A new documentary feature on dub-pioneer Lee "Scratch" Perry entitled The Upsetterrecently premiered on demand and to promote the release, the Super Ape himself dropped "Jesus Is A Soul Man" as part of a BitTorrent Bundle. Perry isn't alone on the new production however, as he's enlisted the aid of cloudy-bass producer Clams Casino. Though Casino and the 78 year old Perry are decades apart in age, the chattering dub track demonstrates how remarkably like minded they are.
You can download the BitTorrent Bundle here and view a trailer for the documentary below.
The Roots new album ...And Then You Shoot Your Cousin is now streaming
The Roots' 11th studio album ...And Then You Shoot Your Cousin doesn't drop through Def Jam until next Monday, but fans of the Philly crew can stream the LP now through Pitchfork Advance. Produced by drummer ?uestlove, lead-rapper Black Thought, and Richard Nichols, the concept-album has been touted by Thought as a "satire, but in that satire it’s an analysis of
some of the stereotypes perpetuated in not only the Hip Hop community,
but in the community." The 33-minute satire will feature appearances from frequent Roots collaborators Greg Porn and Dice Raw and include a track from soul-legend Nina Simone.
Next Tuesday to promote the new release, the Roots will go from house band to music guest when they perform on "The Tonight Show Starring Jimmy Fallon". Peep the lyric video for sobering album cut "When the People Cheer" below and head over to iTunes if you want to preorder the album.
Check back tomorrow for more of the newest in new(s) and follow AllFreshSounds on Twitter for updates throughout the day.
Continuing the cover trend that's become a fixture of their Reflektor Tour, Arcade Fire dove into a rock classic on Sunday night in St. Louis when the sextet took on Chuck Berry's "Roll Over Beethoven". Berry was born in St. Louis and continues to perform at the city's Blueberry Hill each month, so the move doesn't come as an Earth-shaking revelation. In fact the previous night in Kansas City, Arcade Fire performed a rendition of Kansas' "Dust in the Wind". That rendition though was "rudely" interrupted by lead-singer Win Butler, who reminded the group: "that’s a Kansas song and we’re in f***in’ Missouri. You f***ed up," he said. "That’s gonna kill when we play Lawrence, though."
While the covers may come as no surprise, the band's escalation of their "deadmau5 beef" raises a few eyebrows. The "feud" began during Arcade Fire's set when Win Butler flippantly praised "All the bands still playing actual instruments," which led to deadmau5 proclaiming "Arcade Fire needs to settle down." As though that weren't enough, deadmau5 barbarously declared "If I wanna watch real artists perform, I'd pick the opera before wasting a f***ing minute of my life with Arcade Fire." In St. Louis, Arcade Fire struck back by flashing deadmau5's trademark mask on-screen during "Normal Person". And if that weren't enough former Missouri Congressman Todd Akin made an appearance, a person you generally won't want to be associated with circa 2014.
Rather than dive into any "beef" further, just enjoy the clip of Arcade Fire's playing some good "rock and roll music."
The Roots release new track "Tomorrow"
An idea that's been floating around about The Roots' upcoming 11th LP And Then You Shoot Your Cousin is that it's a violent record. Not necessarily that it commits violent acts, but the world it inhabits is one of extreme violence. "When the People Cheer", the first sampling of the album, proved this with an unflinching portrayal of rapper Black Thought permanently stuck in the trap and knowing there's nowhere to go.
New single "Tomorrow" heads in an entirely different direction. Bolstered by a ringing piano, the Raheem DeVaughan feature is "thankful to be alive." In a soft-croon, DeVaughan stops to "smell the flowers" and appreciate the small things. "9-5 jobs" no longer sound like hellish nightmares, but welcome escapes. "It's free to be yourself," DeVaughan testifies. However "violent" And Then You Shoot Your Cousin ultimately is, "Tomorrow" will offer a brief moment of tranquility.
And Then You Shoot Your Cousin is out May 13 through Def Jam and you can hear "Tomorrow" now on 1200 Squad.
Stream tUnE-yArDs' Nikki Nack now
tUnE-yArDs' third studio-album, Nikki Nack, doesn't drop until May 6 in the U.S. but that doesn't mean you can't hear Merrill Garbus' latest effort now. Courtesy of The Guardian, Nikki Nack is currently streaming ahead of its release date and my initial impression of the LP is that its every bit as strong and infectious as Garbus' previous two albums.
tUnE-yArDs are currently touring the U.S. with the aforementioned Arcade Fire, but will also be logging stage-time with the National and Sylvan Esso before the summer is over. You can find the dates below along with the Pee-wee's Playhouse inspired video for the clamorous first-single "Water Fountain".
