Would you rather have this extremely pink leather chaise lounge? If you answered OBVIOUSLY, this person on Craigslist is willing to help you out.
Strangest Wedding Experience as a Guest: "The strangest wedding experience I've had this year was a bride barely making it to the altar thanks to copious amounts of pregame vodka. Once the vows were read, she was toast and didn't attend the reception."
Strangest Wedding Experience as a DJ: "Alcohol can be a wedding's best friend or worst enemy. I DJed a wedding this past summer where the menu was cold cuts, Jack Daniel's, and Garth Brooks. Five people blacked out on the dance floor. The bride abruptly ended the reception two hours early."
Track That Always Packs the Floor: "My top wedding hiphop track is Notorious B.I.G.'s 'Hypnotize.' I'll save breaking new records for the clubs or radio, not a wedding."
About BTR Live Studio: BTR Live Studio features a mix of breaking and established musicians playing exclusive sets in our studios, then sitting down for a chat with host Maia Macdonald.
It's been a long time. I shouldn'ta left you, but I had shit to do. So: 2014. In the first week alone, Seattle hiphop has weighed in heavy already. Shall we?
My dog OCnotes (conflict of interest alert: I comanage the guy) dropped Rap Loops on his Bandcamp, a 107-track collection of, well, loops to rap over. "I made this for the people that still freestyle with homies," OC wrote, "the lonesome L blazers that spit to themselves, the Rik Rudes, the LVs... the ones that can spit about somethin' off the head without everything bein' about how they can kill me, out-smoke/drink/drug/fuck me... this is for y'all." Rap Loops may just make your cipher complete.
Right on the heels of his High & Mighty album from October, Nacho Picasso actually dropped the first local release of the year—the seven-track Trances with Wolves, found on his Bandcamp. Thematically, it's in line with his infamous rock 'n' roll excess; qualitatively, it's on par with the last thing he called a "prixtape," 2012's Black Narcissus. For somebody who not too long ago didn't even consider himself a rapper, he's amassed quite an impressive catalog since his first release (late 2010's Blunt Raps). S.A.T., League of Starz, Jake One, Raised byy Wolves, and Mackned all check in on the production. Setting the year off right, the Nacho Man is in position for a big 2014.
Porter Ray! Deadkill! Comps by local psychedelic heroes!
Fearce Vill and Yuk The World maestro BeanOne have dropped Let It Be—not to be confused for the albums by the Beatles or the Replacements. Rather, it's an album-length extrapolation of the introspective Fearce solo song from Dyme Def's 2008 Space Music—which has, incidentally, proved to be the most popular song from the crew. Their newest video is named for Fearce's mother—"Yvette Glover." (Her father—Fearce's grandfather—was Jesse Glover, Bruce Lee's first student and assistant instructor.)
Fearce & Bean have teamed up with some good folks to cook up some unique merch as well—Fearce OG Kush, coming to a jar near you soon. Like my man Jarv says: I love my state.
Tip: Adam Noble Bass
Most intersting part of this video's premiere today: Vibe is calling Raz is the "alleged first rapper signed to Lyor Cohen and Todd Moscowitz's new record label, 300." Seattle—big t'ings, it seems, are a'gwan.
You maybe peeped my post last week about Table Manners 2 and the #0 episode of the Do The Math Podcast, but here's the actual first installment—wherein host Deven Morgan sits down with fount of Seatown hiphop knowledge, DJ Topspin AKA Blendiana Jones.
Deadkill, Seattle's crazy-eyed punk rockers, will release their album No, Never! on Good to Die Records later this month and this week we finally got a peek at what's in store. The two songs currently available for listening, "Ghost Out" and "Shakes," are furious blasts that'll blend your brain into a sweaty circle pit.
Now that you're awake, go ahead and skip the coffee and start the day with this instead. It's just as energizing, but it won't make you poop! (Probably?)
"I DON'T THINK YOU CAN KEEP UP WITH ME!"
As previously mentioned, Deadkill have an album release party Saturday, January 24, at Chop Suey. Go!
...to see the Macklemore...
T-Mobile CEO John Legere has been trying to crash AT&T’s party metaphorically for a while now.
On Monday, he decided to do it literally, working his way into a party that the telecom giant was throwing for its developers at the Palms Hotel.
Legere says he wasn’t looking to make a scene, insisting he just wanted to see the party’s headline act.
“I just wanted to hear Macklemore,” Legere told Re/code.
NAOMI PUNK, OLIVIA NEUTRON-JOHN, FF, HUGE ROCK
Olympia trio Naomi Punk's aggressively woozy garage rock is suspiciously palatable for the lo-fi-averse, maybe even perfecting the "swamp grunge" non-genre with their distinctly slowed-down, hyper-sludged riffs. Phoenix duo Olivia Neutron-John's no-wave-y, sax-infested synthmares are delivered with a serious bedroom-pop smirk, while local electronic acts the Numbs (Jeff Johnson) and Secret Colors (Matt Lawson) should also incite experimental delight with their collaborative project Huge Rock. Heartland, 8 pm.
