Amanda Palmer Performs The Popular Hits Of Radiohead On Her Magical Ukulele

Posted on July 20, 2010 | Leave a comment


Amanda Palmer writes and performs a sublimely entertaining brand of music she flippantly calls “Brechtian punk cabaret,” but she may go down in history for another feat: figuring out how to make money off music in the 21st century.

With a dedicated army of fans, Palmer has successfully monetized her life. From secret ninja gigs to #LOFNOTC (Losers of Friday Night on Their Computer) webchats, she gives her fans what they want. The latest is a pay-what-you-can EP of Radiohead covers, performed on her “magical” ukulele.

Stripping down Radiohead hits from Pablo Honey, The Bends, OK Computer, and Kid A, Palmer finds a common thread of melancholy melodies which remain haunting, even on the ukulele. The compositions range from the barebones “Fake Plastic Trees” to the more densely layered “Idioteque.” Fan-favorite (and suicide theme music) “Creep” shows up twice, both a hungover soundcheck version and an audience-participating live version.

Palmer recently orchestrated a release from Roadrunner Records (a poor fit if there ever was one). She’s releasing music sans record label, sans marketing machine, and relying on her fans to spread the word. Some “WEBCAST RELASE PARTY LUAU MADNESS” is planned for today at 6pm, and you can watch it live. An $0.84 purchase ensures that Radiohead are paid royalties, so anything more will help her continue to be one of the most innovative performers alive. So don’t be a creep, don’t be a weirdo, and do the right thing.

BONUS: one of the best ukulele covers of ALL TIME.

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Tropical heat from Munchi and Heartbreak

Posted on July 19, 2010 | Leave a comment

It’s a Moombahton Monday, which means two things: Dave Nada’s summer weekly is ready to go off, and TGRIOnline has new tropical tunes for you.

Since teaming up for the Munbreakton EP, we’ve been eagerly awaiting new songs from Munchi and David Heartbreak. Their collaborative material combined the best of the US and the Netherlands, with a syrupy Dutch house take on some American R&B and hip-hop classics.

First up is a very DC-friendly concept from Heartbreak, the Barack Moombahma EP. “The Moombahma” is a very chilled-out, house-influenced form of moombahton; like much of the Munbreakton EP, it builds on classic samples (“Gypsy Woman” by Crystal Waters) and forgoes some of the more abrasive sound elements of the genre. “Whistle Blower” is a more of a party starter, with its sample of Juelz Santana’s “The Whistle Song.” The rest of the EP is not to be missed, from the vocoder and sirens of “Quires Culiar” to the appropriately-titled “Banger.”

If Dave Nada is the maestro of moombahton, Toy Selectah is the cumbia commander – but clearly, they’re not alone in their mastery of tropical stylings. Munchi tries his hand at the Colombian style on Cumbia XXX, where the beats are as dirty as the subject matter. Munchi’s barebones tracks combine cumbia, baile funk, moombahton, and even a little Bmore club. To keep it grimey, Munchi sampled everything from Nokia ringtones to Brazilian porn. And if that’s not enough reason to download, check out the entirely NSWF cover.

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Future Grooves: Dark Sky

Posted on July 15, 2010 | Leave a comment

It turns out Magnetic Man is not the only triumvirate making waves in dubstep. Dark Sky, comprised of three South Londoners, is short on biographical information and tracks. However, the little they have released proves – to paraphrase the adage – that three heads are better than one.


As the Boogaloo Crew, Matt Benyayer and Tom Edwards released a few wobbly bangers for Trouble and Bass, including a stellar flip of Stevie Nick’s “Edge of Seventeen” entitled “Days Go By,” on which that familiar, bittersweet hook melts into pulses of serious bass.

Now, Matt and Tom have teamed up with Carlo Anderson to form Dark Sky, an outfit whose music continues to get deeper and more complex with each new release. First up was a 7″ on Black Acre Records. On the B-side, chiptune keys play out like the titular “Ghost Notes” before darker waves of synth push into the mix, while the A-side, “Something to Lose,” is a lone ray of light shining through ominous clouds, building into a breakbeat fueled jump-up track.

The recently released Frames EP builds on the sparse post-dubstep of “Ghost Notes.” The beats owe more to UK funky and two-step, with the sirens and bass blasts of dubstep. The tracks groove with the steady propulsion of a Joker or Ramadanman beat. The stand-out track, “Drowned City,” features bursts of airy synths and a jagged upbeat sound that is given plenty of room to breath.

Their Dark001 mixtape features originals by the group and contemporaries Panagea and Untold, as well as a killer remix of “Crystalised” by the XX, before closing on the Luvstep-approved remix of Little Dragon’s “Twice” by Aaron Jerome. For Dark Sky, it looks like bright days ahead.

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The Verge: Body Language

Posted on July 14, 2010 | Leave a comment

Welcome to The Verge: a column dedicated to music on the edge of a breakthrough. Last week, I profiled an up-and-comer in the DMV hip hop scene. Now it’s time for a Brooklyn buzz band.

