulting mix of cultures contributed to the growth of an identifiable Jamaican sound.

When reggae started out in Jamaica around the late 1960s, it was considered a mixture of many genres including Jamaican Mento and contemporary Jamaican Ska music, along with American jazz and rhythm and blues.

Besides its sound, reggae music is frequently associated with the common themes in its lyrics. The earliest reggae lyrics spoke mostly of love, specifically romantic love between a man and a woman.

In the 1970s, reggae started taking on a heavy Rastafarian influence, this meant that the music was not just about romantic love but also spiritual love for God or "Jah". During this period reggae music about rebellion and revolution was also made as response to the extreme violence, poverty, racism, and government oppression that many were witnessing or experiencing on a regular basis.

Today reggae music has spurred the innovation of a whole new range of musical styles, like modern Jamaican Dub, and been infused into many other popular genres, like hip-hop and rap. Reggae has also been added to the UNESCO cultural heritage list.

Historia de Géneros Musicales Negros

El reggae es uno de los géneros musicales más reconocido globalmente y su historia nace de la agitación social en una Jamaica posguerra. El Reggae es una fusión de diferentes estilos y eras musicales, combinado con un mensaje de esperanza y unidad. Jamaica fue colonizada por España en los 1500 y luego por Bretaña en 1655.

Las personas esclavizadas estaban siendo traídas de África, para trabajar en las plantaciones de azúcar. El resultado de la mezcla de culturas contribuyó al crecimiento de un sonido jamaiquino identificable.

Cuando el Reggae comenzó en Jamaica a finales de los 1960, era considerado un mezcla de muchos géneros incluyendo Mento Jamaiquino y Ska Contemporáneo, junto con Jazz Americano y Rhythm y Blues.

Aparte de su sonido, el Reggae es frecuentemente asociado con los temas encontrados en su lírica. En las etapas tempranas del Reggae, la mayor parte de la lírica era sobre el amor, específicamente amor romántico entre un hombre y una mujer.

En los 1970, el reggae comenzó a tener una fuerte influencia rastafari, lo que significaba que la música no se trataba solo del amor romántico, sino también del amor espiritual por Dios o "Jah". Durante este período, también se hizo música reggae sobre rebelión y revolución como respuesta a la violencia extrema, la pobreza, el racismo y la opresión gubernamental que muchos presenciaban o experimentaban de manera regular.

Hoy en día, la música Reggae ha estimulado la innovación de toda una nueva gama de estilos musicales, como el dub jamaiquino moderno, y se ha fusionado con muchos otros géneros populares, como el hip-hop y el rap. El reggae también ha sido agregado a la lista del patrimonio cultural de la UNESCO.

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randomvarious · 3 months ago

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Today's compilation:

KissFM Flashback: Best of Love 1998 R&B / Adult Contemporary / Pop / Soul / Arena Rock / Pop-Rock

Funny thing about this pretty anodyne and somewhat random assortment of love songs from the Warner Elektra Atlantic catalogue that span between the late 70s and late 90s is that, had you not recognized the radio station logo that's on this album's cover, you'd probably have no idea that this was actually a Finnish release. And that seems to be because of two intertwined things: one, naming your radio station Kiss FM is like the equivalent of naming your American town Springfield; like, I'm pretty sure it's the most popular name for a radio station in the entire world, which also makes it the most generic. And because it's the most generic name for a radio station, it also then makes sense that its own tracklist would not provide a single clue as to where this particular Kiss FM station itself was actually located.

Which I guess just also goes to show how generic the market was overall for one of those hit European radio stations that played a mix of 'the hits from yesterday and today' in the late 90s, because not a single song on this release is actually Finnish-made itself, which would definitely lead you to think that it's not actually Finnish when it so totally is!

But all that said, despite there not being anything to actually individualize this comp from any other similarly-scoped Euro comp out there, this thing nevertheless still manages to kick itself off with a pair of my all-time favorite big hits of 1996: the terrific Todd Terry remix of Everything But the Girl's "Missing," which was not just undoubtedly that year's single biggest commercial house hit, but was one of its biggest radio hits, period, too; and British one-hit wonder Donna Lewis' dreamy and ever-so-soft disco-pop-slow-dance smash, "I Love You Always Forever," which subtly built up all this tension with an unwavering bassline chug that smacked of the stuttering opening seconds from Survivor's own "Eye of the Tiger," and then suddenly released it all with a much louder and very catchy bridge that was outfitted with some handclaps and sharp, rich, and powerful keyboard chords. Sounds like a ballad that Cyndi Lauper might've made had she been born a decade later, and to that same end, a really lovely tune.

