Tony Silver, director of Style Wars, passes away

Tony Silver, the director behind the seminal independent film Style Wars, passed away on February 1.

Originally shown at the 1984 Sundance Film Festival (where it won a Grand Prize for documentary films) and on PBS-TV, Style Wars was the first documentary to investigate the hidden world of graffiti in New York. Silver collaborated on the film with Henry Chalfant, the photographer whose books (Subway Art and its follow-up, Spraycan Art) comprise the definitive chronicle of early aerosol art. Style Wars features many now-legendary characters from that era, from Skeme 2 and Dondi to future mixtape king Kayslay (then known as Dez). Snippets from the film’s soundtrack have popped up on numerous hip-hop recordings, including Ol’ Dirty Bastard’s Return to the 36 Chambers: The Dirty Version and Mos Def & Talib Kweli are Black Star.

In 2003, after many years of falling out of circulation, Style Wars was reissued on DVD, winning a new generation of fans. An online version of it can be seen on Google Video.

On his MySpace blog, El-P posted an item titled “The Death of a Legend.” As a member of Company Flow, El-P may have authored the best musical fusion of graffiti-minded lyrics and hip-hop beats with the classic Funcrusher Plus.

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Food for Animals mount East Coast tour

With their critically-acclaimed debut Belly in hand, Washington, D.C.’s experimental hip-hop unit Food for Animals will head out on the road for a month-long tour. The group will be accompanied by San Francisco upstart Mi Ami. And yeah, I know I tend to cut on indie-rock bands here, but if their “tropical/punk” MySpace tracks are any indication, Mi Ami is pretty decent. Other opening acts, mostly of the experimental rock persuasion, will pop up at various shows.

Food for Animals will only cover East Coast and Southern cities on this run, so West Coasters will have to wait to see them in the flesh. Check if your city is on the itinerary below.

  • 2/13: La Casa, Washington, DC
  • 2/14: Floristree, Baltimore, MD
  • 2/15: Silent Barn, Brooklyn, NY
  • 2/16: Johnny Brenda’s, Philadelphia, PA
  • 2/17: Great Scott, Boston, MA
  • 2/18: Knitting Factory, New York, NY
  • 2/19: Wesleyan University, Middletown, CT
  • 2/20: Garfield Artworks, Pittsburgh, PA
  • 2/21: Now That’s Class!, Cleveland, OH
  • 2/22: Scrummage University, Detroit, MI
  • 2/23: A-V-Aerie, Chicago, IL
  • 2/24: The Art Hospital, Bloomington, IN
  • 2/25: The Pilot Light, Knoxville, TN
  • 2/26: Nightlight Lounge, Raleigh, NC

2/13-2/26: w/Mi Ami
2/13: w/Wealth
2/14: w/Microkingdom
2/15-2/16: w/Pissed Jeans
2/15, 2/19: w/President
2/17: w/Tinsel Teeth, Magic People, Mike Kanin
2/23: w/Scalpels, Pit er Pat

Plug One review: Food for Animals, Belly

www.myspace.com/thefoodforanimals

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Peanut Butter Wolf assists Chow Nasty

Somehow, it completely escaped my attention that Peanut Butter Wolf recently produced his first full-length album in nearly 10 years.

For long-suffering Peanut Butter Wolf fans, this is big news. Since focusing his energies on turning Stones Throw into a classic hip-hop imprint, PB virtually stopped producing records for several years. Recently he has begun making tracks again, adding the odd beat to Stones Throw’s compilations. But who could have expected his first major return to production to be a project for…Chow Nasty?

Yes, the San Francisco funk party band’s Super (Electrical Recordings) is the first PB Wolf opus since 1998’s My Vinyl Weighs a Ton. It came out in July 2007 on Omega Records, and features a guest rap from Pep Love. It seems like dudes are well-connected, too. Their debut EP, Ungawa…The Party Stops Right F**king Now, featured remixes from Arabian Prince and XXXchange from Spank Rock.

Anyway, Chow Nasty will formally introduce themselves to incredulous hip-hop heads during a U.S. tour. Not to put much pressure on Chow Nasty, but they have a lot to live up to. The dates are below.

  • 2/15: Knitting Factory, Los Angeles, CA
  • 2/18: The Casbah, San Diego, CA
  • 2/19: Plush, Tucson, AZ
  • 2/21: The Attic, Santa Cruz, CA
  • 2/22: Monterey Live, Monterey, CA
  • 2/25: Jambalaya, Eureka, CA
  • 2/26: Le Voyeur, Olympia, WA
  • 2/27: Nectar Lounge, Seattle, WA
  • 2/28: Holocene, Portland, OR
  • 2/29: Boundary Bay, Bellingham, WA
  • 3/01: The Astoria, Vancouver, BC
  • 3/03: The BLVD, Spokane, WA
  • 3/04: The Palace, Missoula, MT
  • 3/06: The Aquarium, Fargo, ND
  • 3/07: Triple Rock, Minneapolis, MN
  • 3/08: Vaudeville Mews, Des Moines, IA
  • 3/10: Replay Lounge, Lawrence, KS
  • 3/26: The Map Room, Charleston, SC
  • 3/28: Lenny’s Bar, Atlanta, GA
  • 4/03: The Red and the Black, Washington, DC
  • 4/08: Geno’s Rock Club, Portland, ME
  • 4/19: PS Collective, Omaha, NE
  • 4/23: Burt’s Tiki Lounge, Salt Lake City, UT
  • 4/24: XOXO Bar, Reno, NV

www.chownasty.com
www.myspace.com/chownasty

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Murs runs for president

Next month, Murs will host another edition of his increasingly successful Paid Dues Festival in San Bernardino, Calif. But fans of the veteran West Coast rapper will get another treat by this summer: a new album titled Murs for President.

