Blog Posts from "Land of the Emu(sic)" - Gameriot.com

Yes, It's Real!

no.spam@gameriot.com (Jasi) — Sat, 30 May 2009 22:34:58 -0400

Due to various disagreements and general conflicting ideas (among other things), I won't be working with WoM or Ming anymore. As for my future on Gameriot, that's unknown at this point. This will inevitably work out better for both of us, as our parting ways was mostly mutual as we had different ideas as to what the future of WoM should be, and frankly, I wasn't fond of doing things like paying Serennia money for his weekly contributions.

Thats all, as I don't care to explain myself or the situation any further.

Don't forget to have fun in the comments, you'll only get this chance once.

Land of the Emu(sic) Presents: Facing the Music

no.spam@gameriot.com (oradol) — Tue, 14 Apr 2009 16:30:16 -0400

It has been a long time since I (or anyone) has made an entry into this blog. In this case, it's the result of a conversation I had this morning with a roommate about the future of the recording industry, sparked by an announcement that you may have read in Slapnuts' Epic Drop last week. Under pressure from the recording industry, henceforth referred to as the LOLRIAA, the price of most MP3s is set to increase from 99c to $1.29

As a business student, I first find myself thinking "what the **** are they doing?" as I can't possibly see whatever market research they did (or didn't) do indicating that this would actually be a profitable venture. That they had a sizable number of people paying for something they could have got for free is miracle enough, and with the lawsuit against The Pirate Bay failing they only seem to be heading for disaster. The real problem is that these companies haven't changed their business models to meet society. The record labels want their millions of dollars, even if it costs them millions of dollars to sue for it. But where did they go wrong?

Everywhere. The RIAA is the Palm of the entertainment industry. Remember Palm? They made the handy dandy Palm Pilot, Tungsten, and other Personal Digital Assistants. They were a staple of modern business, until Blackberry came around and offered handheld, wireless e-mail. Palm felt themselves switch from being an industry innovator to a company making second tier smartphone offerings using another company's operating system. Only now with the Palm Pre are they finally offering up something competitive.

The Pirate Bay is the Blackberry and the RIAA is the Palm Pilot, except the The Pirate Bay isn't really even trying to make money. And therein lies the RIAA's fallacy - you can't compete and make money against a competitor who doesn't want money. It's like The Dark Knight, where the protagonists are facing a villain who doesn't care about any of the things a villain is meant to care about. Imagine if Palm was trying to maintain a profitable business by only offering the same products they did back in 1998. We would laugh, so why aren't we laughing at the RIAA?

The record labels of old found their place in two ways:

Land of the Emu(sic) Presents: Oradol's 10 Best Hip-Hop Albums

no.spam@gameriot.com (oradol) — Fri, 20 Feb 2009 11:46:46 -0500

A few weeks ago I release a list of 5 albums that I suggested people look up who are new to hip-hop, and many people failed to realize that the list was not one of the "best", but one to introduce people to a genre that they either had little experience with, or received a bad first impression from.

This isn't a list like that, this is a list of the 10 best hip-hop albums I've heard. Some are classics, some aren't. They're based entirely on current listenability (I know that isn't a word), not on how important or how good they were 10 years ago.

Land of Emu(sic) Presents: Cupid's Stupid: An Anti-Valentine's Day Playlist

no.spam@gameriot.com (caaaro) — Fri, 13 Feb 2009 01:13:29 -0500

For Many, February 14 stirs up feelings of love, romance, and sweet kisses. Â But for others, Valentine's Day is a painful reminder of a recent lost love or empty void (possibly in your wallet.) Â Or perhaps you are happily single - I applaud your resilience. Â You are stronger than most - and most likely, a robot. Â Point is, not everyone spends the day with candy and flowers and a smoochy significant other. Â Â So my gift to you this playlist.

I've comprised my favorite angry/sad/bitter love songs for you to tune into this weekend.Â So quit stalking your ex's facebook, settle into your tragedy, and prepare to sail through the choppy waters of your emotions. Â

Â 1.Â

Love one another, but make not a bond of love: Let it rather be a moving sea between the shores of your souls. -Khalil Gibran

Land of the Emu(sic) Presents: The Rise, Fall, and Rise of blink-182

no.spam@gameriot.com (oradol) — Tue, 10 Feb 2009 19:05:39 -0500

The years I spent in grades 7-12 were for me, and for many other people, a very defining life period. You grow up a lot in the years between Elementary School and graduation, have many "firsts", and thanks to hormonal imbalance are unavoidably emotional. Within this junior high/high school bubble, a veritable social bio dome, music takes a big role. What you listen to does, in many ways, define you - personally and socially. I couldn't tell you what I was listening to a lot of in 2005, but I sure as hell know what I was listening to in 2000.

Many people older than myself grew up on a diet of Led Zeppelin or Nirvana. I'm eternally envious of those who grew up during the rise of the Beatles. Can you imagine turning on your local radio station in August of 1968 and listening to the first pressing of Hey Jude, for the first time? I can only dream, because there were no bands with the groundbreaking influence or ingenuity of the Beatles when I was a teen. There was, however, blink 182.

They aren't my favourite band of all time. They certainly aren't one of the best, and I have no doubt my nostalgia causes me to lend them more credit than they deserve. Nonetheless they made a significant footprint on my youth - each of their albums was a soundtrack to one summer after the next. Were they skilled musicians? Absolutely not. While new drummer Travis Barker might be a phenomenal drummer, Tom Delonge and Mark Hoppus were mediocre at guitar and bass, respectively. They played such simple music that every 14 year old kid with a guitar could play most of their songs. This was part of the beauty of it - their songs were played at every talent show, every jam session, and out the speakers of every car I drove in during the summer of 2001. They had songs that you put on when you were upset with authority (ie; parents), songs you put on when you were hanging out with your friends, and songs you put on when you girlfriend broke up with you. I remember sitting in my room once and listening to Adam's Song for hours. I was heartbroken. After all, we had been going out for 3 weeks.

When they entered the scene, punk (if you can even call it that) was hardly present in mainstream music. As poppy as their music was, it (along with Radiohead) was something a little different from what else you heard on the radio. This wasn't a band formed by guys with dreams of making it big, it was a band formed by a trio of semi-outcast teenagers who wrote simple songs that reflected their view of the world around them; immature, uninformed, and naive. And it worked, they resonated with their audience and wrote some pretty damn fun and catchy songs. They never made a concerted effort to be taken seriously as artists, but even then their formulaic songs still seemed to attain a certain level of originality. From the opening riff of Dammit to the vocals of the chorus of What's My Age Again, there were a great many hooks that I won't soon forget.

But then people grow up. The guys got real girlfriends, got older, got married, had kids, and suddenly it becomes harder and harder to write music about being dumped while still coming across as genuine. With their most recent self-titled album, released in 2003, they changed. They kept the catchy hooks but matured some, largely changing their subject matter than the complexity of the underlying music. Self Titled is not my favourite blink 182 album - by 2003 I had largely grown out of their music (I thought) - but it is probably their best album. In terms of musicianship and lyrical content, they were finally starting to catch up to their catchiness and attitude.

Despite playing together for 10 years and finding a great deal of mainstream success, I feel that blink 182 was only on the verge of their best work. I think they are a band capable of actually earning the credit once bestowed upon them by their then young fans. I'd heard the rumors and their announced return at the Grammys on Sunday was no surprise, but rarely have I been as happy as when I read the statement on the band's website;

Hi. We're blink-182. This past week thereâ€™ve been a lot of questions about the current status of the band, and we wanted you to hear it straight from us. To put it simply, We're back. We mean, really back. Picking up where we left off and then some. In the studio writing and recording a new album. Preparing to tour the world yet again. Friendships reformed. 17 years deep in our legacy.

Summer 2009.

Thanks and get ready...

So yeah, I'm pretty ******* excited. Flame me all you want, blink are awesome. I'm excited to actually have a harmless pop-rock album to blast this summer. Are you excited to see them back?

The Land of Emu(sic) Presents - Top Secret and Classified

no.spam@gameriot.com (oradol) — Fri, 06 Feb 2009 23:42:57 -0500

I've always found the concept of the first person narrative to be one of the most interesting facets of hip-hop. To a much greater extent than in most other genres, the emcee in hip-hop is often a character in his own work. Seldom do they try to distance themselves from their subject matter like most songwriters do, and it makes for some very interesting and introspective work. The persona of a rapper can become as integral to the music as the content itself, be it for better or for worse. Kanye West is a perfect example, as Pitchfork media writes:

His self-importance is obvious, but the arrogance that comes pre-packaged with his insecurity is what makes West the most interesting hip-hop figure of the past five years.

But I digress. This is not an article about Kanye West, it's about an man whose background and music paint a vivid portrait of an artist molded by circumstance. I live in Halifax, Nova Scotia, Canada. Being a city with 375 000 residents of whom 95% are Caucasian, Halifax is hardly multiculturalÂ breeding ground for aspiring hip-hop legends. The only place less likely would have to be Enfield, a small town 30 minutes outside of the city with a population of 3200. Of course, this is all in a country where even the most respected and high-profile hip-hop artists find themselves struggling to make a living.

Then there is Luke Boyd, better known as Classified. He is one of the most well known and respected hip-hop artists in the country, and his story is something of a legend in local hip-hop circles. The small town boy, bred in an environment without hip-hop, who becomes one of the most respected MCs in the country. I saw him open this summer for Nas, and I'm not sure the crowd was more pumped up than the end of his set.

What's the key to his success? After all, Classified has **** talked the industry that supports him to the point where I'm not sure how he was recently signed to the Sony Label. Perhaps it is his unrelenting work ethic - he is poised to release his 13th album and has spent most of his career working a second job to support himself. He is disgusted with the concept of gimmicks, and how every rapper in the game is trying to be who they feel they need to be to achieve success. This is what makes Classified interesting - there is no better-than-thou message, no acting like someone else and no self aggrandizing. His confidence is his own, earned from his proficiency on the mic and cast against a backdrop of self-doubt.

It's the humbleness of his rhetoric that underlines his individuality. Classified, after all, doesn't come from the hood. He comes from the post-suburbs on the brink of rural, he was raised by a traditional family and knows how to shovel a driveway a hell of a lot better than how to hold a gun. There are no *****es and hos, nor are there any politics. Classified raps about what he knows, which is life in search of a dream, and he isn't hesitant to tell you he makes mistakes;

You see, no one ever told Class what he could and couldn't put in hip hop. There wasn't anyone to do it. The resulting beats are anything but typical - they show a traditionalist, brought up on the classics, who was never told he couldn't use celtic music to form the background. So we get the east coast shout out The Maritimes.

He has never been willing to conform to make money. He encourages his fans to download his music if they don't have the money to buy it; in fact, promising not to prosecute downloaders of his music was a pre-requisite to him joining a major label. If you're looking for some fresh hip-hop by a legit and skilled emcee, check out Classified. You wont be disappointed, and there is a good reason I consider him amongst my favourite artists.

If you like,

Land of Emu(sic) Presents: Forever Young: A Closer Look at Pepsi's Super Bowl Offensive

no.spam@gameriot.com (caaaro) — Fri, 06 Feb 2009 01:34:17 -0500

I posted a link earlier this week at the end of my post on something that had upset me the day previously.Â It was put in the hopes someone would acknowledge what I, as well as the 95 million viewers were subjected to watch in the few minutes betweenÂ America's mostÂ adored program. But no one did. Â I've had a good few days to digest this, think it through - consult acquaintancesÂ and work it out in pilates, on whether I'm being irrational. But I'm not letting this go. Â I've come to the conclusion that Pepsi's Super Bowl Dylan/Will.I.Am commercial was completely stupid.

A remix of Dylan's 'Forever Young' was mixed with a rapped verse from the Black Eyed Peas MC, interspersed with images of both artists and other cultural nostalgia, past and present. For the 60 seconds it aired, it ended in a mediocre hip hop tune and ate up $6 million dollars of a corporation's revenue. Â Chump change, maybe.Â Yet this investment would not have left me with such unrest had it accomplished to entertain or communicate a branded message of such measurable value.Â We're in a recession, but we're a consumer culture and it was the Super Bowl.Â I expected more.

