Illa J Yancey Boys

For heads still mourning the loss of J Dilla, the release of a rap album by his younger brother John Yancey (featuring all-Dilla production) is the next best thing to a resurrection. As always, Dilla’s soulful claps elevate the beats way beyond average. Illa J’s rhymes are a mix of backpacker lyricism and bottle-popping playerisms, and while he’s perhaps not the most distinctive MC out there, he sounds quite natural flowing over his sib’s tracks. “It’s time for vacation/Your style’s outdated/’Bout to send these hatin’ hyenas on hiatus,” he spits on “R U Listenin’” (with Guilty Simpson). Yancey Boys isn’t overly inundated with features, making it a true family affair as well as a delight for head-nodders.

Jamie Jones & Simon Baker Kaskazi

I’ve been dropping this track in every set and it’s always my biggest track of the night. It’s very different from what Simon and Jamie normally do in the studio, and together they’ve created an amazing record. Once again the vocal is the prominent feature. The bassline is jackin’ and the synths are eerie–then when the vocal comes in and you’re off! If a track I’m playing doesn’t make me move then I’m playing the wrong music and this one does the trick.

Matt and Kim Ready Album, Tour

Matt and Kim got straight to the point on their website October 18, when the following message was posted: “Finally, a new fucking song by Matt and Kim!” The Brooklyn-based duo has readied not just the aforementioned song, which you can take a listen to here, but an entire new album, the first since their 2006 self-titled debut.

The disc will drop January 20. In the meantime, the duo is currently on the road. Find them in and around the U.S. throughout the month of November.

Grand
01 Daylight
02 Cutdown
03 Good Ol’ Fashion Nightmare
04 Spare Change
05 I Wanna
06 Lessons Learned
07 Don’t Slow Down
08 Turn This Boat Around
09 Cinders
10 I’ll Take Us Home
11 Daylight Outro (Remix)

Dates
11/03 Cambridge, MA – Middle East
11/05 Northampton, MA – Iron Horse
11/06 Montreal, Quebec – Lambi
11/07 Ottawa, Ontario – Mavericks
11/08 Toronto, Ontario – Whippersnapper Space
11/10 Detroit, MI – Magic Stick
11/11 Chicago, IL – Subterranean
11/12 Chicago, IL – Subterranean
11/13 Dekalb, IL – The House Café
11/14 Minneapolis, MN – Triple Rock Social Club
11/15 Madison, WI – Club 770 (Union South)
11/17 Bloomington, IN – Uncle Fester’s
11/18 Covington, KY – Mad Hatter Club
11/20 Cleveland Heights, OH – Grog Shop
11/21 Pittsburgh, PA – William Pitt Union Assembly

School of Seven Bells “Connjur”

Brooklyn band School of Seven Bells proves that shoegaze is alive and well in 2008. Taken from their debut album. Alpinisms, “Connjur” is a dreamy pop tune anchored in swirling guitar melodies and highlighted by the soaring vocals of twin frontwomen Alejandra and Claudia Dehaza. While the song recalls classic acts like Cocteau Twins and Slowdive, the band’s subtle use of glitchy electronics and low-end fuzz puts a refreshing modern spin on the oft-imitated genre. Shawn Reynaldo

07 Connjur

11 Years

“11 Years” is something of a melancholy track, so it’s fitting the members of Fredrik decided to shoot the video for the song in an abandoned train station in rural Sweden. Directed by Dutch filmmaker Iris Piers, the video was shot frame by frame with a photo camera, which accounts for the grainy, lo-fi look of the piece. The song, off the band’s Na Na Ni album, is typical Fredrik-style music–soft, sad, somehow comforting and unsettling at once.

