While it was her second proper LP, Julia Holter’s Ekstasis in many ways served, and had the feeling of, a debut, both in introducing her to a wide audience and as the true genesis of a developing ethereal sound. For those proud few intimately familiar with Linda Perhacs, the influence is clear, and an exciting venture back towards a musical era long since, seemingly, more or less abandoned. Hence, hopes have been high for her third release, fans waiting with baited breath.

That time is nearly here, with the announcement of Loud City Song. Judging from the first taste of the album, one would certainly be remiss in judging from a title, as despite the implications of something potentially grander, Holter is continuing – floating, rather – down a path akin to her signature sound. You can check the video for “World” below, the album’s opener. The backing is growing more lush, but the track is still Holter, through and through. This most noticeable difference is the greater focus on her lyricism, her words not buried beneath the environment, instead at the forefront, and more thoughtful than before.

Loud City Song arrives August 20th, view the track list and listen to “World” below.

Track list:

1. World
2. Maxim’s 1
3. Horns Surrounding Me
4. In The Green Wild
5. Hello Stranger
6. Maxim’s 2
7. He’s Running Through My Eyes
8. This Is a True Heart
9. City Appearing

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She has no interest in selling sex. Delving into Innocence one can’t help but feel like they’re taking part in a, perhaps slightly perverse, experiment. If you’re to keep up with Hval, it’s time to don the goggles and head to the lab. Despite what the title and somewhat frantic album art might suggest, sex is not on show here. Rather, it’s her, and our, subject, to be poked and prodded.

Returning to that opening salvo, Hval sounds almost mischievous, but eternally clinical, statically removed from her own desires – a frustration she expresses moments later by literally shouting the word. Immediately following her pornographic line, she defensively, if slyly, justifies with, “Nobody can see me looking anyway.” She seems almost baffled by her own feelings, and it’s not hard to imagine this album being birthed from that same confusion, whether genuine or constructed. Certain aspects of the album represent Hval’s own perspective, but it’s most easily digested as the perspective of a character, a tool Hval is using to embody an impossible detachment.

None of this is to suggest the trek is so removed as to be dully uniform. To the contrary, the album is as scattered as our subject’s own splintered perspective on the matter, making the frenetic nature of album’s pulsating progression all too fitting. On “I Called,” Hval confronts her own unfulfilled desires, obsessing over her and an unnamed lover having “almost touched,” and that she, “wanted to say everything,” and attacking her own reservations. For herein lies one of the album’s great truths – that the very cautious, observatory nature of it is one if its creator’s short comings, and by extension, all of ours as well. She seems to shout it, at times: perhaps we’d all be better off going against our “better” sense at times, bleeding through in “I Called”’s key moment: “I didn’t give in.” It couldn’t be clearer that she should have.

From here the record shuffles into the telling interlude of “Oslo Oedipus.” One can picture Hval walking through still, muted streets by night, observing others in their own spheres of sexual isolation, taking the time to observe, “…people walk through the city, quietly, like friendly zombies…a slow burning flame of safety burns at the heart, but we cannot find it.” It nearly seems she’s addressing caution itself, yet, she cannot ‘find it’ any better than the rest of us, despite her chilly awareness.

Next up, on “Renee Falconetti of New Orleans,” Hval finally confronts sex itself, dryly observing, “It is an act of love, he enters you, through your body.” There is no joy in these words, however. All that’s to be found is an almost cruel sense of sarcasm when she muses, “For a hundred days, you are a virgin, or a young boy, you are not sure – I’m never sure. Innocence is just too kinky isn’t it?” Colder still comes, “Your hair is too short, and your face is too big, too close to be…anybody.” She’s considering the baseless fears we all feel, but has no pity for them, no time or patience for imprudence of desire.

As if to underscore the point, the next interlude “Give Me That Sound” is genuinely primal, right down to a nearly Tarzan-like opening cry, before Hval spews out a bizarre monologue concerning her mouth, giving it no more regard than others’ sensuality, treating it as some peculiar device whose sexual capabilities go against her own desired, if unattainable, quantifiable outlook. Even this contemplation feels too real for her methodical character, who, following the complicated dialogue, feels the need to suddenly snarl, “I don’t need anybody!” Following is “I Got No Strings” which, while allowing more emotion, insists on much the same idea with its Pinocchio-esque narrative.

The rest of the voyage progresses in much the same vain, with our heroine continuing to seek out the removal of emotion her scientific study demands, refusing to grasp she’ll never command an unbiased hypothesis. She imagines that, “Jean of Arc follows [her] around Australia,” a seemingly random, but fitting companion, considering her heralded resolute purity, and wishes herself as sexless on “Amphibious, Androgynous,” on which perhaps we get the closest to Hval speaking out herself, with the clarity of truth shining through in, “I tried to write love songs, but my words remain in my hands.”

