Pon Di Wire: Lutan Fyah, Tarrus Riley, Wayne Wonder

We didn’t know the buzz would last this long for Tarrus Riley–the famous son of singer Jimmy Riley, whom xlr8r.com told you about first! But the charts can’t shake the younger Riley’s beautiful “She’s Royal,” which is holding strong for its thirteenth week at number two in Jamaica, and number two both in New York and England.

Of course the week wouldn’t be complete without a peek at one of the best online dancehall columns, Portmore Suss, in the Jamaican Star. Whether its setting the record straight on the Norris Man dust up, an opinionated take on D’Angel, or the inside scoop on Chuck Fenda’s new video for “Light The River,” the Suss has it covered. 

Rasta singjay Lutan Fyah is on the move again, this time touring Europe, performing in Eindhoven, Holland at the Sundance Reggae Festival, along with Yellow Man, Gregory Isaacs and Jimmy Cliff. 

Tanya Stephens looks to better her already impressive intelligence and business acumen after being awarded a scholarship to the University of Sunderland, England, where she will do a business management degree through Internet-based classes. “I have tried to apply to many places and I have been told that I have to be there 90 percent of the time.” She pointed to the flexibility of the program, saying that “historically, many people have been denied access to education, especially higher education” because of the need to be at a fixed location.

One876 is reporting that self-proclaimed “ground-god” Bounty Killer will appear in court on September 12, to answer to charges that he threatened to kill a girlfriend in June of this year. The deejay’s lawyers had attempted to have the case thrown out of court, but were unsuccessful. Last year, Bounty Killer stood accused of the May 23 assault on his son’s mother, 33 year-old Julie Rambally. The complainant eventually dropped the charges, however, the deejay was forced to enroll in an anger management program, as well as undergo random drug testing. 

Ya heard the boom tune “Ghetto Life,” by Virgin Islands-born Pressure, on a new lick of the Baltimore riddim from Don Corleon? The song and career of this new singer is really taking off, but he did have to learn a thing or two about appealing to an international reggae audience: “I developed my sound. I learned the pronunciation of certain words and the slangs and twangs,” Pressure commented to Jamaica’s X-News. “My accent and my background set me apart in the industry. I mean, I also have the support of the people of the VI as they have never had a reggae artiste excel.”

Big Tunes to watch: The Family riddim on Alone Productions has us swinging with singer Alpheus’ “Keep The Faith,” trodding in the rocksteady tradition. Seanizzle’s Problem riddim is a fidgety dancechall beat with Beenie Man’s x-rated “Ziggy Zar” leading the set. Lockdown Productions’ shuffling “Ah Ho” riddim finds new cuts from Cobra and Anthony B lighting it up. Proven hitmakers Star Trail Music’s Fire River riddim is back and blazing with heartfelt material by Lutan Fyah. Black Chiney’s oddly named but superb Dr. Bird riddim looks chartbound with Wayne Wonder’s essential one-drop lovers track “Love.”

Daily Download: Ananda Project “Into the Sunrise”

The original version of “Into The Sunrise” is dance music for the Friday night lounge, but here, Frankie Feliciano gives Chris Brann’s track a bit of a tweak, adding soft female vocal melodies, Balaeric breakbeats, and light, ethereal synths that elevate the original to an even sweeter level.

Download this song as an MP3, or preview a week’s worth of tracks at the XLR8R Podcast. Subscribe using iTunes, or with an RSS reader of your choice.

Magik Markers Boss

On BOSS, Magik Markers compose and perform actual songs, which is a major left turn for these noiseniks, whose reputation paints them as free-rockers damaged by tangled strings and headless beats. Under the helm of producer Lee Ranaldo, the duo tempers its energy into mud-caked psych rock for a moonless American wasteland. Elisa Ambrogio mainly sings in an exhausted washing woman’s pace on dirges like “Axis Mundi” and the wearied, elegant piano ballad “Empty Bottles.” The Markers’ habit of collapsing into white noise rarely figures here, but they indulge in irritating loops of tortured screams on “Circle.” Overall, BOSS signals a healthy direction for a band that otherwise kisses the plastic explosives strapped to its chest.

Tour: Crystal Castles

Fans, prepare to be terrorized by the Toronto-based duo Crystal Castles and its 8-bit mayhem this fall. We know them, of course, from their spontaneous, seizure-inducing tracks that scream noise, noise, noise, but also from remixes for the likes of Bloc Party, the Klaxons, and Uffie. Should you need further inspiration to buy a ticket, click here.