And perhaps those from the boomer era may have evenÂ been surprised to see Dylan's image up on their flat screen endorsing a product. But this should not be the case.Â After all he carried the folk ideals of the 60s for a bit, but he has since cashed in.Â He's endorsed or licensed his music for such brands as Cadillac and Apple.Â He's even tried to sell me bras and panties. His name is golden andÂ Dylan could back any product or gimmick and it would still not take away from his success or impact to music and culture. And yet this is not what disturbed me.Â

What does, and who should be up in arms about this commercial, is the generations that have followed, the nonboomers. You. Me. We were slapped in the face with this corporate mashup - expected to culturally weigh the contributions of our time against an era that brought forth an artist of such iconic stature. Shrek, Jack Black and Will.i.am?Â We suck.Â Â

As if riding in on the Obamarama brigade gave Will.I.Am the credibility to represent this generation's leading political voice.Â And what is it to Dylan if he's pinned against a sub-par mc?Â It's distressing to think some ad exec approved this spot to bridge the generations. Â To reach me, target me, sell me its high fructose soft drink.

No good, Pepsi.Â No good.

Plus 1 for the Tambourine Man.

--C

Land of the Emu(sic) Presents: One Day as a Lion

no.spam@gameriot.com (Jasi) — Thu, 05 Feb 2009 06:05:01 -0500

The very first time I saw a Rage Against the Machine concert when I was 16, not only was I blown away, but there was no doubt in my mind that the music gods decided it was time that my audio virginity was to be deflowered. I have never been disappointed by their performances since. In fact, some of their shows have undoubtedly been some of the best live music experiences I've ever taken part in. Not just in the sense of audio alone but also crazy, unadulterated, political angst in the form of one of musics most innovative guitar and vocals duo of Zack De La Rocha and Tom Morello. When I first heard that the band and it's members would be parting ways, not only was it a massive hit to the music industry as whole, but I was incredibly disappointed that one of my first music loves was no more. That's not to say I didn't get my fair share of pure insanity in the form of multiple sets though.

Not only was I lucky enough to catch their final Chicago performance before they first split, but I managed to see them during one of their few tours that they chose to reunite for, over the past 3 years. The show that I managed to catch at Alpine Valley in Wisconsin, topped any of my previous experiences and expectations even though the band had been apart for quite some time. Although the acoustics of the place were absolutely appalling, it had rained for about a week straight before, and being that it was an outdoor venue, it was a perfect recipe for RATM mayhem. I'll summarize it by saying that the ground became saturated enough that entire sets of the stadium seats and sections of railing were being crowd surfed up the massive ski-slope as opposed to your standard human ragdolls. I thought it was awesome; the Dave Matthews crowd that came for their show the following day thought otherwise. Apparently many were disgusted, refused to stay, and demanded refunds.

A couple of byproducts came about from RATM splitting; Audioslave, which to this day has often been considered mediocre at best, and a handful of small projects with Zack De La Rocha at the front. Some of these included a 20-odd track production with Trent Reznor of NIN, which has never been released; and work with The Roots, Dan the Automater of the Gorillaz, DJ Muggs of Cypress Hill, and more. However, my favorite, and easily the most prominent of the bunch, is his collaboration with John Theodore, the ex-drummer of The Mars Volta, to create One Day as a Lion.

One Day as a Lion, to put it in simple terms, is exactly what you would expect to find within a 5 track EP collaboration of the former RATM front Man and the vigorous ex-drummer of Mars Volta. Lyrically, De La Rocha feels as if he is contuning right where the political outcries within RATM left off, and his flow, word-plays, and energy is consistent with any other previous productions. While some might say that De La Rocha is just as angsty as ever, his last fully produced album release was almost a decade ago, so although not much has changed in his personal style, it is as new and refreshing as ever. To the many fans that have been waiting diligently for a release on the behalf of De La Rocha in hopes to push aside the shortcomings of Audioslave, you will certainly be pleased.

The first song I'd like to share is the first on the album, Wild International

Being that Lion is most likely limited to a one-time deal, De la Rocha does attempt to step outside of the box in terms of what he is most well known for. Admist the religious and political references of the 4th track of the album, If you Fear Dying, he actually makes an attempt at some sort of vocal melody to break up any potential thoughts of redundancy within the EP (there is some), and while to some it falls a little bit short, it blends smoothly and consistently with the tone of the album.

Quite possibly the most unexpected addition De La Rocha brings to the table for this project is his very limited experience using a keyboard. While doing a decent job imitating the impossible-to-fill shoes of Morello's guitar, La Rocha's inexperience tends to come forward via redundancy in melodies and what feels like the exact same sound through most of the album. However, it still brings in a unique feeling of funk that proves to be a dominating force.

While De La Rocha spends a lot of time in the spotlight, Theodore isn't able to show his full drumming potential with Lion, at least not directly. I think his talent is portrayed in his uncanny ability to blend and create a perfect drum track to mesh with La Rocha. He can keep it complicated while remaining simple and effective. To give you an idea, here's One Day as a Lion,

Combining two gems of their relative trades (De La Rocha for his standard political outcries and truly passionate vocal performances; Theodore for his obvious talent on the drums) can be a double edged sword. Here you have two artists that have marked the music scene with their own innovative creations blending and molding their own respective talents into one. It would seem difficult to not have one side become overbearing or overshadowing over the other. Unfortunately, to a moderate degree, it does feel that sometimes Theodore's drums do take the bench in favor of De La Rochas lyrics and vocals, but at the same time I feel that, again, Theodore wrote perfect drum tracks for the project at hand, and both worked to create specific segments of songs that were almost entirely dedicated to his drumming. If there are to be future productions, I hope that he will find a way to surface more.

For all it's worth, One Day as a Lion is a must-have for any previous Rage fan, or even Mars Volta for that matter. In the time allotment that the tracks were created as well as considering the tools available, it's definitely a good EP. Hopefully, there are future productions from both La Rocha and Thedore, as it too often feels like so many good collaborations only fade away in the form of EP's instead of full projects.

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Land of the Emu(sic) Presents: 5 Great Canadian Songs You've Never Heard

no.spam@gameriot.com (oradol) — Tue, 03 Feb 2009 22:30:35 -0500

I'm departing from hip-hop for an article to try something different. What drove me to hip-hop in the first place was what I perceived to be a lack of quality rock music. Latter half of the 1990s were one of my most memorable periods in music; grades 6-9, where love for music truly begins. Sure all the top American and British bands were high on the charts, but there was a certain other presence too. Canadian music largely paralleled the American scenes, but rarely found any success there. These bands were a constant presence on Muchmusic, the Canadian version of MTV that focused much more on the music itself.

For anyone my age there are a few bands that define the period - Oasis and Bush (X) certainly come to mind. Third Eye Blind, No Doubt and the Foo Fighters are others. The Canadian list, however, has a few names that few Americans would recognize. These artists wrote iconic songs for kids like me all across the country. You may not like them, hell I put them on a pedestal anyway for the nostalgia factor. But if you like good music, you might find something here that you've never heard before. I love nothing more than discovering a new artist. If there are any songs on here like and want other suggestions for the same artist, mention it.

You may need to head to the Youtube page to watch some of these, just double click them.

Land of Emu(sic) Presents: The Silent Treatment: YouTube Mutes Videos

no.spam@gameriot.com (caaaro) — Tue, 03 Feb 2009 01:37:14 -0500

Looks like the Fall Out Boy and Pantera mashup you posted onÂ YouTube will be going mute, if it hasn't already. (watch this, I'm totally not kidding). YouTube has been in the process of muting videos infringing on copyright due to a split in relations with a major music label, angering hundreds of music fans and video sharers alike.

Last week, I brought you the story of Joel Tenenbaum's fight against the RIAA, but could the industry find an even more silly way to entertain us all?Â Looks like it. TheÂ muting of mediaÂ comes after parent company Google failed to reach an agreement with Warner Music Group last month on royalties which would have allowed videos including the music of Warner's artists to remain on the site.Â Â Bummer.

YouTube has been under attack since its inception for doing little to prevent the uploading of copyrighted material from its site, and under the Google acquisition in 2006 the heavy hitters have been in line to get their piece. Seeking more than $1 billion in damages Viacom filed a lawsuit against YouTube and Google last March for what it called "massive intentional copyright infringement of Viacom's entertainment properties."Â The 100,000 said video clips in violation were pulled immediately, and Viacom surprisingly claimed it was able to monetize the increased traffic back to its own site.

With the threat of further cases being filed and risk of losing traffic, Youtube took to finding a solution to address the interests of its content holders.Â It forged partnerships with Sony/BMG, Universal Music and EMI in hopes to mitigate further legal troubles.Â Youtube implemented its Content ID technology in helping copyright-holders identify infringing videos, and then decide whether to block, track what happens to that video, or allow it to go up and make money from it through ad revenue.

But what's unique with Warner Music is that it walked away from the table, prompting an aggressive silencing of content from WMG's artists.

The muting of unauthorized material is an automated process that began a couple weeks back. A sample of a song which they do not want appearing on the site is input into a database, analyzed and matched against clips uploaded on the site. Videos are automatically muted which infringe copyright. Users are then given an option to appeal the decision on grounds of fair use or to change the audio track.Â

So right now there are a bunch of creepy videos up on Youtube with no sound. Â And it's pissed a whole lot of people off.

Â ----

Did you all catch this Sunday? It made me pretty sad.

This wasn't muchÂ fun watching either.

But its a good thing I like gangstas.Â I can't wait for this!

Land of the Emu(sic) Presents: Five Essential Albums for the Hip-Hop Noob

no.spam@gameriot.com (oradol) — Fri, 30 Jan 2009 23:13:03 -0500

I'm taking a step back for an entry from introducing new artists to you. Saying "check out ____" only goes so far, because if you don't like the artist you won't be as inclined to check out the ones mentioned in the future. Instead I'm listing five albums here that I think anyone interested in the genre should go download - not to be confused with a list of the best albums of all time. I've tried to pick albums that are relatively new and easy to track down, rather than older and less accessible ones by the same artists. This should offer a diverse taste of different styles, separate from what you'd have already heard through the media.

You should find some variation between the albums listed here; from the aggressive to the introspective, and from the traditional to the progressive. They are in no particular order as to their quality, and I would probably give them equal weight if I were new to the genre (don't worry too much about finding one over the other).

Land of the Emu(sic) Presents: The Postal Service

no.spam@gameriot.com (Jasi) — Wed, 28 Jan 2009 01:50:49 -0500

I have to admit, I was a little bit disappointed when I heard the very first (of what has become many) UPS commercials sporting one of the electronic melodies created on behalf of Jimmy Tamborello of The Postal Service. Although I had moments of nostalgia as I daydreamed back to when I was first introduced to Such Great Heights back round 04'- the very song that I was now hearing used as a background to what appeared to be some sort of gimmicky new-aged commercial - I was hard pressed to believe the witty, long-haired individual that appeared to be some sort of of offspring of the Apple culture, was about to do the group any justice with what he had to say about my shipping needs. More importantly, I was distraught over the fact that although they had chosen to use one of the most popular singles from The Postal Services' only album, Give Up, they opted to cut the song short. This removed one of the most defining characteristics that the group has to offer; the almost haunting vocals of Ben Gibbard.

The Postal Service, a collaboration between Jimmy Tamborello (DNTEL) and Ben Gibbard (Death Cab for Cutie), is one of the most enjoyable hybrids of electronic pop and indie rock music of the past 10 years. While initially, one might be dubious over the fact that the lead singer is from DCFC, upon listening to the very first track of the album, The District Sleeps Alone Tonight, the almost celestial duo of Gibbard backed up by Jenny Lewis (Rilo Kiley) is bound to quickly wash away any doubt.

What begins as a simple drone of a synthesizer, relatively tame IDM additions, and what is probably the best lyrical effort on behalf of Gibbard on the entire album, eventually builds with a sense of underlying caution. The monotonous yet audibly appealing background loops of Jenny Lewis blend smoothly, and while especially simple and subtle, are one of the defining characteristics of the track. While Gibbards vocals remain gloomy for the better half of the song, together with the progression of the electronics, the song approaches an apex that would undoubtedly end up clashing for most artists; yet Gibbard and Tamborello manage to harmonize perfectly regardless of such different senses of style between the two.