They certainly did. Hence, this sprawling, at times impenetrable, but most outstandingly, engaging ramble was born. As things come to a close, the trudging forward movement of “Death of the Author” begins to bring the listener out of the tyrannical, nearly suffocating, world of the protagonist, finally giving into surging drums at its conclusion, followed by the quiet afterthought of “The Seer.” One almost feels as Odysseus, finally emerging to sail from the trials to return to be among men, only to be apart from them, in his own, forever more. In fact, to call Innocence is Kinky a sort of coldhearted sexual odyssey, or some equally twisted companion to Kubrick’s Eyes Wide Shut (Bill Harford could really have used a listen), hardly feels a stretch. Higher praise than that, this writer isn’t sure he can give.

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Anytime The Alchemist comes around with a full-length project, there’s reason to be excited. Just check the track record, from Curren$y’s Covert Coup to Action Bronson’s Rare Chandeliers. This instance is perhaps even more promising. Mobb Deep is undeniably (apologies to Eminem) the producer’s most important connection, and Prodigy has popped up on a number of his projects. A full collaboration between the two was inevitable, and is finally arriving in the form of Albert Einstein: the stakes are high.

It shall be no small affair, either. Guests include Raekwon, Action Bronson, and Roc Marciano. Also set to appear is Prodigy’s reunited Mobb Deep partner, Havoc, a relief for all fans. Check out the album art above, the tracklist below, and look out for the LP come June 11th.

1. Intro
2. LMDKV
3. Give Em Hell
4. Stay Dope
5. Curb Ya Dog
6. Death Sentence (ft. Roc Marciano)
7. Bear Meat
8. Y.N.T. (ft. Domo Genesis)
9. R.I.P. (ft. Havoc & Raekwon)
10. Dough Pildin
11. Confessions
12. Bible Paper (ft. Alchemist)
13. The One (ft. Action Bronson)
14. Breeze
15. Raw Forever
16. Say My Name

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Hov is back. Or, “the Bob Dylan of rap music”, if you let him tell it.

As his critics have been quick to point out, Jay-Z has been more or less sleep walking through his verses for quite some time now, but anyone who knows Hov is aware of his habitual slumber – and inevitable awakening.

He’s not flowing too hard here, but this is certainly the most alive he’s been in some time, speaking directly (as the title suggests) about topics from his New York Nets ownership, Chief Keef, to his Cuban visit. The track is co-produced by Timbaland and Swizz Beatz, no complaints there, you’d just think somehow would have learned to keep Swizz off the ad libs by now. Check it out below. “Fuck this Zoolander shit.”

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I’ve seen this one coming for quite some time. Kid CuDi is officially no longer a part of G.O.O.D. Music. In a personal statement he explained,

There are many massively differing opinions regarding CuDi’s level of success following his break through with “Day n Nite” back in 2008, and he’s certainly acquired a sizable fan base. Realistically, however, if you’d asked many at the time, they expected him to be occupying a position akin to Drake’s by now.

Obviously, this has far from happened, so it’s not all too surprising that he’d seek success elsewhere – and that Kanye would be far from bothered by his parting. In fact, rumors of his being dropped have skirted about the hip hop world ever since the misstep that was WZRD (which, in fact, had no involvment with G.O.O.D., already), so who knows.

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Prior to the two announcing they’d hit the studio together, among collaborations this writer would never have expected, former Cash Money beats champion Mannie Fresh linking up with Mos Def (fine, Yasiin Bey) would have ranked chiefly. To the casual listener, their styles would be the most unlikely of kin. To the avid Fresh devotee (or a knowledgeable Kanye fan), you know the truth: the man can do anything.

We’ve been waiting on this for some time now, but evidence of the project has been scarce, until a few weeks ago. Def premiered a couple of the tracks from the anticipated OMFGODBKNOLA at a show, including “Black Jesus”, finally revealed here in its full glory.

As evidenced by the admittedly scattered, but largely misunderstood, The New Danger and more cohesive Ecstatic, Def tired of the constrictions of traditional hip hop some time ago, so the brief portion of this track spent actually rapping should come as no surprise. Just sit back and enjoy Fresh’s brainchild.

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Letting Drake co-opt his sound and, essentially, pass it off as his own, was devilishly strategic in terms of boosting his profile, but it didn’t exactly do him any favors in asserting himself as an independent voice with ideas all his own, something the crooner has had to address through denying invitations to join the Young Money roster. Similar things can be said for his choices in collaborations — Wiz Khalifa helplessly drowned in the cascade of Abel’s performance on “Remember You,” and the more recent “appearance” on Ricky Hil’s “Nomads” is turned to an abomination by Hil’s brief, pathetic verse.

Then The Weeknd met Juicy J. Dipping into the same powder, Abel’s vacuous emotions have never had a more natural partner than the Three 6 Mafia ring leader’s constant celebration of debauchery. Together, the two blast off in their flying saucer without any of the hesitance other artists visiting The Weeknd’s world have displayed. It goes without saying that Juicy isn’t prepared to match the wistful complexity of Abel’s dialogue — it doesn’t matter. For every sinister “she can’t feel her knees” Tesfaye can spin, Juicy is prepared to brazenly retort with the likes of “I’ll put yo ho on a body auction.”

On paper, J’s inherent absurdity may even have seemed too much for Tesfaye’s soundscape. Somehow, after all, The Weeknd’s music retains a certain class through all the fucking, misery, and molly, whereas, Juicy’s music can only described as the complete and total absence of. Herein lies the perfection of “One of Those Nights,” Juicy’s ridiculousness buoying Abel’s music into exactly what is at heart, and The Weeknd respectively somehow grounding J in the reality that the two lost, drugged out souls occupy.

