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Doris the highly anticipated LP by Odd Future Wolf Gang Kill Them All’s young lyricist, Earl Sweatshirt, has finally been given a release date.  After hearing about the album since December, we will finally be able to listen to new material from Sweatshirt on August 20. The official artwork (pictured above) and tracklist were tweeted by Earl yesterday. 

To help hold you over until the album drops, we’re featuring one of the most recent singles off the album below as well. The track titled, “Guild,” features once frat-rap-superstar, now chill L.A. musician who works with Flying Lotus, Mac Miller and is produced by randomblackdude, Earl’s producer sobriquet. The beat is repetitive and slow, incorporating an echoing piano pluck and rides up slowly before crashing back down and continuing on it’s slow roll. The two pitch their vocals down an octave and trade bars on topics ranging from mother’s to Gil Scott-Heron, perfectly matching the beat’s downtrodden feel. Download/steam the track below, and get ready for Doris

Earl SweatshirtGuild feat. Mac Miller (prod. by randomblackdude) 

[audio https://www.dropbox.com/s/yi3k5gm65pqx28f/Guild%20Ft.%20Mac%20Miller.mp3]

DSC_5741Comparing Bondax to Disclosure is like comparing two similar kinds of apple (cultivars, to be specific). Yes, there’s a difference between Fuji and Braeburn apples, but it’s fairly marginal—for the most part, an apple is an apple granted it’s fresh. So, is there really a difference between Bondax and Disclosure when both artists’ music is very well-suited to be played at your local Urban Outfitters? In this case, freshness equates to >100,000 plays on SoundCloud or some other arbitrary metric of Internet newness.

The art gallery electronic music coming out of the UK generally makes me happy since it lets me listen to that Depeche Mode sound without falling into a dark place for 3-5 minutes. Nevertheless, the lack of emotion in this music is almost alarming; there’s no warmth whatsoever, and it fails to reach that Yeezus level of coldness and abrasiveness. We get these quasi-love songs that fail to communicate any strong emotions. In Disclosure’s “Latch”, we hear the lyrics “I feel we’re close enough // I wanna lock in your love”. My response to Disclosure, in this case, is no, you’re not close enough. Bodax knows that “Gold is not enough” and seems to understand that all this shimmering electronica bullshit doesn’t make a song good on its own. These songs need some kind of progression, either emotional or instrumental/rhythmic.

Bondax gets this a bit more, and that’s why I’d argue that their music is marginally better than Disclosure’s. Bodax’s beats are actually pretty sexy, and they seem to be making progress with their new song “Giving It All”, which compares favorably to “When a Fire Starts to Burn” and other recent Disclosure songs. Our Bondax sample size is fairly small—their only ‘real’ tracks are “Gold”, “Giving It All”, and their remix of “You Know You Like It” by AlunaGeorge, which is much better than Disclosure’s collaboration with AlunaGeorge (at least before the HudMo remix). “Giving It All” closes with an actually interesting lyric: “paper hearts are meant to unfold” (I think…). Its meaning escapes me, but, like Bondax, it’s intriguing.

I still like Disclosure a lot, and I love that they’re getting big with this chic electronic sound. I saw them play a couple of times at SXSW 2013, and they really do kill it live, choosing to play a bunch of weird electronic instruments onstage and otherwise keeping things interesting (I actually lent them my iPhone charger, nbd). I just want a bit more emotion. Latch has some emotional moments, but they go cold after just a few listens. This might happen with the new Bondax track too. I like this genre just as I like apples, and I’ll keep consuming lots of both of them. In the end, I’m probably just pushing the Depeche Mode comparison, which is that amazing honeycrisp apple cultivar.

 

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I know we still have a while left in 2013, but this is going to be my song of the year. Snakehips absolutely shuts it down with this soulful, innocent but sexy track. The production is subtle and complex and the hook hits just right with bubbly arcade sounds under a glittery vocal track. It legitimately does not get better than this. It can’t. It would kill me. 

Purity Ring fills whatever room they play in with an almost unreasonable amount of bass (it’s exhausting after 45 min). We still aren’t sure whether so much deep bass gives them depth as a recording artist, but it makes for an interesting DJ set. All the ambient noises/bass fill up the mix, giving it almost no empty space. They  confirm their hip hop influences by playing a few rap tracks, but it all still sounds like Purity Ring. Check it.

Lemonade became blog famous by bringing back “The Place Where You Belong” by Shai from some CD binder of 90s R&B records. That seemed to go over well, and they released their album Diver to mild critical acclaim—I liked it a lot, especially “Neptune” and “Big Changes”. Now, they’ve released “Perfect Blue”, hopefully to be followed by another album or EP. Regardless, the track is strong. It’s effectively a hybrid of the two tracks listed above from Diver—Lemonade has really refined their sound, which uses some rhythmic elements from R&B, electronica instrumentation and melodies, indie rock singing, and some piano. So, Lemonade basically sounds like all current music. Track below.

ImageYou’ve got to love this new video from Major Lazer. Eric Wareheim made it, so you already know it’s going to be tight, and probably hilarious. Those three girls at the beginning, pre butt-injection, we all know them. Also, Bruno Mars singing “bubble-butt” over and over? That’s his role in this? Brilliant move by Major Lazer. No nonsense straight down to business sort of attitude with these guys. How big are butts going to be 2020 if this doesn’t end? 

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Trentemøller is a near-40 year old grammy winning danish music producer. Dude is ancient. This track goes too hard, though. Makes me want to walk through some city late at night and low-key roll-bob my head around like a creep. The production itself isn’t overwhelming, but in this case I think less is more. The song is carried by Jonny Pierce of The Drums who absolutely tears it up. The production anxiously approaches a climax, although it never quite arrives at one, and works with Jonny Pierces’ voice to make it totally satiating anyway. 

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