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Our Shitty Taste

Hello friends! Music sounds good. Good to the ears. Here’s some music that sounds goodest to our ears, hopefully goodest to your ears too! Unfortunately though, we have awful taste - just straight up some of the worst. Why? We’re not sure. It might be because we’re both from Federal Way, the land of forgotten dreams and crippling ennui, broken souls and idle wishes. Anyways, I’m Thomas, and this is my pal Helen! Together, we will prove how bad our tastes are by providing serious music recommendations. I’ll start off:

Megumi Acorda - I’ll Get By According to Google Translate, “Megumi” is Japanese for “grace” and “blessing,” and “Acorda” is short for “Acorda Therapeutics,” an American biotechnology company based in Ardsley, New York. Putting these two together lends “Grace Blessing Acorda Therapeutics,” which doesn’t make a lot of sense - an unfortunate theme for many dream pop and shoegaze band names. However, you’ll have to forgive them because this EP they dropped two years ago is a prime example of dreamy music done right - with an ethereal atmosphere, nostalgic lyrics, and catchy riffs, this is certainly an EP worth listening to while curled up in a fetal position.

Sad Day for Puppets - Hush Dream pop with… xylophones??? Normally, it’s pretty rude to tell someone to hush, but somehow this song makes it an enjoyable experience. Save this one for a rainy winter day.

Chat pile - Dallas Beltway This is a very cool song about murdering your child and then burying them in the trunk of your car, which is admittedly not a cool thing to do. There’s a really cool riff around the two minute mark though which possibly makes up for the whole child-killing thing. Well, the lyrics don’t explicitly mention killing a child, so the singer might actually just be talking about how they hate living in Texas.

The Softies - C.K.M. The Softies is one of those rare bands where their name suits the music they make a bit too perfectly. Rose Melberg, the official queen of Twee pop, has quite possibly the most gentle voice in all of pop music, and this song alone is a good example of why. If warm Autumn blankets could sing, they would probably sound like this. I also found out that Rose Melberg has an active Facebook account, but unfortunately she hasn’t added me back yet.

Capstan Shafts - Successfully Into You Okay so these guys have a lot of albums. Well, it’s really just one guy, Dean Wells, recording songs in what sounds like his basement. From 2006 to 2007, Wells released around 10 albums under the Capstan Shafts name, which is an absurd amount of music. What’s more absurd is that these albums were actually good - really good. Albums such as “Euridice Proudhon” and “The Sleeved and Granddaughters of The Blacklist” highlight Wells’ songwriting talent, each of them having around twenty songs with the average length of these songs being around a minute. If you like your music unmixed and songs written better than Robert Pollard, then Capstan Shafts is a must.

Helen’s Recs

This week I wanted to look at some generally upbeat girl pop and rock. My selection has a general theme, we hear singers describe their jaded response to life’s lemons under the guise of an upbeat tempo. These tracks see singers hardening in response to confusion and unintended consequences, and embracing their own realizations and emotional response in the aftermath. All to generally dance-inducing beats!  

Cate Le Bon’s “Home To You” uses sparse percussion and a deep bass line as background to her confused and segmented musings on where  “Home” actually is. Her song is a reflection on the real life experience of Romani people living in Slovakia, but the sentiment of not having one distinctive, consistent home is applicable to many ethnic and migrant communities globally. Le Bon works out what this feels like and looks like in her song, ending the song by chanting “Last time for all time” over and over again. Though this lyric imagines home as a confused and jumbled idea, home still exists “for all time.”  There’s a certain resilience to the song's interpretation of home, recognizing the often contested nature of where or what home is, while acknowledging people's ability to maintain and claim their rightful place in the world.

Róisín Murphy’s “Incapable” moves in a very different direction than Le Bon’s, but it uses the same framework of contemplation as a solution to opposing thoughts or circumstances. Murphy is preoccupied with her atypical response to a relationship’s end; rather than slumping into misery, she realizes she’s “never had a broken heart”. In fact, she proclaims “I must be incapable of love!” to the rhythm of a staccato bass and steady synth beat. Murphy’s 2019 releases are all an eclectic mix of electric and rhythmic dance songs, and if you enjoy “Incapable”, further exploration into her work is worth your while.

Sasami’s “Free” is another great release from last year. This is actually an alternative version to the same track off her debut album “Sasami”. Here, there’s heavier instrumentation, the guitar and bass come through stronger and the breakdown at about two and a half minutes is more chaotic than the original. This version is also relatively more upbeat, giving the lyrics greater optimism. There’s a sense of urgency for Sasami to profess her feelings to the person she’s singing to here. This track again finds our singer taking a “come what may” position and owning the uncertainty they are dealing with.  

Vagabon (Laetitia Tamko) released “Cold Apartment” three years ago on her album “Infinite Worlds”, and it still goes! This track is a sweet and succinct rock ballad. With a quick drum beat backing the singer’s distinctive voice and guitar work, Tamko sings about a relationship on the rocks that ends with her alone and her beloved hitched. There is a certain amount of sullenness to the lyrics and emotion of the track, but there are important moments of triumph expressed in bursts of loud percussion and her accompanying vocals. This is a tight, loud track that's a great entry point into Tamko’s other work.

I think everyone has been eagerly awaiting Fiona Apple’s latest album, “Fetch the Bolt Cutters”, and as one of those individuals eagerly awaiting, I dipped back into Apple’s discography to prepare myself. Off Apple’s first album, Tidal, I’m recommending “The First Taste.” The song’s hypnotic and upbeat tempo sets the perfect tone for this song about willfully getting caught in a trap. Though one would imagine the trap-setter to be in the position of power, Apple subverts expectations by claiming prior knowledge. The lyrics in this are great, and her line “Full is not heavy as empty, not nearly, my love” is delivered with a consciousness for the literal sound of words, an interest expressed in much of her work.

Thanks for reading out little selection! Come back next week for more of “Our Shitty Taste”!

(photo of Róisín Murphy in her MV “Narcissus”)

[sdosworld]

April 30th - Javelin to Junior Reid Javelin worked with Tom Ze who was rediscovered by David Byrne who had a record produced by Morcheeba whose Skye Edwards had work done by Patrick Leonard who also did instrumentals for Leonard Cohen who featured backup vocals by the Webb Sisters who also performed with the Avett Brothers whose Seth Avett did an album of Elliot Smith covers with Jessica Lea Mayfield who has worked with Dan Auerbach of the Black Keys who also produced for Ray LaMontagne who features pedal guitar from George Leisz who also worked on Meshell Ndegeocello's record who did vocals for Basement Jaxx who also feature Dizzee Rascal and BPA who is also known as Fatboy Slim whose Weapon of Choice features work from Bootsy Collins who also performed for the Soup Dragons who has also featured work by Junior Reid.