Tour Dates: 4/29 Columbus, OH - Schottenstein Center (w. Arcade Fire) 5/1 Nashville, TN - Bridgestone Arena (w. Arcade Fire) 5/2 Atlanta, GA - Aarons Amphitheatre at Lakewood (w. Arcade Fire) 5/5 Los Angeles, CA - Masonic Lodge at Hollywood Forever 5/7 Brooklyn, NY - Rough Trade 5/12 London, England - Village Underground (w. Sylvan Esso) 5/14 Berlin, Germany - Berghain (w. Sylvan Esso) 5/15 Hamburg, Germany - Nochtspeicher (w. Sylvan Esso) 5/16 Brussels, Belgium - Les Nuits-Cirque Royal 5/18 Amsterdam, Netherlands - Bitterzoet (w. Sylvan Esso) 5/19 Paris, France - Cafe de La Danse (w. Sylvan Esso) 5/23 Bend, OR - Les Schwab Ampitheater (w. The National) 5/25 George, WA - Sasquatch Festival 5/26 Boise, ID - Knitting Factory Concert House (w. Sylvan Esso) 5/27 Salt Lake City, UT - Urban Lounge (w. Sylvan Esso) 5/30 Dallas, TX - Granada Theater (w. Sylvan Esso) 6/1 Houston, TX - Free Press Summerfest 6/3 Phoenix, AZ - The Crescent Ballroom (w. Sylvan Esso) 6/5 Los Angeles, CA - The Fonda Theatre (w. Sylvan Esso) 6/6 San Francisco, CA - The Fillmore (w. Sylvan Esso) 6/13 Washington, DC - 9:30 Club (w. Sylvan Esso) 6/15 Philadelphia, PA - Union Transfer (w. Sylvan Esso) 6/16 Boston, MA - Royale Boston (w. Sylvan Esso) 6/18 Montreal, Quebec - La Tulipe (w. Sylvan Esso) 6/19 Toronto, Ontario - NXNE, Massey Hall (w. Sylvan Esso) 6/21 Dover, DE - Firefly Festival 6/22 New York, NY - Webster Hall (w. Sylvan Esso) 6/23 New York, NY - Webster Hall (w. Sylvan Esso) 6/26 Brighton, England - Concorde 2 6/30 Manchester, England - Gorilla 7/1 Leeds, England - Cockpit 7/2 Bristol, England - Trinity 7/17 Minneapolis, MN - First Avenue 7/19 Chicago, IL - Pitchfork Music Festival 7/20 Louisville, KY - Forecastle Festival 9/3 London, England - Brixton Electric
Check back tomorrow for more of the newest in new(s) and follow AllFreshSounds on Twitter for updates throughout the day.
Reading Wise Up Ghost’s unembellished cover is unquestionably
one of the most jarring musical experiences this year. Two artists separated
not just by race, creed, and color, but by continental divides, decades, and
musical differences. When Dylan and the Band joined forces they united under
the banner of Americana. David Byrne & Brian Eno were audiophiles, hell-bent on bringing
their genre-crossing/crate digging to the masses. Pearl Jam were fawning tots at
Grandpa Neil Young’s feet when they concocted Mirror Ball. Meanwhile, the wild pairings can be disastrous. R.
Kelly’s off the map musings rudely clashed with Jay Z’s carefully calculated
personae, and The Best of Both Worlds brought
out the worst in both. Lou Reed seemed eager to forget Lulu in the midst of recording with Metallica. That said, these are
the Roots and Elvis Costello we’re talking about, two artists who’ve staked a
certain claim on collaborative streaks.
Despite the
Roots veritable status as the hottest house band on late night, Costello is the
bedrock upon which Wise Up Ghost is
built. In the past his chameleonic shifts have been served by a revolving door
of willing cohorts. From the main stay Attractions of his early years to
legendary composer Burt Bacharach and Allen Toussaint, Costello has scored in
the service of more teams than career journeyman Juwan Howard. He is a troubadour
in the most literal sense, as comfortable kicking up his feet in Nashville as
he is in London or the back stages of the Jimmy
Fallon Show. Akin to countryman David Bowie, his insatiable musical
appetite ensures he’ll never settle down. If there’s one rallying point for
these disparate parties, it’s the outward avoidance of stasis. Roots drummer/de-facto
bandleader ?uestlove’s impeccable time-keeping is all that holds the band in
place.
