Category Archives: Music

Album Review: Bosco Delrey – Everybody Wah

On his debut record, Everybody Wah, Bosco Delrey builds upon the timewarped sounds of his initial singles. The album is full of jangly rockabilly and rambunctious garage rock, loaded with hooks and a slicked-back swagger.

In the lull since last year’s releases, it was clear that Delrey’s biggest hurdle would be meeting the immediacy of songs like “Evil Lives” or “Space Junkie.” On Everybody Wah, the rumbling, electric organ jam “Glow Go The Bones” and catchy album opener “Baby’s Got a Blue Flame” are up to the challenge.

[wpaudio url=”/wp-content/uploads/2011/04/01-Babys-Got-A-Blue-Flame.mp3″ text=”Bosco Delrey – Baby’s Got A Blue Flame” dl=0]

Everybody Wah presents a modern take on classic rock and roll without aping it note-for-note. The songs mix an old school songwriting approach with diverve new school influences, the kind of formula that led Diplo to call Delrey a “garbage can Elvis.” “Get Outta Dodge” swirls under a psychedelic fuzz; the electro-tinged “Archebold Ivy” has the weirdness of Syd Barrett-era Pink Floyd; “Afterlife” grooves with a mellow dancehall beat. In all cases, Delrey serves up patchwork, not pastiche.

[wpaudio url=”/wp-content/uploads/2011/04/09-Afterlife.mp3″ text=”Bosco Delrey – Afterlife” dl=0]

The flip-side to sock hop rock songs is the doo-wop / country western ballad, which Delrey also handles with aplomb. “Expelled Spelled Expelled,” “Down We Go,” and “Insta Love” are updates of the classic style, with gentle arpeggios and even gentler melodies.

[wpaudio url=”/wp-content/uploads/2011/04/10-Down-We-Go.mp3″ text=”Bosco Delrey – Down We Go” dl=0]

The album closes with the spacey, galloping electronics of “20 Flight Dub.” The song is a bit of an outlier, but it serves as a fine digestif after an impossibly catchy full length. The song’s unofficial video pairs it with the surrealistic touchstone Un Chien Andalou. For an album of unexpected twists and turns, it’s a fitting choice.

Everybody Wah comes out tomorrow, April 26, on Mad Decent.

Film Review: "New Garage Explosion"

“Keep it simple stupid.”

That’s the advice Joe Bradley of the Black Lips offers early on in New Garage Explosion: In Love With These Times, a documentary by Aaron Brown and Joseph Patel about the last decade’s garage rock scene (Ed. note: quote originally incorrectly attributed to Cole Alexander). Those four words manage to sum up the scene (and film) better than I could, but I’ll give it a shot.

The garage rock profiled in New Garage Explosion harks back to punk’s origins, not the hardcore punk of blackshirt mosh pits. It’s punk filtered through 50s rock’n’roll, 60s bubblegum pop, and 70s psychedelia. It’s also very much a regional movement: cities like San Francisco, Brooklyn, Memphis, Detroit, and Atlanta have their own scenes, bands, and sounds, but are all united by a brash, punk attitude and a DIY spirit.

New Garage Explosion documents the pillars of garage: the influences, the lo-fi recording process, the financial realities and the lifestyle. The film is interspersed with performances, rarely showing too many talking heads before getting back to its core: the visceral live performance of garage rock. Missing is the narrative of great documentaries: the audience is following one band’s experience, but rather the entire experience. It’s a cut-and-paste, film-as-zine approach that suits the topic.

Fans of any of the bands shown (Black Lips, Magic Kids, Vivian Girls, Smith Westerns, Davila 666, to name a few), will probably discover a new band, classic record, or groundbreaking record label from watching New Garage Explosion. Like the characters in High Fidelity, the interviewees relish the chance to list favorite obscurities. There is a record-store-nerd current throughout the film that anyone who has spent time in a cultural/musical underground will appreciate.