The post Track Review: Juicy J – “One of Those Nights” (Feat. The Weeknd) appeared first on Beats Per Minute.

There have been whispers for months now that Trent Reznor (some from the man himself) was refurbishing Nine Inch Nails for a proper return. It was all but expected – but perhaps in not such a grand fashion. The infamous band shall roar back to life with a nearly completely new lineup. The ranks are composed of Jane’s Addiction bassist Eric Avery, NIN’s own Alessandro Cortini, keyboardist Josh Eustis, and drummer Ilan Rubin.

It won’t be long now, either. “Nine Inch Nails are touring this year,” Reznor declares, “The first shows will begin this summer, followed by a full-on arena tour of the U.S. this fall and lots of other dates worldwide to follow through 2014.”

Neither will the band be resting on its laurels, with Reznor intending a complete overhaul of their technique. Reznor explains, “I was working with Adrian Belew on some musical ideas, which led to some discussion on performing, which led to some beard-scratching, which, many steps later, led to the decision to re-think the idea of what Nine Inch Nails could be, and the idea of playing a show. Calls were made to some friends, lots of new ideas were discussed, and a show was booked – which led to another, which somehow led to a lot of shows.”

There you have it. For those that have been waiting, your trials are nearly at an end.

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Not that he’s been particularly quiet, but the time has come for James Blake’s proper return. Titled Overgrown, the acclaimed artist’s new LP shall arrive April 8th via Atlas/Republic. As if that weren’t enough to hyperventilate over the album shall boast appearances from both Brian Eno and RZA.

Check out the tracklist below and the album art above.

01 Overgrown
02 I Am Sold
03 Life Around Here
04 Take a Fall for Me (Feat. RZA)
05 Retrograde
06 DLM
07 Digital Lion (Feat. Brian Eno)
08 Voyeur
09 To the last
10 Our Love Comes Back

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Another truth is one all know but prefer to ignore: Weezy has been completely, and unilaterally, eclipsed by his apprentice. It’s in Drake’s shadow that Lil Wayne has spent the past few years, with IV’s only decent single completely guided and sold by his hook. “She Will” fit neatly into the commercial juggernaut so carefully constructed by the younger Young Money star. It was easily a hit.

Lost among it all was Wayne’s own voice. You don’t get to be one of the highest profile figures in rap without having a bit of flair of your own, and it goes without saying that Weezy has truckloads to spare. Yet, within the climate created by Drake’s pop movement, few considered where Wayne actually belonged in it all, least of all, apparently, himself. Trying to relate the typical Wayne message of ‘get bitches’ present in this track with 2011′s “How to Love” is an impossibly amusing affair, but sheds endless light on the MC’s awkward lack of footing in hip hop’s new atmosphere.

In 2013, Wayne is only fading further from the picture. “Bitches Love Me” is, essentially, the archetypal rap single for 2013. Mike Will Made It is making everything this year, and with Future and Drake on the hook, how could you go wrong? Where is Lil Wayne in all this? Spitting two disheartening, confused verses, adrift amongst the sing-song tapestry woven by his contemporaries. Drake, on the other hand, has downsized from the bitesize hook of “She Will” to, well, one line of dialogue. Who can blame him? For a hit, this works. But when you’re one of the biggest in it and you’re outpaced by, quite literally, a solitary line it might be time to find yourself in the music again.

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Yet, in Rocky’s world, a star is essentially raised in a vat, a genesis free for all to watch, poke at, and ultimately, judge. A rapper in 2013 that can actually push albums – let alone grab regular airplay – is a most valuable of beasts, fenced in by warring labels as soon as the first blog peeps of their existence. Then it happens. All eyes on them, in a way 2pac could scarcely have imagined while recording his first LP in 1991. Kids still in the midst of finding their voices are practically saddled with the future of hip hop, and the expectations of the businessman and fans that come with it. It creates an atmosphere in which there’s practically a cultural expectation for a hyped rapper to succeed, and for all to fall into place in selling him.

Everything is distracting. Take the over attentiveness towards Rocky’s ‘dirty’ inspiration, which is in truth as rooted in Memphis as in Houston, betrayed a fresh concept with collective goggling amounting to, “Ooh, he’s a New Yorker that sounds Southern!” Rocky endured the judgment period required for all “indie” backed artists, keeping folks interested by seemingly dating both Lana Del Rey and Iggy Azalea, grabbing Rihanna’s butt, and unenthusiastically beefing with former ally SpaceGhostPurpp.

Purpp is the perfect foil to Rocky’s career: his volatile nature put him at odds with the hype world, and he was gone. A$AP, on the other hand, has been careful building his brand, dodging the weakness of his Mob’s collective Lords Never Worry, to arrive at his major label debut, Long.Live.A$AP.

It’s at this point that a piping hot rapper’s momentum grows beyond the potential of stalling. Yet, this doesn’t always make the final product as flawless as those involved in allowing it to reach us – whether through investment or praise – need to believe it is.

