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Spotlight On The Featured 1MSQFT Contributors
Brimming with excitement as the debut of the Saint Heron and Microsoft 2,346 1MSQFT collaboration nears, we here at Saint Heron wanted to highlight the innovators who brought this vision to life. From singers to visual artists; from L.A. to Brooklyn, each creative brings a distinct spirit and brand to this cultural initiative to forge a cohesive and innovative statement about the state of modern R&B. Read below to find out more before Wednesday’s big reveal….
Kelela
Photo courtesy of Dummy Mag
Once purported as the “make-out album of the year”, Kelela’s LP, “Cut 4 Me,” which debuted to rousing success last fall, is a sweeping, contemplative, sensual undertaking. With her absorbing vocals—each coo she releases reminiscent of Aaliyah and each belt delivered akin to SWV’s Coko—set against the moody, futuristic production from Fade to Mind/Night Slugs crew, the listener sinks quickly into Kelela’s work and eagerly responds to the singer’s innovative mash-up of the R&B sound. It is this same spirit Kelela infused into her Saint Heron compilation contributions, “Bankhead” and “Go All Night”, and will surely employ to amplify the evening’s collaborative live performance with “one man soul orchestra”, Moses Sumney.
Moses Sumney
Photo courtesy of SoulBounce
Celebrated as the “one man soul orchestra”, Moses Sumney has conceived a sound befittingly his own diverting the burden of comparison. Performing with a nearly ventriloquist flair, Sumney contorts his voice masterfully to create a layered sound of overlapping vocal melodies and harmonies. Fulfilling his epithet, Sumney brings to life warm yet unrefined melodies and harmonies married to a voice deeply rooted in the spirit of soul and folk music. Exemplified in his production, “Replaceable”, his unapologetically candor filled lyrics stratify fearless loops. Together they piece together a contemporary composition of heartbreak accentuated by charming falsettos and a buoyant tempo. He pulls the listener in with curiosity. He holds them with effortlessly emotive content. The self-taught musician has warranted the backing of Questlove and KING to name a few. In his first ever New York performance, accompanied by Kelela, he undoubtedly will amass a unique following.
Terence Nance
Photo courtesy of Down & Dirty DV
Moving seamlessly between artistic mediums, Terence Nance has mastered the rendering of visual, performance and musical art into his own nostalgically tattered notebook full of stop motion fantasies, vibrantly colored vulnerability and cinematic creativity that transforms his moving pieces into authentic and relatable narratives – pregnant with introspect and void of subterfuges. His first feature film, AN OVERSIMPLIFICATION OF HER BEAUTY,does just that, becoming the quintessential story of boy meets girl in contemporary society. The film has garnered Terence recognition from Filmmaker Magazine, where he was selected as one of the 25 new faces of independent film.His addition to 1MSQFT is sure to heighten the multi-interactive space Saint Heron aims to create for a culturally progressive global audience.
Hisham Bharoocha
Photo courtesy of Japanese Noise Project
A polymath of a creative, Hisham Bharoocha’s talents stretch from the canvas to the mic. Moonlighting as both a musical performer in bands such as Lightning Bolt, Black Dice, and his current solo project, Soft Circle, while producing his signature kaleidoscopic collage pieces that focus on the cognitive response to imagery, the artist always brings a vibrancy and surrealist tinge to his work. You’ll be able to identify this striking trademark in the very visuals that accompany the evening’s R&B karaoke. As you sing along to classic hits, Hisham’s dizzying and eye-popping artwork will serve as the perfect backdrop to your turn as a R&B crooner, and envelop you fully into the experience.
How Black Churches Schooled Secular Musicians
Photo Sepia Magazine
Photo Sepia Magazine
“Four out of every five leading black vocalists today had their beginnings in the choir or behind the altar”, according to the February 1973 issue of, Sepia Magazine’s, article entitled, “How Black Churches Became A School For Singing Stars”. The article, written by Doris Black, draws attention to the phenomenon of popular black singers who grew up singing gospel in the church, in turn, propelling them to mainstream success. Whether it was jazz, rock, swing or soul, Doris Black, found it an important correlation that these successful black musicians developed their skills in the church, which often gave their music the quintessential soulful, “gospel sound”.