White Fang “Tall Shadow”

The oh-so-stylish members of White Fang are starting to make some noise beyond the borders of their hometown of Portland, OR. The band just completed its first major tour, playing alongside Rob Walmart and White Rainbow, headlined Portland’s PDX Pop Now! festival, and, two weeks ago, unleashed its debut album, Pure Evil. Like its cover, the 11-track release is a palate of organized chaos. Guitar chords meet crashing drums without any seeming rhyme or reason, but all the parts seem to fit together in the end. Our favorite part of this track is the chorus. Just listen to the band shouting “Waaaaa!!!” in unison and see if it doesn’t put a smile on your face.

White Fang – Tall Shadow

Marnie Stern “Transformer”

Marnie Stern‘s well known for her skills on the guitar, and she proves her abilities once again on this track, off her latest album, This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That. The title of the release might be long-winded, but with “Transformer,” Stern proves she can blaze through a hot guitar riff in a very short amount of time, as she tears up and down the old fretboard and gives us what sounds like 50 chords in just over two minutes. She would most definitely kick anyone’s ass in a Guitar Hero competition.

Marnie Stern – Transformer

Inbox: ANAVAN

Sure, we’re always curious to know about an artist’s upcoming release, most recent tour, or arsenal of analog gear, but XLR8R‘s also got a curiosity for quirk. Thus, each week, we email a different artist and find out what makes them tick, in the studio and in life. Next, we hear from Aaron Buckley, Bret Berg, and Molly Williams, who collectively make up synth-punk outfit ANAVAN. Here, they talk about L.A.’s infamous Smell scene, sewing, and what happens when you chug boxed wine too quickly.

What are you listening to right now?

Aaron Buckley: Crookers, The Bloody Beatroots, lots of crunky remixes. Foot Village, Japan (only the late-’70s material–Adolescent Sex and Obscure Alternatives are by far my favorites from this band), also loving the new Designer Drugs track “ZOMBIES!” And of course, always turning up the volume for Prince. I cannot get enough Prince, old and new. He has that shit down. Oh, and I recently discovered this chick from Atlanta, Georgia called Sophe Nix. She has a song called “Get It Get It,” which I did a remix for, because the song struck me as so awesome [and] I wanted to rework it and make it awesome to the max. You can hear it at myspace.com/anavanrmx.

Bret Berg: MP3 rips of DVD commentary tracks and podcasts of public- radio food shows.

Molly Williams: My dying clothes dryer, Lady Scrapleton’s old, blown-out vocal meow, a helicopter flying by, me typing, the roof dripping…
What’s the weirdest story you ever heard about yourself?

AB: I don’t hear stories about myself, even though I tend to get into crazy shit all the time. You know, dancing in underwear and humping people at shows. I never hear any weird stories… tell me one.

BB: Earlier in the year, we played an in-store at a L.A. art bookshop. I made the horrid mistake of pouring the sizeable remnants of a box of white wine into a leftover movie-theater soda cup, sticking a straw in it, and sucking down the whole thing waaaaaay too quickly. The act, the “headliner” who was supposed to play the show with us, ended up not playing, and in my blotto state, as the shop manager was genuinely apologizing for the other act not playing, I shrieked at him “Ssssokay, ’cause he’s a fraud! Roll the dice. It’s crap!!!!” I have no memory of this entire conversation; I was told the next day that that’s what I yelled at him.

MW: Way too many that I prefer not to remember.

What band did you want to be in when you were 15?

AB: Metallica–but the Metallica from the ’80s. Not the reformed, sober Metallica. The Metallica that drank lots of booze, did mountains of coke, and slept with whores… wait, maybe I wanted to be in Megadeth?

BB: Ramones. I grew up idolizing Dee Dee Ramone, and when he left the band, and was replaced by C.J. Ramone, I felt a little empty inside. Actually, I had fantasies of tracking down C.J., so I could quietly dispose of him and I could take his place. Then I found out he was an ex-Marine, which quickly dissipated any notion of “taking him out.”

MW: Hmmm… A background singer for the Purple King… Prince.

Worst live show experience?

AB: The first time we started using Ableton Live in our band. I usually get really sweaty and mouse pads don’t work well with sweaty fingertips. I didn’t know that. Now I try to wipe my fingers dry when we have to switch up settings.