Even with this bond
of musical transience, collaborative efforts demand a feeling out period, achieved
on opener “Walk Us Uptown” through the fidgeting of knobs and obsessive
volume adjusting. ?uestlove quickly eschews the formalities and soon the song comes
into focus. “Walk Us Uptown”s portentous groove recalls a pulpy crime novel;
Costello’s lyrics amble down dingy alleyways and pray for solace from the
crossfire and cross-currents. An uncouth siren cuts the foggy night air;
signaling the concrete jungle has claimed another victim.
Follow-up “Sugar
Won’t Work” bears a broken heart, but lightens the mood via an elastic guitar riff
courtesy of Captain Kirk Douglas. The string section floating overhead recalls Wake Up’s breezier moments although
Costello’s coping to stupidity is far dourer than that record’s soulful
effervescence. “Wake Me Up” wades through a similarly restrained funk undercurrent
to Costello’s bedroom bedlam where Easter becomes a slaughter. Images of “A.C.
trained on the TV” to avoid a windswept eye and “decorated girl(s) strapped to
the steel trunk of a Mustang” puncture, though Costello chews some of the
bloodstained scenery for far too long.
Elsewhere, the title track
earns its six and a half minute length. Rambling scenes of lost girls found on
the radio and 1930s iron piers populate the dismissive narrative where Costello
points a finger at ghosts of the past. A rapidly descending string section
lends the song a spectral quality, like a mad dash down a staircase in a
dilapidated mansion. Similar to “Wise Up Ghost”, “(She Might Be A) Grenade”
threatens to “pull out the pin,” but never quite explodes; choosing to steadily
smolder. After an early drum roll, ?uestlove’s playing saunter’s along as the Roots
crew coat the track in a 70s soul glaze.
“Refuse to Be
Saved” dips further back by way of 60s superhero organ shrieks and a
“Subterranean Homesick Blues” bluster Costello adapts. Douglas’ whas on “Stick
Out Your Tongue” are prime late 60s psychedelia and lyrically Costello is mired
in the halcyon swamp of his songbook. Here, he liberally borrows from the 4th
Estate fomenting “Pills and Soap”. If anything about Elvis’ performance
could be considered “hip-hop” it’s his not so subtle genuflecting at the altars
of prior albums. Aforementioned “Stick Out Your Tongue” also appropriates
pieces of Mighty Like A Rose’s “Hurry Down Doomsday” to claim press-credentials. Foreboding epic “Wise Up Ghost”
pulled out the pin for 2004’s Delivery
Man. Highlight “Tripwire”s twinkling waltz held its first dance during Spike cut “Satellite”.
Though the
pairing rips out pages of the past, they quickly cast them into confetti.
Boisterous
“Come the Meantimes” teases a Black Thought verse that never comes, instead
fading into a fuzzed-out guitar solo.“Cinco Minutos con Vos” features a bloody battle between Elvis Costello’s nervous
pleading and La Marisoul’s unflappable calm, backed up by ?uestlove’s
in-the-pocket drum part. Piano ballad “If I Could Believe” closes out the album
pulling at heart strings and slowly twisting the knife into Costello’s faith. Costello
& the Roots wax self-referential for much of Wise Up Ghost, however foreknowledge is no prerequisite for
enjoyment, or as the man himself puts it “just because you don’t speak the
language, doesn’t mean that you don’t understand.”
Having now cracked the top 10, we're getting into the heavyweights of the year that was 2011. As usual we need a recap to see where the journey has taken us.
30. 4- Beyonce
29. The Dreamer, The Believer- Common
28. Just Once EP- How to Dress Well
27. Alien Observer- Grouper
26. Step Brothers- Don Trip & Starlito
25. Cole World: Sideline Story- J. Cole
24. Weekend at Burnies- Curren$y
23. Suck It and See- Arctic Monkeys
22. Celestial Lineage- Wolves in the Throne Room
21. The Whole Love- Wilco
20. Bad As Me- Tom Waits
19. Live, Love, A$AP- A$AP Rocky
18. Helplessness Blues- Fleet Foxes
17. 21- Adele
16. Wounded Rhymes- Lykke Li
15. Hilarious- Louis C.K.
14. Cults- Cults
13. Goblin- Tyler, the Creator
12. Tomboy- Panda Bear
11. Strange Mercy- St. Vincent
10. Parallax- Atlas Sound
9. Nostalgia, Ultra- Frank Ocean
#8 House of Balloons- The Weeknd
There’s a point inn “Wicked Games,” one of the strongest cuts from The Weeknd’s debut mixtape where he tellingly confesses “get me off of this, I need confidence, in myself.” It’s a stark moment of truth and intimacy on a tall-tale of an R&B record. If even half of the stories he tells on this drug-fueled, sex-addled, regret-laden mixtape are true, he doesn’t need a little bit of help, he needs to go away for good.