Legendary voices such as Dinah Washington, Sam Cooke, Della Reese, Marvin Gaye, Isaac Hayes, Dionne Warwicke, Roberta Flack, Al Green, Ray Charles, and many more were accredited in the piece as having roots implanted deeply within the church. Black places heavy emphasis on the career of Aretha Franklin who, “sold more gold records than any woman singer ever”, and whose “records are actually bought by more white fans than black.” Aretha’s brother Rev. Cecil Franklin said “You listen to her and it’s just like being in church. She does with her voice exactly what a preacher does with his when he moans to a congregation.” We see this around 2:00 mark of this “Rock Steady” performance, where Aretha makes the audience feel as though they are in the pews of a baptist church service.
All this talk of black musicians who found mainstream success brought to mind a recent episode of ARTST TLK where Pharrell sits down with Spike Lee to discuss everything from Spike’s beginning in film, to the education system, and the Internet. They captivated my attention when the topic of music was brought up. Around the 21:30 mark, Spike Lee tells Pharrell that he believes music is the highest form of art and that: “Musicians are the closest to God.”
After that the conversation takes a turn and the two creatives talk about popular black musicians who grew up in church but went on to make great secular music.
Whether these artists who came up in the church lost their faith or just have a hard time finding the balance of singing about God while making “the devil’s music” it’s interesting how the same applies today. Several mainstream artists whose music has a level of depth and soulfulness cite their origins in church, or their spirituality as the reason for their success and ability to connect with something deep within the hearts of listeners.
Franklin emphasizes this point, “The college kids where I perform want honesty in their music and that’s what soul is all about. I always try to direct a message direct to the audience when I sing, and maybe they appreciate this.”
Pharrell himself cites his musical beginnings in church. We’ve heard Pharrell’s voice all over new music in 2013, most particularly providing his vocal talents on two of the summer’s biggest hits: Daft Punk’s “Get Lucky” and Robin Thicke’s “Blurred Lines.” Doris Black would agree that Pharrell’s church upbringing is important to his success because feature tracks and mainstream hits aside, a great deal of his songs have a deep levels of soul to them. They are encouraging and uplifting. The single off Nothing alongside his N.E.R.D bandmates “God Bless Us All” can bring any listener going through hard times out of the darkness.
John Legend, who has won numerous Grammy awards for his vocal capabilities, came up in the church and honed his singing skills their as early as age seven by singing in the choir in his hometown of Springfield, Ohio. In fact, we’ve seen a direct reference to a church setting in the video for one of his earlier hits alongside Kanye West “Used to Love U.” Even the R&B sensation who everyone loves to hate, Chris Brown, had his vocal beginnings in his church choir by way of Tappahannock, Viginia.
In her Sephia article Doris Black provided a quote from Ray Charles on Aretha Franklin stating, “She didn’t have to be made into a great singer.” Black followed with, “But it took the black church to provide her with the vehicle to greatness and to earn her deserved accolade as ‘Queen of Soul'”.
Was Doris Black onto something? What would these artists sound like without their gospel influence? Would their success have turned out the same had they not started in the church? Would they even have found a place in music?
Audio: Miley Cyrus, "Rooting For My Baby"
If you’re one of those folks who couldn’t bare to give media wild child Miley Cyrus a chance, please take you’re risk on this — it’s beyond worth it. It’s clear to see Cyrus has talent buried underneath all of her crazed “young Disney starlet turned hip-hop culture vulture” tactics, and there’s one track on her latest album that proves such. Check out “Rooting For My Baby”, one of the two bonus tracks on her recently released album, Bangerz.