The District Sleeps Alone Tonight

While both Gibbard and Tamborello are uniquely powerful in their own respective ways, it is this successful harmonization of two completely opposite ends of a musical spectrum that makes The Postal Service so successful. The blend of Gibbards reflective and docile vocals in combination with the pronounced yet inviting and upbeat melodies of Tamborello create a listening atmosphere that is as equally melancholic as it is uplifting.

Such Great Heights, The most reputable song and single of the album, while still portraying the effective balance of both singer and producer, is where the video-game sounding beats of Tamborello really begin to surface. Even though it has been plastered on every UPS commercial since it's original debut, this is undoubtedly his strongest melody of the album. Again, this is very representative of the great blend both artists have, as amazingly, in no way shape or form do his beats overshadow Gibbards voice. Tamborello has an uncanny ability to create beats that although, very pop feeling, can support and balance the voice of Tamborello.

My only complaint about the album is that when Gibbard took a momentary leave from DCFC to help create The Postal Service LP's, he unfortunately took with him one of the biggest shortcomings the band has to offer; Terrible terrible lyrics. Almost every song on Give Up is plastered with less than mediocre cries of a broken heart or lost love, and based on a previous collaboration with DNTEL,(This is) The Dream of Evan and Chan, you know that he is at least capable of some decent writing. However, I think you could also argue that if the lyrics were to become any more complicated that it could potentially take away from the sweet and simple recipe that The Postal Service is most successful with.

Give Up while generally quite positive feeling, also has some very dreary songs of what appears to be a very depressing introspective portrayal from Gibbard. By just listening to the beginning of some of these songs you can't help but to feel like you ought to be hating everyone around you, or perhaps even murdering them. I won't go as far as to say that they aren't enjoyable in the right environment though. In example, This Place is a Prison (Don't mind the user-created videos, some of these had the best quality audio)

In the end, I hope that we will see a new album from The Postal Service within the next year or two, as the synergy between Gibbard and Tamborello is not something that should be limited to a one-time project.

Also, don't forget to check out Isolee's newest 1/09 mix on his site.

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Land of Emu(sic) Presents: Changing Your Tune: Tenenbaum vs RIAA

no.spam@gameriot.com (caaaro) — Tue, 27 Jan 2009 00:53:20 -0500

In what's become a groundbreaking trial, the judge overseeing the hearing of a Boston University grad student brought to court for file sharing, has agreed to allow the case to be streamed over the internet.Â Â It is unusual and unprecedented for a defendant to motion to allow internet viewers into the courtroom, yet the $1 million price tag on Joel Tenenbaum's pirating a mere seven songs has compelled him to make his case public.Â Backed by Harvard law Professor Charles Nesson and his students, they argue that the damages in the case are excessive and hopeÂ to have it streamedÂ as a way to inform the public, particularly the swashbuckling tech-savvy generation that uses the internet as a top means of news and information.Â Â Arrrr....

This makes for quite the strategic move by Nesson and the hearingÂ was set to beginÂ last Thursday, unfortunately we won't be watchingÂ the caseÂ of the average David against the corporate Goliath just yet - the recording industry has filed an appeal to stop the stream.

The RIAA has been pushing back on file sharers for over a decade, many of which have been settled out of court.Â Under the Digital Theft Deterrence Act, violators could be sued for up to $150,000 per song illegally shared and in Tenenbaum's case, the RIAA is holding him to it.Â His defense claims,

"They do this, not for the purpose of recovering compensation for actual damage caused by Joel's individual action, nor for the primary purpose of deterring him from further copyright infringement, but for the ulterior purpose of creating an urban legend so frightening to children using computers, and so frightening to parents and teachers of students using computers, that they will somehow reverse the tide of the digital future."Â Â

Tenenbaum admits to downloading the seven songs on the peer-to-peer network Kazaa in 2003.Â (For the life of me, I could not find what he downloaded...)Â But clearly there is more at play here, and Joel made right in picking up the Hardvard Professor to back his case. Â He and his students have flung the issue wide open and have been calling out for feedback and support.Â Â The students enrolled in his Fall 2008 course, "CyberOne: Law in the Court of Public Opinion" want to do more than help Tenenbaum out of a tough spot; they want to challenge the underpinnings of the entire lawsuit campaign against the born-digital generation.Â They even have a twitter going.Â Seriously.Â Â

It's a bit absurd that its come this far. This case has built up a frivolous momentum, but could it be because Tenenbaum, and more than 30,000 others have been brought to court for such a trivial matter?Â The consumersÂ expanded interest andÂ exploration ofÂ its ownÂ product?Â Has the RIAA underestimated Tenenbaum (he seems like quite the geeky intellectual), and even further this generation's tenacity to apply the born given right of technology and resources at its hands?Â Perhaps its well past the time the RIAA quit going after petty violations and address the real issue that has crept upÂ on itsÂ industry the second some greasy dude figured out how toÂ share hisÂ copy of Death Magnetic.Â This is the seedy little truth its ripping its hair out to avoid facing andÂ its no wonder the recording industry wants to stop the hearing being made public.Â It might just fail, and doesn't want you to see it bow its head and cry.

But I sort of do.Â Should the appeal fall, Â the Berkman Center for Internet and Society at Harvard Law School will make the stream publicly available on its website for free and underwrite the costs. Â The content would be made available to the public under a creative commons noncommercial license.Â All creative commons licenses allow theÂ core rightÂ to redistribute a work for non-commercial purposes without modification.

The appellate court is expected to hear the case on February 2. The case could possibly be made available to stream later in February.Â Â We'll be watching.

One for the money.
Don't forget to plus one if you've enjoyed this post.

--C

The Land of Emu(sic) Presents - The Roots of Hip-Hop

no.spam@gameriot.com (oradol) — Fri, 23 Jan 2009 23:51:55 -0500

Lyrically calculus in this arithmetic-hiphop metropolis;

Â I still remember the turning point where I fell in love with hip-hop. My friend played me the song 100% Dundee off the Roots' Things Fall Apart and I heard the line you see above - a perfect example of what sets the Roots apart from their competitors. If the lyrical complexity of mainstream artists can be compared with simple addition and subtraction, then Black Thought exists in the realm of Pierre de Fermat and Leonhard Euler. The derivatives are his similes, and the integrals are his metaphors. He strives to reach the asymptote of the perfect emcee.

Note: The article regarding a more obscure favourite of mine, as I mentioned last week, has been postponed pending the possibility of an interview.

Tariq Trotter and Ahmir Thompson, now better known as Black Thought and ?uestlove, formed the Square Roots upon meeting at Philadelphia High School for Creative and Performing Arts in 1987. The two of them performed on Philadelphia's South Street with Quest playing the drums and Black rhyming over the beat. By 92-93 they had solidified their line-up and began touring, promoting their first album Organix. Over the next 16 years they would release 8 more full-length albums, demonstrating a kind of longevity that is rarely seen in hip-hop.

Of course it's easy to carve out your own niche in an industry when you don't follow the trends, and the Roots certainly fit that bill. Politically oriented and introspective from the beginning, the Roots pride themselves on being widely considered the best live act in hip-hop. ?uestlove provides the beats on the drums, and they round out their cast with the typical components of a rock band; percussion, keyboards, bass, and electric guitar. Sampling and DJing take a back seat to raw instrumental performance in both recorded and live work, and Mr. Thompson consistently proves why the Roots have maintained both popular and critical success beyond what is normally experienced by intelligent hip-hop acts.

?uestlove's drumming gives the Roots' music an almost organic feel. It lends the group a kind of versatility that cannot be achieved through sampling, while retaining the authenticity lost with synthesized beats. While his style trended towards the low-key and almost jazzy during the group's earlier years, it can now be best described as raw, unhinhibited force. His beats are complex and precise, reflecting his often being considered one of the drummers in the world. An example can be found below:

Of course this rythm only sets the foundation for the second half of the equation - and this is where Black Thought comes in. The long-time Roots emcee had initially come under fire in the early years for being the "weak link" of the group. While adept at expressing a sociopolitical message, he was long seen as lacking the charisma to proficiently act as an introspective and personal rapper; a void filled for a number of years by ex-member Malik B. Accusations of him lacking charisma no longer find ground to stand on as Black Thought has become one of the most widely respected and gifted men on the mic. His style is aggressive and reflects a man who finds himself endlessly frustrated with the directions society moves in. He has grown as an expert storyteller and an MC who has found his own voice, easily recognized not only acoustically but through lyrical style. He speaks intelligently but simply, never hesitating to use the proper words to express his message but never intentionally using wordiness in an effort to impress. The Roots often invite other very competent MCs to perform along side Black Thought - rarely, if ever overshadowing him. Below are verses two and three of the track Singing Man, performed by Black Thought and Truck North respectively. The song is a first person narrative with each artist portraying a different incarnation of violence in modern society. Black Thought speaks as a child soldier in Africa, while Truck North speaks as an Islamic jihadist.

Black Thought

One for the pressing, two for the cross
Three for the blessing, four for the loss
Kid holding a weapon
walks like a corpse in the face of transgression
Military issue Kalesh-Nikova or machete or a pitchfork
He's killing 'cause he feels he's got nothing to live for
In a war taking heads for men like Charles Taylor
And never seeing the undisclosed foreign arms dealer
13-year-old killer, he looks thirty-five
He changed his name to little no-man-survive
When he smokes that leaf, shorty believes he can fly
He'll loot and terrorize, and shoot between the eyes
Who's to blame? It's a shame the youth was demonized
Wishing he could rearrange the truth to see the lies
And he wouldn't have to raise his barrel to target you
His heart can't give you the years of scar tissue...

Truck North

What you're wittnessing is true dedication
Charged by the call and cause of a nation
Countdown, minutes away from detonation
A lifetime of grunt work, this is the culmination
My manner seems patient
Inner rage lies so deep I can taste it
Let's sacrifice lives
Past the first sensation
To paradise I fly
Delusions of lighting up the midday sky
The last days of mine spent in extreme secrecy
Wolves dressed like sheep occur more frequently
Too much faith to be scared, the petrified both fled
Those who live fearing death might as well be dead
Towers of the occupiers will soon fall
Martyr or mass murderer? That's your call
Mass transit or mall? Who can watch them all?
In the name of the merciful, sing me a song

Both of these verses are nothing short of goosebump-inducing, though sadly I cannot find a Youtube link to the track. Collaborations are never scarce on any album however, and hip-hop mainstays including Mos Def, Talib Kweli, and Common can all be found on the groups most recent album Rising Down.

The Roots are certainly one of hip-hop's finest - from the aggressive force of Rising Down to the rock and roll of The Seed, these artists have reached a position of unparalleled originality and versatility within their genre. They command unwavering respect from their peers, so I leave you with one last video - one of my favourites ever - to bring home the point that these aren't your every day hip-hoppers. If you haven't already seen it, do yourself a favor and watch;

Edit: The embed doesn't work (UMG's intention) so you'll have to click the video and watch it at Youtube.

Land of the Emu(sic) Presents: The Album Leaf

no.spam@gameriot.com (Jasi) — Fri, 23 Jan 2009 03:32:24 -0500

As you might have noticed, I've brought on a couple of writers to contribute along with me on Land of the Emu(sic). My ultimate goal with this side project is to approach all genres and directions of music, albeit with caution and patience. Simply put, that is something that one man or woman's interests obviously can never come close to covering alone. Hopefully, Caaaro, Oradol, and my yet to be found third contributor will able to cover bands and music projects that I don't have interest in or haven't heard of myself, and you enjoy everything they write as well. Definitely show them your support whenever you can. They will be contributing 1-2 articles a week each, but also might have large gaps between when they post, just as I might.

With that being said, I know it can be difficult to keep an open mind when it comes to listening to music you might not necessarily find to be part of your preferred genres, and today I'm going to be writing about a man that, much like Andrew Bird, will only satisfy the musical palette of some. I am going into this well aware of this fact. But at the same time, how good would a music blog be if they just covered mainstream popular **** all the time and never introduced new music that sometimes slips under the radar? Anyway, I encourage you to at least listen before scratching something off of your list.