The Weeknd’s world is a frightening-one where nights of ecstasy-induced sex “High for This,” are not only recalled with chilling casualness, but encouraged. “You don’t know what’s in store, but you know what you’re here for,” he coyly sings over muted drum hits, the voice of an angel masking a devilish lothario. “Don’t be scared,” he tells her. But in a place this hazy and amoral how could she not be. Where singers like Drake or The-Dream show remorse in their actions, the Toronto-based Abel Tesfaye as The Weeknd has none. This is the only life he knows and he’ll do anything to keep it.
“I ain’t washing my sins,” he boldly states on “The Knowing,” a lulling musical-moment in a storm of skittish-depravity. That knowing in this case comes with the caveat that he too has been unfaithful to his partner, remaining gleefully quiet about the whole ordeal. It’s a situation endemic of the entire tape. On display is a house too toxic for us to ever enter, but far too compelling to not make an attempt. A house where the malignant moments of the night prior aren’t frowned upon, but celebrated with a smirk.
"Wicked Games" (NSFW)
#7 Take Care- Drake
Even with all of its success, Drake’s debut Thank Me Later couldn’t help but feel like a step-back from the phenomenal So Far Gone mixtape. The album featured the hand-wringing introspection Drake is well-known for, but the cash-in sounds of songs like “Fancy,” cheapened that introspection. The album came across as a collection of songs, lacking any continuity.
The greatest triumph of Take Care is that it sounds like an album. The muted star-tale “Cameras,” effortlessly transforms into the somber R&B of “Doing It Wrong.” The scorching Nicki Minaj feature “Make Me Proud,” blows up into the mammoth Just Blaze track “Lord Knows.” “Lookin’ for the right way to do the wrong things,” Drake raps alongside Rick Ross. The moment of justifying bad-behavior sits amidst shards of self-importance and paranoia that puncture Drake’s monstrous verse.
That conflict is at the center of Take Care, even in the singles. “I might be too strung out on compliments, overdosed on confidence,” he raps on “Headlines.” For all the likeability his confidence cultivates, it’s also a weakness. His confidence can’t help him on the drunken stupor of “Marvin’s Room,” and he’s left pathetically pleading. Those compliments buy him nothing here and he resorts to singing “you can do better.” The bombastic “HYFR,” can’t even rescue Drake’s ego, crushed by the memory of all his “exes.”
“I’ll be there for you, I will care for you,” he raps on the steel-drum sound of the title track. It’s a promise he knows he can’t fulfill, he’s been wounded too many times, “trust issues” clouding his mind. Despite his new-found confidence in his rapping and in his life, this is still the Drake of “Fear.” “Security follows me everywhere, so I never actually am alone, I just always feel alone.” For all the fame, females, drinks, and dollars, Drake is still chasing a dream he can never buy.
"Marvin's Room"
#6 undun- The Roots
“To make it to the bottom, such a high climb.” Hip-hop is obsessed with stories of “grinding to get it,” earning money any way you can. Some rappers sold drugs to get to where they are now, others stole, and some threw their entire lives away for a simple shot. For every triumph, there are at least 10 tragedies. For them the ladder to success is filled with broken rungs, impossible to climb. So goes the story of the fictional Redford Stephens on undun.
Redford’s daily grind is one of violence; he earns his keep as a stick-up man. “I did it all for the money Lord,” guest Big K.R.I.T raps on the electronic ripple of “Make My.” Here K.R.I.T. and Black Thought as Redford are looking towards the finer things. They’re aware of the costs of this life and would gladly give it all up for “peace of mind.” As reticent of his career as Redford is, he knows he can’t afford to “go soft.” “Weak-heartedness cannot be involved,” Phonte raps on the militant beat of “One Time.” One slip-up for Redford in this life is death.
Death is an integral part of this album, the Grim-Reaper greeting Redford with the sound of flat-lining on the album opener. The consequences of this album are all-too real. Even as Redford celebrates in the sultry sanctum of “Kool On,” he keeps a gun close to his side, never sleeping. The weight of the “grind” is a load many rappers are unwilling to bear, but here The Roots lift it up, dropping it right on their protagonist’s poverty-stricken shoulders.
