Where would we all be without THE FADER!
For us and many others, a constant source of original, exciting and sometimes ground-breaking features. Including of course the occasional “via Generation Bass” duplicate feature, which for us is always a massive high!
So this weeks M.S.7. pays tribute to ZEVEN of the latest, most recent and exciting download offerings cherry-picked from this great source of musical information.
Thank you The Fader.
Austrian aggro-dancehall producers Stereotyp linked up with Panamanian-via-Bay Area duo Los Rakas for this obviously borderless and almost genreless jam—replete with crickets, car alarms, heavy bass and barking dogs—whose ultimate destination we don’t quite know. What we do know is that we will be playing it a lot at our Oktoberfest Passa Passa.
Without getting way too embarrassing, we caught an episode of How I Met Your Mother on the computer the other night and the main dude was like “If you say anything over and over, it starts to sound funny,” then said the word “bowl” repeatedly, blowing his own mind with language and sound. All aspects of this song are basically that stoney realization. “Pictureplane,” “5th Sun,” “Heliopolis,” “Rainbow Arabia.” They all sound like characters in an Ursula K. Leguin novel. This could probably soundtrack The Left Hand of Darkness, organic drums and and cheap synths in a mildly tumbling marriage. Most of the lyrics are unintelligible, but the song ends with Pictureplane giving a sad sap yell of In your miiiiiiind. It sounds weirdly sad for such an excited track, bemoaning up against super fast drums and classic house piano chords. But not everything needs to be natural. Bowl. Bowwwwwwwl.
A few weeks ago in his Ghetto Palms column, Stats rattled off five different versions of the new Go-Go Club Riddim but left out this fiery duet from two of FADER’s current unheralded favorites. Aidonia, the JOP leader, is fresh off his ’90s rap/bmore/dancehall smashing Bolt Action mixtape and comes with about ten different styles on this one while Riley favors the rougher side of his lover/fighter split. We would not be opposed to these two joining up for more jams—two great emoters demanding they be allowed to grow tons of weed. Who do we have to email to make this happen? The pot farms and the duets.
Download: Aidonia & Tarrus Riley, “Di Trees”
“Get Up In Your Heart” might rival “Mind Sex” as far as songs that are meant to be romantic but end up being weird and awkward. On this one, all the right pieces are in place: a brief and tight verse from Gucci, a Bangladesh beat that takes baby steps away from “A Milli,” and Sean Garrett singing about always wearing wife beaters, which actually might not be a lie at all.
This bazonkulous Emalkay joint is all hyperbolic, heart-stopping samurai wobble. Upon playing this off iTunes in our office on some janky computer, the entire office dropped what they were doing, swooshed their heads over dramatically towards said computer like they’d choreographed it, and were like, WHAT IS THAT MASSIVE CHUNE? We were like yo, you guys are American (except for Chioma, a Brit who pronounces “schedule” like “shedjule”) so if this track has the power to make you pronounce it “chune,” we shall not deign to deny its heart-smashing power. That, and the bassxplosions that blew out the laptop speakers.
Can you get more cathartic than Bat for Lashes? Last time we saw her perform in New York we stood alone by the staircase at Bowery, chugged whiskey and cried. Yeah that’s Drama Time 5000, but her music is more effective at purification than three days at a Korean megabath. We emerged like a goddamn phoenix. Skream’s sensibility though is to make everything darker, and on his remix he swoops in with a swift hand and bubbling snares, putting a very very light underscore of synth melody and man-vox like he’s David Bowie in Labyrinthe. The result is less doomsday and more “magic of the natural world.”
This clicky heatrock from Brixton boy Photomachine puts a little xerox shimmy in its warm rhythm party—his creative beat-layering parallels the super-fun creative free vibes coming from a younger generation of non-boxable Brit producers like our faves Bok Bok and L-Vis 1990, and stateside folks such as Kingdom and, to a more bananas extent, Toads. Not to mention that the assortment of alarms, sirens, beepy countdown sounds and yelling-man samples totally remind us that the final season of Lost is coming up, and what in god’s name are we gonna do after it’s over? Go back to living our lives? Start playing Settlers of Catan? The prospect is literally unthinkable.