Brooklyn is and will continue to be the center of the universe for indie culture. There are probably more musicians, artists and writers in the area between Park Slope and Williamsburg than any where in the United States. So while the Internet has democratized culture to a degree, you can be sure that any band that makes its bones in Brooklyn will soon be on global radars.


Meet Body Language, an electronic pop outfit from the Zoo that specializes in soulful, chill-out jams. The band’s debut EP, Speaks, was released last year on Moodgadget Records. Over just 5 tracks, Body Language finds its own way forward, crafting pop songs that aren’t as precious as Passion Pit’s and aren’t as atmospheric as chill wave.

Speaks kicks off with a stuttering, frenetic sample on “New Day” and doesn’t look back. Male and female vocals duel over an increasingly complex tableau. On tracks like “Work This City,” the band gets a little funky, with syncopated rhythms and soft-serve keys. (Sammy Bananas, the DJ-half of Telephoned, gave the track a disco feel on his remix.)

“At a Glance” starts with a grinding squeal of bass, and it’s the EP’s only minor-key ballad. The EP closes with “Sandwiches,” with it’s once-in-a-career hook: “We’ll make it hot like butter / easy to spread / and we can sandwiches.” I don’t think they’re talking about deli meats on this seductive joint.

Like any electronic band worth it’s weight in PBR, Body Language have contributed their remix skills to similarly-minded acts like Toro y Moi. Their finest effort, however, is the 80s new wave/R&B twist they gave to “Obsessions” by Marina and the Diamonds. These Casio synths and Linn drum samples haven’t sounded as good since the Reagan administration.

Download Marina and the Diamonds – Obessions (Body Language Remix)
Courtesy Neon Gold Records

Love it or hate it, but bands from Brooklyn will always get more attention. Thankfully, Body Lanaguage aren’t content to ride on the coattails of their neighborhood. Body Language speaks: listen up.

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EP Review: Pariah – Safehouses

Posted on July 13, 2010 | Leave a comment


After covering Pariah in the Dubstep Dossier back in April, we’ve eagerly been awaiting more material from the UK producer. His debut EP for R&S Records, Safehouses, drops soon and builds on the promise of his first single.

The EP finds Pariah experimenting with the full complement of future grooves. Most of Safehouses plays in the house / UK funky end of the pool: two-step beats and swirling synths drive the about half of the tracks. Vocals appear as clips and phrases, heavily-processed hooks that hint at the records they’re sampled from. “Crossed Out” follows in the footsteps of “Orpheus:” a soothing dance-floor jam that is somewhat chaotic despite it’s mellow sheen.

As for more of the glitch hop hinted at in the Dilla-esque “Detroit Falls,” Pariah comes through on “C-Beams.” As if emerging from the fog, “C-Beams” is all polyrhythms and bass blasts, before disappearing into the atmospheric soundscape of the title track.

If you need another reason to check him out, Pariah has been co-signed by dubstep’s preeminent radio DJ, Mary Anne Hobbs, and he contributed this guest mix for her BBC Radio 1 program last month. Not bad for a 22-year-old university student who makes beats in his spare time.

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Nacey steps up on new M.I.A. remix

Posted on July 12, 2010 | Leave a comment


DC’s own Nacey is having quite the year. His remix of La Roux’s “Bulletproof” (TGRI’s song of 2009) kicks off the Major Lazer x La Roux mixtape; it’s now the number one track over at The Hype Machine. His EP with partner-in-crime Steve Starks debuted on T&A Records, and Nouveau Riche took the next step by relocating from DC9 to the U Street Music Hall (a club so electric that even a massive blackout couldn’t stop the party).

Nacey is staying busy, trying his hand at a remix of “Steppin’ Up” off M.I.A.’s M A Y A. The original, produced by Rusko and Switch, is literally industrial noise – samples of power tools punctuate the entire song. Nacey’s version is more polished, stripping away the grime and replacing it with a simple piano line and a down-tempo bass groove.

As usual, the track is hotter than a plate of truffle fries. And as a bonus, here’s another Nacey remix from a little farther back: his Miami bass, WMC inspired take on the Paper Route Gangstaz’ “Hood Celebrity.” Enjoy.

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Future Grooves: Flux Pavilion

Posted on July 8, 2010 | Leave a comment

One of the biggest dubstep tunes this year has to be Doctor P’s “Sweet Shop.” A little digging into Doctor P will net you associate Flux Pavilion. The duo have been making music together for years, and their latest venture was founding Circus Records, the Greatest Show on Earth for grimey, filthy dubstep.


Flux Pavilion (aka Joshua Steele) is another North Londoner churning out wobble-friendly, aggro-dubstep. Over just a few singles, he’s making a name for himself in the dubstep scene. His “Got 2 Know” is a downtempo jam with 90s keyboard synths, big grinding bass and vocals like those in “Sweet Shop.”

Flux also dabbles in some of the other UK dance flavors, like on the dancehall gem “Night Goes On,” or the luvstepper “Voscilate.” On the latter, he is both behind the boards and the mic, and the song shifts effortlessly between R&B influenced two-step and massive double-time wobble.