Details are still forthcoming on Murs for President, which is scheduled for release in the next few months on Warner Bros. It is clear, however, that 9th Wonder doesn’t handle all of the production like he did on Murs’ last two albums, including 2006’s Murray’s Revenge. He contributes several beats, though. Other guest appearances come via DJ Quik and Snoop Dogg and Supreeme, Murs’ proteges.

So far, Murs has released two teaser singles from the album, “Dreadlocks” and “Better Than the Best.” He shot a video for the latter, which you can watch below.

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Tonedeff triumphs over Gibson Guitars, pops up on new EP

Earlier today, New York MC Tonedeff announced victory in a years-long business dispute with Gibson Guitars that drew considerable interest around the Internet. He’s also set to appear on a new EP, Baby Blue for Pink, that drops February 12 on QN5 Music.

Tonedeff’s problems with Gibson Guitars began when Tonedeff won the “Last Band Standing” competition at the 2006 edition of Lollapalooza. The prize package include $10,000 in band equipment from Gibson Guitars. But what ensued was several months of fruitless emails between Tone Deff and an entertainment liaison for the company. Eventually, the company stopped returning the rapper’s emails altogether.

So on January 22, Tonedeff posted an item called “Gibson Hates Hip Hop” on the site for QN5 Music, the indie rap label label he shares with artists such as Cunninlynguists and PackFM.

I can’t think anymore. As I sit here in my piece of shit “studio”, with the dusty mixer that shorts out every other minute, working on this slow ass 1Ghz dell PC that doesn’t read CD-Rs and crashes my recording app every other take, which has a soundcard installed in it that refuses to accept MIDI, seated next to the tired ass prosumer keyboard whose sounds I’ve raped for the past 8 years, turntables I can’t scratch on and this Shure mic that has a dent in it – I think to myself: “GIBSON!!!!”

Why, you ask? Remember that whole Lollapalooza ‘Last Band Standing’ competition I won back in 2006? Well, Lollapalooza came through 100% on their end of the prize package – but apparently the people over at Gibson don’t feel they need to cater to Hip Hop artists.

In a matter of days, Tonedeff’s item gained traction, and was reported by various blogs and websites. A story about the dispute on Consumerist.com drew thousands of Digg’s on its own, and temporarily became one of the most popular items on Digg.com.

By early this week. Gibson Guitars caved in. In a January 31 post titled “The Power of the Internet,” Tonedeff writes:

For those of you who are just catching on, last Tuesday, after a year and a half of waiting, I decided to go public with the now infamous prize-fulfillment situation with Gibson Guitars and wrote this blog. …

Well, this past Tuesday, I had a one-on-one conversation with Gibson CEO, Henry Juszkiewicz. Now, it’s rare that a CEO of a company that size will sit down on the phone with you and talk man to man, so for that, I was very impressed with the level of commitment and cooperation they showed in order to demonstrate the level of seriousness with which they took this whole situation. Henry assured me that this was something that Gibson was truly apologetic for and made his best effort to make sure that I came away from the entire experience feeling as though I was treated fairly and received what I deserved.

The very next morning there was a FedEx envelope on my desk from Gibson.

In a nutshell, they matched the original prize value and it’s all going to my credit cards as we speak to pay for the gear I couldn’t afford. Granted, it’s all TAXABLE prize income (which is essentially 50% – thanks Uncle Sam!), but it’s definitely more than I would have gotten had I just received their gear from the get-go. I’m all about fairness and I don’t like handouts, so this is definitely the fairest possible outcome I could ask for. And that’s all I wanted to begin with. As of right now, I’m 100% happy with the outcome and I feel like the people at Gibson not only made good on their prize commitment, but went the extra mile to make up for this whole fiasco.

Tonedeff’s plight holds particular resonance in the world of freestyle battles. Far too often, promoters of competitions/talent shows promise fledging MCs big prizes, recording contracts, studio time, and sometimes even thousands of dollars, yet ultimately renege on the agreements. A classic example occured four years ago when Miami battle rapper Wrekonize won MTV’s 2003 MC Battle. The prize was a contract with Roc-A-Fella Records, but the label clearly didn’t plan to give Wrekonize a deal — Dame Dash, one of the judges for the contest, was clowning the MCs during the battle!

As someone who’s been on the battle circuit since the late 90s, and has recorded several mixtapes and albums, Tonedeff has a lot more experience than Wrekonize. But as his conflict with Gibson Guitars illustrates, anyone — no matter how seasoned — can be taken advantage of in the music business.

In related news, Tonedeff is appearing on QN5 Music’s digital-only sampler, Baby Blue for Pink EP. The track listing is below.

  • 1. PackFM, “Plucking Daisies”
  • 2. Session, “The Letter”
  • 3. Cashmere the Pro, “Know I Do” (Kno remix)
  • 4. Substantial, “R Love Songs Gay?”
  • 5. Mr. SOS, “Digital Video” (feat. CunninLynguists & SunnyStylez)
  • 6. Tonedeff, “Close”

www.myspace.com/tonedeff

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Take issues two new EPs

Last year, West Coast hip-hop producer Take issued a much-admired debut, Earthtones & Concrete. Next month, he’ll satisfy lovers of abstract beats with two EPs.

The first, Plus Ultra EP, dropped earlier in January on Brooklyn imprint Inner Current. It pares three remixed tracks from Earthtones & Concrete by Daedelus, Domu and Ras G with four new cuts. The second, a vinyl release for Netherlands label Eat Concrete, arrives under the slightly wonkish title The Dirty Decibels of Thomas Two Thousand. It’s a nine-track effort that includes a remix by underground favorite Dimlite. The track listing for both EPs are listed below.

“Based in Los Angeles, TAKE aka Thomas Wilson is a composer who continues to push the boundaries of instrumental Hip Hop music into new directions,” reads a bio on the Eat Concrete website. “The 30 year old multi-instrumentalist/dj/producer describes his music as ‘Rooted in Hip Hop but on a space ship headed for a new and better place… somewhere out there.'”