For Redford Stephens, destiny is uncontrollable. The only hope he has in breaking free from the shackles of destiny is suicide, an option considered in the drum-steady “Tip the Scale.” “Homicide or suicide, heads or tails,” Dice Raw sings. In Redford’s world, no matter how the coin comes up, his life has already been decided. He’s stuck trying to tip a scale that will never even out.
Far too many people in the real-world face the situation detailed in undun. They aren’t written about or remembered, their names the only thing they really had. The Roots pay this plight great attention here, painting an ugly picture few want to see. To Redford, right and wrong aren’t absolutes, but opinions. It’s easy to view him as little more than a petty-criminal, but in his world a life of crime is a life of survival.
"Tip the Scale"
Got a problem with a pick? Then let your opinion be heard. Think you know the #1 album? Then drop a line before it's too late.
The concept-album is the latest offering from the Roots.
"I did it all for the money, Lord" raps guest Big K.R.I.T. on "Make My," a somber song on what might be one of the most sullen rap albums in history. With their latest offering, undun,The Roots have dropped another gem, a concept-album about the travails and travels of stick-up kid Redford Stephens. "Make My" cuts to the core of Redford's struggle to survive.
With an electronic ripple and lilting keyboard, Mississippi-native Big K.R.I.T. enters the scene capturing this mentality masterfully in his verse, spotlighting the problems that come with more money. "Well in the world of night terrors it's hard to dream, they hollerin' cash rules everything, just call it cream. Cause when it rises to the top you get the finer things." Here K.R.I.T. gracefully lifts from the immortal "C.R.E.A.M" by the Wu-Tang Clan. In this song, cream is no longer a blessing, but a curse and K.R.I.T. would just as soon "give it all for peace of mind." K.R.I.T. pinpoints a situation far too many find themselves in, where "everything that wasn't for me I had to chase." Time and time again on this record, Redford goes after what "'isn't for him," because he wants a better life than the one that he's got. As we see from the paranoia demonstrated in K.R.I.T.'s verse though, this isn't such a good thing.
"Sleep" ft. Aaron Livingston undun
The first official song off of undun.
This track sees Redford reflecting on the end of his troubled life
Lead MC Black Thought continues the paranoia of Redford in the second verse, showing us how little this all amounts to. "Tryin' to control the fits of panic, unwritten and unraveled, it's the dead man's pedantic." Despite all of Redford's struggling to make it, he'll soon be forgotten when he fades away, becoming another statistic. To escape this sorry state Redford contemplates suicide, pondering about what to put on that "blank canvas." In the final line, Black Thought through Redford relates back to us, "if there's a heaven I can't find a stairway." No matter what he does, Redford is trapped and has little control over what happens in this world or the next, with suicide standing as the only way he can get a grip on life.
"Make My" ft. Big K.R.I.T. & Dice Raw (shortened track)
This is all very glum material from the Roots, but it's not without purpose. Far too many people in cities throughout this country and the world see this situation play out every day. Arguably no other hip-hop album has payed this much attention to that plight this year than undun. In Redford's world (The real world,) right and wrong aren't absolutes, but opinions, walking hand-in-hand with one another.
"Make My" ft. Big K.R.I.T. & Dice Raw (full track)
Another week has come and the hardest working group in hip-hop has debuted another new song from the forthcoming undun album. As they have done the past three weeks, The Roots have posted a new video for a song from their soon to be released concept album. This one, like past entries is under three minutes and shot in black and white. With each passing release, we are starting to see more of the life of this stick-up kid who the album is promised to be about. However, we'll have to wait until December 6 to get the full picture.
And in case you missed it, here's the video to last week's undun track. "Stomp" is undoubtedly the hardest-rocking track we've heard from the album yet and shows another frantic get-away from our hero.
Another Tuesday has come and The Roots have another new offering from their concept album undun. The video for "Tip the Scale," is a spiritual companion to the "Make My," right down to the gorgeous black & white cinematography. This particular clip isn't riddled with bullets like the previous offering, but it's heartbreaking nonetheless. No doubt these videos are meant to give us a closer look at the main character of the rap group's album, Redford Stephens. Expect the group to drop two more videos before the album is released on December 6.
Up above, is the first official video from The Roots' new album undun, which is slated to drop December 6. "Make My" is the first single to be released off the album, and the entire track features underground-rap star Big K.R.I.T. The black and white affair from above runs less than half the length of the actual song, but is compelling none the less; giving us a violent and emotional shootout.
For the next three weeks, the group has promised to released a new video every Tuesday at 12:06 pm (most likely Eastern-Time) to promote the album.