At its best, Long.Live.A$AP is a delirious, energetic trip through Rocky’s Houston-Harlem world. Yet, while 15 tracks is hardly overlong for a hip hop LP, all together the album is shapeless, tracks venturing off in different directions without ever latching together into the impressive musical narrative of Live.Love.A$AP. The album-titled intro track glides the listener perfectly into Rocky’s affairs, the rapper’s first words hurling, “I thought I’d probably die in prison!” Then “Goldie” putters things to a halt; the track was perfect radio fodder a year ago, now it’s not only stale, but the blatantly Hit-Boy beat has no natural place amongst the lush soundscape of Clams Casino et al. The same can be said for Drake soundsmith 40’s “Fuckin’ Problems”; the track may have been what brought Drizzy listeners to Rocky, but it’d only sound truly at home on Take Care. Most offensive is the dreaded Skrillex collaboration “Wild For The Night.” You can’t blame Rocky for tapping into one of the most popular artists his age, but the results are unlistenable and in complete opposition to the deliberate grooviness of the MC’s sound.

These tracks underscore the flaws in the groundwork of this debut. Skipping around makes for a highly enjoyable listen, Hit-Boy more than redeeming himself with the dream posse cut of “1Train,” but if you’re looking for a cohesive vision from Rocky, look elsewhere. Rather, his debut comes across as a scattershot collection of ideas, never quite venturing deep enough into any of them to make an impact. Unsure whether he wanted to create a sunny, party album, gangstafest, or a record of cool pop vibes, Rocky seems to have tried to make them all, and with minor successes in all departments, he sacrifices something stronger. This doesn’t make Rocky a failure by any means, he’s still a promising voice capable of building fantastic songs, but this is hardly the work of perfection some want to guilt you into thinking it is.

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A week out from the release of MMG artist Meek Mill’s major label debut, Dreams & Nightmares, the young MC let’s go of the Intro. In case you haven’t been listening, Mill is one of the best things to come out of Philly since Beanie Sigel, and brings some much needed energy to his lane.

This track is no exception, with a flawless, slow building beat, Mill delivering perfectly with his energetic, fiery flow. Pick up Dreams come October 30th, featuring MMG head honcho Rick Ross, labelmate Wale, Nas, Mary J. Blige and more.

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It doesn’t get much hotter than this, did they really even need Drake? A$AP Rocky invites Kendrick Lamar, 2 Chainz and, regrettably, Drizzy to the party for this ‘who’s hot’ posse cut.

No certain word yet as to when Rocky’s major label debut will drop, but the projected October 31st date seems highly unlikely. Stay tuned for more as it comes.

The post Listen: A$AP Rocky – “Fucking Problem” (ft. 2 Chainz, Drake & Kendrick Lamar) appeared first on Beats Per Minute.

If you weren’t lucky enough to be among those in attendance for Jay-Z’s set of shows for the opening of his Brooklyn Barclays Center, Hov is releasing a brief EP to commemorate the historic event.

The eight track EP will offer both audio and video formats, recorded and filmed during the October 6th show. Look out for Live in Brooklyn exclusively on iTunes this Tuesday, the 9th.

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Some things are simply worth posting, even on the weekend and a day too late. In New York City on Friday, none other than Arcade Fire debuted a new track, “Crucified Again”, during a celebration for Partners in Health. Check out the track below, and stay tuned for more as it comes.

Arcade Fire are currently at work on their fourth studio LP, rumored to be produced by – hold your breath – James Murphy. According to whispers from inside the band, the album may be near completion. Gulp.

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Kendrick Lamar has again linked up with big boss and mentor Dr. Dre for a single to his approaching Aftermath debut, good kid M.A.A.D. City. The two are again representing their home, only this time, rather than the boisterous, state-wide romp of “The Recipe”, the two link up for a personal ballad to their hometown on “Compton”.

Some tongues should be wagged at Just Blaze handling a beat that couldn’t have been meant more for Dre himself, but the super-producer seems hesitant to helm a beat himself these days, instead opting to mix this track. Nonetheless, this is a cut to savor. Listen below and look out for good kid come October 22nd, tracklisting below.

Room for Drake, but none for Schoolboy? Sigh. Surprisingly short, too, wouldn’t you say?

good kid, m.A.A.d. City:

1. Sherane a.k.a Master Splinter’s Daughter
2. Bitch, Don’t Kill My Vibe
3. Backseat Freestyle
4. The Art of Peer Pressure
5. Money Trees (ft. Jay Rock)
6. Poetic Justice (ft. Drake)
7. good kid
8. m.A.A.d city (ft. MC Eiht)
9. Swimming Pools (Drank) [Extended Version]
10. Sing About Me, I’m Dying of Thirst
11. Real Ft. Anna Wise
12. Compton (ft. Dr. Dre)

Deluxe
13. The Recipe (ft. Dr. Dre)
14. Black Boy Fly
15. Now or Never (ft. Mary J. Blige)
16. Collect Calls
17. Swimming Pools (Drank) (Bonus)

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Here’s the latest track from Prince Rama’s approaching Top Ten Hits Of The End Of The World. The Brooklyn band really must be heard to be understood, so dig in.

Look out for the LP come November 6th.