[dawgiestylerdr]

Gotta love infographics

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Whitney at the Neptune

Imagine sitting around a bonfire, maybe at the beach, a breeze twirling the smoke towards the sky, your friends all gathered around, watching the sun go down past the rolling waves with a guitar in your hand, strumming along some chords for all your friends to sing along. Now imagine that, but on a stage. That’s what this concert felt like.

Just over a week ago, Whitney took the Neptune stage as part of their tour for their new album Forever Turned Around and it was kind of amazing. Standing right up in the front in such a small venue, it truly was such a neat, intimate show. Granted, the imagery of flickering flames as their set background and on their drums did add to the whole bonfire atmosphere, but it really did feel like it was just a bunch of friends gathered around together to enjoy themselves and have a good night playing music. The band’s founding members are Max Kakacek, the solo guitarist, and Julien Ehrlich, the lead singer/ drummer, though they employ a much larger group of people to form the entire band. I don’t think I’ve even seen a band with quite this many people, but it honestly made the show so much more unique and memorable! Additional members included a second guitarist, someone playing both the trumpet and a keyboard (sometimes at the same time too), a bassist, a third guitarist with an acoustic guitar, two violinists, a cellist, and a pianist.

I really did love every bit of their show. From their funky guitar solos (my personal favorite part), to the syncopated beats sprinkled throughout the songs, to the warm trumpet melodies, to the subtle vocal harmonies, to the richness emanating from the string section, their musical talent was evident and they were able to create a cohesive and beautiful medley of sound. With so many instruments on the stage, they did a great job of not overpowering each other and layering in just the right amount of each sound. A song would often start with just a simple guitar melody, like with their song “On My Own,” but soon enough, it would be joined by the trumpet, accompanied by the keys, harmonized with by the strings, and rounded out by the bass in a perfect mix of music. Integrating more upbeat, feel-good songs like “Golden Days” or “Giving Up” with some more stripped back pieces like “Used To Be Lonely” or their titular song, “Forever Turned Around,” the show achieved a lovely, natural flow and left everyone feeling just a little bit happier. It was truly an indie rock lover’s / driving in the sun / swaying back and forth / feel good dream. 

Check out Whitney’s music here: https://www.youtube.com/channel/UCaOLe9xs8oRVFZHdTndthxA

- Rosi Hristova

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San Fermin takes Neumos!

San Fermin, a Brooklyn-based indie rock collective, took the stage Saturday night at Neumos as part of their North American tour. Pure Bathing Culture, an indie pop band from Portland, OR, opened the show with some ethereal and almost magical tunes. When San Fermin came onto the stage, I was taken aback by how many of them there were. They had 8 people on stage, performing on a variety of instruments, such as: the violin, trumpet, saxophone, keyboard, guitar, and drums. This variety led to beautiful orchestrations of their music. What really struck me was how they were using traditionally and orchestral instruments (e.g., trumpet and violin), and adapting it to their modern music in a way that completely regenerated the sound of those instruments. Instead of feeling like they were taking a step back into the previous century, their use of the classical instruments actually brought a new electricity to the sound of their music.

The harmonies between the lead singers were exquisite, especially with their beautiful voices being supplemented by the instruments. After playing their popular hits “Bride,” “Saints,” and “Sonsick,” San Fermin introduced the audience to two songs from their unreleased upcoming album. The audience responded to the songs with absolute glee and showed their excitement for the album release. At some point, almost every person on stage switched instruments to perform a song, showing the mastery of music that the group holds. It was amazing to see how seamlessly each member switched to a completely new interest, almost unphased. The show even became interactive as Stephen Chen (on saxophone) and John Brandon (on trumpet) came into the audience and finished out one of the songs with the crowd. The group’s energy throughout the entire show was contagious and heart-warming, you could tell they were absolutely filled with love and passion for their work. The show left the audience amazed and wanting more. Until next time, San Fermin!

Check San Fermin out here:

https://www.youtube.com/channel/UCWi8UCuJcrkLdnZttICHQkQ

- Katia Wanneroy, DJ Slav Sisters

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RDR Essentials - Hip-Hop/R&B (2/10)

RDR Essentials is a weekly newsletter of alternating genres that outlines key releases of the past month, upcoming events around Seattle and happenings in the specified music genre.

Made in collaboration between Rainy Dawg DJs and the Music Director.

Releases:

Playboi Carti- Whole Lotta Red

Playboi Carti’s long-awaited sophomore album, Whole Lotta Red, finally arrived Christmas day, and to say that the reception of the project by fans has been mixed would be an understatement. Discourse surrounding this album’s release permeated into the new year and further, with longtime fans finding Carti’s switch into a more aggressive and unrefined sound for much of the record off-putting. Yet, if there is any outstanding strength that this record’s allure can be attributed to, it is certainly that boldness, and Carti’s raw energy. Vocals are often rough, with Carti’s vocals ranging in inflection, volume, intensity, and even intelligibility all within a few bars. Tracks like the booming “Stop Breathing” and opener “Rockstar Made” demonstrate a Carti that sounds absolutely furious, straining his voice and almost screaming, whereas cuts like the nonsensical “JumpOutTheHouse” and “New Tank” feel like a punch to the face. This album is less filled with the usual sickly-sweet Pierre Bourne beats Carti’s previous work has become known for, to the disappointment of many fans. Yet that sugar-trap vibe combines with heavy bass and high-energy on highlights such as the demented ice-cream-truck-theme “Teen X” which sees Future even leaning into Carti’s lane. Further, the punk-meets-vampire energy that’s been ascribed to this project and its promotion manifests on tracks like “Vamp Anthem”, which sounds laughable on first impression but sticks in the mind like an infectious funeral accompaniment. It’s not a perfect record by any means: it’s far too long, with a second half that drifts into familiar yet almost lazy territory, and is populated by sparse features that either feel right at home, such as Kid Cudi on the ethereal “M3tamorphosis” to downright bizarre like Kanye West on “Go2DaMoon.” What it is, however, at least at its’ best moments, is genuinely boundary-pushing. Its highs are missing the sticky baby-voiced earworms of Die Lit, but in their stead comes a far more raw and unique sound. Carti’s new description of himself as punk and a “rockstar” has pushed the buttons of those who feel ownership over those terms: in a way, that makes him far more punk than anything we’ve seen in years.