The guitar driven Pharrell-produced track properly prepares Cyrus for a successful cross-genre introduction to indie-pop with a country flair. The track gives major nostalgia and flashbacks to ’96 feeling like Paula Cole’s “Where Have All the Cowboys Gone” and to ’77 with Fleetwood Mac’s “Dreams” — perhaps these tracks are the inspiration behind Pharrell’s production? You be the judge and stream all three tracks below:
http://www.youtube.com/watch?v=462lDlULSBk
Video: Wet, "You're The Best"
A few days ago Brooklyn-based group, Wet, released their debut music video for “You’re The Best,” directed by long time friend Jared Hutchinson. The visual reveals the inspiring tale of where the trio’s magic first started: New York City. Band members Kelly Zutrau, Martin Sulkow and Joe Valle have been creating musical wonders together since 2006 when they were all students visiting New York. This sparked long-distance collaborations between Providence, New York, and Los Angeles. Finally, in the summer of 2012, dedication and relentless creativity led to a string of shows and self-releases.
Wet has then mastered a superb balance between R&B and indie-pop for their recent self-titled EP release, via Neon Gold Records. Their wide-influences range from Solange, The xx and Patsy Cline, but they still present authentic bliss that simply calls for a musical love affair. Watch their debut video for “You’re The Best,” and listen to our EP favorites “Dreams” and “Don’t Wanna Be Your Girl” below:
https://soundcloud.com/wetnyc/dreams
https://soundcloud.com/wetnyc/dont-wanna-be-your-girl
Get Into It: SonnyMoon
Dusty roads, warm vintage film, and lynchings? No, this isn’t the backdrop to an old western, but rather the latest collaborative effort of experimental genius duo SonnyMoon and directors Adi Putra and Carlos Landa for the “Every Summer Night” video off their self-titled EP. The unexpected should always be expected from this eccentric pair Anna Wise and Dane Orr. Visually, Putra and Landa take the road less traveled in the desolate desert town equipped with authentic towny folk.
As the song begins to strum in, a shot of a young boy running against the desolate desert backdrops. There’s an intensely uncomfortable energy that builds surrounding the visual introduction of each of the town’s residents. The young boy mouths “She’s back!”; cue leading lady, Anna. Tensions rise as do the ambient, eerie acoustics, and the looming danger revealed on Wise’s face. You’re pulled in. This isn’t a music video, but better described as a short film. Heart palpitations pulsate with the increasing tempo. Blindfolded, Wise cries out,
“Every summer night, mingle with the pretty young things, on your off time, who will never work a day in their lives…must be nice.”
The video comes to a fatal end when Wise meets her demise at the threads of the noose. Her vocals linger like an apparition as the video comes to a close with her body swinging in the sunset. Perfectly dramatic ending to an equally emotive track.
More SonnyMoon Here
Video: Subway, "This Lil' Game We Play" Feat. 702
Here’s a blast from our 90s’ past! Remember Chicago-based group, Subway? The group was composed of Eric McNeal, Keith Thomas, Trerail Puckett and Roy Jones and was signed by Michael Bivins of New Edition and Bell Biv DeVoe. In 95′ the boys debuted their featured hit “This Lil’ Game We Play” featuring labelmates 702 and reached #15 on the Billboard charts. The song was produced and written by Gerald Levert and Edwin Nicholas.
Video: Ty Dolla $ign, “Paranoid” Feat. B.o.B.
In the midst of his well formulated launch for Revolt, Diddy did the honors of premiering Los Angeles rapper/singer/producer Ty Dolla $ign‘s video for “Paranoid,” featuring B.o.B. on the new network. The visual is quite creative and full of spook as it drops just in time for the upcoming trick-or-treat holiday. Watch how “trying to be a player” can go wrong in this musical thriller.
Get Into It: JODY
Photo Maria TZ
It’s rare to come across all male bands in this day in age, but this act pulls it off with bliss. Meet JODY, the Chicago-based R&B trio featuring members David Robertson, Khallee Standberry-Lois, and James King of The GTW. Backed by production duo The-Drum, the collective trumps similar progressive R&B acts with a wide-range ambient style that doesn’t bore. In fact their various ranged, layered vocals over lush synths keep the listeners anticipation with a challenge to not miss a keen detail. Another asset of the group is their ability to spit smooth raps in a melodic tone.