EXPO—Capitol Hill's multipurpose art space Cairo's four-day freakfest of fun—is now in its sixth year, curated with willful weirdness to include some of the best Northwest bands and artists. Go to all the shows if you can, but if you (or your clone) can't make every set, here are some unmissables:
FRIDAY: Nice & AO. Together, Seattle hiphop producers DJAO and Nice Nate construct a fully chopped-and-screwed, nearly subliminally funky brand of slow-head- nodding, future-feet-shuffling, post–FlyLo/Dilla beat science to get subtly down to.
Black Hat. Primitive IDM ambience to elevate your senses to a pleasantly disorienting postindustrial plane.
Also tonight: Electronic-pop act Youryoungbody, addled beats from Newaxeyes, and crafty IDM duo USF.
The Good Sin's music has always been like that good friend you count on to tell you the truth. In his new video for "Living Dreams," he keeps with his theme of telling it how it actually is, but also reminds us of some things that we thought would never be:
"You prolly cried tears of joy when you heard your boy stuntin' like..." True. So good to have new music from his corner.
"So unexpected / before Mack got us love our region was neglected"—also true.
The video was filmed in SoCal, but the Good Sin is out in New York now. In a brief email interview, he said, "This is the prelude to new music coming this year. I will be releasing a full project in the spring with more visuals. As for New York I've been spreading the art and networking to get it to the next level of exposure."
Good luck, Good Sin.
Fair Warning: As of today, you have one week to secure tickets to Neumos 10th / Moe Bar's 20th anniversary finale. Brent Amaker and The Rodeo will bring the week of celebration to a close and rustling inside the camp indicates we may have a riot on our hands. Recently Brent Amaker and crew announced that the occasion would be marked with the release of a new EP, Country Sky, and yesterday they quietly released a cover of The Stranglers "Nice n' Sleazy," a song whose absolutely wicked bass line deserved to be dredged up from the depths of 1978 —and is now extra sleazy thanks to an obscene keyboard treatment that rivals the Mini Moog work on the original.
Just last month the rodeo released a sacre-licious video for their anthem to the feeling of having the fuck-it's titled "Tequila Cerveza," in which Amaker, a pastor-like figure, confesses the sin of unfamiliarity with his congregation, but encourages them to imbibe with him. The members consent, rabid with desire, and are led headlong yet unknowing into the harvesting of their own souls (in the form of an egg; Dalí anyone?), by Amaker's minions —The Rodeo themselves. What fever dream is this? you may ask; Well, they called it Year Of The Dragon. I call it the album that will go down as the one which solidifies forever Brent Amaker's bizarre vision as the Blade Runner of country bands.
Look at it like this: If country music was born out of the German existentialist film movement, and krautrock sprouted in the arid American Southwest, and a band inspired by the two came of age in this impossibly imaginary world, it would be The Rodeo. Like Devo at the dude ranch, Amaker takes a genre that prides itself on banality and twists it into a lurid work of postmodern art so surreal that he himself is trapped inside it. Every time I've run into Brent he's about town in Seattle in a cowboy hat and BluBlockers, and sometimes his man in black (or man in white) suit shaking hands, and coversating with an earnestness deep enough to equal his bass vocals.
Set fire to the jalopy of a notion you call country music, roll its burning chassis down a hill, film the fiery hulk, develop the film in LSD, cut the frames into individual tabs, dose said tabs, then animate your hallucinations, and score the animation with an orchestra of turbid rhythms, springy, vertiginous keys, and add a booming lead singer, and you will be getting close to the concept of Brent Amaker and the Rodeo, a band whose live music has reportedly caused the free flow of liquor, freedom from the bondage of clothes, general bedlam, fits of burlesque, liberation, and enlightenment. Only in Seattle could a band like this exist. Only at Neumos could such memorable obscenity thrive.
Fox And The Law open. They're pretty rowdy, too.
The last time mainstream hiphop expressed what I call (borrowing from Foucault, of course) a "care of the self" (concern for what one drinks, eats, puts in the body—"[N]o goat or ham or chicken or turkey or hamburger, 'cause to me that's suicide self-murder") was when in 2012 the father of hiphop moguls, Russel Simmons, recommend that Bloomberg not only try to ban 16-ounce sodas but milk...
“As a native New Yorker, I applaud your initiative to combat obesity in our city by proposing a 16-ounce size limit on sugary drinks,” writes Russel Simmons in the letter [to the mayor]. “Limiting soda is a good step, but to achieve real results, people need to eliminate dairy products, too. Drinking milk and other dairy products can lead to weight gain and other health problems.”But one of the important programs hiphop lost with its complete commodification (which happened in late 90s) is this concern for the black body, this deep idea that slavery was not only external economic oppression but freeing yourself from yourself. The realizm: A person stuffing a Big Mac into their face was not free.