- Casey Chamberlain

billy woods & Moor Mother- Brass

Few rappers are as veiled and unrelentingly hard to understand as MC billy woods, and few artists in the last few years have made as much of an artistic statement as poet Moor Mother. To see the two meet up on a full-length project sets a certain expectation, of grim realization and disturbingly poignant tidbits. Amazingly enough, Brass delivers on all one might expect from either of the two: a project draped in an ethereally disturbing energy and soundscape, and a vehicle for the dispersal of wisdom seemingly long locked away. The energy that woods and Moor Mother provide is often dreary, yet filled with understanding, with each retaining much of their signature style. Woods' verses feel laced with nods to vignettes and far away stories, as his best verses are want to do: “Cinders in the wind, ashes in your mouth/ It's too late to repent/ You owe and we here to collect/ You know how it go over in debt/ Numbers scribbled on butcher's paper/ A bad wager/ We waved every day, but good fences make good neighbors” woods relays on “Blak Forrest.” Moor Mother’s voice commands, filling the ears with an almost terrifying sense of understanding: “I only write for the dead, somethin' ELUCID said/ Wrong words get you cracked in the head” she asserts on “Gang For A Day”, referencing rapper ELUCID, with whom billy woods forms the duo Armand Hammer. ELUCID himself makes a few appearances on the record, alongside Mach-Hommy, Navy Blue, and Fielded, among others.

Tracks on the record range from terrifyingly chaotic, such as the vocal-less “Mom’s Gold”, morphing into a full on assault of harsh noise, to hauntingly gorgeous, such as on the flickeringly ethereal “Giraffe Hunts”: “It’s beautiful” woods himself remarks, prior to a verse that transitions into a sinister beat change which Moor Mother uses to offer a retort, as the track flips back and forth between this beauty and the filth. It’s perhaps this track which best offers a glimpse of the artistic contrast the two provide on this album. “The zoo had a decapitated giraffe/ A dedicated staff of volunteers, the acid was bad/ The gift shop was packed” woods relays, only to be cut off by Moor Mothers’ own ruminations: “Saw men draw meridians through life lines/ Why we tip-toe 'round these land mines and fault lines/ Feel the earth movin', flat earth see-saw/ Me and Woods in the rickshaw being pulled by horses/ I'm hearin' voices.” In truth, this is a record with many quotables, so infuriatingly dense and with so many thought-provoking segments that little does it justice apart from listening with full attention. An album like this feels like one that has lessons to be learned and knowledge to be gained; knowledge that perhaps should be known, but is hard to come to terms with. “But you the one what strung the rope” woods remarks. “We sacked Rome in ski-masks, stripped the pope/ Nowadays he never miss a lot, he be doin' the most... He be doin' the most.”

- Casey Chamberlain

Kid Cudi- Man On The Moon III: The Chosen

Few artists of the last decade have proven to have had such a large influence on the sounds that would follow them as Kid Cudi. The music of megastars like Travis Scott wouldn’t exist as it does without Scott Mescudi, an artist who has long been held near and dear by his fans due to his brutal honesty about his struggles with mental health, depression, and substances. Cudi’s 2009 debut album, Man On The Moon: The End Of Day, is held as a classic of its time, and for good reason, Cudi’s artistry, storytelling, and intimacy on that album is still astounding. With Cudi’s resurgence in the last few years following his critically adored collaboration with Kanye West, Kids See Ghosts, in 2018, Cudi has seemingly sought to continue his hot streak with the long-awaited third installment of the Man On The Moon series, being Man On The Moon III: The Chosen.

On first listen, this album sounds a lot like Cudi has been influenced by those who followed him rather than the other way around. Much of the first half of the record sounds like it would fit right at home on a Travis Scott album, much like last year's collaborative track between the two, aptly titled “The Scotts.” Tracks like “She Knows This” and “Tequila Shots” feature a spacey, drugged out trap vibe, with the former breaking into a groovy beat switch in its last portion. Meanwhile, other tracks branch out into new territory for Cudi, such as the drill-inspired and in-your-face “Show Out” which features a hook from the late Pop Smoke as well as a fantastic verse from Skepta, while “Rockstar Knights” features Cudi and Trippie Redd trading melodic ruminations. For much of this project, it would be easy to interpret much of this as Cudi’s takes on a number of styles birthed from his original run, and while it certainly is that, the wide swath of sounds that Cudi pulls from speaks more to his unseen influence than anything else, making much of the record feel like a statement: that without Kid Cudi, there is no Travis Scott and no Trippie Redd, so Cudi’s steps into their lanes feel like reclamation rather than imitation. Yet, the record’s strongest moments come mostly in the back half, where Cudi falls back into old habits and channels an almost updated version of the sound he originally burst onto the scene with. Tracks like “Solo Dolo III” and the gorgeous “The Void” feel like exactly what a matured “Man on the Moon” would sound like and tracks like “Lovin’ Me” featuring Phoebe Bridgers harken back to Cudi’s experiments in indie rock years ago, albeit more successfully. All in all, Man On The Moon III feels like a victory lap of sorts, a more mature Cudi revisiting the sounds he popularized and making a statement: that he is back, and better than ever.

- Casey Chamberlain

The Avalanches - We Will Always Love You

There is little an artist can do to combat the expectations they face after releasing a record like The Avalanches’ 2000 masterpiece Since I Left You, one of the most highly regarded plunderphonics records ever released. To follow up an album like that is no small feat, and the duos’ 2016 follow-up,  Wildflower, is a commendable release, although a different beast entirely. It’s with the groups’ newest release that their strategy with that record has been reaffirmed: the only way to follow up a record of such stature as Since I Left You is to simply not do so. The Avalanches’ We Will Always Love You is more 2016 Avalanches than it is 2000s; it’s a sprawling, grand project with features from some of the most talented artists working across the board, focused less on instrumental epics comprised of samples and more on flowing backdrops for their guests to flaunt their talents. Themed around the vastness of space and the Golden Record on the Voyager, the extraterrestrial-ness of the record permeates its every corner; its grandness feels like its statement, as it stands larger than the sum of its parts. An air of nostalgia flows through it, laced with voice memos from a woman professing, over the length of the record, that though she is now gone, perhaps departed from the mortal plane, she will “always love you.”