****

In a music industry submerged in artists producing songs that are generally upbeat and bass-centric, it is uncommon to find arists approaching music and instruments in their most simplistic forms. Too often are songs overproduced or are simply unnecessarily complicated to the point where you are almost forced to only appreciate a song on a surface level. However, complicated and heavy feeling music has it's place in terms of invoking its own style of emotion, excitement and energy within a listener. Naturally, anything that lies on the opposite side of the spectrum - that which has a feeling of calmness, restfulness and restraint - is often not nearly as popular, which is completely understandable. Most music is created for weekend clubbers and bar-hoppers aiming at forgetting the sadness and depression of their monotonous work weeks, so who could possibly blame them for not wanting to listen to music that provokes feelings that might reinforce what they intend to leave behind.

At the same time, there are those types that enjoy embracing both sides of human emotion - those that aren't afraid of or even work the best in calming, tranquil environments; those that find accessing the more depressing aspects of life as a rewarding process. Sometimes life just ******* sucks and an upbeat tempo isn't exactly to your liking at the moment. Jimmay Lavall embarked on his solo project, The Album Leaf, for just those very people or relative situations that just outright call for something downtempo.

Lavalls creations with the album leaf go outside of the box when it comes to Indie Electronic. Most of your average indie based anything will have a progression of intensity level, successfully building and taking the listener on an emotional ride with all of it's relative climbs and drops, almost always moving forward in a completely linear fashion. From a technical standpoint, Lavall is completely flat - there are arguably no significant audbile buildups or drops of any fashion, rather an extreme emotion personified through every simple melody line he creates alone or with contributors such as Sigur RÃ³s. However, what you will find within his meditative and emotionally touching music are climbs and drops that are less produced, rather more in aim of keeping the music more organic, intimate and immersive. Most listeners can not rise any other words other than "beautiful" for the vast majority of his productions, and the following is one of his finest:

(Sorry that the quality sucks, live was the only option, careful with volume too)

Still awake, or even interested for that matter?

Either way you look at it, Lavall's music will undoubtedly put you in an extreme state of serenity, or hell, even put you to sleep. In all honesty, you have to be in one state of mind to not find the music boring, and if you don't find patience as a part of this mood, don't even try it. Most of his productions end up as songs pasted over ending credits of movies, or dramatic and sad clips in shows like The O.C and Grey's Anatomy. For most a time in which the music can be enjoyed is very relative and rare; usually it is in instances where you are either sitting on a bus or train during your daily commute, or quite literally, going to sleep. Regardless, I know that just as there are people that find John Cage's "music" to be interesting, there will be for The Album Leaf.

My next article will be covering The Animal Collective. Thanks for reading, and don't forget to +1 if you happen to be one of the few people that find enjoyment from music like the above! To end, here's another song,

Land of the Emu(sic) Presents: The Mainstream Hip-Hop Fiasco

no.spam@gameriot.com (oradol) — Tue, 20 Jan 2009 23:50:42 -0500

As WoW's appeal diminishes, the motivation to blog about it does so even more. My motivation to write, however, remains intact and for a while I've been considering largely directing my efforts elsewhere. I decided upon music after reading Jasi's article about Sage Francis, interested in the idea of taking an often misinterpreted genre and bringing to the forefront the artists who best represent it. Accepting Jasi's invitation, I'll be regularly contributing to the Land of Emu(sic). I expect to post a new blog every few days, and for the time being I'll be focusing on the hip-hop genre.

Take the sugar cane and the soft drink. The soft drink is the sugar cane - only it's been processed, augmented with artificial flavors, mixed with food coloring to gloss over its appearance, and then watered down. Mainstream hip-hop is the soft drink (except in this case the soft-drink sucks) and the artists you'll read about in my blogs are the pure, sweet sugar cane, embracing their roots rather than fabricating mass appeal. These forthcoming posts will showcase artists from across the hip-hop spectrum - from the relatively well known to the totally obscure, intermittently including some editorial-style pieces as well. Before proceeding I should note that my usage of the term mainstream does not refer to the popularity of the music but rather the content and purpose; any music created solely for the purpose of making money, with no redeeming artistic value. Most of the popular artists are of this mindset, hence the term.

You see, mainstream hip-hop has all but destroyed the original art form. MCing evolved simultaneously with break dancing - the drum breakdowns of funk/jazz records were looped on a turntable to form a repetitive beat, leaving the MC to throw down a rap over it. Elements evolved but the concept remained consistent; sample music and write rhymes. The original gangster-rap changed the paradigm - dropping sampled beats in favor of synthesized ones, and rapping very specifically about way of life the artists identified with. Unbeknown to the average listener, the original works of N.W.A. and their kin were actually very original, very intelligent insights into contemporary society. Social commentary doesn't sell, however, and as time went on the violence, drugs, and sex found in rap were embraced by a mainstream culture longing to identify with the corresponding tough image. Any trace of creative musicianship was lost.

The underground scene finds itself diverging in two separate directions. On one hand there are artists seeking to push the envelope both musically and lyrically. While he may be mainstream now, Lupe Fiasco was one of these artists - his The Cool is one of the few concept albums I've seen in the genre, taking a deep look at society's lauding of the immoral values largely associated with "gangster culture". Other artists like Immortal Technique rap about contemporary sociopolitical issues, touched on as well by more mainstream artists such as the Roots.

In the other direction are the classicists; the artists who choose to embrace what made hip-hop such a great medium of expression in the first place. Many put their own twist on the recordings but they share a common belief - a disdain for the new mainstream. They pride themselves on their sick beats, great samples, and dope rhymes rather than lyrical prowess or efforts to revolutionize the genre. They hold a deep love for the hip-hop and see it much more as a medium of expression than an opportunity to cash in. This is, perhaps, one of the defining differences between the mainstream and underground. Obviously very few artists travel strictly in either direction, most just trend towards one or the other.

From Mix Tapes to MTV - Lupe the Fiasco

At the risk of wearing out my welcome with too long an article, I'm going to start with an artist already mentioned here whose name should ring a bell with anyone who even remotely follows hip-hop (or mainstream music in general). Lupe is a shining star in the industry; proof that an intelligent MC can become successful in every sense of the word. He refuses to conform to the stereotypical image laid forth by acts such as Soulja Boy, not hesitating to sport his glasses in his videos and performances.

There are very, very few artists able to match Lupe in either lyrical or technical prowess. He is one of the best rhymers in the game: writing intelligently with more metaphors in most of his songs than a Shakespearean play, making great use of an extensive vocabulary, and posessing a flow so slippery it almost overrides the beat in setting the tempo of a song. Very few artists have me consistently rewinding a song by 10 seconds after hearing a line so sick I can't believe it was just placed in a song.

Not convinced that he's really that much better than similar artists? In 2005 Kanye West produced a beat used on his song Diamonds from Sierra Leone, using a sample from the original Diamonds are Forever (Bond theme song). Kanye himself recorded a few versions of the song, with a remix specifically referring to conflict diamonds found below. Lupe Fiasco was also interested in using the beat to record his own version. Compare the two. Actually you don't need create a comparison, there is none.

Land of Emu(sic) Presents: Andrew Bird: Art Rock's Most Beloved Oddball

no.spam@gameriot.com (caaaro) — Mon, 19 Jan 2009 21:56:21 -0500

Caaaro:Â So I'm up next?

Jasi: Yeah.Â It's yours.Â What are you writing?

Caaaro:Â I was thinking of reviewing Andrew Bird's latest.Â What do you think?

Jasi:Â Cool.Â Yeah.Â Do it.Â By tonight?

Caaaro: Tonight? Umm..no. tomorrow?

Tomorrow.

Jasi: What's up?Â Are you posting tonight?

Caaaro:Â Unlikely. Can't do it.Â There are...complications.

J:Â Like what?

C:Â Â This album.Â It's good.Â

J:Â Â And...

C:Â And like, its Andrew Bird, I have a bit of sentimentality to his music.Â Memories entwined with his last album.Â

J:Â I see...but you chose to write on it?

C:Â Yeah, I know. And to like, write about him now, with this new album, it ...kills certain things in me.

J:Â What are you talking about?

C:Â Makes them less whole.Â Because this new album is similar, but not.Â Just not as good. And those memories, I had tied to the last album, well, they sort of feel... so far now.Â Â Â

So much feels lost, you know?

J:Â ....

C:Â Forget it.

J:Â Ok.Â Tomorrow.

Despite Noble Beast being his fifth studio album, the doubt that surrounds Andrew Bird's work has become no less baring over the multi-instrumentally talented artist.Â In an interview with NPR, Bird speaks of his production process being quite the practice.Â

As a Northwestern graduate with a degree in violin performance, Bird has risen to widespread acclaim after the release of his 2007 album, Armchair Apocrypha.Â He garnered such awards as the Plug Independent Music Award for Best Male Vocalist and noted on numerous lists for albums of year for Blender, Pitchfork, and Esquire.Â And the talk of doubt, well, it's unsuspecting, from the man that carries much of his last album with his superhuman whistle.Â

I was introduced to Andrew Bird with his prior album, 2005's Mysterious Production of Eggs which to this day holds a track that is among my top list of greatest songs.Â On "Fake Palindromes" Bird masterfully arranges sounds of jazz, folk, and gypsy ballads resulting in a richly dense composition that leaves a profoundly haunting effect.Â So when Armchairs was released a couple years later, it effortlessly found its way in my rotation, and ultimately, within the fabric of the ebb and flow of the life of my early twenties.Â It's a sad album, and I was....listening to it a lot.Â And like anything that is capable of reaching you at an emotional and intellectual level, it makes you less alone.Â That's much to say of any one album, but is the humanly chord that should be sought to strike with any form of artwork.Â And it's actually quite comforting to learn that there is some sweat and doubt in his production. Perhaps, this is the true cyclical inner workings of an artist.Â Yeah, perhaps.

Andrew Bird's latest album Noble Beast also, has provided a much anticipated album for listening consumption.Â Though there is not much movement from ArmchairÂ it still makes for a brilliant creation.Â The opening track and first single "Oh No" carries sweeping soft rhythms and string plucks alongside Bird's lovely voice.Â Several tracks, including "Masterswarm" and "Not a Robot, But a Ghost" assimilate a Spanish mamba to the violin and "Anonanimal" works at building a remarkably frustrating tension.Â Â Most resonating however, is the peculiarly lyrical "Effigy" which brings light to those misunderstood few standing at the social fringes attempting to engage, illustrating Bird's charming and whimsical wordplay:

Fake conversations, on a nonexistent telephone / like the words of a man, that spent a little too much time alone.

Noble Beast shows the markings of yet another outstanding album from aÂ brilliant artist.Â Anyone that has not had the opportunity to explore his music and insight is recommended to sample this album and work your way back through his catalogue.Â His Spring tour dates have already begun to sell out and if you're among the lucky few to see him live, you will not forget, nor doubt, his great appeal.

Listen to Noble Beast here.

Don't forget to +1 if you've enjoyed this post.

--C

Land of the Emu(sic) Presents: Aesop Rock

no.spam@gameriot.com (Jasi) — Fri, 16 Jan 2009 06:30:39 -0500

While the article I wrote on Sage Francis was generally well received, the most common complaints were that the delivery and flow of his tracks leave the listener wanting more. I stand by what I say in that he is poetic and his lyrics have a lot of relative substance, but I wholeheartedly agree that he falls short in comparison to other artists in all other areas. Today I chose to talk about Aesop Rock, a hip-hop artist with one of the most unique styles of flow and presentation I can think of. The exact opposite of Sage Francis.

"Flow", one of the most subjective and relative terms when it comes to hip-hop (in the sense of what is good or bad) is a critical aspect of any successful hip-hop track. The ability of a rapper to combine a complex and intricate string of rhymes together to produce an audible sense of logical progression is often the very grounds for which they are critiqued on. I would consider it to be an uncategorized medium in which mood, theme and tone can be portrayed in a form completely unique from anything else. Aesop Rock has an incredible delivery, and his flow, while seamless and fluid, has an equal feeling of thickness and weight. It's pretty goddamn amazing to be honest. There's no doubt that it's an the extreme side of the spectrum either; If Sage Francis' flow is comparable to a gentle stream, Aesop Rocks' is a goddamn landslide.