Here’s the track listing for Plus Ultra EP:

  • 1. “Slouched Over”
  • 2. “Navigators” (A Take & Lukid Collaboration)
  • 3. “Dream Suite” (instrumental)
  • 4. “Golden Gate Reflections” (Ras G remix)
  • 5. “Bee Sting”
  • 6. “You High” (Daedelus remix)
  • 7. “Like a Drum” (A Take & Domu Collaboration)

And here’s the track listing for The Dirty Decibels of Thomas Two Thousand:

  • 1. “Intro”
  • 2. “Make Believe”
  • 3. “Lie-Twerx”
  • 4. “After Words”
  • 5. “All Around”
  • 6. “Fall in Love Again”
  • 7. “Sugar Flower”
  • 8. “Speak Low”
  • 9. “Make Believe” (Dimlite’s Unbelievable Re-Make)

www.myspace.com/takeisme

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Amplive tangles with Radiohead over “Raindayz Remixes”

In the grand Plug One tradition of reporting stories long after they cooled, we take a look at the unfortunate debacle surrounding Zion-I producer Amplive and his aborted project, Radiohead: Rainydayz Remixes.

Last November, Amplive began leaking tracks from the remix project, and promised an all-star cast that included Del tha Funkee Homosapien, Too Short, and Chali 2na. He planned to make it available on January 10 to those who purchased In Rainbows via Radiohead’s historic online offering. Only fans who had a email receipt from Radiohead’s W.A.S.T.E. site would be sent a copy of Raindayz Remixes.

As the tracks circulated through the blogosphere, the media picked up on the story, and the New York Times ran a brief item on it. All of that attention, however, led to Amplive receiving a cease-and-desist letter from Radiohead’s publisher, Warner-Chappell Music.

Interestingly, the date of letter is December 18, but Amplive didn’t announce that the project would be halted until January 3, which indicates that there may have been some backroom negotiations. Nevertheless, on January 3 Amplive sent out a MySpace bulletin titled “Amplive vs. Radiohead”:

First and foremost I would like to thank everyone who has been digging my remixes. I put a lot of time and hard work into them and I am glad people are appreciating them. I was especially excited about the exclusive verses I was able to get from Del the Funky Homosapien, Chali2na from Jurassic 5, the soul singer Codany Holiday, and K.Flay, who were all also super excited about contributing to the project. I really feel if Radiohead’s team was able to hear these remaining remixed songs, they would feel differently. So I am writing this letter to ask that if you have any post/streams/mp3s of the songs from Rainydayz Remixes that you remove them immediately. Complying with the cease and desist, these remixes can’t be publicly distributed or made commercially available. Even though I was offering them for free in conjunction with the In Rainbows download and had good intentions because of my appreciation for their music, the powers that may be are not seeing it the same way. Hopefully I can find a way for Radiohead to support this FREE release made available only to those who purchased their album. For now I am cooperating with the “C & D” only because it has come from Radiohead’s team and I will respect that. BUT if that changes I am happy to resume my release plans. Again, I appreciate your support in posting them, but because of the situation at this time, it is illegal. Thanks for you help. – Amp Live

Amplive planned to release a free zip file of the remix record on January 10th to all those who forwarded an email receipt of In Rainbows purchase to amplive@onesevensevensix.com. In addition to unveiling the tracklist (which can be found below), Amp had planned on expanding the release model to allow those who had deleted their W.A.S.T.E. emails to reserve a copy of the album by forwarding receipt of a donation – in any amount – to Friends of the Earth, a charity Thom Yorke has officially backed on the band’s Dead Air Space blog. If and when the release is allowed to move forward, all those who have forwarded receipts from W.A.S.T.E. or Friends of the Earth will receive a copy of the album. Tracklist, and more info on the charity below.

Amplive then posted a track listing of the remix project. He also posted a YouTube video explaining the situation. The track listing and a link to the video are listed at the end of the story.

In a January 4 interview with Gigwise, Radiohead manager Bryce Edge commented on the situation:

“A main problem was that he (Amplive) did a cut and paste of a photo of Thom and put it on his website which inferred he was involved in the project. When we heard that you had to send a confirmation email from W.A.S.T.E to get the album, we thought ‘That’s a bit naughty!’

“It wasn’t a case of someone simply posting some remixes on a website, he was suggesting that the band were involved and that’s why the publishers decided to take this action.

“Amplive had never even come to the band telling them about his idea, which would have been nice. I know he had good intentions, but I just think he’s misled people.”

Give props to Amplive for complying with the cease-and-desist order. In contrast, when Danger Mouse was presented with a cease-and-desist order for his classic The Grey Album mashup of Jay-Z’s The Black Album and the Beatles’ The White Album, he organized “Grey Tuesday,” and called on music fans to download the album for free. Amplive could have easily launched a similar, highly-publicized protest. Perhaps he should have.

At any rate, with the media blizzard having moved on to other pressing matters, like Lil Wayne’s umpteenth drug bust, Amplive is free to continue his career as part of Zion-I (a great group that got little to no mention in all of the Radiohead vs. Amplive stories). He has already begun to post mashups of other artists on his MySpace page.

It appears that Raindays Remixes was sent to members of the press, so it’s possible that it may be floating around on to the Internet. Two tracks, “Nudez” (Amplive remix) and “Weird Fishez” (Amplive remix), are still posted on Stereogum’s website. Good luck finding it.