The features on the album are an achievement on their own: any album featuring this wide of a swath of talent must be commended for its boldness. To hear Denzel Curry, Rivers Cuomo, MGMT, Pink Siifu, Blood Orange, Kurt Vile, and countless others on a project together and have it sound cohesive is a miracle on its own. The interstellar nature of the album doesn’t always come across, and it’s a weighty record, at an hour and eleven minutes, and not every moment feels like it contributes to that runtime. It isn’t a perfect record by any means, and for many, especially those who fell in love with the record scratches and horse neighs of “Frontier Psychiatrist” are likely to be still disappointed in the trajectory of the prodigal sons of plunderphonics. Yet, if one can get past those expectations, there remains a larger-than-life moment to be lived through here, an intergalactic celebration of music, and one laced with themes of loss, pain, and nostalgia. The emotional peak of the record comes with the stinging “Always Black” driven by gorgeous piano and striking vocals, with a cutting poetic recital by Pink Siifu: “Stay, will you stay?” More than anything, the album plucks on that idea of staying and leaving and doesn’t let go of it. Starting from the voicemail left to the listener in opener “Ghost Story”, that feeling of love despite distance reverberates throughout the album’s highs and lows. Love has no distance limit, The Avalanches seem to be telling us. Across the vastness of space, that love persists.

- Casey Chamberlain

Channel Tres - i can’t go outside 

Channel Tres has no damn business being as smooth as he is. With an array of singles, remixes and an EP under his belt, Tres has seamlessly blended techno and house with West Coast rap and production to create a sound that is uniquely his own. And his voice is the icing on the cake. Tres moves effortlessly from rap to R&B, sometimes without a change in pitch. There are times when Tres sounds like he rolled out of bed and started recording and it still works perfectly. And on his debut album, i can’t go outside, Channel Tres is firing on all sonic cylinders. Tres has elements from techno, house, rap and R&B in his production arsenal and spreads them throughout the track list. The album’s opener (“i can’t go outside – intro) features a synth-focused, breezy R&B beat and the flick of a lighter, letting you know how to listen to the project. On “2000 chevy malibu”, Tres delivers lyrics to drive along the Pacific Coast highway to over hip-hop-based drums and encapsulating, spacey synths to make you stare out the window. Although overlooked due to its classification as an interlude, “broke down kid” is easily the most interesting track. Here, Tres rolls completely into house and techno to create a beat that could be a standalone instrumental. Sticking with his pattern of merging different, or even opposing, themes or genres into one, Channel Tres laces the bouncy, uplifting beat of “broke down kid” with lyrics regarding mental distress and unhealthy self-isolation. But you’ll never get the same song twice. Following the best interlude of 2020 (so far), Tres teams up with Tyler, The Creator for the bass-driven “fuego”. This track features glorious background vocals and some steamy lyrics from the duo. Although his debut was only seven tracks, Channel Tres has proven he’s capable of taking his sound anywhere. 

- Charlie Darnall

Kota the Friend - Lyrics to GO, Vol. 2

To be honest, I’m not sure Kota the Friend’s Lyrics to GO, Vol. 2 is essential to the hip-hop genre. I doubt Kota the Friend would even say the album is the best in his discography. But artists don’t have to make albums that make you rethink your life, win awards, or get radio plays. Sometimes artists just want to make something fun and positive to listen to and if there’s one thing I can say about Lyrics to GO, Vol. 2 is that it’s good for the soul. And we all need that right now. What the fifteen-minute project lacks in time it makes up for in storytelling, production and *vibes*. “Luke Cage” is the best example of an equal distribution of these qualities. On the track, Kota reflects nostalgically on past neighborhoods, romantic interests, and friendships. The beat is a coffee shop bop with a groovy guitar riff and the organs near the end. “Flowers” features Kota reflecting on growth over a perfectly placed piano sample that almost competes for the listeners attention. To me, this song sounds like what looking at a bed of flowers in full bloom looks like. If you agree, let me know – it’s 2am and I think I’m onto something. Ok, not to go deeper into this, but Lyrics to GO, Vol. 2 includes another song that (somehow) matches its sound to its title: “Living Room”. The sampling of distant conversation, acoustic guitar chords and Kota’s discussion of safe spaces and peace will make you want to curl up on the couch. Kota also further solidifies his flow as one of the best on this project. Most songs only contain one verse which makes it even more impressive that Kota can move between and within topics impeccably. I cannot think of a single time or situation where this album couldn’t make you feel even the slightest bit uplifted and, for that reason, it’s essential. 

- Charlie Darnall

Arlo Parks - Collapsed In Sunbeams

After the virality of Arlo Parks’ “Black Dog”, a song written so gracefully yet accurately about depression, showcased the singer’s incredible poetic abilities, R&B fans and critics alike patiently awaited her debut album. And with Collapsed In Sunbeams, Parks doesn’t disappoint. I have to start with Parks’ voice - everything else revolves around it. The lyrical content and production are great, but without Parks’ soft and angelic vocals, every song would sound like Robert Frost poems being read over a Wallows jam session. With the blessing of a voice that pairs well with anything, Parks is free to stray from the blueprint “Black Dog” created and enter new genres and explore new themes. Although placed only two songs above “Black Dog”, “Hope” functions as its antithesis. With breezy and gentle indie rock production to match, the chorus serves as both a reminder to the audience and to herself: “You’re not alone like you think you are.” But if “Hope” is Parks’ mental ceiling and “Black Dog” is her floor, then every other track must be a mix of the two. On tracks like “Too Good”, where Parks reflects fondly on her partner from a failed relationship, or “Eugene”, where she discusses falling in love with a friend, Parks expresses the complexity, and sometimes irrationality, of her emotions. Instrumental inspirations on Collapsed In Sunbeams include indie pop (“Portra 400”), folk (“Collapsed In Sunbeams”) and pure R&B (“For Violet”). Although sonically eclectic, every piece of production perfectly fits Parks’ lyrical themes. Through the highs and the lows, Collapsed In Sunbeams signifies the beauty in the struggle. This line from “Portra 400” does the best job at encapsulating that: “Making rainbows out of something painful”.

- Charlie Darnall

Upcoming Releases:

Slowthai- Tyron (2/12)

Few have the energy that UK rapper Slowthai has on a track. 2019’s Nothing Great About Britain saw Slowthai burst onto the scene and cause a commotion that feels like it hasn't calmed down since. On his new record Tyron, however, Slowthai seems poised to get a bit more introspective, approaching his childhood traumas and his newfound fame. The first single for the project, “feel away” featuring the signature crooning of James Blake as well as Mount Kimbie, feels immediately like a shift, with a more intimate sound. Other singles including the bouncy “MAZZA” featuring A$AP Rocky and “CANCELLED” with Skepta feel like a more refined version of the energy we’ve seen Slowthai channel before. The rapper’s sophomore outing will most certainly further shape Slowthai’s artistic direction. Tyron arrives February 12th and features Skepta, A$AP Rocky, Denzel Curry, Dominic Fike, and more.