Sadly, the specter of Jay Reatard looms over the film. The film’s first case study died after an accidental overdose at just 29. On stage and off, Reatard was antagonistic and self destructive, but with a self-awareness evident in his interviews. Chillingly, he remembers punk rock records made by “dudes that kinda did make it… and then they fucking threw it all away and made these amazing albums on their downward spirals.” As he trails off, he references his prophetically titled Watch Me Fall. Unfortunately, understanding history did not prevent Reatard from repeating it.

New Garage Explosion is a brief (only 75 minutes long) introduction to a scene that is very much alive. The film features a brief section on the cycle of buzz band hype, asking “What does it take for a band to have lasting power?” Maybe that means taking Joe Bradley’s advice.

Stream “New Garage Explosion” below or at VBS.TV

Future Grooves: Christoph Andersson

The term “wunderkind” gets thrown around a lot, especially with young musicians needing nothing more than an Internet connection to distribute their work. But what else would you call a producer who released four singles in less than a year, runs his own record label (Hurst Recordings), and is just barely 19 years old?

Christoph Andersson makes refreshingly vibrant electro-pop from his New Orleans home. Think mellow Kitsuné jams with the pop sensibilities (and without the ego) of Calvin Harris. While attending the New Orleans Center for Creative Arts, Andersson made his own music every day in the electronic music vacuum that is New Orleans. The result is shimmering dance music that is equal parts house, electro, and disco with a distinct melodic edge.

In a unique turn, Andersson’s singles have featured dual versions of each song (in addition to remixes by artists like Brenmar and Cedaa). The surging “Metropol” is chilled into the downtempo “Metropolis,” “Capital” keeps its anthemic chorus but becomes the mellow “Cache,” and so on.

[wpaudio url=”/wp-content/uploads/2011/04/metropol.mp3″ text=”Christoph Andersson – Metropol” dl=0]

[wpaudio url=”/wp-content/uploads/2011/04/metropolis.mp3″ text=”Christoph Andersson – Metropolis” dl=0]

The recently released Getaway single follows the same pattern. The title track adds elements of UK funky into the mix, while “Gestalt” is driven by exotic percussion and the electronic chirps of a Night Slugs track. Andersson’s catchy vocal melody is brought up in the mix, as well.

He might not be able to drink there, but Andersson plays U Hall this Saturday at Will Eastman’s Bliss Dance Party. Take a sneak peak at what he has in store for this weekend’s revelers with this mix, crafted for Big Shot Magazine.

[wpaudio url=”http://newsflash.bigshotmag.com/audio/BIGSHOTmix.mp3″ text=”Big Shot Guest Mix: Christoph Andersson” dl=1]

The return of moombahton masters Heartbreak and Munchi

Since pairing up on the Munbreakton EP last June, Heartbreak and Munchi have both come a long way. The duo has been a guiding force in the development of moombahton, consistently pushing boundaries and even planting the flags on derivative genres. Seven months after their last collaboration – Fuck H & M – and they’re back for the crown.

Moombahsoul, the most promising 108 BPM subgenre, is well represented here. John Legend’s “Ordinary People” and Jay Z’s “Song Cry” become “The Legend” and “Me and My Bitch,” respectively. Add those two superstars to the list of artists (LL Cool J, The Fugees, Big Pun, DeBarge, etc.) that have been given the moombahton treatment, with stellar results.

Munchi’s “Learn” and Heartbreak’s “Jump Up & Twist” have sharper edges; on these tracks, the tropical bass movement comes full-circle as the dembow rhythm is applied to reggae, dancehall and bashment. The EP reaches the proverbial 11 on a pair of moombahcore tunes. Heartbreak, arguably the inventor of the dubstep-moombahton hybrid, picks up where “King Kong” left off on “Doomsday.” Munchi’s remix of “Warface” by dubstepper Jakes gives an even more martial feel to the Full Metal Jacket sampling original.

Munchi shouldered the blame for this release’s delay, but after the last couple of months, I think his friends and fans are just happy to see him return to form. In his own words: “This promo went from being Moombahsoul to Moombahcore to Moombashment to ‘You know what, fuck it lets just put this shit out.‘” Long live the kings of moombahton!