Tour Dates
09/08 Montreal, QC: Les Saints
09/13 Monterrey: Aura Club
09/14 Toreo Mexico City, MX: Roots Magic Club
09/15 Ciudad Juárez, MX: The Hard Pop
09/19 Philadelphia, PA: The Trocadero
09/20 Washington, DC: 9:30 Club
09/21 New York, NY: Webster Hall
09/22 Buffalo, NY: Town Ballroom
09/24 Detroit, MI: Saint Andrews Hall
09/25 Chicago, IL: Metro
09/26 Minneapolis, MN: First Avenue
09/28 Denver, CO: Bluebird Theatre
09/29 Los Angeles, CA: Neighborhood Festival
09/30 Mountain View, CA: Buddhalounge
10/01 Scottsdale, AZ: Marini Ranch
10/02 Pomona, CA: The Glass House
10/03 San Diego, CA: House of Blues
10/05 Los Angeles, CA: Henry Fonda Theater
10/08 Portland, OR: Wonder Ballroom
10/09 Seattle, WA: Showbox

Simon Reynolds: 20 Years of Noise

Though he’s lived in Manhattan nearly 15 years, British music writer Simon Reynolds has championed UK underground sounds like grime and jungle long before we Yanks caught wind of them. Following his groundbreaking tomes on rave culture (Generation Ecstasy) and post-punk (Rip It Up and Start Again), Reynolds’ latest book, Bring the Noise (Faber), collects 20 years’ worth of his journalism and criticism, focusing on the relationship between white alternative rock and black street music.

XLR8R: Why does Bring the Noise focus on the relationship between white underground rock and black street music?

Simon Reynolds: Well, it’s probably the single most important motor of change in rock history… to the point where rock history wouldn’t have even happened without these white-on-black relations of fascination, projection, appropriation, mutation, etc. But if it has been the motor of change, then right now that engine is sputtering. Hip-hop is where the problems start… You have figures like The Beastie Boys and, more recently, The Streets, but just looking at The White Rapper Show from earlier this year, you can see how difficult it’s been for whites to take on hip-hop and take it anywhere new. If they just copy it, they’re redundant; if they white-ify it, then it’s no longer accepted as hip-hop.

Is electronic dance music a bridge between those two worlds?

I thought it was. Especially jungle–this wasn’t the reason I was so into it, but certainly one of the many things in its favor was that it seemed to be a totally multicultural youth subculture and perhaps heralded a new post-racial Britishness (which did blossom later with 2-step garage).

You argue that indie rock and hip-hop seemed to have reached a deadlock.

Indie rock has been rearranging the same stale shards of archival sound into slightly fresh mosaics for almost as long as I can remember. Really, it goes back to where Rip It Up winds up–the back-to-the-’60s move made by alternative rock in the mid-’80s. There’s been various bands that pushed the envelope–Sonic Youth, My Bloody Valentine and, most recently, Animal Collective–but the bulk of it has been doing this retro-recombinant thing. Hip-hop just seems to have run out of ideas. Sonically and lyrically, it’s like a treadmill at the moment. Who was the last truly original persona to emerge in rap? People go on about Lil Wayne, and he’s great, but he put out his debut album in 1999!

In a recent interview, you mentioned the possibility that “it’s not a specific genre but (it’s) music as a whole that has ceased to be at the driving center of the culture.” Why?

[It’s] just a palpable absence of vibe, of a sense that it’s the place to be. You can feel it in the writing about music; there’s this air of inconsequentiality, a lack of conviction. No one is making big claims for anything. There seems to be more buzz, more energized chatter, in other areas of culture like art. The fact that Bob Dylan and Paul McCartney have to break bread–or biscotti–with Starbucks in order to shift their new albums just seems to be humiliating for all of us involved in this music thing!

XLR8R TV Episode 21: Devin the Dude

Devin the Dude spends a glassy-eyed afternoon crate-digging in San Francisco’s Amoeba Records. Devin, renowned for collaborations with Snoop and Andre 3000, gives it up to everyone from The Eagles to Whodini while shopping, but lingers longest in the country section, and sings Randy Travis and Ronnie Milsap tunes word-for-word.

Watch This Episode

Previous Episodes
Episode 17: Klaxons
Episode 18: Mars-1
Episode 19: Chromeo
Episode 20: My Sing-A-Ling

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