- Casey Chamberlain

JPEGMAFIA- EP2! (2/12)

Not content with last years’ excellent EP!, the enigmatic JPEGMAFIA has announced plans to release a second EP this month, featuring his recent single “FIX URSELF!” as well as the previously released “LAST DANCE!” from his last season of single releases among a batch of new tracks, including “PANIC ROOM!” which features co-production from James Blake. The rappers’ steady output has been accompanied by a widening soundscape on his newest material, further setting Peggy as one of the most forward-thinking artists currently working. The aptly titled EP2! drops February 12th and features the previously mentioned singles along with new tracks “INTRO!” “KELTEC!” “THIS ONES FOR US!” and “FEED HER!”

- Casey Chamberlain 

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The Bad Plus The Neptune Theater: Live Show Review

This past Thursday night I had the honor of seeing, The Bad Plus, at The Neptune Theater in what turned out to be an incredible performance. I have been a fan of The Neptune Theater ever since my first show there which was Snarky Puppy. I think the venue is an excellent size, and usually has pretty good sound as well. Upon arriving Thursday night, I was surprised to find seats on the floor right in front of the stage. This was my first concert at The Neptune that has been seated, but looking back on the performance it fit the atmosphere very well.

Having no opener for them, The Bad Plus came out on stage and instantly started burning on a tune I didn’t recognize, and eventually morphed into a roaring chart titled “My Friend Metatron”. Instantly blown away, I knew the entire performance was going to contain the highest level of musicianship. It was after this tune that bassist Reid Anderson finally addressed the crowd. Showing a remarkably dry sense of humor throughout the performance, Anderson welcomed us all to the show and made everyone chuckle before the lads brought down the energy with a sensitive cover of “Time After Time” by Cyndi Lauper.

As the tune progressed, The Bad Plus continued to expand our understanding of the song by adding dissonant harmonies and convoluting the pulse more and more. Following up the cover came an Ornette Coleman tune entitled “Law Years”. The juxtaposition of these two songs one right after the other perfectly highlighted that, The Bad Plus, are not only musicians that know what the crowd likes to hear, but are also heavy jazz players that love to venture off into the realm of free improvisation as they abandoned tonal center and traditional rhythm. The Ornette Coleman tune found The Bad Plus experimenting with textures and harsh timbres that any free jazz fanatic would have been impressed by. What followed for the next hour came an inspiring mix of both pop and heavy jazz tunes that shifted along the spectrum from the most “out” to the most “in”, inciting cheers and immense applause from the audience countless times.

Over all, The Bad Plus demonstrated an ability to combine the familiar with the unknown, all the while remaining tasteful. Not a single note or idea was played that the music didn’t call for, which showed that pianist Ethan Iverson, bassist Reid Anderson, and drummer David King poses an immense sense of maturity and trust in each other as musicians. I would recommend seeing The Bad Plus to anyone who is a fan of music and can appreciate witnessing the experience and comfortability of three killin’ musicians who have spent the last 17 years shedding and making music together.

- DJ sneak peaks (Gabe)

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

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Show Preview: The Bad Plus at The Neptune, January 19th

This Thursday, the 19th, The Bad Plus is performing at The Neptune Theater. I first heard about The Bad Plus from their collaboration with saxophonist Joshua Redman, which was equally exciting and experimental. Similarly, on their own, The Bad Plus refuses to be confined into any one genre or sound. Drawing most of their influence from jazz, The Bad Plus often venture off into genres of rock and pop, but do it in a way that feels comfortable and not gimmicky. Known for off-the-wall covers of various rock and pop tunes, seeing The Bad Plus perform live will be an adventure through the realms of free jazz and pop music alike. The trio consisting of bassist Reid Anderson, drummer David King, and pianist Ethan Iverson all met back in high school and have been making music together since 1990. Regardless of what set the band decides to bring to the audience on Thursday night, it will undoubtedly be one that reflects their forward-thinking mindset and 27 years of musical experience together.

-DJ sneak peaks

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[rainydawgradioblog]

Juicy J Changes Lives Over Course of Emotional Night

Oscar winner Juicy J wrecked my soul at The Neptune Theater last night. Oh yeah, yes, it’s true, Juicy J and Leonardo DiCaprio have the same number of Oscars.

Project Pat brought out Nasty Mane and they performed some booming bass music with predictable yet catchy lyrics.

Belly came out next. Never heard of him before. He does boast a bit of a belly though, which could point to the origins of his stage name. His real name, according to the internet, is Ahmad. Further perusal of the internet reveals that Belly was born in Palestine. Diversity! Yay!

Okay, that’s enough with the facts. Here’s more opinion: Belly’s set was damn good. I now follow him on Spotify. His song with Travis Scott bangs confirmed.

Then the stage was empty for a while. Anticipation hung in the air thicker than the sweat—and there was a butt ton of sweat.

Juicy J is a distinguished dude with an enviable career—Three 6 Mafia and an Oscar then a TGOD comeback with Bandz a Make Her Dance then a really good album and now mixtape after mixtape of roof rattlers.

Anyways he stormed on stage, scarf draped over his head just like my mom wears a dupatta. Instantly I declared him my newest role model. My list of role models was 29 pages long on Microsoft Word. Now it is 30.

I’ll be honest—I don’t know that many Juicy J songs. But that didn’t stop me from leaping around like an electrified monkey. Bass on The Neptune’s speakers exploded my brain into dripping mush—Beautiful. I still haven’t recovered. At one point Juicy played a bunch of Three 6 Mafia numbers and I knew the words so I screamed them and it was great.

Times like those, watching awestruck as an Oscar winner screams down at you “YOU SAY NO TO DRUGS, JUICY J CAN’T,” you wonder what life is really all about. Because maybe, just maybe, all you have to do is keep doing your thing—whatever that thing may be—and you’ll eventually win.

Juicy J, legend, you inspire me to be the best possible me. Safe travels.