In addition to more than impressive tongue-twisting flow, within this delivery is also lyrics written with an acute sense of abstraction. Aesop is no stranger to word-plays, as his often 70-80 pages worth of lyrics layered into his average CD are definitely packed to the brim with them. However, there is no dominating or overbearing sense of slow, poetic style, rather an in-your-face raw sense of emotion and substance that is achieved through creative sentence structure and catchy idiom re-writes. To give you your first taste, here is one of my favorite tracks "No City"

In my opinion, you will be hard-pressed to find a lyricist with skills beyond those of Aesop. There's just a gratifying amount of depth, meaning and emotion that you just can't help but to absorb, objectify and present to your peers as one of your own; a life-long prized possession that never leaves your side. With Aesop, every verse is a picture painted through words, but it isn't held behind red ropes and thick plastic cases. It can be tucked anywhere you want, available for viewing whenever necessary. This is without a doubt, a refreshing change from your conventional alternatives.

Let me give you an example. Here's an artist ever increasing in popularity; Lil' Wayne:

"islands and have you screamin' and hollerin'... and we'll be makin...
Love on the beach the people see what we doing
Awww they pointin' and movin'
Ohhh but we gone keep on doing...
It like it's just me and you and no one else around"

****in' brilliant, I know. Here's Aesop:

"put one up shackle me, not clean logic procreation
Â I did not invent the wheel I was the crooked spoke adjacent
While the triple sixers lassos keep angels roped in the basement
I walk the block with a halo and a stick poking your patience"

"Iâ€™ll take my seat atop of the Brooklyn Bridge
With a Coke and a bag of chips
Â To watch a thousand lemmings plummet
Â just because The first one slipped"

There is one issue with Aesop's lyrics though; the thick skulled will often consider his lyrical medleys to be "gibberish" and "nonsensical". While clearly they are sometimes far from easily interpreted and absorbed, his style promotes a different dimension of lyrical prowess and engagement. As seems to be a common theme in music, this is a purely relative thought, and is subject to far too many overly-critical music suits that insist on a "don't color outside of the lines" type of mentality.

After all, interpretation is personal, there is nothing written in stone saying how it can or cannot be done. There's a reason he writes in almost pure metaphor, music is not personal unless you can find a way for it to relate to you who listens.

While I wanted to mostly focus on flow and lyrics in this article, Aesop's beats are far from ordinary, and when combined with his lyrics and flow, the end result are songs that deserve to be heard. To end, here's a song you might be familiar with that I feel is one of his best tracks in terms of flow and beats. None Shall Pass

P.S I'm quite interested in hearing about artists that you find to be superior or similar lyricists or with better flow, as I wanted to expand my music base as well in taking on this side-project. Feel free to post and I'll comment/respond when I can.

When Image Takes Precedence Over Music Itself: A Land of the Emu(sic) Reflection

no.spam@gameriot.com (Jasi) — Wed, 14 Jan 2009 21:06:00 -0500

I consider the musical compositions of TOOL to be some of the most alluring and equally saturating sounds ever created. They are one of the few reasons I have ever spent more than 10 dollars on a pair of headphones or had to pull out a dictionary to figure out what the hell that last word I heard even meant. When I was first introduced to the band, the complex sound of Ã†nima was nothing short of enlightenment when it came to the music world. Once Lateralus was released, my taste and intellectual grasp of music had expanded beyond baggy jeans and chains - thus, for one of the first times ever, I spent countless hours in what felt like a state of eerie lucidness listening to the mantra like sound of the album on repeat as opposed to worrying about the presentation of my metal image. The almost diabolical sounding guitar riffs in combination with the soft, angelic voice of Maynard was a rewarding escape from your more popular bands of the period such as Limp Bizkit or any of the one hit wonders that were an offspring of the combination of ludicrous sounding rap and guitars with an unnecessary 7th string. Of course, at this point my experience was limited to the sound capabilities of my original 10 dollar earphones that i later ditched, so once I managed to attend a concert when TOOL came through Chicago in 2001, I was joyfully reintroduced to the band in a completely new light.

Due to circumstances outside of my control, I ended up attending the concert solo. Initially I thought this would be detrimental to my first TOOL experience, but to this date, it is the best concert I've ever attended and most of it is due to the very reason I was considering not going in the first place. Up to this point, I figured that the best way to see a live show was with a group; after the concert was over, I realized that some musical undertakings are much better experienced alone.

Upon entering the arena, I was met with countless numbers of kids that were clearly struggling with the notion of conformity, TOOL show or not. I made my way to the floor, and managed to turn plenty of heads in the process. Here I am, a "normal" looking kid in a place in which abnormalcy was coveted. Not to mention I had apparently picked a bad time to drop the whole metal image in favor of realizing that it didn't matter how the **** I looked if I was still interested in the music underneath. Once I was able to find my own remotely personal spot, I stood and waited in anticipation of my first real experience of TOOL. The lights dropped, Danny, Adam and Justin came out and the crowd came alive. However, Maynard was no where to be found. After spending the duration of two songs Maynardless, I managed to discover him through the flashy light show and massive backdrop depicting images from the Lateralus coverbook. Here was the legendary lead-singer of TOOL, not towering over the audience at the front of the stage, rather sitting far in the back, behind a smaller white drop screen in which only his silhouette was available for viewing. His voice was just as epic, lyrics just as poetic and alien, and screams louder than ever - only you couldn't see anything more than a shadowy image. He spent half of the concert completely hidden from view. It was obvious that from nearby moans and groans of fellow audience members bearing wallets or purses 30 dollars lighter that this wasn't going over to well. Why pay for a live show that was only partly that?

I too, was a little bit puzzled by this presentation. When Maynard surfaced to the audience 6 tracks later, the confusion turned to understanding and even feelings of adoration. Not for the fact that he was Maynard, or had a one-of-a-kind voice, rather that after he explained to the audience that he had recently came to realize that far too many TOOL fans had obsessed and idolized the image of him, that he was an extremely selfless individual in that he wanted the audience to be there to immerse themselves in their music and not his single body, name, or person. Definitely a different mentality than your average rock star.

****

With an industry that often supports entire careers off of image and material promotion alone, it's only natural that the average person is more concerned about association with the individual artists or groups, even if it's the form of a labeled shirt, or mimicking said artists. They want to feel as if they have, and can present to their peers, some sort of significant association beyond being a simple audience member or fan. It's the exact reason so many music buffs generate elitist mentalities. My interest in X band is superior to yours, or my band is better than yours period.

This will often deterioriate music to actually existing as meaningless drivel, as after all, music is only what the listener makes it out to be. If you have the capabilities and mentality to see a song for its deeper meaning or true message, than you will undoubtedly find something significant relative to your personality. If you want to dance to it and nothing else, then that is how the song will exist. Unfortunately, this can often be quite detrimental to music in general. More often than not, this material association and tendency to turn something immaterial(music) into a personal possession, takes higher precedence over music and emotional immersion itself. This takes music, one of the most effective mediums for which we can portray emotion, and devalues it. This is all to common with your conventional mainstream music businesses.

To give an example, I will share a brief music based social experiment that happened around 2006.

Picture this: You are an average business man or woman, living in a major metropolitan area such as Chicago. Public transportation commands 2+ hours of your life on a daily basis. You have developed a get in, get out type of mentality in order to designate the most amount of your day to free time. During your daily commute, you will often pass many street performers, most of which are musicians. Some are decent, some are terrible, and some are actually quite impressive, albeit not impressive enough for you to delay your commute or set back most people even 5 minutes. During one of your commutes, you happen to come upon a violinist.

This man has positioned himself against a wall outside of the constantly traveled path of commuters. By all standards, this man is dressed no differently than your average citizen, and upon opening his violin case and dropping in some dollars to bait those who pass by to contribute some of their own, he began playing, stopping after completing 6 classical pieces over a 43 minute period. 1097 people have passed by. Some stopped and tossed in some change, usually amounting to no more than a dollar. Occasionally, someone would stop, lean against a wall, and would stand out in a sea of movement to listen for a mere moment or two before going on their way.

You are presented with a situation that brings about multiple questions. Do you stop and listen? Do you have time? Is it worth having to rush a little bit more to listen? Like most, you figure it simply isn't, and continue on your way.

The man finishes playing. There is no applause, no standing ovations; instead there is silence, as if the man was never there at all. He has earned a grand total of 32 dollars.

What you failed to realize, was that this man was Joshua Bell one of the most prestigious musicians in the world. The very night before you happened to pass him by in the subway, he sold out an entire show, and each ticket had a face value of over 100 dollars.

Like most, you were too preoccupied to recognize the talent and beauty in front of you. After all, there was no association between you and the artist, and there was nothing for you to gain; no recognition, no increase in social status, no decrease in social status - nothing. There was a preconceived notion within almost every passer by; that this man was your average side-show trash you find in the subway. This image got the best of almost all 1097 people:

While this "test" has many flaws in itself, it goes to show that there are far too many music listeners that are much more concerned with all of the potential material and social benefits of music itself as opposed to just enjoying it for what it is. In this scenario, it's as if spending 100 dollars on a ticket, dressing up in a tux, and knowing that the musician is playing on a $3,000,000 instrument is the only way in which there is any value in listening in the first place. If you were to have slapped a sign on the front of Joshua Bell identifying him for who he is, the entire place probably would have reached a standstill.

So the question is, is the music industry to blame for the degeneration of mainstream music, or is it the fact that the general population is just too goddamn self-centered and busy to take a moment to relax and enjoy music on a personal level with no material or social benefits? It's undoubtedly a combination of both, but the mainstream businesses are, after all, only working off of what is successful with people, so who is to blame?

Land of the Emu(sic) presents: Jaydiohead

no.spam@gameriot.com (caaaro) — Mon, 12 Jan 2009 08:38:32 -0500

Â Â Â Â Â Â Â Â Â There has been a common thread used in pop culture today which few things stand to create more sensationalism in our media. Â It is quite more common than one would think, yet the term is rarely ever mentioned.Â This is the 'Brangelina', 'the 'Governator,' and the 'bromance.'Â It is a linguistic blend used by combining two or more words or sounds and unifying their meaning.Â Â It is called the portmanteau, and there wasÂ some excitementÂ making its way across the headlines of numerous music blogs last week.Â It is the title of a new album, which upon reading sounds to be the fusion of two very individually distinct musical acts that have been formed to introduce a powerhouse of an album: Jaydiohead.

Â Â Â Â Â Â Â Â Minty Fresh Beats, Max Tannone premiered the Jaydiohead mash on his MySpace page on December 30 and in the weeks since, has been at the forefront of music blogs and message boards to no avail.Â Â Much of the reviews flooding the boards have been positive, and the 22 year old DJ from New York has received the nod from hip hop heads and indie kids alike, some so far as to call him brilliant in combining the two (and some slightly envious in not coming up with it themselves). Yet despite the recent fanfare and praise, the Jay Z and Radiohead mash-up have been found to be no new conception. Â Â And with only a few noteworthy tracks, Jaydiohead stands to run as gimmick rather the great union it's been glorified to be.

Â Â Â Â Â Â Â Mash-up albums have long since been a crowd pleaser and none so much as Jay Z's Black Album has been used to provide the exceptional lyrics over cross genre instrumentals, making Jaydiohead no new inspiration.Â Acts as diverse as Coldplay, The Pavement, Oasis, and RJD2 have all been cut and carved to work with the a capella form of Jay Z's Black Album.Â DJ DangerMouse's 2004 Grey Album coupled the EMI copyrighted White Album of the Beatles to the lyrical genius of Sean Carter.Â After lengthy legal battles, the Grey Album gained much notoriety and was named the best album of 2004 by Entertainment Weekly.Â The distribution over the internet seems to match that of Jaydiohead, leaving one to speculate whether the album has somehow been plucked to fame with intent for the publicity. DJ Minty Fresh makes special note on his Mypace that he is "available for albums, demos, mixtapes, mixing or mastering." Total cheese.

Â Â Â Â Â Â Â In addition to using the Jay Z mashup model, the thought to use Radiohead in conjunction with the Jigga is no innovative arrangement either.Â Radiohead is quite the rock group and it would be agreeable to rap behind their rhythmic and trancelike sounds. However, the acknowledgment of applying the mash-up could be given to the album if it had not been done before. Mash-up artist Girl Talk's latest release Feeding the Animals, featured a 30 second Jay Z/Radiohead mash-up in the track "Set It Off."Â It is unknown whether DJ Minty Fresh Beats sought inspiration from the track, but use of the two acts draws one to wonder whether Jaydiohead is the next big mash-up it has been perceived to be.