Download: Heartbreak and Munchi – H/M

Bonus: DJ Ayres released ten edits and blends that he whipped up for last week’s Moombahton Massive. In the spirit of free moombahton, grab the tracks from Soundcloud.

Video Rundown: Cubic Zirconia / Toddla T / Katey Red

In what might become a regular feature on Postcultural, I present my first Video Rundown. Nothing too complicated here, just a few new clips that are worth watching.

Cubic Zirconia have a knack for crafting pitch-perfect videos for their songs. The clip for “Night or Day” is no different. As she is on stage, Tiombe Lockhart is the focal point. The video is all close-ups and tantalizing glimpses of the beautiful artist, set to the hypnotic house vibes of the song’s club remix. If this is a typical night and day in New York, sign me up.

Toddla T’s latest video has a similar verite feel. The black and white clip for “Take It Back” does just what the title says, returning to an age of pirate radio and underground raves. The Dillon Francis moombahton remix of the song may be the hottest track in the world, but the original (and the video) are straight up old school. (Ed. note: video now available on Youtube)

Katey Red has run New Orleans’ sissy bounce scene for over a decade, so it’s certainly surprising that her first video is just being released now. The community-funded clip for “Where Da Melph At” is all booty, all the time. The highlight has to be the well-dressed supper club crowd getting in on the fun.

EP Review: Menya – "Menya"

On their self-titled (and free) EP, Menya definitely puts the pop in electro-pop, shedding some (but not all) of the transgressive energy that marked their earlier releases. There isn’t anything approaching the sex-crazed “Ripe” or “D.T.F,” but in the band’s three year evolution, they have tended more and more towards the mainstream.

Menya opens with “Awkward in Between,” which sets the tone for the album. Lead singer Angie Ripe provides sugary teen-romance vocals over bouncy beats from Good Goose. Rapper Coco Dame handles the verses on “On the Run” and “Flames;” the latter’s hook and half-sung/half-rapped formulation puts the song in similar territory to the B.o.B. / Hayley Williams megahit “Airplanes.”

Sandwiched between new compositions are updated versions of three older tunes, “Oh,” “Diana (I Heart U),” and “Loose (Is The Goose).” “Oh” and “Diana” are two of the group’s catchiest songs; including them here gives new listeners a taste of what Menya has been up to since releasing songs as NYU students. “Loose,” which has been remixed by premier Baltimore club DJ James Nasty, is upfront, in-your-face sex talk – no disco sticks, here.

[wpaudio url=”/wp-content/uploads/2011/04/menya-loose(jamesnasty remix).mp3″ text=”Menya – Loose (James Nasty Remix)” dl=1]

Menya’s East Coast tour brings them through DC this Saturday at the Velvet Lounge, where they’ll be opening for Baltimore club queen Sherrell Rowe. The trio always bring high energy to their shows, and if this EP is any indication, they’re ready to pop.

The Verge: Grimes

Increasingly, there is a strand of darkly chilling music that turns the notion of pop music on its head. Practitioners include Bat for Lashes, Esben and the Witch, and Zola Jesus: artists who combine ostensibly pop melodies with darkly experimental touches. From the shoegazey to the baroque, this “nightmare pop” (as Esben and the Witch call it) is haunting and evocative.

The newest addition to this cast is Grimes, the stage name of Montreal’s Claire Boucher. Without any musical instruction, or even a passing knowledge until the age of 18, Grimes crafts twisted little pop songs from a patchwork of influences: dance, folk, and industrial music, among others. Tying everything together is her child-like, strangely beautiful singing voice.

“Vanessa,” the lead single off of Darkbloom (a split with fellow Montrealer d’Eon), has caught the attention across the blogosphere. A strong percussive current runs through the song for an entirely different type of witch house. The kaleidoscopic video is just as lush as the song.