And another thing you might be interested in is that if you wanna hear iconic Swedish teen pop producer Max Martin's signature mid-to-late 90s sound applied to something before he managed to launch the Backstreet Boys into the stratosphere himself, there's Papa Dee's euro-reggae-pop cover of P.P. Arnold's "The First Cut Is the Deepest," which has that same smack-clappy backbeat sound that would define much of BSB's own output. Not gonna say that I particularly enjoy this song at all, but it's still intriguing to hear the Martin sound on something else prior to BSB.

And lastly, we have Lutricia McNeal's largely forgotten cover of Barbi Benton's "Ain't That Just the Way." If you dig that softly bouncy, hip hop-laced contemporary R&B sound of the mid-to-late 90s that made the careers of people like Mary J. Blige, Brandy, and Monica, this Oklahoma City native who ended up launching her career in Sweden and scoring this hit there is a good one too. After hitting big in Europe, "Ain't That Just the Way" crossed over here into the States and achieved moderate success as well, and while it never ended up earning itself the Grammy-winning plaudits of something like The Fugees' Lauryn Hill-led cover of Roberta Flack's own Grammy-winning "Killing Me Softly with His Song," I happen to think that the two tunes dovetail pretty perfectly with each other as 1996 R&B companions 👍.

So, a pretty lame Finnish comp of love songs with most of a selection that could fool anyone into thinking that it actually came from any one of a number of stations named Kiss FM in America instead, but nevertheless, some great intercontinentally popular hits from 1996 on here anyway 😌.

Highlights:

Everything But the Girl - "Missing (Todd Terry remix)" Donna Lewis - "I Love You Always Forever" Simply Red - "If You Don't Know Me By Now" Lutricia McNeal - "Ain't That Just the Way" Mr. Big - "To Be With You" Damn Yankees - "High Enough"

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moochilatv · 1 month ago

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Ganja White Night and Tape B presents: Ganja Tape

It's electronic with drum & bass, and some EDM

Label: SubCarbon Records

Growing up in the small town of Mons, Belgium, the duo was in a way sheltered from the music industry of the United States, allowing them to create a unique sound of their own. With their musical roots ranging from early UK bass and reggae vibes, Ganja White Night has twisted together their influences and spit out something truly fresh and their own. After a decade-plus deep discography, Ganja White Night struck a chord with their 2016 Mr. Wobble LP release, cementing their iconic Wobble sound. Centered around the idea of creating their own mini animated universe, the duo teamed up with Ebo, a famous Belgian street artist, to bring their vision alive. With the debut of Wobble Master & LFO Requiem full animated music videos in 2016, the story of Mr. Wobble was born.

Subsequent albums – which continued to tell Mr. Wobble's adventurous tale through Ganja White Night's iconic Wobble sound – included The Origins, The One, Dark Wobble, and their most recent album, Unity. Their significant collaborations to date include bass-music powerhouses like Zeds Dead, Subtronics, Slander, Liquid Stranger, and long-time collaborator Boogie T. Drawing similarities to the visual aspect of the Gorillaz and their unique style of telling a story through their music, the duo plans to continue exploring their own universe.

Tape B, born Kemal Berk Alkanat, is a dynamic force in today's electronic music scene, merging the nostalgic vibes of old-school dubstep with contemporary bass music and hip-hop. Born in Turkey and raised in the US from the age of three, Tape B brings a distinctive sound that captivates with a blend of nostalgia and modernity, termed "Old School x New School." His musical journey began at the University of Central Florida, influenced by early 2000s hip-hop and electronic pioneers like UKF and The Glitch Mob. His career took a professional turn after a revelatory experience at the Lost Lands Music Festival in 2019. Tape B's rise to prominence was fueled by viral SoundCloud mixes and dynamic live performances, including his iconic "Yo, Tape B" tag, which has become a recognizable call throughout modern clubland and festivals. Achieving significant traction with remixes and original tracks, including the standout "Trippy Land" with Mersiv and Juicy J, Tape B has redefined expectations within bass music. As of 2024, Tape B achieved sellouts of every headline since December 2023, including rapid ticket sales at Denver's Mission Ballroom and New York's Great Hall.

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His introduction of Tape B Block Parties in 2024, as recently showcased across Texas with two sold-out events, has brought classic and modern dubstep brilliance to the forefront, further cementing his influence in the scene. In August 2024, Tape B released a genre-blending collaboration with superstar producers John Summit and Subtronics. Tape B remains a vibrant and influential figure in electronic music. His commitment to innovation, community, and joy through music continues to drive his rapidly ascending career.

#tape b #ganja white #ganja tape #Spotify #Instagram

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