The boys’ released Magique back in March, the first of three EPs leading up to their debut album. It features stand-out singles “Floodin” and “Echoes,” which you can stream below:
Video: Rico Love, "They Don't Know"
He’s known for penning hits for Usher, Mary J. Blige and Beyoncé and others, but Atlanta singer/songwriter and label bossman Rico Love has finally released music of his own. His debut Discrete Luxury EP features stellar stand-out R&B track, “They Don’t Know.” The song plays out the classic “down low” situation when it comes to two love birds in a secret relationship. Watch the steamy black-and-white video for the catchy tune and snag Discrete Luxury now via iTunes.
Video: Rainy Milo, "Rats"
http://www.youtube.com/watch?v=JRzliZVfevQ
There’s something quiet amusing about young wonder, Rainy Milo. Hailing from South East London, the Guyanese/British singer’s voice is gracefully beyond her 17 years. After the success of her 2012 released Limey EP featuring her breakthrough hit “‘Bout You,” Milo returns with “Rats“. The track follows her style tradition and serves deep, laid back bass with steam less vocals.
Watch the video and stream “Rats” below and then listen to bonus offering, her debut song “‘Bout You“:
https://soundcloud.com/rainymilo/rats
Bonus: Rainy Milo, “Bout You”
https://soundcloud.com/rainymilo/bout-you
Interview: Kelela
PHOTO ACKIME SNOW
As much a provocateur as a troubadour, dance music singer, Kelela, infuses penetrating vocals, envelope-pushing performances, and disarming wit into her overall sound. Buoyed by the thumping beats of the Fade to Mind/Night Slugs family, Kelela’s voice propelled Kingdom’s hit, “Bank Head/Send Me Out” to new heights this year with its sensual, atmospheric vibrato. Channeling a mixed bag of artists from Amel Larreiux, Little Dragon’s Yukimi Nagano, to Cheryl “Coko” Clemens of SWV-fame, the Maryland/D.C.-native has created a signature stroke of accessibility in her work and a heightened sense of the abstract.
Her just-released mix tape, Cut 4 Me, personifies this sentiment emphatically, it an artful mash up of the present and yesteryear. Between gentle coos and emotive roars that are reminiscent of dance music greats before her, Kelela soars over progressive beats from Nguzunguzu, Kingdom, and Girl Unit, which mark today’s sound. The result is decidedly fresh and transcendent. Saint Heron had a chance to speak with the rising singer on her influences, creative process, and the indelible mark Janet Jackson’s, Rhythm Nation, 1814, left on the her artistry.
You once quipped you would love to “do what Brandy did, but weirder.” Does your new mixtape, Cut 4 Me, speak to that idea?
That quote speaks to that idea, but it’s definitely a reduction. What I meant was, that I want to take the singing/performance as seriously as Brandy, or Amel [Larreiux], or even [gospel singer] Kim Burrell (that last one is lofty, but it’s a goal!!), and get more experimental with what kind of production it’s paired with, as well as how I’m choosing to use my voice in the song.
Doing less. I generally have a minimal approach to song-writing, but on this body of work, I was even more inclined to pull back because I thought it was more of a complement to the production. I actually recorded a lot more adlibs throughout the mixtape, and as we [Kingdom and Daniel of Inc] were going through the mixing process, it became more and more apparent that muting parts was the way to go. So, working on this project has taught me the value of letting things breathe.
I also thought a lot about the elements of a record that I have always enjoyed: intros, interludes, the feeling of the last track, and even fun vocal work, like hocketing. I’ve never worked on a full-length project like this, so I felt like the mixtape was a perfect opportunity to express how much I love all of that.
I like being warm. Hot, actually. I can’t get in a vibe if I’m cold. That’s the first part.
The second part has to do with living alone. I moved into my apartment in February 2012. That was a really big deal, because I was able to write whenever I wanted to without bothering anyone. I needed to be able to sing first thing in the morning (and sound like shit), or at 4am, and living alone allows me to do that. My most productive/creative hours are probably 1-6am.
I never write without accompaniment. I can sometimes elaborate on a melodic idea by taking what’s in my head to a piano. But, for the most part, I’m not taking a melody or lyric to a producer and getting them to build around it.
