I’ve posted videos before from DENA and each somehow defied my expectations. What is she actually doing there? Is this hip hop or dance music or pop? No idea, but I like more with every video she releases.

Video number three of the upcoming Unflesh album brings Gazelle Twin into a car wash, which she turns into some horrifying machinery. That reminds me that as a kid I found those rotating brushes so scary.

women-in-music:

Birthdays (20th July 2014)

  • Tobi Vail (45)
  • Marcia Hines (61)
  • Kim Carnes (69)

Many Happy Returns!

Bette Davis Eyes is one of the songs that are etched in my brain forever.

Over the roofs of #Greenpoint, #Brooklyn
#nyc

Over the roofs of #Greenpoint, #Brooklyn
#nyc

loveyouclaire:

Grimes @ TIME Festival. 
Fort York, Toronto July 19
Photos by Sarah Rix for liveinlimbo.com

(via grimes-claireboucher)

Realla Feat. Anderson Paak

New music from Tokimonsta is coming.

twigs directed this video for the Chicago rapper Lucki Eck$ (and make me break my rule to ignore any artist who uses the dollar sign in their name) and stars in it too. In fact it’s a twigs-y as it can get: it shows her getting ready for the night, which, unsurprisingly, involves a snake.

They are playing Captain Sensible Wot and Malcolm McLaren Buffalo Gals at Union Pool. Rap rocked in the early 80s.

via https://dayone.me/vKpzNR

Interview with Zola Jesus in The Fader:

Because it’s so different, I wanted to get it out of the way. “Dangerous Days” is actually an older song; I wrote it as a demo in 2011 for Conatus and it didn’t make the album because I thought it was too poppy. I was encouraged to finish it, and I was like, “No it’s so poppy I’m scared,” and then I just embraced it. I embraced what I’m good at which is writing pop songs. When I was done with it, I was proud of it because I didn’t feel the need to destroy it. So often when I write pop songs, I’m so ashamed of them that I need to cover cover them in noise or distortion. I like the fear that that “Dangerous Days” gives me.

Although I don’t dislike Dangerous Days it feels a little too much in the pop-side to me. I’m relieved that Zola Jesus sees it the same way.

via https://dayone.me/viwzPl

Live Soundtrack: Run-D.M.C - Run-D.M.C

Last week Elke and I were at an event of the City Museum of New York, which featured two well-known artists and designer, who started their career in the New York graffiti scene in the early 80s. One of them, Cey Adams, came to work for DefJam and designed covers for today iconic hip hop records. Back then, hip hop was rather an underground movement and not the multi-billion mainstream industry it is today. One of the upcoming acts at that time was Run-D.M.C from Queens.

I didn’t live in New York, but in a small city in Germany, which featured a large American garrison (we’re talking the height of the cold war time here), so we had access to the latest music from overseas, which was handed over and traded on cassettes. Then there was the summer of ‘83. I was on a summer camp with my school and we were lazily hanging out in the sun, listening to a boom box playing a cassette with tracks like Newcleus’ Jam on it, Man Parrish’s Hip Hop Be Bop (Don’t Stop) and also It’s Like That by Run-D.M.C.

All of them could be good for a Life Soundtrack, but It’s Like That was arguable the song with the greatest impact. I loved the beat, the minimalistic instrumentation and the fact that is was so different from everything else. It was obscure music, nobody knew the band and I it took a while until the record was available, on import only for twice the normal price.

Today, of course, this album is regarded as one of the trailblazer for modern hip hop, taking a turn to a darker, heaver mood. Many of Run-D.M.C’s subsequent releases became major hits, for example their slightly annoying collaboration Walk This Way with Aerosmith. It’s Like that hadn’t seen its biggest time back then either: it became an international number one hit in a remixed version by Jason Nevins.

via https://dayone.me/vcpzWU

Live Soundtrack: Run-D.M.C - Run-D.M.C

Last week Elke and I were at an event of the City Museum of New York, which featured two well-known artists and designer, who started their career in the New York graffiti scene in the early 80s. One of them, Cey Adams, came to work for DefJam and designed covers for today iconic hip hop records. Back then, hip hop was rather an underground movement and not the multi-billion mainstream industry it is today. One of the upcoming acts at that time was Run-D.M.C from Queens.

I didn’t live in New York, but in a small city in Germany, which featured a large American garrison (we’re talking the height of the cold war time here), so we had access to the latest music from overseas, which was handed over and traded on cassettes. Then there was the summer of ‘83. I was on a summer camp with my school and we were lazily hanging out in the sun, listening to a boom box playing a cassette with tracks like Newcleus’ Jam on it, Man Parrish’s Hip Hop Be Bop (Don’t Stop) and also It’s Like That by Run-D.M.C.

All of them could be good for a Life Soundtrack, but It’s Like That was arguable the song with the greatest impact. I loved the beat, the minimalistic instrumentation and the fact that is was so different from everything else. It was obscure music, nobody knew the band and I it took a while until the record was available, on import only for twice the normal price.

Today, of course, this album is regarded as one of the trailblazer for modern hip hop, taking a turn to a darker, heaver mood. Many of Run-D.M.C’s subsequent releases became major hits, for example their slightly annoying collaboration Walk This Way with Aerosmith. It’s Like that hadn’t seen its biggest time back then either: it became an international number one hit in a remixed version by Jason Nevins.

via https://dayone.me/vcpzWU

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