While this may be the first time we’re hearing (and seeing) Grimes, the newcomer has been relatively productive during the last year, releasing a mixtape (Geidi Primes, available below) and an album (Halfaxa, on Arbutus). Geidi Primes is a bedroom-pop sound collage that revels in dichotomies: natural and artificial, East and West, old and new, comforting and abrasive. The sinewy “Rosa” could be a Smith’s tune, and strings collide on the sweeping “Sardaukar Levenbrech.”

[wpaudio url=”/wp-content/uploads/2011/04/rosa.mp3″ text=”Grimes – Rosa” dl=0]

[wpaudio url=”/wp-content/uploads/2011/04/sardaukar.mp3″ text=”Grimes – Sardaukar Levenbrech” dl=0]

Halfaxa has a more sinister undercurrent than Geidi Primes, mixing out-of-tune interludes with fuller-formed darkwave songs. Synths and electronic instruments are sharper, while the low end resembles the woozy bass of drag. The greatest contrast on Halfaxa is between Boucher’s dreamy, breathy vocals and the unrelenting instrumentation. “Sagrad” starts as a gently-strummed ballad before layers of vocals, harp, and a synth pop beat join the proceedings. Drag influences are heavy on the appropriately-titled “My Sister Says the Saddest Things.”

[wpaudio url=”/wp-content/uploads/2011/04/sagrad.mp3″ text=”Grimes – Sagrad” dl=0]

[wpaudio url=”/wp-content/uploads/2011/04/sister.mp3″ text=”Grimes – My Sister Says the Saddest Things” dl=0]

Add Grimes to the list of female artists ready and able to challenge the notion of women in pop music as party time sex dolls. Not everyone wants to be Madonna: plenty of people want to be Siouxsie Sioux.

Download: Grimes – Geidi Primes

Review: Blaqstarr – The Mixtape


After The Divine comes The Mixtape, Blaqstarr’s follow-up to the transcendent EP released earlier this year. At 25 tracks and just over an hour, the singularly titled mixtape is a definitive look at Blaq’s past, present and future.

Classic collaborations, like “Get Off” with Diplo and “Tween Me and You” with Nadastrom, are reminders of how far Blaqstarr’s sound has come. Compare those with ones with Steve Aoki (the nu-disco “Control Freak”), Will.i.am (the wavering, La Bouche-referencing “Meet Me Halfway”), and Akon (the auto-tuned ballad “Teardrop Shorty”). Gone are the Baltimore club beats; these new tracks are four-on-the-floor crowd pleasers, not the slick and sexy songs he built his name on.

But for fans of Blaqstarr’s old school material, not all is lost. His team-up with DJ Excel, “Rain Came Into My House,” is pure Bmore swagger. “Handstand,” with production by Switch and VIIXIIV (aka Sugu Arulpragasam, M.I.A.’s younger brother), is raw and sludgy. And one of the tape’s finest moments is a remix of the gunshot banger “Tote It,” featuring Lil Wayne (which has been floating around as “Told Y’all” for a while).

In an ironic turn, Blaqstarr teams up with the members of Black Star. “War of Roses” features Talib Kweli, and sounds like Steppenwolf with a club beat, and the moody, hip-hop infused “Kiss Me On My Lips” with Mos Def would fit in on The Divine.

Blaqstarr is a man stuck multiple worlds: the club sounds of his Baltimore home, the shimmering dance music of his LA residence, and the future funk of his boundless imagination all loom large in his work. The Mixtape, while straining under these pressures, does an admirable job of finding the common thread between varied genres and lets Blaqstarr shine.

Download: Blaqstarr – The Mixtape

Album Review: TV on the Radio – Nine Types of Light

TV on the Radio returns from a brief hiatus with Nine Types of Light. From one of the most mesmerizing and challenging bands of the last decade, the major-keyed album doesn’t quite meet the high standard they’ve set. The band is still unmatched in melding their influences into a cohesive sound, but Nine Types of Light is missing the “Eureka” moments, surprise turns and breakout songs of previous records.

The bouncy, sun-soaked “Second Song” opens the album with an uncharacteristic tone that permeates the proceedings. Horns are more prevalent than ever, and the vocals (provided, as always, by Tunde Adebimpe and Kyp Malone) tend towards uplifting rather than darkly exotic. Typical of the album is “You,” driven by a simple Eastern guitar riff and crunchy boom box drums.