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Pharoahe Monch never fails to deliver. However, he doesn’t tend to deliver too often, so after last year’s W.A.R. album, many assumed it’d be some time before we heard from the talented Queens MC.

Apparently, we were wrong. Monch is preparing his next LP, PTSD, and ahead of further details, releases the final installment in his trilogy following the trajectory of a bullet, which has been unraveling since 1994. You could call this an end to a rather significant, violent journey.

Check out “Damage” below and stay tuned for more as it comes.

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Almost signing with Shady Records in the mid-2000′s, Freddie Gibbs’ been waiting in the lanes for some time. Since pledging to Young Jeezy’s CTE, the Indiana MC has been on the come up, releasing notable – and borderline fantastic – projects in both 2010 and 2011, Str8 Killa No Filla and Cold Day in Hell, respectively.

He’s been hyping up his latest project, Baby Face Killa, for quite a while now, and it’s finally here. Boasting features from label boss Jeezy, Jadakiss, SpaceGhostPurrp, Dom Kennedy, and Houston legend Z-Ro, this one isn’t to be missed.

Head over to Datpiff for a free download.

Also available today if you’re a supporter with money to burn, is a tagless/no DJ version, available on iTunes. Support a great hip hop artist, whether with your money or your time.

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For those thirsting for Kendrick Lamar’s approaching major label debut, good kid, m.A.A.d city, here’s the latest from the project, randomly arriving online tonight.

No word yet as to whether this cut will actually make the LP, but K.Dot kills his verses as per the usual, even if the beat and hook leave a bit to be desired. Look out for Good Kid come October 22nd, sure to be among the year’s most intriguing hip hop releases, even if Lady Gaga and Drake make the final tracklist (let’s just hope that they don’t).

Hit the jump for a listen and download.

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Following the release of his latest single, “Remember You”, ruled by completely by its guest The Weeknd, Wiz Khalifa has revealed the full tracklist for his approaching sophomore LP, O.N.I.F.C. (that’s short for Only Nigga In First Class, an homage to Mobb Deep’s Prodigy, in case you didn’t know).

Confirmed via iTunes, here’s the list, boasting features from Cam’ron to Pharrell. Juicy J is unsurprisingly also present, but what’s baffling is the exclusion of Khalifa’s friend, part-time mentor and inspiration, Curren$y. In any case, look out for the album come December 4th.

1. Intro
2. Paperbond
3. Bluffin’
4. Let It Go
5. The Bluff (ft. Cam’ron)
6. Work Hard, Play Hard
7. Got Everything (ft. Courtney Noelle)
8. Fall Asleep
9. Time
10. It’s Nothin (ft. 2 Chainz)
11. Rise Above (ft. Pharrell)
12. Initiation
13. Up In It
14. No Limit
15. The Plan (ft. Juicy J)
16. Remember You (ft. The Weeknd)
17. Medicated

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Wiz Khalifa’s upcoming sophomore LP, O.N.I.F.C., was recently delayed, according to the young stoner rapper, due to tension with Atlantic Records over the number of single-ready tracks. You’d think with smash “Work Hard, Play Hard” and this track with The Weeknd that the powers that be could ease up, but thank the label that brought you (cough: forced on you) Lupe Fiasco’s Lasers for disagreeing.

In any case, “Remember You” feels more like a Weeknd track with Wiz as the feature, rather than the other way around. So, whether you dig Curren$y-lite or no, this is worth hearing. O.N.I.F.C. is now due out December 4th.

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In case ya missed it, Green Day’s Billie Joe Armstrong had a bit of a fit the other day. More than a bit, you might even say. In a godly, “fuck this, fuck that” moment, Armstrong accused the promoters of iHeart Radio Festival of cutting his set short, unleashing his rage.

Since then, the band has apologized, and Armstrong has revealed he’s headed to rehab for substance abuse, according to the Associated Press.

The most confusing aspect of the story comes from what triggered it: at the time, Armstrong was angry over having only a minute left in his set, and in the video, it does indeed seem he’s being cut off too early. However, since then, the band’s “admitted” they weren’t cut short, despite all signs contradicting them.

Perhaps Armstrong was so clearly affected by whatever drugs he’d been taking, even during his pre-rant performance, that the organizers were forced to cut the show short. Previously, the word had been it was a decision to allow for more time for Usher.

Personally, I’m torn. The rant was a tad too “I’m a god, hear me roar!” based for my liking, but if he was in fact cut short, I almost can’t blame him. Besides, it provided us with the gem, for all time, “I’m not fucking Justin Bieber you mother fuckers!” Gotta love it. In a way, Green Day are behaving more like a punk band than they have in years. With all the attention it’s getting, it may even turn into a win.

In case you missed it, here’s the rant in all its glory:

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Beats Per Minute (Chase McMullen): I know none of you are fond of having to describe your sound in simplified terms, but inevitably Fragrant World is a growth from prior sounds, how would you describe the departure of this LP for fans new and old?

Anand Wilder: Kind of abstract dance music.

BPM: You’ve discussed a desire to reach different areas and build a different sound with each LP, so how, if at all, would you say your past records influenced Fragrant World? Or was this a conscious effort to craft something completely different?

