Posted on 14 July 2011
Do yourself a favor and look into Spotify now. The Europeans have been holding out on us for quite some time and I am THRILLED that this service just broke the surface in the United States. For $10 you can: have access to 15 million+ music compilations/tracks/songs, share music for free, sync the program up with your iPhone or Android, create playlists, and more. Listening and searching through music has not been this fun since the Napster days. We strongly urge you to take five minutes of your time and browse this service or watch the video below. This is the best music service we have ever seen. We hope you agree and continue to spread the good news!!!
Posted in Editorial, HiFi Cartel, Music News, Trend, Up & Coming
Posted on 05 August 2010
A trip to London would not be complete without a stop at Fabric, the world-renown superclub that not only hosts top electronic acts week after week, but has also spawned over fifty FabricLive compilation mixes. Fabric was certainly preceded by its reputation, but nothing could have prepared me for the actual experience. The line outside the club was unlike any I’d seen, but it wasn’t until I walked into Room One – the largest of Fabric’s three – that I realized the sheer mass of the dubstep scene in London.
I chose Friday, July 16th (and subsequently planned my entire trip to London around this date) for the line-up, which included the Dub Police (Caspa, Breakage, The Others, Emalkay, et al) along with Egyptrixx, Mumdance and over a dozen other artists. Upon my entrance the crowd went crazy for Caspa’s remix of “I Remember” by Deadmau5, and later Emalkay dropped pieces of his hit song, “When I Look At You”, throughout his set, building the anticipation.
Fabric is so large that it wasn’t until I had been there for over an hour that I finally came across the other two rooms. Room Two was so full that the party practically spilled out into the corridor. A sea of bodies, taking up every square inch of space and perched on platforms on both sides, danced furiously to the drum and bass breakbeats issuing from the speakers.
I came up for air and found myself in Fabric’s third room, where Egyptrixx was spinning a (comparatively) low-key set. Small but dynamic with a multi-level design, Room 3 felt like an oasis from the madness, accented with blue lights and fog.
While I am no stranger to dubstep parties in New York, (thanks in large part to our friends at Trouble & Bass), the London scene is a completely different animal. Sure, there were some familiar elements – the music, of course, and the sweaty bodies dancing in a manner that only dubstep can instigate – but Fabric managed to capture dubstep in a way that went beyond the music, an “essence” if you will, that has to do with the surroundings, the people, and the overall vibe.
Posted on 17 September 2009
In case you missed it, the masked Italian duo, The Bloody Beetroots recently unleashed their first LP, Romborama, a 20-track melting pot of arduous beats and synth. Artists featured on the LP include The Cool Kids, Steve Aoki, Lisa Kekaula (of the BellRays), Cécile and others. So, what does shrimp, lobster, shark and craw fish have to do with the Beetroots? It is simply a line from their track “Awesome” – which can single-handedly describe the album.
Hard Fest describes them as the love child of the Misfits and Daft Punk, but the Bloody Beetroots are nothing short of “bloody” fantastic. Perhaps its the Venom masks and their subtle play with the Comedy of Art of Venice, but there is a mad brilliance underneath the noise and mask that conjures a contemporary orchestration of music - dramatic with so many layers of sounds, the album could be the work of a musical ensemble. Artfully influenced by opera and infused with electronic media, their collaboration with the featured artists takes this vacillating album (in a good eclectic way) and makes it a titillating experience.
Check out the “Awesome” track below and click through for the video to another recommended track from the album, “Butter.”
Click here for photos from our last encounter with the Bloody Beetroots at Webster Hall by Oliver Correa.
Bloody Beetroots featuring The Cool Kids – “Awesome“
Posted in Music News, New Music, Trend
Posted on 05 September 2009
Dim Mak recently released “I’m In The House”, a new video from Steve Aoki featuring Zuper Blahq (yes, we know, who???). The house behind MSTRKRFT, the Bloody Beetroots, Dim Mak seems to have acquired a new member to the family. The video and single with Zuper Blahq is Steve Aoki’s first foray into production.
Under the guise of a mask, the mysterious Zuper Blahq fits the lyrical profile of someone very familiar. We have it on good authority that Zuper Blahq is comprised of Black Eyed Peas frontman will.i.am and the Peas’ DJ/Producer Poet Name Life. Will began exploring electronic music on his 2007 solo album, Songs About Girls; given the electro stylings of BEP’s latest album, The E.N.D., Will and Poet’s Zuper Blahq doesn’t come as a huge surprise.
Click through to watch the video for “I’m In The House”. For those in town this Labor Day weekend, Steve will take the stage tonight (Saturday) on Randall’s Island at the Electric Zoo Festival. Also, check out photos from our last encounter with Steve at Webster Hall by Oliver Correa and Kenroy George.
Click here for pictures of Steve and others from the first day of the Electric Zoo Festival.
Posted in DJ, New Music, Photo Gallery, Trend, Up & Coming
Posted on 08 June 2009
Over the weekend, Jay-Z made headlines with the release of his single D.O.A – Death of Auto-Tune
Auto-Tune, the audio processor used to correct pitch in vocals and instruments, is typically used to disguise precisely tuned recordings. As of recent, rappers have come to embrace this sound in attempts to sing by changing the levels of their voice to a point where they sound robotic. From Kid Rock’s Only God Knows Why to Kanye West’s album 808s and Heartbreak, the processor has come to a wide acceptance among artists who utilize the tool as an annoyance more so than a contribution to their creativity. Surprisingly, Jay-Z’s upcoming album, the Blueprint III – slated for release on September 11th, is produced by Kanye West, who also had a hand in D.O.A’s production along with producer No I.D. Its questionable that the rapper who created an entire album with Auto-Tune also produces the track that knocks on industry’s door to stop. With Jay-Z’s access to a wide audience, D.O.A has spread across the web within a couple of days like fire, but he isn’t the only artist making some noise about rappers utilizing the Auto-Tune. KRS-ONE and Buckshot are also highlighting the Auto-Tune trend on their upcoming album Survival Skills with their lead single Robot (produced by Havoc of Mobb Deep). The album is set to release on August 25th.
Perhaps Auto-Tune may return to its days of subtlety in the studio for singers. Kanye West and T-Pain may be two of the few rappers who can utilize the processor’s ability to skew pitches and make it sound good, but with Kanye producing D.O.A, one has to question if he plans on walking away from using the tool in the future. More important than the timing of Death of Auto-Tune is Jay-Z’s ability to call attention to the matter by creating some anticipation and buzz for the Blueprint III, all while making a statement to the industry.
D.O.A (Death of Auto-Tune) – Jay Z
Robot – KRS-ONE and Buckshot