About a year and some change ago, I decided that I would not listen to a track without recording the initial melodic ideas that were coming to me. So, my process basically involves improvising in gibberish over the accompaniment, whatever that may be. The feeling that the music gives me is what I use to figure out how I’d like to sound tonally. It also helps me conjure up word-sounds and phrasing that feel good. So, my focus is phrasing, initially, and then I move onto making sense of that phrasing with lyrics.
Janet Jackson’s, Rhythm Nation, 1814. My dad bought me that film (which everyone should go watch right now if they haven’t) when I was five or six. It was a world that looked so cool to me. I could come up with critiques of it now, but it’s not really worth going into, because the set, choreography, lighting and cinematography of all the videos had such an impact on me. I liked the uniformity, and I didn’t think about it this explicitly until recently, but I think that tape has informed my sound and aesthetic in general.
Honestly, I feel like I am working with some of my favorite musicians and producers right now. But I would love to bring those people into the studio with Missy Elliot, Hit Boy, Mike Will, The Dream and the writers for some of Rihanna’s latest record. Please and thank you.
Most of my vocal style certainly comes from the R&B tradition, but I also have vocal influences way outside of that sound. Same goes for production. I love a lot of popular R&B production, but I’ve also been listening to other instrumental music that doesn’t fit in that vein for a while now. So, I feel inside and outside of genre.
Ultimately, I am striving for something that causes you to stop mid-sentence when trying to categorize it. Not because it doesn’t incorporate namable elements, but because it’s so synergetic that it sounds like something new.
The truth is it’s happened over time. It started for me while singing standards in bars on U Street in DC. I would learn the songs by listening to different renditions of the same song, and then go sing it live. Slowly, I started to fuse them all together and could hear that it was sounding more and more like me. But singing songs that other people have written still wasn’t enough of a vehicle to give me the confidence I have now. Ultimately, it took Cut 4 Me to make me feel confident in my sound, like, “if you don’t like this, I dunno what to tell you…let’s talk about something else.”
Audio: Willow Smith, "Summer Fling" (Live)
Photo WillowSmith-Music
Queen Latifah launched the first season of her new talk show with a heart-felt performance from free-spirited, teen-darling, Willow Smith. Backed by her band Melodic Chaotic, the 12-year-old singer succeeded a flawless performance of her single “Summer Fling”. This was first time Smith has performed the single on television and just like the song’s vibe, she performed it effortlessly with a breeze. Not matter how traditional society cannot digest and understand the youngster’s outlook through personal style and grace, one cannot deny the talent she has.
Stream the live version of “Summer Fling” below:
Get Into It: FKA twigs
Photo Tumblr
In a plush voice that elevates the intensity of the listener’s mood with twisted, breathe taking ballads, FKA twigs is a perfect contender for today’s ingenious R&B genre. The 25-year-old Londoner introduces something new from the typical UK singer with glitchy, symphonic dubstep vibes. She pushes the norm with her lofty sonic style of voice, that can be compared as broad from Aaliyah to an early Janet Jackson and Björk.
The young songstress signed to UK imprint, Young Turks, home of the acts such as xx and SBTRKT. Her latest effort, EP2, is produced by emerging beatsmith Acra, who also contributed to Yeezus. It also doesn’t hurt that she’s mastered being visually striking to the eye. Her videos can be considered superb minimalism, but she charges the canvas with open female sexuality in a clean, artistic approach. The next fashion darling?
With the never ending evolution of current R&B music, acts such as twigs are embraced for their rage against the machine mentality, challenging the way the average music consumer balance digests the content. Two snaps for twigs! Get into FKA twigs with jams, “Papi Pacify” and “Water Me” below.
Saint Records Announces Saint Heron
Artwork Rashaad Newsome
Saint Records is proud to announce their debut offering, Saint Heron, to be released November 12 .
The album will serve as the inaugural annual compilation from Saint Records, featuring 12 songs by artists telling their unique stories on one innovative platform to highlight and align a new movement of contemporary, genre-defying R&B visionaries.