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

[rainydawgradioblog]

Interview With Quinn XCII

March 3, 2017 was when Seattle welcomed the up and coming pop artist Quinn XCII into its classic rainy Friday night music scene for his third show on his first ever headlining tour- The One Day at a Time Tour. We sat down in the equipment room before his sold-out show at Barboza in the Capitol Hill area of Seattle and chatted music, tour life, and his take on entering the music scene. Out of his 18 stops on the tour, this was his third show and at the time, all of the three were sold out, not a bad start.

 I began the conversation by asking some local Seattle questions as this was the Michigan native’s first time in the Emerald City and did not get a chance to see the classic tourist sights, but he seemed to be a good fit in the city as he said craft beer and coffee were two of his favorite things in the world. He said he had plans on enjoying the local beer scene post show. We also shared a few words on coffee, given that Seattle is famous for its caffeinated drink and he said he has gained a new respect for it as it is beneficial in order to make the most of his studio time and the “idea-sparking” powers coffee has on him when writing.

 With now over 1,000,000 monthly listeners on Spotify and 64,000 followers on SoundCloud, Quinn gives credit to his music inspiration coming from his parent’s record collection and influences from artists such as Michael Jackson and the Motown scene surrounding Detroit, his hometown. In high school Quinn began experimenting with his vocals and music in general as he began to write raps and rap over beats him and his current day producer that goes by the name Ayokay, would find on YouTube. From this sparked a musical relationship between the two as they began “cultivating” their own sound through these experiments. Quinn says the biggest challenge in creating music is being able to stray away from the crowd and craft his own sound.

 Quinn spent his college days at Michigan State University and his sophomore year was when he released his first official project via SoundCloud, which he gives credit to being a major reason he was able to gain a following during those first days of creating music. It was soon after that he began playing live shows and says that after a show on a tour with electronic artist Louis The Child in Lansing, Michigan, that was the moment he realized he could do music as a career as he felt a, “powerful reciprocation” from the crowd he had not felt before.

 We spoke on his hit song, “Straightjacket” that has a line about a, “Psycho from a Mid-West suburb,” and I was curious whether he wrote the song about anyone is particular which lead to a discussion about his writing style and how he writes his music to which he responded by saying, “I like to step out of the box and speak on a topic that I don’t really pertain to with what I’ve been through, but I know people can relate to because people have been through it.”

 A breakthrough artist who has been on two tours with artists Louis the Child and SoMo and now getting the opportunity to go on his first headlining tour has loved traveling and seeing new cities all over the United States. Quinn also stated that his favorite fast food stop while living life on the road has to be Burger King but that after a night of drinking with the crew the most visited spot has to be the classic golden arches of McDonalds. And although tour life has many promising features along with his new life living in Los Angeles, Quinn says he misses the laid-back lifestyle the Mid-West has as well as spending time with his friends and family.

Mike is Quinn XCII’s real name, and the first name he used when he began releasing music was Mike-T. Eventually he decided to switch it up and go with an acronym that he heard from a college professor at Michigan State, Quinn, which stands for: Quit Unless your Instincts are Never Neglected. This acronym to him means, “If you don’t have an instinct saying to stop what you’re doing, continue what you are pursuing.” Due to copyright reasons, he ended up throwing in the XCII for the roman numerals that translate to the number 92, which was the year he was born. Due to the complexity of the name story, Mike decides to introduce himself as Quinn and simply go by that name in the music world.

 As an up and coming artist who just recently signed with Columbia Records, Quinn says that he doesn’t feel famous, or in other words hasn’t felt that he is “under a microscope” and jokes that he has decided to just relax and take it “One day at a time,” following that statement by, “No pun intended with the tour name.” He states that most of all he is very humbled that people enjoy his music and says it is the, “Best feeling in the world.” Quinn has a new single that recently dropped called, “Make Time,” and Quinn stated that a new album is in the works that will be followed by a two month fall tour in 2017.

 Following the interview, I was able to enjoy the concert with the sold-out crowd and I danced with the melodic sounds of his music that he claims is, “Great Summertime music,” and I will have to agree. His voice is electrifying and his positive energy and genuine smile kept the vibes in the crowd going as a majority of the crowd sang along song after song. Accompanied by a live band on the keys and drums, his live act is very entertaining and he brings a real energy to the show with his interaction with the crowd. I will most definitely be seeing him on his fall tour!

Keep your eyes peeled for this up and coming talent in the pop and electronic music scenes who is enjoying his new life in the music scene, one day at a time.

 -Gustavo O’Connell, RainyDawg DJ

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

[rainydawgradioblog]

Album (EP) Review “Mind the Gap” by Raleigh Ritchie

Raleigh (like ballet) Ritchie (like Lionel) took fans by surprise when he announced the release of his new EP last November. The EP, Mind the Gap, was released on December 16th, 2016 and it’s devastatingly good. Raleigh Ritchie (real name Jacob Anderson) is newer to the music scene, having only just released his debut album You’re a Man Now, Boy earlier last year. Yet, he’s not an entirely unfamiliar face, fans of Game of Thrones might recognize him as Grey Worm, the leader of the unsullied. This is where I discovered him, looked him up one day because I thought he was cute and google let me know he had a few songs floating around at the time (thanks google). Gave one of his singles, “Bloodsport ’15”, a listen and I was instantly in love. It was fate. I’ve been a fan ever since and I am personally so stoked about the recent release of Mind the Gap which is what we are here to talk about.

Start listening while you read: click HERE to go to Mind the Gap on soundcloud!

This EP is an organized clusterfuck of self-deprecation and heartbreak mixed with upbeat instrumental and fast paced lyrics, producing a fantastically odd dichotomy of feelings. The album has a sound that feels derived from R&B but somewhere along the lines it picked up heavy pop influences, with a light peppering of the occasional rap or spoken word. It’s not too much of a departure from his debut album (which I HIGHLY recommend you listen to), there’s a lot of similarities between the two pieces. Raleigh even said himself that he felt the EP was more of a bridge between his debut album and the next, rather than a totally independent piece. I won’t quote him on that because it was in a tweet from a few months back that I won’t even bother to search for. He tweets a lot. (One time, he favorited my tweet – but that’s a story for another time).

Something I love about the sound of this album is the deeper electronic feel with the background vocals. You’re a Man Now, Boy was very flowly and floaty in the background vocals – almost choir-like. Almost fantastical. Whereas Mind the Gap is mostly background vocals that are tuned bytes of Ritchie singing drawn out “ahs” or “ohs” (excuse my inability to quantify music). The subtle electronic qualities are pretty much thrown in your face in the first track off the album Motions, which begins with a brief audio of a Robot fight/break-up. We hear two Siri-esque voices argue about how they feel about each other, resulting in the end of their robot relationship. This persists through the song with brief one liners from either robot voice. It’s pretty rad, if I do say so myself.

