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 »
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.
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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.
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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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