AW: I think it’s a conscious effort to craft something completely different, and not try and repeat the successes – or failures – of the past.

BPM: I know in 9/10 interviews you’ll be forced to pick apart your influences, so I’ll try and skip over the duller areas of the question, but obviously you’ve all discussed R&B as a major facet of this record, did any particular artists or albums from that world inform the recording sessions?

AW: More of a general, kind of vibe of R&B, but you know, we’re all big R. Kelly fans, Boyz II Men fans. I had always thought that R. Kelly was just awesome, almost crossing different dimensions…but I think without trying to imitate his overtly sexual lyrics, but trying to emulate some of those mid-temp come-ons. We’ve always been real influenced by hip hop and R&B, the ways in which producers make sounds for rap music, I think it’s similar to the way that we make a bed of sound for a song we’re writing…so we’ve always been really influenced by, you know, RZA and Wu-Tang and The Neptunes. I like dance hall a lot, too. We try to get some of the like very minimal stuff, but we’re kind of a very maximalist band, so it can be difficult for us.

BPM: Marry, fuck, kill: Frank Ocean, The Weeknd and The-Dream.

AW: Did you say Marry, fuck, kill? Wait, Frank Ocean, The Weeknd and The-Dream, marry, fuck, kill. Aw man, this is so weird. I mean, I like, out of all those, I like Frank Ocean, and I like The Weekend about evenly… actually no, I like Frank more. So the person you like the most is marry? I guess The Weeknd, fuck, cuz that would be really… seems… weird. (breaks down laughing) It could more of interesting kind of… one time thing. And then I guess The-Dream… kill. (laughs again) I don’t know. Is that the correct answer?

All live photos by Nick Pereslugoff

BPM: In the early press rounds last year for this LP, Chris talked about despising ‘David Guetta bullshit and recent techno’, I’ve always felt your music aims at getting people moving, and this LP seems all the more a dance record, would you say the album is consciously a direct alternative to that brand of dance music?

AW: Yeah, I think so. We were just at a festival in Germany, and there was this guy, The Gaslamp Killer, and he was DJ’ing some really interesting stuff, mixing things up with some really cool sounds – and then right before there was this other guy with really just…boring, one-dimensional sounds, and I think that a lot of that David Guetta type music is just very unimaginative.

BPM: I’m right there with you, I can’t stand Skrillex and people in that vein.

AW:Yeah, I mean Skrillex I feel like, at least, the first time I heard a Skrillex song I was like, ‘woah, this is kind of insane and all over the place’, and I think he took something that was maybe a little more nuanced and made it appealing for a broader audience. I don’t know, the Skrillex stuff I ultimately find to just be a little bit irritating, David Guetta and music like his, though, is just so derivative…boring, and simplistic. Simplistic in a really boring way. (I make a comment about recycling becoming more prominent in the rapid distribution and consumption process of online music) Yeah, it’s weird, it’s like people recycle…you know what it is, it’s kind of like the merging of commercial music and popular music, where there’s a real blurring of the line, you watch an advertisement, ‘Wait, what is this song? Is this a Black Keys song or a blues song or is it some guy in a commercial music house writing it to sound like a Black Keys song? (I mention finding it odd to constantly hear Modest Mouse in ads) “Yeah, Modest Mouse. I mean, I’m not mad at artists for being on commercials at all, it’s just this very weird era where like you know there’s this Modest Mouse song where Wiz Khalifa… No wait, I think it was Lupe Fiasco, I think.

BPM: Yep, he sampled “Float On.”

AW: Yeah, he samples it, and I thought, ‘Does he know about…’, I don’t know, it seems too recent to be sampling a song from 2006. It’s all very strange…but then, the David Guetta thing; it’s weird because he’s just sort of standing there, and it doesn’t seem like he’s even putting in much effort…it really just kind of plays to your most primitive receptors in your brain…you know, ‘filter sweep and floor-to-the-floor kick drum,’ and really compressed, and squashed to sound like it’s coming from a small radio, but it’s just music you’re supposed to dance to like an idiot when you’re really drunk.

BPM: If Fragrant World were a friend of yours, how would you introduce or describe them?

AW: I would say that she’s a little bit unhinged, a little schizophrenic, could be really nice one second and really angry the next moment, a very creative dancer… maybe a little bipolar, but probably more schizophrenic.

BPM: Getting a bit more particular – not that anyone with a brain has ever been particularly fond of him, but with the Killer Mike record and so on, I feel like Reagan as the villain has become a popular tool for 2012, as what kind of device would you say he’s intended on “Reagan’s Skeleton”?

AW: Oh, you know, I think that songs just kind of about the deification of Ronald Reagan, and how he’s seen as this sort of saintly figure for half of the country, it’s just kind of a silly story song, an anecdotal song about a séance of ultra-conservative, tea party type people just blind in their love of Ronald Reagan.

BPM: Fragrant World is releasing on blue marble vinyl, and some of the singles have come in glitter & glow in the dark vinyl, how much thought do you all put into the physical features of an album, and how would you say it impacts listener experience?