Mind the Gap totals 5 songs: “Motions”, “Sicko”, “Liability”, “StraitJacket”, and “Unicron Love” (don’t ask me why its spelled like that – I have no idea). Each song is unique, but they all flow very well together. My favorite example of this is the transition between “Motions” and “Sicko”; “Motions” ends with the Male robot saying “I love you”, only to have the female reply “I know, but you are sick” – and then sicko immediately begins with “Maybe I’m just sick”. Hell yeah. Well, I mean, that’s pretty sad and heartbreaking lyrically, but 10/10 transition. Speaking of lyrics, Ritchie gives the listener a lot to think about as far as sanity and heartbreak go. “Motions” and “Unicron Love” both focus on two different sides of a relationship. Since we know that Motions isn’t the brightest view on love, we can probably guess how “Unicron Love” portrays it.

“Sicko”, “Liability”, and “StraitJacket” all focus more on an introspective view. “Sicko” plays off “Motions” and outlines the chaos of a mind trying to diagnose an internal sickness. There’s a lot of self-doubt and confusion present in the lyrics of this song, ending in the simple conclusion of “Maybe I’m just sick”. Liability is all about feeling bad for yourself. The musical composition of this song is diverse and beautiful, it ranges from flowy and floaty (both technical terms) to harsh and brittle (if that’s a word people use for describing music). The song feels like it’s been written out of a place of anger and defeat, it screams “why me?!”. I’m a sucker for this song, self-pity, now that’s something I can rock to. The song ends with a beautiful, whispered, “oh, fuck off” directly at his own thoughts.

Now, we arrive at “StraitJacket”, my favorite track off the album – this one is just an Ode to Mania, a sweet sweet embrace of the craziness that is our mind. It’s a fast paced, rollercoaster of a song, and there are no seatbelts. Every time you think you’ve reached the climax (not sexual) of the song, you find yourself surprised by even more faced paced energy. At the real, destructive, climax (might be a little sexual) of this song you can practically feel Ritchie screaming in your face. It also showcases one of the best things about Ritchie’s music; his sexy voice and crazy good spoken word influenced rap style. The song ends with a jarringly slow verse of spoken word that asks the listener if any of us (especially Ritchie) are sane; “Fight amongst the foot soldiers, but the war is in my mind”. Not only is the song super fucking cool, there’s a super fucking cool music video that accompanies it. Check it below, it really adds to the song and shows what Ritchie is trying to say with it (basically, that he’s just crazy).

This EP is phenomenal, and you bet I’ll be listening to it pretty much once a day. The title of the EP (Mind the Gap, if you somehow forgot) is really validated by the content of the songs. It’s about watching out for the mental leap in logic from sanity to insanity, it’s fitting for how much attention the tracks give to being not-so-sane.  Raleigh Ritchie is an amazing and talented new artist that deserves a lot more attention than he gets. On the plus side, he’s so unknown that he’ll favorite/retweet your tweets if you tweet at him. But seriously, check him out, between the amazing album art, magically sexy vocals, and make-you-think lyrics there’s nothing not to love. Make sure to check out not only the Mind the Gap EP, but also his debut album You’re a Man Now, Boy! Thanks for reading, I’ll see you back here next week for the rediscovery of Sir Sly. 

-Zach Krieger

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

[rainydawgradioblog]

We the Music

Every movement has its own distinct sound. Music helps capture the time and people of a movement. It reveals who they are, what they believe in and expresses what’s on their minds.

Folk songs and rock became platforms for anti-war sentiments during the Vietnam war, Hip-Hop and rap were born from the inner cities of New York City highlighting social issues over beats to get down to, punk and grunge were generations of young teens resisting societal norms expressing their fears of a bleak future.

Today we are in the middle of yet another time of great change. A new movement born out of the political and social climate is being created. It is my intent to share and discuss some of the music that is being made and that is helping to define this movement’s sound, the people’s sound.

The first song I want to highlight is the cover of the folk classic “This Land is Your Land”. It’s a simple, timeless tune that grade school kids learn when they talk about inclusiveness. Woody Guthrie wrote the song 77 years ago on February 23rd in 1940 according to this NPR article. It was written in response to “God Bless America” which was a jukebox favorite in the 40s. As a frequent hitchhiker, Guthrie developed a unique view on what was going on in the country and it differed from the America portrayed in “God Bless America” leading him to write the tune.

Countless musicians have covered this alternative national anthem but one of the latest bands to do so I think does one of the best versions. Chicano Batman debuted their cover of “This Land is Your Land” at the end of January for a Johnnie Walker commercial. The Los Angeles band puts a slightly psychedelic/rock spin on the classic tune. It’s got a synthesizer going on giving it an element of funk and with a chorus in the background a hint of soul. If you didn’t know what you were listening to you might have thought it was a new hit on the Alternative charts.

What makes Chicano Batman’s cover especially important is what it represents. A Latino band from East L.A. takes a classic American folk tune and puts their own spin on it. The lyrics are sung in English but they slip into Spanish by the end singing “Esta tierra es para ti y para mi,” the famous line “this land is made for you and me.” It’s as much of a statement of resistance as it is about hope.

When our head of state has declared their intention of creating barriers for people wanting to make a better life for themselves and their families, this song becomes undeniably relevant. The members of Chicano Batman come from both L.A. and countries in Latin America. Without their different backgrounds their sound wouldn’t be the same. When cultures collide it results in better art, new perspectives and new ideas.  

Guthrie wrote “This Land is Your Land” as he witnessed a side of America that was struggling during the Great Depression, that didn’t have the blessing of God on their side. Today, we aren’t going through a Great Depression but we are going through a time of great division. “This Land is Your Land” sung by Chicano Batman reminds us with the words of Guthrie that all people of America that they belong too.

Chicano Batman’s new album Freedom is Free is out March 3rd. They play The Crocodile on Thursday the 23rd, tickets available here.