Â Â Â Â Â Â Â Aside from the analysis of the distribution and marketability of Jaydiohead, the overall production of the album disappoints and does not match up to its hype. There are no more than three tracks that arrive to claim the credit for merging of the two great works. "Wrong Prayer" is the one track that seems to turn Radiohead's "I Might Be Wrong" into a fresh hip-hop sound behind Jay Z's a capella "Prayer."Â "99 Anthems" and "No Karma" also meshed well to provide an interesting and provoking listen.Â Lead vocalist Thom Yorke's crooning of "this is what you get, when you mess with us" seems to blend seamlessly with Jay Z's raucous hard life rhymes against the "Karma Police" instrumentals. These are excellent arrangements and recommended to be downloaded for fans of either act.

Â Â Â Â Â Â Â But as bump- worthy as these tracks are, the rest of the album stands to make a mere mockery of the two Grammy award winners work. Ill timed tempos and uninspiring fusions contribute to the lackluster production.Â "All in Step" never quite reaches the proper synchronization with the flow of Jay Z's "Fallin" and Radiohead's quick beat "15 Step."Â No other track on the album however, falls short more than "Ignorant Swan," pulling a measure with so much potential to be set amidst a rap - the slowed tempod "Black Swan" which stems from Yorke's 2006 solo debut Erasure.Â The discontent of these failed tracks and mediocrity of the remaining album seem to unfortunately overshadow the few that are worthwhile.Â

With a weak overall delivery and revisited mash-up concept, DJ Minty Fresh Beats' Jaydiohead falls to the wayside amongst its media frenzy.Â Its attractive title and concept does not live up to the musical power coupling it implies to be.Â And it may very well be that the album could never have been enough to follow through on blending the sounds of the all righteous Radiohead with theÂ flow of the HOVA.Â

Jaydiohead available for download here.

Don't forget to +1 if you've enjoyedÂ this article.

--C

Land of the Emu(sic) Presents: Kanye West; The Voice(box) of Our Generation

no.spam@gameriot.com (Jasi) — Sat, 10 Jan 2009 06:26:06 -0500

Be warned, this is not going to come even remotely close to sharing the same tone of previous articles here on emusic. Read at your own risk.

*****

"I'm doing pretty good as far as geniuses go... I'm like a machine. I'm a robot. You cannot offend a robot... I'm going down as a legend, whether or not you like me or not. I am the new Jim Morrison. I am the new Kurt Cobain... They feel like, yo, you know 'he's got a God complex, because he said if they wrote the Bible again that he would be in it'. Duh, yeah, I would be in it. I feel like I'm one of the more important people in pop culture right now... The Bible had 20, 30, 40, 50 characters in it. You don't think that I would be one of the characters of today's modern Bible? And people have their own forms of bibles now. It's a new day and age..."

Kanye West, one of the most critically acclaimed rappers of our generation has the audacity to consider himself of high enough stature to be within the pages of the Bible. "I am the new Jim Morrison" he cries, "I am the new Kurt Cobain", he screams. If Kanye West is Bible-ready, then I should be writing for the New York Times. If he is the new Kurt Cobain, and is equal or superior to the likes of Jim Morrison, then I am as imperative to my generation as Poe and Emerson were to theres.

As I stated before, narcissim is apparently the new "in"; but it goes beyond that with Kanye - his ego is so vast that he considers himself to be one of the most proficient musicians of all time. God complex? Yeah, there's definitely some kind of complex going on here, but I'm not sure if the word god does it justice. The mislead will pass off Kanye's self-admiration as part of his artifice, as if it is necessary to the success of his master plan, those free of bias will grasp the epic delusion as a gross reality.

Yes, every single Kanye fan will argue that his production skills are where his talent lies, and to you I agree, but those very skills are often misconceived. Kanye West, is undoubtedly a talented producer, however with delusions of grandeur as massive as his, the original samples and songs he remixes are often left in the dust with little to no recognition, or are considered to be his original work.

I would bet money that more than half of the population that heard Stronger have no knowledge whatsoever that 90% of the track itself is based and consists of the original song from Daft Punk where as 10% is Kanye's additions; just as I would risk my new gig at the NYT that very little know that one of his most successful songs, Jesus Walks, isn't his song at all, as can be seen here:

Kanye should take notes from the writer, Rhymefest (also his childhood friend) and grasp the concept of humility. Rhymefest gave him the lyrics and the beat, Kanye added the marching loop. When Rhymefest was asked how he felt about the use of the song, he basically said that his motive was progression of hip-hop, and that recognition was not of his priority.

With his most recent release, 808's and Heartbreaks, Kanye not only incorporates the voicebox into his new style, but uses it in almost 90% of every song. Watch out T-pain, a new contender has stepped into the ring. Apparently becoming the voice of the generation includes removing any existence of your own voice from your music whatesoever (even to the point of ripping on the guy in the audience that just pegged your forehead with a penny). Ok yeah, I'm being pessimistic at this point, but lets take a step or two back here. How can you expect one to listen to a voice with as little substance as this?

Why would she make calls out the blue
Â Now I'm awake, sleepless til noon
Â Hey hey hey hey
Â Don't say you will Unless you will
Hey hey hey hey
Â Don't say you will
Then play you will
Â I pray you will

- Say you will, Kanye West

I suppose this is a relatively weak sample on behalf of Kanye, and I will accept the fact that just as Sage Francis has less than desired beats and flow in favor of lyrics, Kanye has the opposite. But these are the lyrics that his fans constitute as ground-breaking and genius...I enjoy the concept of streetlights, but the same verse is repeated 4 times, and how can you have faith in a statement from Kanye himself that could be considered even bigger than any nerdrage on Gameriot.

While I've spent the majority of this article *****ing and whining as much as Kanye does, I will give credit where credit is due; Kanye has an extremely good apprehension and uncanny ability to analyse recent trends and patterns within the music industry, and thus creates catchy products that accomplish their goal. I'm sure his migration to voice box abuse was in response to how successful other rappers have been with it. In addition, regardless of the quality of his live shows, the man spends millions in a goal of complete domination when it comes to delivery and show.

While Kanye West is an extremely talented producer, almost every other aspect of his character is far too crude and overshadows everything he's capable of. He's completely destroying any potential momentum any decent hip hop has made within the music industry, supporting the use of Voice boxes (as if it isn't used enough already), and think's he's the best thing to ever walk the planet to boot. So let me ask then, what pulls you in? What do you enjoy about Kanye that allows you to look past his character?

Don't forget to Also check out Isolee's newest release, it's pretty goddamn sick.

Land of the Emu(sic): An introduction From a New Contributor, Caaaro

no.spam@gameriot.com (caaaro) — Fri, 09 Jan 2009 02:06:07 -0500

Jasi: I have high hopes for this blog, and from the responses I've heard thus far, it seems that people are interested and I'm glad to see that. Our goal is to provide daily content, and thus I have added a contributor whom I feel will bring a different perspective than my own to the blog. I hope that you enjoy both of our respective styles of writing, and will participate in discussions that follow. Without further adieu, welcome Caaaro to the blog.

*****

I too have been recently begged to jump on this blog. I had my reservations at first, but have since then reconsidered and become quite enthused. I spend most of my down time following music, but truth be told Iâ€™m no gamer and have actually never blogged before. I come from another realm of writing that works to connect the soul with this crazy world we live in and due to some rare alignment of the stars Jasi and I came to find we share a common taste for the slight dip into the dark havens of the mind. I write fiction. He tries. Butâ€¦Iâ€™m stoked to be in here and to be writing on something Iâ€™m passionate about.

Itâ€™s an awesome time for the music industry across all genres and forms of production, distribution and promotion. We were still selling cassette tapes at the record store I used to work at 8 years ago, Appleâ€™s just announced DRM free downloads, and yet Nielsen has released that vinyl record sales rose 89% in 2008. Thereâ€™s been epic change going on and advancements in technology we can barely keep up with. Whether weâ€™re killing time at the airport, hitting the books, typing away in a cubicle somewhere, we all have the ability to have our entire music collections in the palm of our hands. And we talk about it. Thereâ€™s a colossal beating drum of music enthusiasts blogging, posting, twittingâ€¦ whatever. Times are good and right now more than ever we have incredible access and attachment to the music we all love to listen and share.

Respect for Jasi and all others within the community dishing out their words on what they value. I look forward to adding some of my own to the mix with reviews, listings, and industry commentary. I welcome the dialogue. My favorite albums of 2008 are listed below.

--C

Girl Talk: Feed the Animals

Titus Andronicus: The Airing of Grievances

Atmosphere: When Life Gives You Lemons, You Paint That **** Gold

Kanye West: 808s and Heartbreak

Lil Wayne: Tha Carter III

David Byrne and Brian Eno: Everything That Happens Will Happen Today

Vampire Weekend: Vampire Weekend

Wolf Parade: At Mount Zoomer

Ra Ra Riot: The Rhumb Line

Best Songs of '08

no.spam@gameriot.com (rage) — Thu, 08 Jan 2009 13:42:38 -0500

I am posting this on my personal blog but Jasi was begging me to do awesomeness on his new music joint. I DJ regularly in NYC and these are my top 20 songs to play out.

2008 has been a year where my heart returned to the 80's romantic vibe (get it? 80's -> '08?) that cleared dance floors and left lovers lip-locked throughout the decade. Almost every track on this list is flooded with analog synths, Outfield-esque male vocal ballads, and lots of sexy arpeggiators!

