A-Trak and Zinc’s massive, siren-laden raver “Stingray” gets reworked into a proper party starter thanks to dancehall star Natalie Storm. Her seductively catchy vocal turns the tune into “Like The Dancefloor,” a dirty pop anthem that’s already making waves in the club. The single features brand new remixes from bass upstart Dismantle, dirtybird’s newest house hero Shadow Child, and Miami wunderkind JWLS, while the track’s official music video directed by Charlie & Joe of Forever Pictures (shot on location during Notting Hill Carnival in London) keeps the irie vibes going worldwide.
Mumford and Sons – Babel. 24th September 2012.
Many people take issue with Mumford & Sons and I think I’m one of those people who would take issue with a band like them. But I don’t. Maybe I think I shouldn’t like them because I wouldn’t feel uncomfortable buying their album as a present for my Nan. Or maybe it’s the number of times God is referenced in their lyrics. But none of this bothers me when usually it would. Although the songs are melodic and accessible, they are far from routine; heavy rhythms dominate the floor of most tracks, while frontman Marcus Mumford’s impassioned and rasping vocals give the air of a man who is at least singing for his supper, and on occasions even his life. Basically I love folk music.
Ben Howard, also from West London and signed to Island Records (the same label as Mumford & Sons), is another artist producing folk music for the 21st Century and Every Kingdom was my favourite album from last yeah. And then there’s Frank Turner, the man from Winchester who started this revolution in folk rock with his song “The Road”. I feel it may be time for me to grow a beard, buy a waste-coat and start wearing bow-ties.
I am planning to see Mumford & Sons in December at the O2 Aren, London and cannot wait. They are a fine modern folk band who have found ways to breathe new life into an ancient form of music. In an ideal world, it would be nice if the group were afforded the credit they deserve before they, too, fade into the past.
Mumford & Sons – I Will Wait
Calvin Santana, a music graduate from Oxford Brookes University, offers up a selection of good quality covers. Too often people try to cover a track and fail. Calvin is not an example of this. He pays tribute to the original while offering his own spin. Check out his other tracks on soundcloud.
With the likes of Nicki Minaj and Azealia Banks enjoying huge success female rappers are becoming a regular feature in the charts. However they tend to lean more towards dance music than tradition hip-hop and I’m craving a straight up female rapper. I find most of the tracks on Pink Friday quite irritating. I don’t deny Nicki’s vocal ability at all. To stand out amongst the likes of Jay-Z and Kanye West on Kanye’s Monster would say a lot but to go and own the track is insane!
Angel Haze said herself “I will say to anyone’s face I am the best out there right now”… “I put everyone in my school on to Nicki Minaj before she blew up. I was obsessed with her and I was like, ‘If she’s the best female rapper then I’ve got to be better than her”…” There’s no one out there right now who can beat me.” She just seems to have targeting a section in the market who are satisfied by a generic pop/house combination and lazy lyrics.
Azealia Banks on the other hand I like a lot, 212 is just brilliant and deserved all it’s success, but she has announced that she wants to move away from Hip-Hop and start producing more dance music. Here’s where Angel Haze comes in. Although New York is set on top of an upbeat handclap I can’t imagine it being played down my local Ivory Lounge receiving a great reception (no offence to Ivory Lounge). And this pleases me. I know people think Nicki Minaj is nasty but Angel Haze is just pure filth. Like she says in Werkin’ Girls – “I am multi facity bitch I do a tone of shit, like I’m diarrhea or whatever sitting under it”. If Angel Haze continues to produce music like this I can see her becoming a a favourite of mine.
There is a certain level of generosity within electro which separates it from other genres and deejays from other artists. I rarely find a band offering free downloads on their website in return for an email address but it is something which is becoming more common for deejays and it pleases me greatly. Not only because I’m cheap but it suggests some appreciation from them that we spend our money to watch them perform live and in return their fan base grows and in the long run they probably earn more due to increased ticket sales. As the controversy surrounding illegal downloads rolls on I think it is something the rest of the music world could learn from. If artist aim to achieve more revenue from live performances and less from media sales they will be better for it in the future. I know the costs are high for a full band to produce a song than it is for deejays working from computers but I think the logic is there. Furthermore it will truly separate talented acts and those who just look good and can be manipulated into sounding good. Everyone’s a winner. I am a huge fan of Nero and have seen them live on multiple occasions. As for Won’t You (Be There). Compared to their previous it’s a little bit samey and I can kind of see why they are giving it away for free. Saying that they have set the bar extremely high with their previous work and if you scroll down you will see a remix by them which I think is something quite special. Won’t You (Be There) is definitely worth a listen nevertheless.
Here’s an absolutely savage new remix by Nero. It features on the 25th Anniversary Edition of “Bad”. To be honest I’m not too excited about the rest of the album, alongside Jackson’s concert at Wembley in ’88 it features a mediocre remix by Afrojack with Pitbull (who I personally find to be a ridiculous specimen). Thankfully though Nero have come along and shoved a rocket up Michael’s arse. This remix should be a wrecking ball to any dancefloor. Enjoy.