-Grace Madigan

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Father John Misty Drops Single, and Film, and Announcement of New Album

Father John Misty, a.k.a. Josh Tillman released not only a new single this month, but a 25-minute film to accompany it. “Pure Comedy” is the first song off his upcoming album of the same name, slated for release April 7 of this year. This is his first release since I Love You, Honeybear from February 2015. It appears that the same ironic, satirical lyrics that appeared on Honeybear aren’t leaving any time soon. “Pure Comedy” is reminiscent of “Bored in the USA” from Honeybear, which utilized a laugh track to drive home the satire. If you haven’t picked up on the irony Tillman masterfully employs, “Pure Comedy” gives another example of the satirical Father John Misty. In the accompanying black and white film, also titled Pure Comedy, Tillman teases additional songs off his upcoming album. The video is bizarre, eclectic, and extremely surreal. For sneak peeks at new material and to see a joyous Tillman directing a church choir, it’s worth the lengthy 25-minute timestamp. The new single features Tillman’s crooning vocals and melancholy piano, so while titled “Pure Comedy”, it’s made clear that Tillman isn’t laughing. You can listen to the new single here.

-Jessica Gloe

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org! 

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Five Artists to Watch in 2017

A new year means another year of new music and breakout artists. Last year was a monumental year for music, bringing both major album releases and newcomers to the forefront. That being said, here are five artists that are sure to impress this year.

Smino

The St. Louis, Missouri native has already gained a following with the release of two EPs and as an opening act on Mick Jenkins’ recent tour. Now Smino is prepared to enter the spotlight with the release of his debut album blkswn early this year. Though a release date hasn’t been announced yet, Smino has been teasing its release with snippets of new songs on his snapchat as well as a new single, taking the same name as the album. Expect the album to be packed full of bars and smooth production, both staples of Smino’s craft. Listen to “blkswn.”

Ravyn Lanae

Ravyn Lanae has slowly made her mark through features with notable rappers, including Mick Jenkins, Noname, and Saba. Her debut EP, Moon Shoes, established her as a strong solo act, making effective use of her angelic voice and versatility to create songs that can be both groovy or moody. Her busy year has already begun, opening for Noname on tour (in Seattle February 15) and hard at work on her debut album, which is set to drop sometime this year. Be on the lookout for Lanae to drop new music soon and possibly perform in a city near you. Go hit up Moon Shoes.

Aminé

Hailing from Portland, Oregon, Aminé has already made a name for himself with the smash hit “Caroline”. His performance last year on Late Night with Jimmy Fallon further elevated him status when he added an additional verse to the song, addressing the recent presidential election and his disapproval of its unfortunate results. His unique style and upbeat flow are a joy to listen and dance to, even though his library of work is relatively small (he has two singles on Spotify and one album on Soundcloud). Although he has yet to announce an album release this year, more new music is expected to come from the young star, so make sure to stay alert. Watch Aminé’s performance on Late Night with Jimmy Fallon.

Kaiydo

Florida has recently become one of the hottest spots for new artists, introducing the likes of Denzel Curry, Kodak Black, Twelve’len, and Marcellus Juvann. Kaiydo is another one to add to the group. His typically bouncy songs have caught fire in the hip-hop community. My personal favorite, “Arcade”, has an incredibly bangin’ beat paired with a catchy hook. Kaiydo’s library only includes a few singles, but he told the music blog Pigeons and Planes that his debut mixtape Kartoons is on the way. Hopefully his mixtape includes the same catchy songs that he has released so far. Be sure to listen to “Arcade.”

Khalid

Khalid uniquely fuses electronic and R&B to create a genre all his own. His breakout single “Location” has already amassed over 30 million plays on Spotify, and his performance at ComplexCon has helped him gain national attention. He recently kicked off a tour to promote his debut album, releasing March 3. Khalid manages to create diverse music, as is evident on the song “Coaster”, a piano-driven ballad, and “Hopeless”, a song that sounds like an ode to 80s electronic music. Make sure to give Khalid’s album a listen when it releases, as it is sure to blow up in the weeks following its release. Definitely check out “Location.”

-Archie O’Dell

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[rainydawgradioblog]

Artist 101: Phoebe Ryan

I’ll be honest with you guys, trying to figure out what to write is, for the most part, the hardest part of blogging. Sometimes inspiration strikes me like a lightning bolt and I’m able to type up 1,000 words in half an hour, but most of the time it doesn’t. Which brings me to today:  in a desperate attempt to find good music this week, I typed “artists like Ryn Weaver” into Google and hoped that someone amazing and new to me would pop up. And someone did! Don’t you love it when that happens?

So now I’m here to talk about Phoebe Ryan, a singer with hair so magically colorful that fairies would be jealous. Beyond aesthetics, her breathy voice is akin to Cyndi Lauper while her quick-paced music ties it into the pop scene of today.

At the moment Phoebe has only one EP to her name, but it’s a great start. Mine was released in June of this year and features four songs (and one remix).

Her most famous song has got to be “Mine”. It attained fame when Taylor Swift tweeted it out as part of her list of “New Songs That Will Make Your Life More Awesome”.

Thanks for bringing it into the limelight, Taylor.

The song even has an official lyric video and I can assure that it’s just as whimsical and adorable as you would hope.

That may be the most well known, but all the other songs on the album are just as great, including “Homie”, which rings similar to Tove Lo in both content and rhythm.

Ryan is also pretty good at doing covers, exemplified by her mashup of “Ignition” by R. Kelly and “Do You…” by Miguel.

Ryan is no newbie to the music business. After graduating from NYU in 2013, she went on to write songs for artists like Bea Miller, and Oh Honey until she decided it was time to work on her own solo career.

The icing on the cake is that she’s hilarious on Twitter, so I highly recommend you go follow her.

Best of luck to Phoebe on all of her musical endeavors.

Kathryn Placer

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[sdosworld]

April 9th Show - Yumi Zouma to KMD Yumi Zouma had a music video done by the same production group as The Pains of Being Pure at Heart and School of Seven Bells. I don't remember the connection betwen the Horros and School of Seven Bells, it is killing me, but The Horrors' Tom Cowan is brothers with Freddie Cowan of the Vaccines whose latest record was produced by Dave Fridmann who produced Sleater-Kinney's The Woods who currently has THEESatisfaction opening for them on tour who have collaborated with Shabazz Palaces who shares members with Chimurenga Renaissance who shares members with Digable Planets. Shabazz Palaces is also featured on a Flying Lotus mixtape who has worked on Kendrick Lamar's records and also collaborated with Viktor Vaughan (Between Villains) aka MF Doom and Earl Sweatshirt (who samples one eskimo). MF Doom is also King Gheedorah and worked with Madlib on Madvillainy, with Madlib being a member of Lootpack and Jaylib and making Latin music with Jackson Conti. Back to MF Doom and FlyLo. MF Doom was a member of KMD as well.