Category Archives: Music

Clams Casino hits jackpot: The cloud-rap creator on Mortal Kombat and copycat producers

clamscasino2016crop-1000x630

After a few quiet years, Clams Casino is returning with his grandest artistic statement yet. The producer born Michael Volpe emerged at the turn of the decade, producing breakthrough tracks for Lil B, A$AP Rocky and Main Attrakionz, and his lo-fi style – with its moody melodies, faraway vocal samples, and massive, in-the-red drums – came to define the sound known as “cloud rap” and make him an underground star in his own right. His trio of Instrumentals mixtapes remain required listening for fans of hip-hop, electronic music and all points in between, and he’s gone on to produce tracks for The Weeknd, FKA twigs, Vince Staples and other. But those collaborations have been increasingly rare recently, with his output seemingly limited to a handful of songs per year.

Thankfully, it was worth the wait. On July 15, Clams Casino will release 32 Levels, his debut album and first proper body of work since 2011’s Rainforest EP. The record (which takes its title from seminal Clams-produced Lil B track ‘I’m God’) charts his development from crafter of mixtape cuts to producer on major labels’ speed-dials. As Lil B collaborations give way to songs with singers like Kelela and Future Islands frontman Samuel T. Herring, the album tells the story of Clams’ creative growth. This is very much by design. “The sequence of it is really important to me, and that’s the only way it really works,” he says via Skype from his New Jersey home. “With the range of music and the different types of artists – the whole scope of it is so wide – it needs to be organized in a certain way.”

Read more at FACT Magazine.

Selena Gomez’s ‘Revival’ tour doesn’t quite deliver on its name

537485722

Selena Gomez’s “Revival” tour stopped at Verizon Center on Saturday night, and fans looking for a memory didn’t have to settle for a T-shirt or a poster: They could also take a photo against a backdrop sponsored by Pantene. Gomez is not just a spokeswoman for the hair-care company but one of the latest proponents of the music industry’s version of “lather, rinse, repeat”: Find success with Disney, branch out into pop music, mature into “adult” artist…

“You’ve seen my ups, and you’ve seen my downs,” Gomez told the packed Verizon Center crowd. “Let’s just have fun, okay?”

Read more in the Washington Post.

Ariana Grande and Fifth Harmony take Scandinavia’s mighty pop empires into battle

agwider-1200x630

“Max Martin needs no introduction. The 45-year-old Swede has maintained an iron grip on the pop charts since the turn of the century, churning out everything from ‘…Baby One More Time’ and ‘I Want It That Way’ to ‘Shake It Off’ and ‘Can’t Feel My Face’. His songs are saturated with hooks, combining the catchiest parts of Swedish dance-pop, arena rock, ‘90s R&B and millennial electronic music to define the sound of modern pop.

But Martin is not the only Scandinavian hitmaker ruling the charts from behind the scenes: for the last decade, Norwegian production duo Stargate has had dozens of top 10 singles, working from a similar formula as Martin but forging songs more apt for R&B-influenced singers like Rihanna, Ne-yo and Beyoncé. In the last few years you’ve heard Martin’s productions – think the hits of Taylor Swift’s 1989 – on the radio, in commercials and in stadiums; you’re more likely to hear Stargate’s work – including Tinashe’s ‘All Hands On Deck’ and Ty Dolla $ign’s ‘Drop That Kitty’ – in the club. And their different production styles are all over Ariana Grande’s Dangerous Woman and Fifth Harmony’s 7/27, albums that tell us plenty about both acts – and the state of pop music in 2016.”

Read more in FACT Magazine.

Chance The Rapper is on an ultralight beam on the gospel-influenced Coloring Book

coloringbook-5-13-2016-1024x630

“On Kanye West’s ‘Ultralight Beam’, Chance The Rapper boasts, “I made ‘Sunday Candy’, I’m never going to hell / I met Kanye West, I’m never going to fail.” The lyric and the song set the tone for Chance’s first solo project since his 2013 breakthrough Acid Rap, Coloring Book, a mixtape that focuses the rap-meets-gospel aspirations of The Life of Pablo into a ray of sunshine that illuminates concerns both worldly and heavenly.

On last year’s Surf, Chance subsumed himself into the Social Experiment, trying his best to step out of the spotlight, highlight his collaborators and be a bandleader. It was a pleasant experiment, but those hoping for a proper follow-up to Acid Rap were probably disappointed; Surf belongs to the collective, not Chance.

Thankfully, even as he’s brought in more collaborators than ever, balancing legendary (Kanye, Lil Wayne), contemporary (Future, Jeremih) and compatriot (Towkio, Saba, his cousin Nicole) without losing focus. His voice and personality are so strong that even when Justin Bieber does a bridge and Jay Electronica drops a verse, both are treated like NBD afterthoughts. There is no doubt that Coloring Book is Chance’s record.”