He went on to say, “A 2005 nationwide study led by a Harvard Medical School researcher showed that children who drank more than three 8-ounce servings of cow’s milk per day were 35 percent more likely to become overweight than kids who drank only one or two servings (or a maximum of 16 ounces) per day.”
Y'all know OCnotes by now—the god is a scientist; his praises have been sung plenty in The Strangers' pages. What you may not know/care about is the fact that I (kinda) help manage him—but even if I didn't, I woulda been posted this on Line Out. (Just keeping my side of the street clean, y'all.)
On Monday afternoon, OC tweeted:
I made this for the people that still freestyle with homies, the lonesome L blazers that spit to themselves, the Rik Rudes, the LV's...
The ones that can spit about somethin off the head without everything bein about how they can kill me, out smoke/drink/drug/fuck me...
This is for y'all. Name your own price or just download it and get better at rappin."
And with that, he dropped this 103-track tape, Rap Loops. It's exactly what it sounds like, a bunch (like a whole bunch) of loops for cats to rap over. Throw it on in the background and get loose in the cubicle—or play it off your smartphone while the homies form a circle around you some night outside the venue.
Today's a good day as any to listen to sides A and B of Vitamin D's classic 1999 tape Table Manners 2, a warm fusion of jazz well-spiced and spliced with Vita's liquid cuts, not to mention freestyles from Samson S, Blak, Sho-nuff, D-Uneek, B-Self, H-Bomb, Vitamin D, Wordsayer, and the Micranots' I-Self :
Tribal is the super-foundational and over-talented Central District-based hiphop collective that provided much of the official soundtrack for Seattle heads in the mid-to-late-90's; at it's heart, among many others, were Vitamin and DJ Topspin, both still very much involved in things today. Shout out, once again, to the work Mr. Morgan is doing in keeping their legacy alive for old and new heads alike—both thru his podcast, and the persistence it must have taken, getting so much of Tribal's music up on Bandcamp.
Last month, there was a call for local extras to be a part of the band crowd/bar scene re-enactments of the ten year old rape and murder of Gits frontwoman Mia Zapata for an episode of Dead of Night, a true-crime documentary series. One would hope that the episode would sensitively cover such a brutal crime, but unfortunately, it looks like NBC didn't really wanna actually kick down for licensing any of the songs that the Gits had recorded. On his facebook page, Gits Drummer Steve Moriarty is dubbing the bands depiction in the episode as "Gitsploitation" and is calling for a boycott of NBC:
They used actors and canned music. I tried to have civil and logical conversations with the producers of the show, however, NBC did not think that using The Gits music or film footage of Mia playing live was worth paying customary and fair licensing fees as established by ASCAP, BMI and the recording Industry.
There is nothing artistic, musical or positive about the re-telling of Mia’s brutal death. Nothing except a cheap way for NBC to sell ads for a younger, hipper demographic which the network desperately needs.
The piece will air in June and does not have the endorsement of any of the bands, Mia’s family, or immediate friends. It is, simply, Gitsploitation and I suggest local business refrain from advertising products and services on NBC during the month of the one hour episode of “murder in the dark”. (Or whatever the title) featuring The murder of Mia and the city of Seattle.
I try to accentuate the positive in Data Breaker (no, really). But there's no denying that a lot of negative shit happens in any given year—even in the enchanted realm of electronic music. So let's review the last 12 months of bad things.
Data Breaker regrets Electric Tea Garden closing—a major setback for Seattle's electronic-music scene. This loft space on 14th and Madison had been the locus for loads of amazing shows, regular events, and after-hours parties for many years. In 2013, it hosted at least two of the best shows I've ever seen (Rrose's Decibel Fest after-party and the Pan Records showcase with Heatsick, NHK'Koyxen, and Lee Gamble). Other amazing gigs included Neue Deutsche Welle synth weirdo Im Namen Des Volkes and French psych-raga-drone guru High Wolf. That small, low-ceilinged venue will be missed.
Data Breaker regrets Capitol Hill nightclub Q abandoning its challenging nights, such as Cody Morrison and Jeremy Grant's Shelter weekly. But my griping was a bit premature, as the pendulum started to swing back toward more risk-taking late in 2013. A couple of douchebag-repelling weeklies have surfaced: Dial Up, which will feature juke, seapunk, Jersey club, vaporwave, and other new subgenres on Wednesdays, and Unscene Sundays, which recently hosted UK hotshot Girl Unit. Plus, Decibel director Sean Horton's booking marquee acts there. Kudos, Q. I'll eat that regret with relish.
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