Here’s the track list:

  • 1. “Rainydayz”
  • 2. “Video Tapez” (feat. Del the Funkee Homosapien)
  • 3. “Nudez” (feat. MC Zumbi of Zion I and Too Short)
  • 4. “Weird Fishez”
  • 5. “All I Need”
  • 6. “15 Stepz” (feat. Codany Holiday)
  • 7. “Reckonerz” (feat. Chali 2na)
  • 8. “Faustz”

And here’s the video:

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Plug One review: Zion-I & the Grouch, Heroes in the City of Dope

www.myspace.com/zioni
www.myspace.com/amplive

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Masta Ace + Punchline + Wordsworth + Stricklin = EMC

Juice Crew legend Masta Ace, Lyricist Lounge vets Punchline & Wordsworth, and onetime major label prospect Stricklin (remember Tommy Boy’s Black Label?) have been performing together as EMC for the past several years. Masta Ace featured the crew on his last album, the critically-acclaimed A Long Hot Summer, and they banded together last year for a well-received 12-inch, “E.M.C. What It Stand For?”

Now EMC has completed an album, The Show for release in April on Masta Ace’s label, M3 Records. (February 3 update: The track listing is below.) “The group idea was a natural progression of the relationships we all made from being on the road together,” says Ace in a press release. “It’s not just about the music with us, we are pretty much like brothers.”

True to their reputation as master industry networkers, The Show features a plethora of guests. 24 tracks deep, it features Little Brother, Sean Price, and Ladybug Mecca on guest vocals. Instrumentation come courtesy of K-Otix producer the Are, Nicolay, DJ Eclipse from Xecutioners and Ill Insanity, Ayatollah and Marco Polo. “EMC is a movement and hip-hop should get ready for something really special,” says Stricklin.

  • 1. “Who We Be”
  • 2. “The Airport”
  • 3. “Leak It Out”
  • 4. “The Check In”
  • 5. “Traffic” (feat. Little Brother)
  • 6. “Say Now”
  • 7. “The Message”
  • 8. “Don’t Give Up On Us” (feat. ADI of Growing Nation)
  • 9. “Git Sum” (feat. Sean Price)
  • 10. “We Alright” (feat. Strickie Love)
  • 11. “The Interview”
  • 12. “EMC (What It Stand For)”
  • 13. “The Angry Merch Guy”
  • 14. “The Grudge”
  • 15. “Make It Better”
  • 16. “The Lobby”
  • 17. “Winds of Change”
  • 18. “The Show” (feat. Ladybug Mecca)
  • 19. “The Backstage”
  • 20. “Borrow You” (feat. Strickie Love)
  • 21. “Once More”
  • 22. “U Let Me Grow”
  • 23. “Feel It” (feat. Money Harm of the Product G&B)
  • 24. “Outtakes”

www.myspace.com/emcthegroup

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DJ Vadim adds dates to “Soundcatcher” tour

After a lengthy fall tour for last year’s impressive reggae/future soul/electronic/hip-hop hybrid The Soundcatcher, DJ Vadim will head back out on the road in February to complete some West Coast dates. This time, it will be a mix of full-on concerts and DJ gigs. Yarah Bravo, a.k.a. “Lil’ Miss B,” and Abstract Rude, who’s preparing for a run with Brother Ali, will join the Russo-British producer for a few gigs.

The itinerary is listed below.

  • 2/01: Poleng Lounge, San Francisco, CA
  • 2/02: Jambalaya, Arcata, CA
  • 2/05: Casbah, San Diego, CA
  • 2/07: Air Conditioned Lounge, Venice, CA
  • 2/08: The Hut, Tucson, AZ
  • 2/09: Zenbu Lounge, Squaw Valley, CA
  • 2/10: Tonic Lounge, Reno, NV
  • 2/13: Bar None, Vancouver, BC
  • 2/14: Little Temple, Los Angeles, CA
  • 2/15: Darkroom, Chicago, IL
  • 2/19: Continental Rooms, Fullerton, CA
  • 2/20: The Airliner, Los Angeles, CA

2/01-2/05, 2/08-2/10, 2/14: w/Yarah Bravo
2/08-2/10, 2/14: w/Abstract Rude
2/08: Gem & Jam

www.djvadim.com
www.myspace.com/djvadim

Photo by Hilary Sol Allen.

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Saul Williams tours for “Niggy Tardust”

It’s unfortunate that the press chose to focus on the way Saul Williams’ The Rise and Liberation of NiggyTardust! was sold instead of the music itself. The last you probably heard about the album was when Trent Reznor from Nine Inch Nails announced on his website that only 18 percent of people who downloaded the album paid for it. (The site, www.niggytardust.com, gives you the option of paying $5 for a high-fidelity version or downloading a 192 KB version for free.) NiggyTardust! may have been a failure from a financial standpoint, but was it a success from an artistic standpoint? Few critics have bothered to answer that question.

For those who actually enjoyed NiggyTardust as a recording, not just a publicity stunt, Williams has announced the first dates for an extensive tour. He’ll go to colleges, concert halls and nightclubs; work from the East Coast to the West Coast, and then up to Canada; and even head out to SXSW. (Those dates have yet to be announced.) You’ll have plenty of chances to see the renaissance man live.

In related news, Williams recently released a video for “Sunday Bloody Sunday,” his sterling cover of the U2 classic. A clip of the video and the concert itinerary are listed below.