Read more in FACT Magazine.

Catch this rising vocal star: Singer-songwriter Lapsley grooves beyond her years

lapsleymainpressimage

“Imagine what Adele would sound like if she had dabbled with GarageBand instead of picking up the guitar, and you’re halfway to Lapsley. Like that global star before her, the English singer-songwriter born Holly Lapsley Fletcher released her first album at 19 and dazzles with a smoky voice that carries the weight of a life not yet lived. But that’s where the comparison ends.”

Read more in the Washington Post.

Maracuyeah Celebrates Five Years of All-Inclusive, No-Bullshit Latin Dance Parties

blogs_artsdesk_files_2016_04_rat_mafe_bw

Five years ago, Kristy La Rat and DJ Mafe were in a car on their way to New York to interview and see Oakland-via-Panama rap duo Los Rakas, lamenting the fact that independent artists like that never made it to D.C. Inspired by the show’s energy, Kristy and Mafe decided they would start booking the artists they loved, and Maracuyeah was born. And as the DJs and organizers of Maracuyeah celebrate their fifth anniversary tonight, it’s only fitting that the show will be headlined by Los Rakas, the duo that started it all.

Maracuyeah is many things: a DJ collective, a roving party, a talent booker, a community-building safe space. And for five years, Maracuyeah has been responsible for some of the best dance parties in D.C: inclusive celebrations by and for people of all races, countries of origin, genders, and sexualities—sweaty and sexy tributes to Latin music’s past, present, and future. Or as Mafe describes it, “the original Latin undeground tropical love party.”

Read more in the Washington City Paper.

Lemonade: The hidden meanings buried in Beyoncé’s filmic journey through grief

beyonce-lemonade1-1200x630

“If Beyoncé’s 2013 self-titled album was the proof-of-concept for the “surprise visual album”, then Lemonade is its apex. That last effort felt like an anthology of music videos. Not Lemonade, premiered in full on HBO on Saturday night. A sophisticated hour-long art film that uses movements and motifs, not just tracks on an album, its breadth and depth see it surpass similar pop soundtrack films like Kanye West’s Runaway and Lana Del Rey’s Tropico, which now seem quaint in comparison. Lemonade is in a league of its own.

It’s a hero’s journey through grief. If her self-titled album was micro – a personal exploration of feminism, career and self – then Lemonade is macro – an exploration of those themes across time and place. And while the album is stunning on its own, it’s in visual form that Lemonade truly comes to life.”

Read more at FACT Magazine.

Charlie Puth’s show in D.C. was an exercise in the banal and inoffensive

apr01dc


On Friday night, singer-songwriter Charlie Puth opened his set with his debut single, “Marvin Gaye.” The doo-wop throwback turns Gaye’s name into a clumsy come-on — “Let’s Marvin Gaye and get it on” — and on the anniversary of his death, one couldn’t help but feel that the soul star was rolling over in his grave.

Unlike the controversy that swirled around Robin Thicke’s “Blurred Lines,” the most offensive thing about “Marvin Gaye” is how inoffensive it is — a bland rehash of a sound that has been pillaged by blue-eyed soul musicians for decades, with a breakdown that nods to hip-hop. (On the recording, that’s where Meghan Trainor adds a verse; in concert, Puth beat-boxes.) The song resembles the rest of Puth’s music in that it is pleasantly familiar and particularly forgettable.”

Read more in the Washington Post.

Dawn Richard continues the part at the fringes of electronic R&B at DC9

b00a2466

“It was a chilly, sleepy Monday night in the District, but D∆WN was ready to party. The artist formerly known as Dawn Richard took to the small stage of DC9 wearing a barely-there outfit of red-sequined hot pants, a sheer top and knee-high stiletto boots. When she asked, “So can we have some fun tonight?,” the question was clearly rhetorical.

After an instrumental introduction, Richard launched into “Faith,” a 2012 cut reminiscent of Drake and Rihanna’s “Take Care” that found her belting out “You never lost faith in me” over synth chords and a galloping club beat. The lyric is telling — it seems to speak to fans that have never given up on the singer, despite the winding path her career has taken.”

Read more in the Washington Post.

With Guestlist, Classical Trax is Bringing Experimental Sounds From Across the World to D.C.

“Classical Trax is a global DJ collective, but that’s selling it short. The music that its members make, mix, and mutate can be grouped together under the increasingly amorphous designation of “club music,” with influences drawn from Baltimore and Jersey club to Angolan kuduro, and from U.K. grime to Chicago juke and footwork.”

Read more in the Washington City Paper.