BB: At a show of ours in San Francisco, I had to badly go poo-poo a few minutes before we went on. I patiently waited in the excruciatingly long line for the toilet, and once I got in and sat down, no toilet paper. I had to dig out used toilet paper from the trashcan to use, and once I did, no soap either. Had to play the show with shit fingers.

MW: Being really sick and not being able to stop coughing the whole show.

Favorite city to play in?

AB: Oddly enough, Iowa City rules balls. Yeah, no shit. But I really love playing in L.A. I’m a huge fan of the kids that come to our shows, they all rule balls. Enormous balls.

BB: Santa Fe. There used to be a venue there called High Mayhem, where the volunteer staff was the friendliest you could possibly imagine and the audience was with you the whole show, 100%, every time, without fail. It all made up for the altitude sickness.

MW: Santa Fe, NM… little towns seem to know how to throw down properly.

What’s one of your most memorable moments from [L.A. all-ages club ] The Smell?

AB: The Smell has a huge ceiling, and one time I climbed this pipe that is sort of clamped to the wall next to the stage. I got all the way to the top. It was really hot up there, and my helmet mic was feeding back terribly. It was cool. Also, I cannot forget a GSL showcase thing, jam packed with legends. Go Go Go Airheart, The Locust, Chromatics, so many insanely good bands. That shit changed me.

BB: Seeing Lightning Bolt open for The Locust and Arab On Radar. It was 2002 and it might’ve been one of the first times they played L.A. Everyone was so shell-shocked by their playing, no one in the crowd thought to even get near them while their set was going on, the opposite of which is the case nowadays.

MW: Extreme Elvis.

What is your favorite thing you own?

AB: My gold chain.

BB: My Rickenbacker bass. Best investment I’ve ever made. Lots of bass players use piles of pedals to hit the certain sound they want to achieve. I use the Rick because it natively sounds like no other. No pedals needed.

MW: My diamond-encrusted, 24K gold tiara?.

Name one item of clothing you can’t live without.

AB: My sox. I have 20 pairs of crazy sox. I love crazy sox.

BB: My Converse sneakers.

MW: A lid.

What’s more annoying: copyright laws, gas prices, or airport security?

AB: Airport security.

BB: Gas prices. Airport security is a momentary distraction and copyright laws are so 20th century. Gas prices are here to stay, whether we like it or not.

MW: This question.

What did you always get in trouble for when you were little?

AB: In school, it was drumming with my pencils on the desk while the teacher was half trying to conduct class. I never got in trouble at home. My mom and dad were cool.

BB: Ignoring the teacher in English class while reading books at my desk.

MW: Having a tantrum when I was forced to put on a dress and go to church. Praise the Lord!

What other artist would you most like to work with?

AB: I’ve always wanted to work with Michael Jackson, but I know it won’t happen, so I’d have to say Giorgio Moroder, but that won’t happen either, so Soulwax… which very well could happen. Ha ha.

BB: Roy Thomas Baker. His work behind the console on The Cars’ first album is like the Citizen Kane of record production, and his mixing of Mötley Crüe’s Too Fast For Love is genius.

MW: I would like to sing a duet with Neil Schuh (formerly Totally Radd!!) from the hottest new super-group… Dazzler!
What’s the last thing you read?

AB: Gary Numan, Praying to the Aliens.

BB: Steve Martin, Born Standing Up.

MW: David Lee Roth, Crazy From the Heat. Spandex, chicks, high kicks, and big hair… whaawow!

Complete this sentence: In the future…

AB: …we’re all doomed.

BB: …porn will be holographic, and that will be the true collapse of the economy, because no one will leave their house ever again.

MW …no one will know how to write capital cursive letters.

Stupidest thing you’ve done in the last 12 months?

AB: Thinking that ANAVAN might work well as a four-piece. I thought it would be a good idea to get a drummer for the band, and although it was fun for a few weeks, [it was a] dumb idea. I had major anxiety trying to reverse this decision, as the fella that jumped on board is a great guy and a good friend. Tough times.