The artwork for Saint Heron was conceptualized and created by media artist Rashaad Newsome. A native of New Orleans, Newsome, who has been featured in the Museum of Modern Art and the New Orleans Museum of Art, is celebrated for his ability to render urban life in a formal studio context, his rich textures and his ability to seamlessly integrate Art History, technology and music into his work.
(more…)
Saint Heron Premiere: Kelela, "Go All Night"
Artwork Rashaad Newsome
Solange Knowles and Saint Records are proud to announce their debut record compilation, Saint Heron, and the first release from the effort from singer Kelela, titled “Go All Night“. The Morri$-produced track can be found in a snippet version on the Los Angeles-based singer’s debut Fade To Mind mixtape, Cut 4 Me, released last week.
The full version of “Go All Night” is now available via iTunes and available to stream below:
https://soundcloud.com/kelelam/go-all-night/s-8Ieme
Backpacking Back To Hip Hop
Photo Kadeem Johnson
There is a shift occurring in hip-hop right now, and it’s reminiscent of the genre’s golden age.
Hip-hop circa the late ‘80s and early ‘90s was sitting pretty and there was plenty room for creativity. Musicians brought fresh sounds and original styles to the scene, in turn, consistently creating pivotal moments in pop culture.
During this period, the Native Tongues – a collective which consisted of A Tribe Called Quest, De La Soul, Leaders of the New School, Queen Latifah, Black Sheep, and Monie Love – placed a heavy emphasis on dope beats and lyricism while establishing a sense of unity within the culture. Everyone had their individual crews, but ultimately, they all kicked it with one weaving a kindred thread through hip-hop. It was understood that the only way any one would succeed was for everyone to work together. Cue the Queen, “U.N.I.T.Y”.
Fast-forward to the early 2000s. An influx of monotonous hit singles and dance tracks made us feel like no one cared about content and just wanted to cash in quick. I’m talking about groups like D4L and Dem Franchize Boyz who were putting out songs with corny jingles and the dances to match. The Beast Coast movement followed up as clear response to the ringtone era of rap.
Today you have the new school of rappers who were kids during the ringtone era who feel personably responsible for restoring hip-hop to its pure form. We have young artists like Kendrick Lamar, J. Cole and Mac Miller who are all delivering creative content through the mainstream. But there’s also a not-so-underground sound echoing through New York City.
The Beast Coast movement makes sense right now. Their name is a play on East Coast (the coast where hip-hop finds its origins via New York) and the slang word “beast” which is another way for saying you kill shit, you do what you do, and you do it well. The collective is made up of Pro Era, Flatbush Zombies, The Underachievers, and Phony Ppl.
Flatbush Zombies tapped into a Wu-Tang Clan/Gravediggas-esque style with their blend of darker themes laid down on gritty production that often sounds like movie scores thanks to their in-house producer Erick Arc Elliott; the Underachievers proclaim their roles as Indigo Children, speaking extensively on the bearing gold souls; and Pro Era frontman Joey Bada$$ told us he was resurrecting boom-bap fromdatombs, and he wasn’t bluffing. His 1999 mixtape was one of the doper projects to come out of 2012 and got hip-hop fans excited about its golden era again.
And they all have a call for action: Open Your Third Eye.
Whether you believe in this unseen intuitive eye or not, it’s interesting that a group of young black hip-hop artists coming out of New York City are constantly talking about everyday life, taking psychedelics and spiritual enlightenment for their listeners.
And they’re doing it on ‘90s-inspired soundscapes while bringing back that group aesthetic, and sometimes actually over beats from producers such as Lord Finesse, MF DOOM and J Dilla.
But there’s a certain level of responsibility that comes with being labeled a backpacker or “conscious rapper.” The minute you start to appear as though you’re crossing over into the mainstream your core cult following of fans will abandon or shun you and you will have gained a much larger fan base of listeners who probably could care less about you once they think your fire burned out.