[wpaudio url=”/wp-content/uploads/2011/04/you.mp3″ text=”TV on the Radio – You” dl=0]

“Killer Crane” is the band at their most stripped down and vulnerable. Thick piano chords do the heavy lifting, but the song isn’t as poignant as something like “Family Tree.” The lead single, “Will Do,” is a love song in in the purest sense. It features a surging low end and one of the band’s surest melodies yet. As the chorus holds, “no choice of words will break me from this groove.”

As waves of guitars, synths and horns are added to the mix, the album begins to feel more like TV on the Radio. “Keep Your Heart” is the upbeat cousin to Dear Science‘s “Stork and Owl.” The darkness starts to creep in on “No Future Shock,” which urges the listener “do the ‘no future'” before layers of instrumentation pull it apart at the seams. The sexy “New Cannonball Blues” would fit on any of their albums; Adebimpe’s slinking vocal lines and Malone’s blasts of falsetto keep it grounded in familiar terrain.

[wpaudio url=”/wp-content/uploads/2011/04/new_cannonball_blues.mp3″ text=”TV on the Radio – New Cannonball Blues” dl=0]

TV on the Radio are gifted chameleons, altering their color while staying true to their sound. To paraphrase Potter Stewart about obscenity, you know a TVOTR song when you hear it: the juxtaposition of diverse styles, the distinct vocal harmonies between Adebimpe and Malone. On each successive release, the art rock provocateurs have scrubbed away some of their trademark grime to focus on melody and songcraft. But can’t you have both?

Desperate Youth, Blood Thirsty Babes was a revelation; Return to Cookie Monster the rare sophomore sensation. In the band’s oeuvre, Nine Types of Light is closer to Dear Science in that regard. But while Dear Science was a surprising departure, the album was a grower and far more immediate than this one. Nine Types of Light is a just a little too meditative for my tastes; it’s as if some of the band’s light has been extinguished.

Future Grooves: Nguzunguzu

Nguzunguzu is a DJ/production duo comprised of LA locals Asma Maroof and Daniel Pineda. While nguzu nguzus were traditional totems in the South Pacific, this Nguzunguzu is more concerned with dance floor ecstasy than spiritual protection.

Their self-titled (and free) EP is a hyperactive blend of house, club, juke and tropical influences. The only respite from the unrelenting chaos is the eerily moody “Moments in Sex.” There’s nothing ambient about the hyperactive tribal guarachero of “El Bebe Ambiente,” and “Got U” is a claustrophobic banger based on a sample from Drake’s “A Night Off.” On a recent remix, Canblaster and Berou focus the song into big room house.

[wpaudio url=”/wp-content/uploads/2011/04/got_u_canblaster_berou.mp3″ text=”Nguzunguzu – Got U (Canblaster and Berou remix)” dl=0]

The duo’s Mirage EP is a more cohesive set of sounds, and although it was released by Silverback Recordings, it would fit in the Night Slugs catalog nicely. The entire EP teams with poly-rhythms – bits and pieces of overlapping percussion that fight for attention. “Rec Loose” features a bass melody right out of classic dubplates and breaks down into a warm mix of yawning synths. “Unfold” is a spooky drumline rave; Munchi’s remix is best described by its title: “Munchi likes excessive amounts of bass mambo juke remix.”

[wpaudio url=”/wp-content/uploads/2011/04/rec_loose.mp3″ text=”Nguzunguzu – Rec Loose” dl=0]

[wpaudio url=”/wp-content/uploads/2011/04/unfold_munchi.mp3″ text=”Nguzunguzu – Unfold (Munchi remix)” dl=0]

As Nguzunguzu shipped off to Europe for a series of dates, they dropped a brief promo mix that ranges from tropical house to rhythm and bass. This is global dance music at its finest – and weirdest.

Download: Nguzunguzu – Europe Mini Promo Mix
Download: Nguzunguzu EP