AW: I don’t think it really impacts the listener experience, I think you can have just as genuine experience just listening on your Ipod, but I think it’s another interesting experience of putting out a record, especially in this day and age where you really don’t have to put out a record, at least in that it’s not the only technology we have disseminating our music, but it kind of shows an extra kind of…not effort, appreciation for the recorded music if you put a little effort into the artwork and packaging…I think it’s also nostalgic too, because for us, we grew up with the physical copy being so important, whether the CD, or the vinyl, or the tape cassette, it has this kind of tangible quality to it that is sort of lost when everything is just uploaded to iTunes.

BPM: Yeah, my nephew couldn’t understand me bothering to build a physical collection on vinyl.

AW: Yeah, it doesn’t make sense to have 500 records, or 500 DVDs when you can have it all on a hard drive, but…I guess it’s just the area where we’re going, having everything on your computer, on Kindle, it’s a piece of technology just as much that a book was a piece of technology that replaced handwritten scrolls. We’re that generation that grew up with something old that’s been replaced, and it’s probably just nostalgia.

BPM: For something unrelated to the new album, some of you linked up with Natasha Khan for Two Suns, did you all get together again for her new LP? Are there any plans with her in the future?

AW: No, Chris and Ida were working with her for a couple of songs, I didn’t actually have anything to do with that, but she actually worked with the same guy who mixed our record, so there’s a connection there, he worked with her on Bat for Lashes.

BPM: Ok, just a personal question, you guys have mentioned a few rap favorites in the past, Tribe and Young Jeezy and so on, did any particular MC rob off on you all whether generally or regarding the way you make albums?

AW: I think the recent Kanye stuff has been pretty inspiring; he’s been doing some cool stuff, especially with the production, but as far as lyrically, we can’t really pull off many similarities, the goals of hip hop lyrics are obviously very different (laughs).

BPM: Is Detox ever coming out?

AW: (without pause) What’s Detox? Oh, I don’t really care. Dr. Dre’s kind of a one trick pony, isn’t he? It was a great trick for a while, you know I like his work on early ’90s stuff, Snoop’s stuff, Eminem’s stuff…he did some of 50’s stuff, too, right? But I’m probably more into production on OutKast records. Yeah, that’s some of the best shit ever, and the profile is so much lower for some reason… those guys are ATL, right? You’re from Atlanta? I was doing a photoshoot the other day, and it must have been like a greatest hits OutKast album, because they were playing stuff from SouthernCadillacPlayalisticWhatever to “Ms. Jackson” and I was just like, ‘This band? They’re the best. The best.’ They’re the Beatles of the ’90s and 2000s, you know?”

BPM: What is the single best venue you’ve played? By audience or the location itself, your call.

AW: Best venue… hmm… really, I’m partial to New York venues, I really love Music Hall at Williamsburg, Slow Down in Omaha is really nice, San Francisco has a lot of really great things, I really can’t pick any one place, too many great venues.

BPM: Something I’ve often wondered about when a band is releasing a new album: do you get a feeling of completion that lasts you for a tad and relax and watch the LP play out, or does the need to create, to forge ahead, immediately return?

AW: There’s a sense of accomplishment, a sense of productivity, but then you need to start touring. It’s not manual labor, but the closest thing we have to working with our hands and bodies is going back on tour, you start singing again every night, have to keep your voice in good health. So I know that then, the touring experience, will – at least for me – give me the need to do something new, to create again. It’s really just a cycle.

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Hot off the soundtrack for Wu-Tang master RZA’s approaching martial arts extravaganza, The Man with the Iron Fists, this treat of a track also happens to be one of the better hip hop singles to hit the net in recent memory.

Pusha T, along with Raekwon and Slaughterhouse’s Joell Ortiz, coast with ease over a ticking beat fit for a Western film as readily as a Kung Fu movie. Sadly, it’s the clean version for now, but “Tick Tock” is unstoppable.

Look out for the film come November 2nd, and pick up the soundtrack on October 23rd, also featuring the likes of Kanye West, the entire Wu-Tang Clan, Kool G. Rap, and many more.

The post Listen: Pusha T – “Tick Tock” (ft. Raekwon & Joell Ortiz) appeared first on Beats Per Minute.

Let’s say you live under a rock, and, finally, decide it’s time to embark and discover all you’ve missed. Upon your emergence, among the plethora of things of which you may be unawares, Green Day’s approaching, epic rock trilogy would certainly be one of the musical elephants in the room.

¡Uno!, ¡Dos!, and ¡Tré! were all planned to release this year, and the plan essentially stuck, with only the 3rd LP finding itself dashed to the earliest days of 2013. Look out for the three installments come September 25th, November 13th, and January 15th.