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  • 2/01: Babson College, Babson Park, MA
  • 2/06: UC Santa Cruz, Santa Cruz, CA
  • 2/15: Pacific Lutheran University, Tacoma, WA
  • 2/16: Music Hall Center, Detroit, MI
  • 2/19: Illinois State University, Normal, IL
  • 3/12: Austin Convention Center, Austin, TX
  • 3/17: Plaza Club, Vancouver, BC
  • 3/18: Aladdin, Portland, OR
  • 3/19: Neumo’s, Seattle, WA
  • 3/21: Slim’s, San Francisco, CA
  • 3/22: SOHO Music Club, Santa Barbara, CA
  • 3/24: Casbah, San Diego, CA
  • 3/25: Troubadour, Los Angeles, CA
  • 3/26: Clubhouse, Tempe, AZ
  • 3/27: Chandler Gilbert Community College, Phoenix, AZ
  • 3/28: Estrella Mountain Community College, Phoenix, AZ
  • 3/29: Launchpad, Albuquerque, NM
  • 3/31: The Loft, Dallas, TX
  • 4/01: Warehouse Live Studio, Houston, TX
  • 4/03: The Parish, New Orleans, LA
  • 4/04: The Loft, Atlanta, GA
  • 4/06: Ramshead, Annapolis, MD
  • 4/07: 930 Club, Washington, D.C.
  • 4/08: Paradise Lounge, Boston, MA
  • 4/09: Irving Plaza, New York, NY
  • 4/11: Trocadero, Philadelphia, PA
  • 4/12: Iron Horse, Northampton, MA
  • 4/13: La Tulipe, Montreal, QC
  • 4/14: Mod Club, Toronto, ON
  • 4/16: Blind Pig, Ann Arbor, MI
  • 4/17: Grog Shop, Cleveland, OH
  • 4/18: Martyrs, Chicago, IL
  • 4/19: Varsity Theatre, Minneapolis, MN
  • 4/21: Fox Theatre, Boulder, CO
  • 4/22: Belly Up Tavern, Aspen, CO
  • 4/23: Kilby Court, Salt Lake City, UT

Plug One review: Saul Williams, The Rise and Liberation of NiggyTardust!

www.saulwilliams.com
www.niggytardust.com
www.myspace.com/saulwilliams

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RJD2 heads back on tour

Columbus, Ohio producer RJD2 has carved out a dependably lucrative touring career. Thanks to his catalog, which includes one undisputed classic (Deadringer), a decent follow-up (Since We Last Spoke), and impressive production stints for others (Aceyalone’s Magnificent City, Soul Position’s albums), he’s earned a swath of the same crowd that cheers along to the Roots, the now-defunct Jurassic 5 and Quannum at Bonnaroo and other jam band festivals. How else could dude headline a theater tour without a new album out since last year’s The Third Hand?

As he did last year, RJD2 will roll with various members from the indie-rock band Happy Chichester as his backing band, and present a live experience that mixes organic interpretations of his vocal work alongside turntable renditions of instrumental hits. The tour dates are below.

  • 3/01: Starland Ballroom, Sayreville, NJ
  • 4/01: Orange Peel, Asheville, NC
  • 4/02: Variety Playhouse, Atlanta, GA
  • 4/04: Emo’s, Austin, TX
  • 4/05: Palladium Loft, Dallas, TX
  • 4/07: The Clubhouse, Tempe, AZ
  • 4/08: Casbah, San Diego, CA
  • 4/09: Henry Fonda Theater, Los Angeles, CA
  • 4/10: The Independent, San Francisco, CA
  • 4/11: Hawthorne Theater, Portland, OR
  • 4/12: Chop Suey, Seattle, WA
  • 4/14: Urban Lounge, Salt Lake City, UT
  • 4/15: Cervantes Masterpiece Ballroom, Denver, CO
  • 4/16: The Record Bar, Kansas City, MO
  • 4/17: First Avenue, Minneapolis, MN
  • 4/18: Abbey Pub, Chicago, IL
  • 5/01: 9:30 Club, Washington, DC
  • 5/02: Bowery Ballroom, New York, NY
  • 5/03: Paradise Lounge, Boston, MA

www.rjd2site.com
www.myspace.com/rjd2

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Review: Food for Animals, “Belly”

Food for Animals
Belly
Hoss Records

Rating: ★★★☆☆ 

You could say that D.C. crew Food for Animals are part of the current hip-hop zeitgeist. Like any progressive B-boy lustfully idolizing the indie-dance scene, the quartet plays with Baltimore club beats, and their tracks have a certain frission reminiscent of Justice. But FFA are too intellectual and clever for the hipsters. Producer Ricky Rabbit eschews easy 4/4 bass patterns for stop-start drum percussion, layers on harsh cascades of post-punk noise, and slices up vocals and samples into little daggers that stab up the track.

The group’s debut, Belly, updates the soundclash imperative celebrated by everyone from the Pop Group and Crass to Techno Animal and DJ Spooky. Its are best absorbed as song-stews instead of traditional songs. The group’s few attempts at traditional verse/chorus lyrics, such as “Shhhy” and “Mutumbo,” make a bigger impact with its panoply of sounds, including Vulture V and Hy’s raps, than the choruses. The music is intense, but it also lacks emotion and drama. Unlike Dalek, another group that mixes experimental aesthetics with hip-hop flows, Food for Animals like to make romps, not psychodramas. A little more conceptual direction and better songwriting, however, would make Belly more than an acid-tinged collection of industrial-stength B-more bangers.

Some of the best cuts on Belly include “Belly Kids,” which opens with 45 RPM chants of “Take drugs” and “Trapped in the Belly” and devolves into a soliloquy, with birds chirping in the background and machines whirling out of control. Vulture V paints a picture of societal decay, rapping, “I see paychecks rust/Taxicabs dust/And your wings in the belly get crushed/Acid turns feathers into skeletons/Water full of flies because the power trip’s irrelevant.”

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Review: Lupe Fiasco, “Lupe Fiasco’s The Cool”

Lupe Fiasco
Lupe Fiasco’s The Cool
Atlantic

Rating: ★★★½☆ 

Lupe Fiasco isn’t above recycling ideas. If Lupe Fiasco’s Food & Liquor had a tone reminiscent of Kanye West’s Late Registration, then Lupe Fiasco’s The Cool opens with “Go-Go Gadget Flow,” a bounce rap with a title similar to Gnarls Barkley’s “Go-Go Gadget Gospel.” Even the cover art looks like Thrice’s artwork for The Alchemy Index Vols. I & II, which was released over a month before The Cool. For all of his brazen originality, which he demonstrates on The Cool in spades, Lupe sometimes has difficulty thinking outside of the box.