Nas is no backpacker, but he was a hip-hop purists’ ideal; a rapper’s rapper. “Illmatic” changed the approach of rap music, but only went gold. “It Was Written” disproved rumors of a sophomore jinx but wasn’t doing the numbers Nas wanted it to. So he went a more commercial route for sales and put out “I Am” and “Nastradamas” linking with the likes of Puff Daddy to Genuine and other mainstream successes. The albums were barely up to par, though they both have some sacred songs on them. Nas’ core fans, those who were following him since his meteoric rise, wrote him off making it possible for Jay to takeover. Lucky for Nas “Stillmatic” saved his career and street cred.
Drake is a great example of a “backpack rapper” who went mainstream. In fact, he said it himself on the Kanye West produced “Show Me a Good Time” off his label debut Thank Me Later.
“Tell me can we kick it like Ali Shaheed and Phife Dawg
People really hate it when a backpack rapper get rich and start living that life, dawg.”
It’s true. I appreciated Drake much more when he was rapping on Dilla beats. In fact, when I first began exploring Drake’s music, ATCQ was also in heavy rotation on my playlist. They actually meshed well together. In the following lines on “Show Me a Good Time” Drake goes on to say, “Feels like when you get into that paper, hip-hop hates ya, They would do it just like I do if they could it’s in our nature”, and he’s right. Most artists that come out preaching about staying true to the art often abandon their theories when opportunity to get more paper comes knocking. Then there’s Wale. Since his crossover into the mainstream (more particularly the Maybach Music move) he’s widened his appeal but compromised the sound and subject matter that ignited his buzz initially. Remember when he snagged that Gorillaz “Dirty Harry” beat and rapped about his anti-radio views? Then the day came you couldn’t listen to hip-hop radio without hearing “Bad” or the remix a couple dozen times.
When I met Wale at Rock the Bells in ’08 he seemed genuinely surprised that he had fans at the hip-hop festival where he was overshadowed by the likes of Nas, ATCQ, Wu-Tang Clan, Mos Def and other veterans.
In defense of Drake and Wale, young hip-hop artists are trying to eat and they don’t get into The Game to be dope, broke rappers. More power to them.
Balance is a better source of power than “selling out” completely. To hold onto what you believe to be true – that sound and subject matter that led you to make music in the first place – while also finding a way to make it more marketable, that is the real win.
As of right now, the Beast Coast collective is balancing both sides of the scale.
This revisiting of hip-hop’s golden era is important for the culture. It makes the ringtone era of rap music seem like the hell we needed to go through to get back to the exalted soulful music we are getting today.
Where to now?
Three Beast Coast Videos You Need to Watch:
http://www.youtube.com/watch?v=no0AKCKVd20
The Underachievers “The Proclamation”
Flatbush Zombies “MRAZ”
Joey Bada$$ “Fromdatomb$”
Three Golden Era Hip-Hop Videos You Need to Watch:
A Tribe Called Quest “Electric Relaxation”
Wu-Tang Clan “Protect Ya Neck”
Leaders of the New School “Sobb Story”
The xx and Sampha to Release Limited Split 12" Single
Artwork Young Turks
London-based label Young Turks will be release the installment of their 2013 singles series: a limited release of a split 12″ single featuring The xx and Sampha. The release will feature both The xx’s Coexist bonus track “Reconsider“, and “Without” from Sampha‘s Dual EP. Only 750 copies of the single will be issued for release Oct 28. Preorder is available now. Check out the packaging of the vinyl via Instagram.
Jessie Ware Debuts New Song "True Believers"
Ma$e Announces New Album, "Now We Even"
After teasing the possibility his return to music, veteran Harlem rapper Ma$e will officially be releasing new music. The Harlem World rapper took to Twitter to announce the name of his album title, Now We Even. This will be the rapper’s first full-length since 2004’s Welcome Back effort.
The former Bad Boy rapper later took to Instagram to reveal his ideal artist line-up to collaborate with, which includes Lauryn Hill, 2 Chainz, Jay Z, Drake, Cee-Lo Green, Diddy, Meek Mill, Beyoncé, Ariana Grande, The Diplomats, and Fabolous.
Let’s see where this goes. Drake previously mentioned that he would “love to be involved” with Ma$e‘s comeback.