Speaking personally, 21st Century Breakdown didn’t leave me begging for more from the band, but many are still faithful in Green Day, and considering their past accomplishments, I don’t blame ‘em. So, for those still excited, here are the band’s full tour plans in support of the trilogy, a relatively extensive affair:

09/15 – New York, NY @ Irving Plaza
09/21 – Las Vegas, NV @ iHeartRadio Festival
09/28 – San Francisco, CA @ The Fillmore
10/27 – New Orleans, LA @ Voodoo Experience
11/26 – Seattle, WA @ Paramount Theatre
11/27 – Kennewick, WA @ Toyota Center
11/29 – Salem, OR @ Salem Armory Auditorium
12/01 – Sacramento, CA @ Memorial Auditorium
12/02 – Reno, NV @ Grand Theatre
12/04 – Santa Cruz, CA @ Santa Cruz Civic Auditorium
12/10 – Tempe, AZ @ Marquee Theatre
01/07 – Green Bay, WI @ Resch Arena
01/08 – Rosemont, IL @ Allstate Arena
01/10 – Wilkes Barre, PA @ Mohegan Sun Arena
01/11 – State College, PA @ Bryce Jordan Center
01/13 – Rochester, NY @ Blue Cross Arena
01/14 – Pittsburgh, PA @ Consol Energy Center
01/16 – Brooklyn, NY @ Barclays Center
01/18 – Manchester, NH @ Verizon Wireless Arena
01/19 – Uncasville, CT @ Mohegan Sun Arena
01/21 – Fairfax, VA @ Patriot Center
01/22 – Philadelphia, PA @ Liacourias Center
01/24 – Providence, RI @ Dunkin Donuts Center
01/25 – Portland, ME @ Cumberland Civic Center
01/27 – Quebec City, QC @ Colisee Pepsi Arena
01/29 – Toronto, ON @ Air Canada Centre
01/30 – Cleveland, OH @ Wolstein Center
02/01 – Moline, IL @ iWireless Center
02/02 – Madison, WI @ Allstate Energy Center Memorial Coliseum
02/04 – Omaha, NE @ CenturyLink Arena
02/06 – Broomfield, CO @ 1STBank Center
02/08 – Las Vegas, NV @ MGM Grand Garden Arena
06/01 – London, UK @ Emirates Stadium

The post Green Day reveal American tour dates appeared first on Beats Per Minute.

There’s not much to say for Swedish punk rockers Holograms latest video that the rapid-fire ocular assault doesn’t say for itself. A blurry trip through 80′s pop culture, this one must be seen to be believed. Also, check out the band’s tour schedule below.

It moves a bit fast. Don’t say we didn’t warn you.

09/05 – Washington, DC @ Red Palace
09/06 – Raleigh, NC @ Hopscotch Music Festival
09/08 – Brooklyn, NY @ 285 Kent Ave
09/09 – Allston, MA @ Great Scott
09/10 – Montreal, QC @ Casa Del Popolo
09/11 – Toronto, ON @ The Shop at Parts & Labour
09/12 – Cleveland, OH @ Happy Dog
09/13 – Detroit, MI @ Magic Stick
09/14 – Chicago, IL @ Schubas Tavern
09/17 – Vancouver, BC @ The Media Club
09/18 – Seattle, WA @ Barboza
09/19 – Portland, OR @ Mississippi Studios
09/21 – San Francisco, CA @ Rickshaw Stop
09/22 – Santa Cruz, CA @ 105 Pioneer
09/23 – Los Angeles,CA @ The Echo
09/24 – San Diego, CA @ Soda Bar
11/07 – Brighton, UK @ Green Door
11/08 – Bristol, UK @ Louisiana
11/09 – Birmingham, UK @ Hare and Hounds
11/10 – Manchester, UK @ Castle Hotel
11/11 – Glasgow, UK @ Captains Rest
11/13 – Leeds, UK @ Melbourne St. Studios
11/14 – Nottingham, UK @ Bodega
11/15 – London, UK @ Shacklewell Arms

The post Watch: Holograms – “Fever” appeared first on Beats Per Minute.

Mr. Muthafuckin’ eXquire recorded this track as a single for Closed Sessions’ compilation & documentary Closed Sessions Volume 2, a real treat for all of us waiting on the Brooklyn MC’s next mixtape. From the press release,

“The song features Mr. Muthafuckin’ eXquire, who recorded this record during his first trip to Chicago, and shortly before signing to Universal Records. The song details his place as buzzing Hip Hop artist, caught somewhere between obscurity and fame.”

Look out for Vol. 2 come August 30th, featuring Raekwon, Action Bronson, CyHi the Prynce and many more.

The post Download: Mr. Muthafuckin’ eXquire – “Lost in Transition” appeared first on Beats Per Minute.

Killer Mike’s been having one crazy year. Many thought the politically-charged MC had seen his biggest days riding with the Dungeon Family, but the Atlanta rapper went a long, long way proving them wrong in 2012. His album with EL-P, R.A.P. Music, is easily the strongest hip hop LP of the year, and Mike’s not slowing down.

In this new video for “Untitled” the MC and the track’s guest, Scar, take the viewer through a bit of a visual history, reworking different historical images. Mike gets to appear as everything from a severed head to what appears to be Saddam Hussein. EL-P, of course, appears as well.

The post Watch: Killer Mike – “Untitled” appeared first on Beats Per Minute.

Well, this is odd. Not that we expect anything less from Grimes. Helmed by Grimes herself, this trippy, desert rave of a video is already gaining comparisons abound as a crazed take on Ingmar Bergman. Sites are choosing their screenshots with pride – obviously ours above is the perfect choice.

Anything else I could describe of this video would only take away from it – have at it.

The post Watch: Grimes – “Genesis” appeared first on Beats Per Minute.