It is possible to enjoy The Cool without having to pick apart its central concept, a moralistic tragedy about a fledging MC selling his soul to the devil for success. It takes a close listen reveal that these songs aren’t necessarily coming from Lupe himself, but a third character he has created: Michael Young History, a.k.a. the Cool. On “The Coolest” he makes clear the Cool’s descent into a deal with the Streets. “She said she’d give me greatness/Status/Placement over the others/My face would grace covers of the magazines of the hustlers/Paper the likes of which that I had never seen/Her eyes glow green with the logo of our dreams,” he raps. Subsequent cuts such as “Superstar,” a somewhat pretentious arena rap that oddly grows more appealing with repeated plays, subtly twist Lupe’s themes on fame to reflect the Cool’s increasingly distorted perspective. As the Cool collapses in a hail of bullets (“The Die”), loses his soul to the Streets’ master the Game (“Put You on Game”), and turns into a zombie (“Fighters”), Lupe walks a thin line between full-blown conceptualism and accessible, personal songwriting with remarkable skill.

The music, mostly produced Soundtrakk, reflects Lupe’s ambitions to make hip-hop that rocks on a scale similar to Coldplay and Radiohead. (On “Hello/Goodbye,” a breakbeat track produced by UNKLE, Lupe even sing-raps in a flat, nasally vocal similar to Tool’s Maynard Patrick Keenan.) The keyboard notes are watery and amorphous; “Paris, Tokyo” even approaches the softness of contemporary jazz. That Soundtrakk would take his cues from Coldplay’s piano cheese testifies to the cross-cultural appeal of the latter’s soothing, comforting sounds. Still, a funky guitar lick or some noisy dissonance would be nice. However, when compared with his overwrought, string-laden miasmas on Food & Liquor, Soundtrakk actually shows some restraint. Despite its sickly sweet grooves, “Paris, Tokyo” is a nice breezy song about love and international travel. The haunting, “Intruder Alert” could have been made during the early 90s, the era of kitchen-sink dramas such as 2Pac’s gangsta rap ballad “Brenda’s Got a Baby, as Lupe rhymes about a woman recovering from rape.

The Cool is a bravely ambitious album, but it’s not a great one. It often threatens to tumble from the weight of its bombast. “Little Weapon,” a song Patrick Stump from Fall Out Boy produces with a heavy emphasis on pounding percussion and glittery xylophone effects, brings surprising life to The Cool’s lumbering prog hip-hop. For the most part, that sort of lightness is sorely lacking here, even if The Cool’s overwhelming portentousness yields some small rewards such as “Superstar” and “Gotta Eat,” the latter an effective ode to the code of the Streets.

Above all, The Cool reflects the danger of being a deliberate strategist who sacrifices little to raw naturalism. (See the self-proclamatory “Dumb It Down” for proof.) To be fair, hip-hop stars tend to be too aware of their supposed superiority, and all too ready to proclaim whatever they do as a masterpiece or a classic. Contrary to most of his peers, Lupe is truly a vivid and fascinating MC and, sometimes, an innovative theorist. The only thing holding him back is self-consciousness.

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Review: Percee P, “Perseverance: The Remix”

Percee P
Perseverance: The Remix
Stones Throw

Rating: ★★★☆☆ 

Perseverance: The Remix revisits Percee P and Madlib’s collaborative album from last year. Ostensibly a collection of remixes, it sounds completely different, and in some ways superior, to the original. On Perseverance, Percee P couldn’t get out of overdrive; he attacked every track as if it was “Let the Homicides Begin.” Meanwhile, Madlib seemed to struggle to fit his slow-to-midtempo tracks with Percee P’s unyielding fast raps.

Here, Madlib’s music sounds more free and eclectic, stuffing all sorts of random sounds into the mix. A restlessly inventive producer, he can make fantastic beats no matter who’s rapping on them. For “Legendary Lyricist,” he balances slump disco-funk beat from Mtume’s “Juicy Fruit” with the hissing tone from Public Enemy’s “Public Enemy No. 1.” Fantastic loops gird interludes like “Ox” and “NY.” He even switches the beat three times on “Ghetto Rhyme Story.”

With Madlib in MVP mode, Perseverance: The Remix doesn’t really need Percee P’s predictable rhyme schemes. However, the two seem to complement each other better here. The remixes reveal Percee P ably fitting his words against the beat; he doesn’t seem as offbeat as before. That allows the attention to shift to Madlib’s fantastic tracks, whether it’s the flute-wafting melody of “No Time for Jokes” (with an on-point Chali 2na) or the fuzzed-out percussive minimalism of “The Dirt and the Filth” with Aesop Rock.

Perseverance: The Remix doesn’t really have a sequence. Some of the best cuts, particularly “No Time for Jokes,” fall near the end, while less-impressive efforts such as “The Hand That Leads You” drop early on. Meanwhile, Percee P spits raps at an effective but limited pace. Even a nice ballad dedicated to H.E.R., “The Woman Behind Me,” feels like he’s anxious and jumpy, ready to let rip. “I’m staying faithful to my style, baby/Yours truly,” he raps near its end. That’s all fine and good. But if he swtiched up the flow once in a while, he would demonstrate that he’s an artist, too, not just a dope freestyle MC.

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The Procussions: 1998-2008

On January 17, J. Medeiros sent out a MySpace bulletin announcing that the Procussions have broken up.

The Procussions — rapper/multi-instrumentalist/producer Stro and rapper/keyboardist/producer J. Medeiros — may be best remembered as one of the groups that anchored Rawkus Records’ comeback in 2006. It blended hot, percussive rhythms with deft MC’ing and a strong moral compass — “American Fado,” a track from their 2006 album 5 Sparrows for 2 Cents featured an appearance from Christian author Renee Altson.