Bag Raiders â€“ Shooting Stars (MP3)
Bag Raiders were HUGE on my '08 hype list and I was INSANELY disappointed upon only seeing two tracks on their EP. Fortunately, the B-side made up for all of my dramatic tears and delivered what may be the PERFECT pop tune. From the slightly wavering lead synth that just cliiiimbs up the scale to the airplane landing drop into a hella-dancey chorus, this track has it ALL. Can't wait for them to release more than two originals in '09!!!
Anoraak â€“ Nightdrive With You (Fear of Tigers Remix) (MP3)
Grum's remix may have seen the dance floor hype, but the real winner to come out of Anoraak's Nightdrive With You EP is this little-played remix from UK producer Fear of Tigers. His synths are lush and gorgeous and I can't believe his solid string of remixes (Infadels, PNAU, Anoraak) hasn't received more love! Get on it before he figures out how the play a live set and destroys the world
Chromeo â€“ Fancy Footwork (Russ Chimes Remix) (MP3)
I can't say enough nice things about Russ Chimes. He is hands down my favorite producer of '08 and I almost featured FOUR of his tracks on my list this year. This remix came out of nowhere and literally blew my mind. It is single handedly responsible for motivating my production this year. The sexiest synths around, lots of great samples in the background, and completely reworking this tune from the ground up nearly pushed it to my #1. Russ Chimes will be insanely huge in '08.
Miami Horror â€“ Donâ€™t Be On With Her (MP3)
As if his 'Fa-Fa-Fa' remix doesn't give me enough dance floor ammunition, this jam takes everything I loved about the 80's and packs it into one three-minute sex-fueled ride. Checking the music video gets me even more excited, as I see guitars, drumsticks, and big hair all over the place! The bassline is what really makes it work though. Justtt dirty enough to get the bass-kids going and light enough to still sound poppy when combined with the rest of the sound. Amazing!
Ghosthustler â€“ Someone Elseâ€™s Ride (MP3)
"I want to kiss you like when two cars collide." Why the **** did they break up? Vega has his own thing going on now but this Ghosthustler track has the most amazing chorus and remains in my set list nearly every time I play. Those bouncy chords get me every time, especially when the megaman-esque synth gets layered on top!
The Presets â€“ This Boyâ€™s In Love (Lifelike Remix) (MP3)
I give myself a big pat on the back for knocking out the requisite Presets and Lifelike nomination in '08 in one entry! Lifelike has continuously pumped out great tunes, so shut the **** up about your 'Lifelike remix machine.' This take on The Presets' "This Boy's In Love" is dreamy but still danceable. It toes the line between pop and club music and I, for one, LOVE IT!
PNAU â€“ With You Forever (Fear of Tigers Remix) (MP3)
Another entry for the dude from UK that you guys have never heard of. Better get acquainted!! This one starts out alot harder than his other remixes, but after some typical rushing air breaks down to the beautiful sounds I've come to expect from Fear of Tigers. Couple this with the GORGEOUS PNAU vocals that I'm still trying to figure out (There's a string playing? There's a strange vein?!) Who cares what the **** they're saying, all I know is that this song gives me goosebumps then clears them off when the disco strings hit at the end of every breakdown!
Treasure Fingers â€“ Hot (MP3)
Ohh Treasure Fingers. You rocked the **** out of BEMF and still managed to play Drum n Bass tours year round. I know this isn't truly a Treasure Fingers original but let's get serious, he made this track his own. Big Gipp should be paying him to produce everything he does. I love the movement on his bassline throughout the track. Every time I expect it to sit still, it just keeeeps on bumping.
Datarock â€“ Fa Fa Fa (Miami Horror Remix) (MP3)
I gave a shoutout to this track earlier. It received considerable blog hype but then fell of the charts in the past few months. Time to bring it back! The stabs that play during the chorus are so strong that they could be played alone with the acapella and I would ******* dance!
Black Kids â€“ Iâ€™m Not Gonna Teach Your Boyfriend (The Twelves Remix) (MP3)
I read in an article once that using kids to sing your chorus pretty much guarantees that you'll have a global dancefloor hit on your hands or be branded a pedofile forever. I'd say that the Black Kids accomplished the former... but they couldn't have done it without The Twelves! I saw this song performed live by both artists and I yawned during the Black Kids' take and closed my eyes in ecstacy when The Twelves rocked it the **** out.
College â€“ The Energy Story (Justin Faust Remix) (MP3)
Ok. This one may be a bit of a stretch compared to the rest... but I haven't been able to stop listening to it on the daily since it dropped. It's a little too fast to be DJ'd, it's a little too soft to get Radio play, it's a little too beautiful to be ignored!! College's album had some standout moments, but this track remains as the best thing since Russ Chimes remixed Teenage Color into the blog history books.
Freestylers vs. Cameo â€“ Push Up (AC Slater Remix) (MP3)
I'm not gonna lie. I love AC Slater. My girlfriend has a crush on him. I'm pretty sure Jared wants to **** him. He has played a bunch of our parties this year and I'm amazed at how much better his tracks get as time goes by! Jack got Jacked was the fan favorite, but this Freestylers remix always brings girls out to bust their **** on the dance floor. I think I saw you saw you!
P Diddy â€“ Bad Boy for Life (La Mode Motha ****as Remix) (MP3)
Yeah, it's Diddy. Yeah, it's a remix. Yeah, it slows the **** down in the middle. I have honestly played this in every single set since I first heard it. It never gets old. Amazing job revitalizing a classic track. More La Mode please! This time do B.I.G.
Van She â€“ Kelly (Lifelike Remix) (MP3)
I'm pretty sure this track was released in '08. Wikipedia doens't lie right?! ****. I love the huuuge build up to this track that slooowly trods towards the first verse. I've never really taken the time to listen to what anyone has to say about Kelly, I just know by the mood set by the gorgeous synths that she is probably the girl I'm supposed to marry.
Le Castle Vania â€“ Zero Machine (MP3)
After his Snowden Remix and a performance at SXSW in '07, Le Castle Vania single handedly inspired me to DJ. I haven't been all that excited about his Partyshank work because it's a little too hard LA-style for me, but I LOVE this track. When he played it at our party in March, everyone lost their **** and kept asking him for it but in true diva fashion, it wasn't released for about seven months! I can't tell you how many times I went to LCV's myspace in blind hope that he would have uploaded it and forgot to tell everyone
Cut Copy â€“ Hearts on Fire (Holy Ghost Remix) (MP3)
This is a given. Hearts on Fire was pretty much the most played song of the year and Holy Ghost delivered a super-sly disco treatment that makes it the perfect early-night opener. Bonus points for that super-processed hand clap and excellent saxophone usage!
Maethelvin â€“ Dragster (MP3)
We're reaching the 'non-remix' portion of the list. Dragster by Maethelvin is a perfect tune in so many ways, it's crazy. To most, this track probably doesn't stand out because it is SO DAMN GOOD that it just sits back and puts its feet up on the desk. No need to hype this, it's super-short, super-sweet, and super-*******-rad. That arp at the beginning seals the deal before you get 5 seconds into the track... then you hear the bassline.
Ocelot â€“ Our Time (Kap10Kurt Remix)
I was so excited upon first hearing the original of this track. Sure it has trancey-vocals, sure it was only released on the myspace so we had a 96k version floating around... but damnit I played it out regardless! That's how ******* good it is. The chorus is so cheesy that kids can't stop going ape**** over it - We're gonna get drunk, we're gonna take drugs, we're gonna get ******, and we're gonna do it all tonight, and we're gonna make it out alive. Who knew Kap10Kurt would take over and revitalize my love for it months later?!
The Black Ghosts â€“ Any Way You Choose to Give It (MP3)
This song really moved me when I first heard it. I'm not really sure why, the pieces of it have all been done before. LA Riots-heavy Kick? Check. Distorted Justice-esque Bassline? Check. Smooth vocals? Check. Why is it so damn good, then? My favorite part personally is the "tearing your clothes off" bit. Classy!
The Outrunners â€“ These Girls are Dressed to Kill (Russ Chimes Remix) (MP3)
The Outrunners get huge support from me in '08. They managed to put out a number of amazing tracks and remixes yet noone seems to know who they are. What gives? They're on Valerie's roster, play on vintage analog synths, but they're not coming to America Why torture me so?! This track can sit smoothly under ANY acapella and sound great. More Russ Chimes magic!!!

That's it for my '08 list. No Soulwax, no MSTRKRFT, no Crookers. Sorry pals!!! Better luck next time.

Love Bradley D (from Brooklyn's Famous Friends).

Land of the Emu(sic) Presents: Sage Francis, A True Hip Hop Artist

no.spam@gameriot.com (Jasi) — Wed, 07 Jan 2009 04:13:06 -0500

Maybe you're never really living till you've understood what death is
Â So I touched the human spirit with lyrics some say are breathless
Â It's that breathlessness that inspired my tired hand
Â To write these endless epilogues that some call pretentious

- Sage Francis, Spoken Word

It's unfortunate, really, that rap and hip-hop music of your conventional mainstream sorts, apply a much larger focus on club-ready beats over a goal of emotional absorption, intellectual immersion, and lyrical quality within the music listening experience. Narcissism is of extreme importance, and making an ass out of yourself after you've developed your own self-bias is the new craze (you know who). Delivery, while equally paramount when it comes to anything hip-hop, has become a borderline circus freak-show at the same time that it has all but completely dominated presence

over all else. All but gone are palpable blends of metaphor, lyrical imagery, puns, and word-plays; in are voice boxes, non-stop remixes and sampling; and lyrics so bland and trashy that they are merely part of a song out of some sense of skewed courtesy.

Enter Sage Francis (right), a spoken-word poet from Providence, Rhode Island. Sage is a man that speaks through his mic with an almost "memoirs of Hip-hop artist" style of reflective exploration. Each song will take you on a brutal road of emotions; every feeling of pain, anguish, heartbreak, misery and torment that Francis himself has endured will pass through your ears, yet, it doesn't come off in any way emo or crying, rather a portrayal of the introspective path that every man and woman will eventually face. His lyrics are an extension of his own being; a medium that goes outside any capabilities of your average MTV production; his voice speaks volumes without hurting your ears.

A perfect introduction to Sage, is a track called Hell of a Year off of his 2007 release. If you're interested in the lyrics, you can find them here.

I especially like this piece.

Yeah, you've been dealt a bad hand.
Placed against a stacked deck Been through all the cat scans and bad checks
But I slashed your debt. Not your wrists
And I couldn't help with anything else that became cancerous
Halfway people with a full baby to bury
Took a flame to the papier-mache sanctuary
When the smoke clears...try not to stare into the light
But, also, don't stay in the dark as if that's what life is like
It's just a series of unfortunate events
But the messages we get are more important than death

Lyrical prowess is the epitome of the tracks Sage Francis writes, however he is often deemed far too condescending, cynical, and negative when it comes to the world we live in. After all, There are no signs of progression towards healing old wounds or painful memories as Sage releases more and more albums. It's as if it empowers him, and instead of fleeing from the world that causes these very pains, he embraces it, as if to keep his enemy a close friend. And whether or not you agree with this, he is a man that has managed to find a delicate balance between ego and humility; insecurity and confidence; and expressions that are both provocative and somber.

In finding this middle ground, Sage has developed an uncanny ability to meld poetry and beat without either aspect of his music overshadowing the other; at least, to a certain degree. Tone is set via a hybrid of both as opposed to mind-numbing lyrics repeated for all 4 measures of a verse, or lyrics written that are not meant to be heard, rather hide behind the curtain in the beat performance. Tempo is provided via not only beats that blend smoothly, (reinforcing the message or story behind each song as opposed to sending a message that lyrics are insignificant) but strings, brass, keys, and even beat-boxing. There is no underlying emphasis of catchy beats and ready-made dancing products here.Â In example, Water Line:

That's not to say that all of the music by Sage Francis is timid as he sometimes conveys this anger with a beat or tempo that feels outright vengeful. This often coincides with topics related to politics or sheer messages of activism. Don't be mislead though, this isn't Rage Against the Machine with less guitar and more bass, rather a portrayal into your average quarrels within the music industry (with some US-politics on the side), specifically the all too common theme of his genre becoming rather one-dimensional due to mainstream rap etc. To end, enjoy Buzz Kill, and

Land of the Emu(sic) Presents: Ratatat

no.spam@gameriot.com (Jasi) — Sun, 04 Jan 2009 23:52:36 -0500

It's not often that I find an artist or song in which the twisting of melodies, sweep of guitars, and balance of instruments does anything but distract my ears from listening to a song in it's entirety; not to mention removing any sense of enjoyment at the same time. More often than not it's due to an overwhelming feeling that one effect bleeds out over the rest to the point where there is little to no sense of harmony. I think it's a common issue with a lot of recent music in that one instrument or aspect of production is far too overbearing, or songs are simply too complicated in general. Today I will share with you a group that not only has an amazing ability to harmonize, but to some, very well redefines the term itself.

I originally introduced Ratatat to much of Gameriot back when I did my beta preview video of DK's. After my inbox was flooded with questions about them, I decided they would be perfect as the first group I discuss here at emusic.

There is something strangely desolate about Ratatat's blend of Rock, Electronic and to a lesser extent, hip-hop music. The delicacy in the layering of instruments and beats is an electronic symphony that commands audiences into a rage of hunger, yet empowers a warm feeling of intimacy at the same time. Listening to tracks such as Crips will often leave a listener in such a state of serenity that life itself seems to blur. However, one cannot become consumed by the almost majestic ability of Mike Stroud (Guitars) and Evan Mast (laptop/synths) to intertwine their relative styles. Ratatat produces their tracks in such a way that the empty spaces are just as important as their most impressive drops or breaks. Still, it's hard to discredit their abilities to produce bass at such low frequencies they're sometimes deemed alien, or guitar riffs that literally seem to tear pockets into the air they pass through.

Everything about Ratatat is atypical when it comes to your conventional song structure and standards. There are no vocals here; rather a delightful experience of pure sound that resonates such a sense of fluidity within that you will often find yourself putting one song on repeat for hours. Choruses? Yeah, you can scratch that too. Each track by Ratatat guides the listener down an emotional path of build-ups and breaks so monstrous, that when put in tandem with the relaxed, almost melancholic rhythms inbetween, you aren't sure whether to close your eyes and enjoy the music on an individual level, or embrace the large feeling of unity between you and your fellow listeners. Regardless, you're sure to endure some sort of cerebral experience unlike any you've had before.

A prime example of this emotional rollercoaster, is the song "Cherry" from their first album. This is one of the best instances of the way Ratatat is able to melt and blend their instruments together with processed drum loops to create an experience of progression and movement within their music.

