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Gui Boratto: Brazilian Architecture

You may be familiar with the saying (often attributed to Elvis Costello) "writing about music is like dancing about architecture"–the idea being that words aren't able to capture the essence of music any better than moving around in a club captures the essence of a building. But dancing and architecture have more in common than one might think, especially when Brazilian techno producer Guilherme "Gui" Boratto is involved.


Five Star By Kevin Barnes

On Of Montreal's "My British Tour Diary," from the Athens, GA-based psych-pop band's 2004 album, Satanic Panic in the Attic, frontman Kevin Barnes complains about London cab drivers playing "the most truly repellent techno music ever made." But it's clear from the crooked beats, wild synths, and disco rhythms that permeate Of Montreal's latest opus, Hissing Fauna, Are You the Destroyer?, that Barnes has got plenty of love for techno's founding fathers. Here, he waxes poetic on the electronic music pioneers who have influenced his sound.

Cinematic Orchestra's Artist Tips

Despite the proliferation of bedroom rockers with cracked laptop copies of Logic, there are plenty of producers recording the old-fashioned way–in studios. While there's nothing particularly old-fashioned about soundtrack-jazz-loving Jason Swinscoe, his latest filmic opus as Cinematic Orchetra, Ma Fleur (Domino)–which features guests as disparate as "Rescue Me" singer Fontella Bass and Lamb's Louise Rhodes–was made in more than a few studios around the world. Read more » 

Cadence Weapon: Mightier Rhythms

In the rap world, Rollie Pemberton's days are numbered–at least, that's what he thinks. "Nas was 18 when Illmatic came out," says the 21-year-old emphatically on the phone from his home in Edmonton, Alberta. "And think about sports nowadays... there are, like, 17-year-olds in the NBA."

But sports guys peak before 30, and artists mature late into life, don't they? "That's accurate for every genre except rap," Pemberton fires back with wise-beyond-his-years wit.


Spray It, Don't Say It: Graff at 40

Until graffiti as we know it turned 30 (around 2000 or so), it seemed to evolve as fast as the kids in the streets would let it. Inner-city 10-year-olds writing their names on abandoned buildings after school begat whole subway cars begat an even higher succession of bridges, ledges, and billboards. Clumsy tags turned into bubble-lettered throw-ups and colorful pieces turned into flawless 3-D fonts turned into elaborately deconstructed letters. Read more » 

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