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Paid Dues Festival returns for 2008

In 2006, Paid Dues Festival emerged as the indie conscience of the fast-blossoming Rock the Bells Festival. Organized by Murs’ 3:16 Productions and Rock the Bells’ Guerilla Union, it championed many of the smaller artists that had helped launch Rock the Bells as a major event. Last year, it even served as a “sister” festival, touring through several small cities and holding down the opening stage at Rock the Bells installments in New York, Los Angeles, and San Francisco.

The 2008 edition of the Paid Dues Festival will jump off at the NOS Events Center in San Bernardino on March 22. Some people will argue that its lineup, which features familiar faces such as Sage Francis, Dilated Peoples, and Boot Camp Clik, reflects a certain conservatism within the indie hip-hop scene towards “true school” backpack acts. But in a press release announcing the event, Murs points out several relative unknowns on the bill as well. The full announced lineup is listed below.

“What we’re trying to do with Paid Dues as we go into our third year is: Number one is focus,” says Murs.Being that it’s a festival birthed on the west coast we wanted to tailor the bill to appeal a little more to the region so we brought on local staples such as the A-Team, Omni and Fatlip. To knock it out of the park we added the three major west coast crews Living Legends, Hieroglyphics and the Visionaries.”

“The second thing we are doing is expanding by grabbing more artists outside of the traditional indie hip-hop family (i.e. Def Jux, Rhymesayers, Living Legends) so we approached Dilated Peoples and Little Brother,” continues Murs in the press release. “We also wanted to show some love to the decorated veterans of the independent scene so we reached out to Boot Camp Clik and Kool Keith. Third and most importantly we wanted to give back to the awesome fans who’ve supported us over the past two years to make this the biggest and best Paid Dues yet. My partner Chang [Weisberg of Guerilla Union/Rock the Bells] says the third year is always the greatest and it seems to be like he’s going to be right, again.”

3/22: Paid Dues Festival w/Sage Francis, Little Brother, Dilated Peoples, Jedi Mind Tricks, Living Legends, Hieroglyphics, Visionaries, Boot Camp Clik, Kool Keith, POS, the A-Team, Mac Lethal, Fatlip & Omni, Yak Ballz, Bernard Dolan, Isaiah

www.myspace.com/paidduesfestival

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Dizzee Rascal reissues “Maths + English”

Last year, Dizzee Rascal’s label XL Recordings shocked a lot of people when it announced that his new album, Maths + English, would not be available on a physical format in the U.S. Instead, the label made it available as a digital download, while giving it a full release in Europe. Although Maths + English drew strong reviews from dozens of U.S. publications, it didn’t enter the musical zeitgeist like another standout UK hip-hop release, M.I.A.’s Kala.

Now Definitive Jux is stepping into the breach and giving Dizzee Rascal’s third album the U.S. rollout it deserves. On April 29, the indie rap stronghold will reissue Maths + English in CD format. It will also append two new tracks, “G.H.E.T.T.O.” and “Driving,” and a remix of Dizzee’s awesome “Where’s Da G’s” collabo with UGK by label boss El-P. With luck, Dizzee — a marvelous live performer — will make it over to the States for some gigs as well.

The track listing for the revamped Maths + English is below.

  • 1. “World Outside”
  • 2. “Pussyole (Old Skool)”
  • 3. “Sirens”
  • 4. “Where’s Da G’s” (feat. UGK)
  • 5. “Paranoid”
  • 6. “Suk My Dick”
  • 7. “Flex”
  • 8. “Da Feelin'”
  • 9. “Bubbles”
  • 10. “Excuse Me Please”
  • 11. “Hard Back (Industry)”
  • 12. “Temptation” (feat. Alex Turner of Arctic Monkeys)
  • 13. “Wanna Be” (feat. Lily Allen)
  • 14. “U Can’t Tell Me Nuffin'”
  • 15. “G.H.E.T.T.O.”
  • 16. “Driving”
  • 17. “Where’s Da G’s” (El-P remix)

www.dizzeerascal.co.uk
www.myspace.com/dizzeerascal

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Brother Ali spreads more “Undisputed Truth”

Brother Ali isn’t scheduled to release a new album this spring, but that isn’t keeping him from reclaiming the road. In February, he’ll travel the states again in support of last year’s acclaimed The Undisputed Truth.

On this tour, the Minneapolis bomber will cover small markets, a few indie rap havens (Denver, Albuquerque), and the requisite major cities (Los Angeles, San Francisco, New York). Abstract Rude, fresh from his stint opening for DJ Vadim last year; DJ BK-One; and Ali’s trusty hypeman-poet-rapper Toki Wright will join him. Who knows, maybe he’ll have a new mixtape or something to sop up the rest of his fans’ cash. But more importantly, they’ll undoubtedly get a great show.

The tour dates are below.

  • 2/29: High Noon, Madison, WI
  • 3/01: Picador, Iowa City, IA
  • 3/02: WMTU Houghton, Houghton, MI
  • 3/03: Pizza Luce, Duluth, MN
  • 3/04: University of Wisconsin-Stout, Menomonie, WI
  • 3/05: Waiting Room, Omaha, NE
  • 3/06: Fox Theatre, Boulder, CO
  • 3/07: Bluebird, Denver, CO
  • 3/08: Kilby Court, Salt Lake City, UT
  • 3/08: Urban Lounge, Salt Lake City, UT
  • 3/09: The Venue, Boise, ID
  • 3/10: Neumo’s, Seattle, WA
  • 3/11: Hawthorne, Portland, OR
  • 3/12: Slim’s, San Francisco, CA
  • 3/13: Troubadour, Los Angeles, CA
  • 3/14: Canes Bar & Grill, San Diego, CA
  • 3/15: Club Congress, Tucson, AZ
  • 3/16: Sunshine Theatre, Albuquerque, NM
  • 3/18: Club 101, El Paso, TX
  • 3/19: Prophet Bar, Dallas, TX
  • 3/21: Orpheum, Tampa, FL
  • 3/22: The Social, Orlando, FL
  • 3/24: Cat’s Cradle, Carrboro, NC
  • 3/25: Ottobar, Baltimore, MD
  • 3/26: World Cafe Live, Philadelphia, PA
  • 3/27: Bowery Ballroom, New York, NY
  • 3/28: Middle East, Boston, MA
  • 3/29: Nietzche’s, Buffalo, NY
  • 3/30: Blind Pig, Ann Arbor, MI
  • 3/31: Abbey Pub, Chicago, IL

2/29-3/31: w/Abstract Rude, Toki Wright, BK-One
3/08-3/11, 3/25-3/28:
w/Kenny Segal

www.myspace.com/brotherali

Photo by Dan Monick.