Still, when it comes to Flux Pavilion’s tracks, one thing is true: the dirtier the better. “How Rude” and “Show Off” use samples that lead some to call his work “pornstep.” Hear for yourself why on “Show Off,” a track that starts serenely enough before exploding into dubstep madness.

Flux Pavilion, Doctor P, and the whole Circus Records crew are producers to watch for pure dubstep bangers. Check out this mix the pair did for Ego Thieves for a taste of what’s to come under the big top at Circus Records.

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The Verge: Phil Adé

Posted on July 7, 2010 | Leave a comment

Welcome to The Verge: a column dedicated to music on the edge of a breakthrough. It’s been a minute since I’ve put some hip-hop in the Verge. A new mixtape from my favorite DMV rapper has changed all that.


Phil Adé, Raheem DeVaughn’s 21-year old protege, is back with the follow-up to 2009’s Starting on JV, the Don Cannon-mixed The Letterman. The mixtape affirms that if DMV hip-hop is high school, Phil Adé is the Most Likely to Succeed.

Building on Starting on JV’s high-school-sports-as-life theme, the album kicks off with the inspirational speech from 1977’s basketball drama One-on-One, before Phil flows over a Premier-esque DJ Alizay beat on “The Letter.”

Throughout the tape, Phil is laid-back and confident, whether on Golden Age throwbacks like “The Letter,” Phil-as-Pharrell tracks like “Borderline,” or upbeat jams like the Lil Wayne-sampling “Rapper Eater.” Phil’s versatility is what sets him apart from so many of his counterparts. His wordplay is sharp and his rhymes are tight, and he isn’t artificially constrained by trying to fit into one hip-hop pigeonhole.
http://vimeo.com/11333157
Raheem DeVaughn’s R&B influence shows up more than on Starting on the JV, in the funky beat and hook by Kyonte on “The Jacket;” the man himself appears on “Out Your Clothes” and “Young Black Successful.” Other DMV cameos are tastefully mixed across the tape: Tabi Bonney on “Like Dat,” Kingpen Slim on “Tipsy Mood,” and Skillz on “OMG.” The highlight of the guest spots is a remix of Starting on JV‘s “Hollywood” that features Wale, Raekwon, Tabi, and Raheem.

Like Starting on JV, The Letterman is a polished, professional mixtape that lets Phil Adé shine. And like the kid in high school who could easily hang out with the ghetto boys, the cool kids, the nerds, the outcasts – Phil Adé is about to be popular on the next level.

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Mishka gets dark with Deathface

Posted on July 6, 2010 | Leave a comment


New York clothing line / record label / rules of the universe Mishka are underground tastemakers. Their designs have defined hipster chic since its founding in 2003, and its series of Keep Watch mixtapes has been just that: mixes from some of the fastest rising stars in electronic dance music. Major Lazer, Rusko, Skream, and Nadastrom are just some of the acts that have contributed to the series in what is becoming an underground rite-of-passage.

Next up is recent Trouble & Bass signee Deathface. As Deathface, Johnny Love – formerly of Guns ‘n’ Bombs – is leading the way in creating dubstep that is sonically and thematically darker than ever before. His Horror EP is equal parts bass and blood, and his Mishka mix is no different.

The mix starts our ominously enough, with the grim horns of Benga‘s “Rock Music” descending into some two-step wobble. Goth-wave duo Blessure Grave are given remix treatment on “Strangers in the House,” set to be the first release from Mishka’s record label.

The entire mix is an unrelenting, dark grindfest, but it really hits it’s stride about midway through, as Deathface’s remix of the Mexican Institute of Sound’s “Cumbia” fades into hit-of-the-moment “Sex Sax.” When Mishka says, “Keep Watch,” it’s best to listen.

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Skream and a summer of dubstep

Posted on July 2, 2010 | Leave a comment

Dubstep pioneer Skream has a busy summer ahead of him. The 24-year old producer (born Oliver Jones) had two of the biggest bangers of 2009, with his remix of La Roux’s “In For The Kill” and his original composition “Burning Up.” His 2010 is set to meet and exceed those heights.

Benga, Artwork, and Skream are Magnetic Man

First up is new material from Magnetic Man, the dubstep supergroup comprised of Skream, Benga, and Artwork. Readying their debut full-length, the trio will drop lead single “I Need Air” on July 26th. The single, with vocals by Angela Hunte, has cross-over written all over it. Magnetic Man will also be hitting major summer festivals, but alas, none in the US.


When not recording and performing with his partners-in-grime, Skream is preparing for an August release of his second full length, entitled Outside the Box. As a treat for fans, he recently dropped four free tracks on Twitter.

The Freeizm EP (a play on earlier Skreamizm EPs) contains two originals and two remixes. “Cut Like a Buffalo” gives an ominous, garage-feel to the Dead Weather track. Pitchshifted vocals on “Show Me Love” are attributed to “Robert S” – instead of club queen Robin S – on a reworking of the dance classic (and TGRI theme song).

On his original compositions, “Pitfall” is more harder-edge dubstep and “Minimool” is sweeping future funk (not quite minimal, as the title would suggest). Are these Skream’s best tracks? Not by a long-shot. But they whet the appetite of fans waiting for an album full of bangers like these:

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