BB: Listen to the secret track on the Cover Story CD, about 15 seconds after “Off to a Fighting Start.” The recorded repercussions of my white wine story above.

MW: “What haven’t I done” would be an easier question to answer.

What’s next?

AB: We’re touring Europe and the U.K. for, like, five weeks. We might even be over there right now, depending on when this comes out. After that, extensive U.S. tours, SXSW, and then we’re gonna start writing the third album.

BB: I will learn how to sew.

MW: Going to tour Europe for five weeks, leaving tomorrow… we’re trying to “hide” our merch, so we don’t get busted by customs… ha… we’ll see what happens. Gotta go pack my lederhosen.

MP3: “Boom”

T. Raumschmiere I Tank U

In complete denial that glam rock and digital hardcore went the way of Y2K, Berlin’s Marco “T. Raumschmiere” Haas still bashes it out like the apocalypse is nigh. On this 11-track collaborator-heavy follow-up to 2005’s Blitzkrieg Pop Haas again orchestrates techno as thrash (“Brenner”) and post-schaffle beats as EBM stormers (“The Front Row Is Not for the Fragile!!”). There’s always something as anachronistic and adrenalized astride the corroded trills (“Cracking a Smile”), furthering the staccato outbursts of Nothing Records circa 1996. “Animal Territory” features the Puppetmastaz, a crew whose blunted, somewhat cartoonish delivery rides upfront dissonance like prime Cypress Hill, while “E” reminds that T. Raumschmiere has been oscillating electrohaus synths longer than nouveau ’ed bangers.

Say Wut: Baltimore Breaks Man

It doesn’t take living in Baltimore to know a Say Wut track. The anthems, the bombastic horns, the overflowing, overpowered synths–the producer brings it harder than even some of the oldest of Baltimore club producers, cats who were making the stuff back when it was in its rawest, primordial chop-on-the-fly form.

Say Wut wants to rule your body absolutely all of the time and then pick you up off the floor post-collapse and send you back out into the sweating throng. While Blaqstarr–club music’s de facto statesman outside of B-more–wants to get you laid, Say Wut just wants you to go: get hyper, pop off, whatever.

That “go” is this supremely relaxed and humble producer’s watermark, a sample of a Freebloodz lyric that you probably couldn’t find in 10 years alone with the Atlanta crew’s discography. “No one would even believe where I got that sample,” Say Wut half-brags to me in his West Baltimore basement studio. (Hint: Lil Jon did the beat.) It’s just the word “go” pitched and pumped up ’til it sounds like it could start the next wave of Baltimore riots. “I can sit here now and trick a sample so many different ways,” he says.

”Go” is in damn near every Say Wut track and hasn’t started a riot yet, no matter how often his beats are killing dancefloors in Baltimore. On this summer’s drag race of an EP, Keep Rockin’, it gets another cozy home in “Go Pt. 2,” the sequel to Wut’s trademark anthem. “People like [that sample] so much; I wanted to keep on this path of Mr. Go, DJ Say Wut,” he says. “Go–that’s a hot sound to me. It can mean a million different things to any individual.”

Right now Say Wut is making club tracks for Baltimore’s venerable Unruly Records, along with running his own recording studio, production house, and DJ collective, Horsemen Entertainment. Horsemen is named after his old dance crew, which pretty much owned floors under the decks of club originators Scottie B and DJ Big L, long before Say Wut even touched a pair of 1200s.

Say Wut started off with the dancing, moving into DJing only in the past few years to help with Horsemen’s bottom line. “[As dancers], we heard certain things; we knew what would set the whole club off,” he explains. “We knew what would set the whole precedent of the entire club. They made circles around us. Once they saw [our] reaction, they would react on a song. That’s where I [learned] what would work in the club. From a dancer to a producer to a DJ… It’s still hard; I play certain things and I just want to go out there and get down.”

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