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Review: Ghostface Killah, “The Big Doe Rehab”

Ghostface Killah
The Big Doe Rehab
Def Jam

Rating: ★★★★☆ 

Being Ghostface Killah must be a tough schtick for Dennis Coles, who sticks himself in the misery and muck of 80s crack-era street life again and again, only to rise out of the crap with hopeful eyes towards the future. It’s led to diminishing commercial returns, because Ghost hasn’t had a gold album in seven years, ever since the dawn of the Internet piracy era. But it’s also made for some undeniably powerful and emotional music.

The Big Doe Rehab may be his most predictable work to date. Unlike Fishscale, which sounded heavy and rich in its panoply of coke raps, familial homage and environmental fantasias, The Big Doe Rehab is narrowly focused. It seems like every song finds Ghost cooling with his friends or fucking some girl, then running out of the crib to punish his enemies. Nevertheless, the album is a success. thanks to his impeccable musical taste, exploration of familiar crime and redemption themes — he’s truly one of the great hip-hop structuralists of this decade — and spare but effective lyrical performance. Despite its formulaic structure, The Big Doe Rehab dazzles with elements — the guest appearances from various Wu-Tang personnel such as Raekwon and Method Man (minus the RZA, of course), the sharp and dependable musical backdrops — that click in time like a Cartier watch or a currency counter.

Unheralded producers such as Sean C. (a former member of P. Diddy’s Hitmen team), hard techno-turned-rap producer Anthony “Acid” Caputo and even Ghost himself compose The Big Doe Rehab‘s music. “We Celebrate” opens with a Rare Earth sample and a loud Kid Capri scream-a-thon that’s loud enough to make you fast-forward if you actually aren’t at a party, then drops into a nice funk buzz that allows Ghost to deliver his “in da club” manifesto. “Rec-Room Therapy” is built of scraps and bits of live jam sessions, but feels like a classic flute lick from the 70s. The same goes for “Yolanda’s House,” where Houston producer Anthony “Ant-Live” Singleton weaves a dramatic, string-laden beat around Joi Starr’s declarations of “no more.”

The storyline, which centers on Ghostface running wild in the streets, yet hungry for salvation, is a common motif in all his work. On “Shakey Dog Starring Lolita,” where the Rhythm Roots All-Stars compose a mock salsa track, he seemingly dies amidst a hail of bullets from police after winning a gun battle against a murderous lesbian gangster. “I fucked your pussy while you died slow,” he raps. But the album tacks on two extra “bonus” tracks, which allows him to cool out and pay homage to his woman on “Killer Lipstick,” and mull over domesticity on “Slow Down.” As Chrisette Michelle revisits her lovely Billie Holiday impression from Nas’ “Can’t Forget About You,” Ghostface talks big about his lavish life: “First breath of today can be me last, so I flash/Give my niggas some cash, I just pull out the stash/Buy a million-dollar piece like I buy a pack of seeds/You buy .oz’s of haze, I buy a forest of trees.”

Then, as Syience’s balletic, melancholy track winds down, Ghost turns surprisingly reflective, and seemingly answers Michelle’s entreaties to slow down. “I think about it, you know what I mean? Responsibilities, I gotta focus more,” he says. “Start being with the family more, I might live longer, you feel me? .. I’m a take your advice, though.”

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Power Douglas slices “Pentecostal Fangbread”

If you like Saul Williams’ brand of poetry, hip-hop, rock and electro, then watch for Power Douglas. The Brooklyn-based trio is prepping its debut album, Pentecostal Fangbread, for King Britt’s FiveSixMedia, and is scheduled to arrive on April 15. Guests on the album will include Tunde Adebimpe from TV on the Radio and various members of Dragons of Zynth.

Power Douglas is one of the prime artists on FiveSixMedia, which plans to make major moves this year. Others on its roster include Ursula Rucker and Chuck Treece. “I’ve been so impressed with Power Douglas [frontman] Furor Thin, Chuck and Urs for so long,” says King Britt in a press release. “To be able to help them get their music out there gives me tremendous satisfaction.”

The cryptic bio on the band’s MySpace page reads: “As Power Douglas we enjoy wilderness concubines, balloons, vengeance, and toffee. The Pentecostal Fangbread EP is a paranormal judicial conduit into Man’s condition. Pyro-kinesis is our wandering theme, functioning as a cradle of humanism among this industrial griffin scourge. We will pilfer minotaurs, ghosts, and czars of their fonts…knowing that the dance floor is in warfare with cro-magnon ovals dressed like a Senate. Tim is outlawed in the minds of their expedient daughters. And tender woofers wept, for now chivalry has new friends. So encouraged are we to see Jess in his silent tantrum that banishes impatient killing fields. Power Douglas has a solitaire architecture in the dominion of Brooklyn to thwart charlatan tragedy. Theatre holds memory then harvests invincible love criminals to serenade Power Douglas into a new emotion. Jess and Tim nurture vigilante sound while Furor Thin whispers pyre text. Power Douglas is the temperature of all that is unseen.”

www.myspace.com/powerdouglas

Photo by Eric Martin.

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