In terms of hip-hop, Ratatat undoubtedly makes some heavy beats. Unbeknownst to many, Ratatat has worked behind the scenes in collaboration with the likes of Kanye West in "Get Em High", Jay-Z in "Sunshine", Wu-Tang's Buddha Monk, and many more. There's no doubt that the approach they took to these tracks is significantly different than their normally produced tracks, but even those released under their own name have such a significant and profound beat.

In example, Nostrand, from their self-titled album:

It's this very combination of beats in synergy with the guitar riffs and cries of the synthesizers, that allows the music of Ratatat to almost have a sense of beauty and mysticism, as well as the ability to feel both heavy and weightless within the same measure. One of the most impressive aspects of the recording process of Ratatats music is that their writing actually happens as they're recording, so it's basically improv that ends up being finalized as a song right on the spot as they jam.

It seems like it's more common than not that recent bands tend to be so heavily overproduced and mastered with voice manipulation, pitch correction, vibrato adjustments etc. that when they actually perform live, there is much left to be desired. Ratatat is one of the most incredible bands I've ever seen live in my entire life, and that includes seeing Tool alone, which was a memorable experience in itself. To give you the best idea I can, here is footage from the last Ratatat show in Chicago that I attended. I was about 5 rows up from this camera (you might even be able to see the back of my head, who knows) I was in the second row. Even though the show was outside, it felt as if the music surrounded and enveloped me. Words cannot explain how amazing the experience was.

On the surface, Ratatat provides beats, melodies and Rhythm that will almost always invoke head bobs or tapping of the foot, but their music is guaranteed to send you into an entire new world of audio contemplation. If you find you're still interested in the band, here's a clip in which both Mike and Evan describe the creation of Ratatat.

What Defines "Good" Music? Land of the Emusic Returns

no.spam@gameriot.com (Jasi) — Sat, 03 Jan 2009 05:49:49 -0500

Don't forget to +1 if you enoy this!

Defining what qualifies a song, genre of music, or artist as "good" is a very relative process. It is virtually impossible to form an unbiased view on anything relating to any aspect of music simply because whatever empowers your mind or body with feelings of enjoyment and happiness might not do the same for even the person sitting right next to you. This applies to many things in life, but it couldn't be any more applicable than it is with music. In example, the concept of death is often the greatest fear to the mind of the average human. A statement such as "one day, you are going to die" could be mind-blowing to one person as long as they are of age to understand and grasp the concept. However, there are entire religions and organizations that focus the entirety of their lives towards accepting this concept as a part of life, and a statement such as the above only strengthens their faith and does little towards creating fear.

What is mind blowing to a person is as equally relative as it is circumstantial - often an entire generation of people will be blown away by amazing concepts and pieces of works but sometimes they will be enthralled by meaningless drivel and nothings. Look at the art world. Jackson Pollock and abstract expressionalism for that matter, is considered brilliant by some, yet just as many consider it to be a simple minded man flinging paint all over a canvas, or art that completely denys any remote sense of order when it comes to artistic value. It is no different with music. Some artists that are often considered to be the most untalented, ****-spewing, nonsensical morons, sell the largest number of records in the history of music while those that have dedicated 50 or more years mastering an instrument fight for even the smallest amount of a listener base in comparison to share their passion with. What is mind-blowing to one, simply isn't to another, and this will forever be reality.

Lets look at Britney Spears for a second. Recently she had a comeback per-say, via the wonderful voice that is MTV. Within her comeback special, there was rarely a moment in the entire 2-hour commercial free broadcast without her attempting to provoke feelings of pity and compassion (all the while promoting her new album) from those watching in relation to her being a complete train-wreck for the past two years of her life as if she deserved it. Her incessant plea of being "lost" for this monumental mess of a time period consisting of baby-dropping, head-shaving, and full abandonment of all things sane, was almost as laughable as the fact that the special broke an MTV record with 3.7 million viewers.

The whole point is not how pathetic the human race is, rather that there is a disgustingly large number of people on this planet obsessed with her music regardless of the actual integrity and skill-level of any of her work. The fact that she is probably one of the all time record holders in terms of contributors to the downfall of pure music does little to sway the attention of her fans. Little does it matter that she is one of the most avid users of voice manipulation via pitch correction, modulation and doubling (makes a sound thicker) or straight up lip-syncing, when her producers create some of the most effective, and catchy melodies/beats, and she can just appear naked in a music video and attract millions because of it. in addition, one cannot help but to notice the fact that her new album actually has little to no actual singing whatsoever, and any that does miraculously appear is accompanied by 5 harmonizing layers of her own voice at different keys to bury any possibility of errors and mask her undoubtedly faded talent. Again, does this sway her audience or stop millions of her fans from lining up outside records stores for an early release party? Not in the slightest.

This makes accepting the fact that music tastes are relative to those passionate about wholeful, "real" music all the more difficult. While I do agree that to criticize music is ignorant, destroying the future of the integrity of music is something else entirely and should probably be saved for another place and time.

However, those that do criticize and subject the personal music tastes of others to ruthless beatings and torture I feel are as lost as britney. More or less, they tend to be simple misunderstandings but explained with much more hardcore words like "******* idiot" and "go **** yourself you ignorant ****". Music taste is simply not as tangible as people would usually have us believe. The feelings that music conjure within the listener are often unexplainable, they happen within a personal world in which no ounce of language can even come remotely close to explaining with justice, and other than perhaps an equal sense of unity with those that share similar interests, every feeling is ultimately on the most personal level possible.

A "good" artist, genre or song, might have a melody line that moves you or resonates with you in some sense or fashion. Your interest could ultimately revolve around the fact that the song is catchy or has a great beat to dance to at your favorite club. Hell, you might like an artist for reasons completely outside music entirely. No one else likes them? Well **** you, I love them because you don't. You might enjoy an artist for their lyrics, yet there are artists withe incredibly simple lyrics that appear no more complicated than that which your average 16 year old would scratch in their journal over Johnny breaking their poor heart. Yet these same artists will have brilliant technical skills that are unseen throughout generations previous to theirs.

Can you create a list of general criteria that when followed will result in a song generally enjoyed by everyone? I suppose; but there are people that have studied the workings of the human ear relating to what beats and frequencies are the most enjoyable and still aren't close to accomplishing it. Sure, maybe they've realized that in general, beats that are closest to matching the rhythm of the human heartbeat are the most effective, but they can't change the fact that the personal preferences of an individual are constantly changing.

In example, I enjoyed a lot of metal in High school, yet once bands such as Slipknot started rolling around, my interests started to evolve. I just didn't agree that two drum sets, twelve ******* guitars and sixteen thousand lead singers makes a band anything more than a cluster**** of sound and it definitely doesn't make them more hardcore. That didn't stop a huge majority of my rocker buddies from forming an obsession without me though, and that was something I accepted. I still have a lot of respect for the technical aspects of the "metal" genre, but as is normal with anyone, **** changes.

Anyway, before this get's any longer, music is undoubtedly relative, regardless of it being a product of mainstream businessmen, or something created in a garage. Even if it's created to be liked, someone, somewhere, will still like it, and the fact that some greedy dumbass decided to create it with the utmost amount of manipulative qualities, doesn't change the fact that someone still might enjoy it.

In the end, the fact that someone else likes something you don't really doesn't ******* matter at all, and no, it still won't stop the music elitists and snobs from being better than you.

Need some networking help

no.spam@gameriot.com (Jasi) — Mon, 08 Sep 2008 21:02:01 -0400

I moved into a new aparment and comcast is slow as **** to come to your place in chicago. I bought spore, and got completely owned because you need an internet connection to register it and cannot play until you do.

Currently I'm using a ****ty laptop that uses a sprint cellular laptop card to connect to the internet. I know there are forms of sharing, but I'm running into some difficulties and Im assuming its because one computer runs vista, the other XP and I'm using a cell card and not a regular connection.

I've gone into the network connections area, and enabled all the internet sharing crap on both computers, and had them hard wired together, but I couldn't use the internet, and it ended up making the net on the host computer fail as well.

Anyway, if you're really good with this crap send me a PM and maybe I'll make it worth your time :P

Yes, We're Still Here

no.spam@gameriot.com (Jasi) — Sat, 31 May 2008 16:52:06 -0400

Been pretty busy lately, but an update from myself should be around this evening. Stay tuned.

Taylor 410CE Fall Limited (Indian Rosewood) = Mine

no.spam@gameriot.com (Dahis) — Tue, 27 May 2008 14:51:40 -0400

http://www.musiciansfriend.com/product/Taylor-410CE-Dreadnought-Cutaway-AcousticElectric-Guitar?sku=514980

Couldn't find a better link, but this ***** is now mine and it sounds amazing. I got an amazing deal on the first copy of the 2007 fall limited edition run, so it can really only go up in value.

Finally a legitimate recording guitar. Music to come soon.

P.S. MING WHERE ARE THOSE WEDDING PICS?!??!

Emu(sic) Guest Writing Info and My Own Contributions

no.spam@gameriot.com (Dahis) — Wed, 14 May 2008 20:19:33 -0400

Jasi and I have been receiving an unexpectedly enormous amount of interest from people interested in writing for Emu(sic) over the past couple weeks. Some of the applicants might be more qualified to write about music than we are, others probably couldn't compete with Ming on the SAT verbal.   When it comes down to it, you can't get a real idea of how qualified and committed someone will be just by reading an application, so here's how it's going to work:

If you want to write something music related and would rather have it end up on this blog than your own, send it to either Jasi or myself. If your writing is reasonably coherent and actually has something unique to offer, we'll throw it up on this blog while specifically crediting it to you. In your message, please include whatever name you'd like us to credit.

For those of you who are interested in a more permanent involvement in this site, we're more than happy to consider adding a couple people to the list of official collaborators. If you're a consistent and intelligent contributor, there's a damn good chance you'll be recognized for it. In general people lose interest pretty quickly so we're not going to just throw invites out based on application alone, but that doesn't mean we're not looking for partners.

My own contributions will mostly revolve around the review and/or introduction of quality musicians, music theory, and music creation (both acoustic and digital).   For those of you interested in what types of music I like (and subsequently the music I'm most likely to feature here), here's an incomplete list of artists I've listened to and enjoyed in the past week:

Lupe Fiasco
Sage Francis
Rocky Votolato
DJ Lobsterdust
Bedlight for Blue Eyes
Guster
Immediate Music
Joshua Radin
Matt Nathanson
The Postal Service
Sevendust
The Watercarver's Guild
Teitur
Dispatch
Jurassic 5
Atmosphere
Barenaked Ladies
Reel Big Fish
Sublime
Badly Drawn Boy
Pepper
Alkaline Trio
Guster
The Shins
Ted Leo and the Pharmacists
Chevelle
Johan Pachabel
Dear Juliet
Celldweller (mostly the instrumentals)
Paramore
Ron Pope
Vex Red
Bob Marley
Beethoven

I like to think I'm pretty open-minded about music because I appreciate different qualities of different styles. When it comes to melody and harmony, there's an incredible amount of room for creating entirely different sounds and genres. Lyric writing, however, can essentially be simplified into two different styles.

Mindless mainstream music that's targeted at the general public usually relies on relatively simple and straightforward language. The essential goal of this style is to easily convey ideas and create "hooks" that stick in your head long after the song is over.

This type of lyric writing is also effective when you're creating "background music" for a movie, club, or whatever. When your music isn't the primary focus, then straightforward lyrics are more memorable because they can be easily understood even when a listener isn't paying close attention. Hence the simplicity of my first draft of Moonlight Marathon, even though I much prefer a more technical writing style in general.

The second style of lyric-writing uses complex metaphor and wordplay to convey meaning(s) in a more interesting fashion. While this type of music may not be as easily understood the first time around, it can have a lot more value for an attentive and/or repeated listener. A song with good poetic lyrics is like a shy virgin; it reveals its secrets slowly and only with repeated effort on your part, but the end result is usually worth it.

These are the two extremes of lyrical style, and most music falls within the spectrum between these poles. I can appreciate music anywhere on this spectrum if it has a compelling melody, but I generally define "good" rap by the quality of the lyrics. Mainstream Crystal-drinking ganksters can blow me. "It's getting hot in here..." holy crap I hate you.