Murs and 9th Wonder Strike Back

Murs has to be one of my favorite Mcs who've actually been putting out a decent body of work over the last few years. And hands down 9th wonder is one of my favorite producers in the game. His stuff solo and my favorite, the work he did with LITTLE BROTHER, amazing. The work the two guys produce as a collabo is definitely good, but surprises me sometimes with the lackluster work from 2 such great minds. Don't get me wrong, I liked "Murs 3:16" and "Murray's Revenge" both, guess I was just hoping to have enjoyed them a lot more. Either way the duo is back with the 3rd installment of their collaboration and the album is Entitled "Fornever".
9th wonder doesn't dissapoint with the selection of some amazing soul samples I've never heard of. Here's 2 of my favorite's from the album.
Ohio Players get down on this tune. I love the stuff going down at 45 seconds. Funky!

9th uses it for cigarettes and liquor

This second sample is from an outfit related to the great Parliament and Funkadelic
Called Black Nasty, yes BLACK NASTY, this is I must Be In Love

The song 9th and Murs do on the album with the sample is called I USED TO LOVER [AGAIN] This track is probably my favorite of the album, and I love the message Murs delivers in the tune.


P.S. Sorry my contribution here at oddgila is real shity lately, should be changing soon!

Miles Davis – Sketches of Spain

So old music huh?

I’ve always felt that 1959 is still, arguably, the best year for music of all time. And I know that people scoff or laugh at me for even thinking in such a way but when certain years like that come up, they need to be discussed. I mean you had releases by the Dave Brubeck Quartet, Ray Charles, Billie Holiday, Miles Davis, John Coltrane, TWO albums by Charles Mingus and Ornette Coleman. And again, arguably, one could make the case that for each album those respective artists put out, they never released anything better. And when you think of the most ‘famous’ one, Miles Davis, Kind of Blue is most definitely, the most easily loved/regarded/mentioned album of his. And he had the most prolific, the deepest and one of the best discographies of all time.

And for the longest time, I always assumed that Sketches of Spain, one of my favorite albums of his was released in 1959 – that lasted for a good five or so years until someone politely pointed out that it was released in 1960. And with that, there is this masterful album that finds the American jazz composer/trumpeter paired with Gil Evans to collaborate on a jazz album composed and derived from the Spanish music itself. In many ways, it’s his most accessible album in that it strays so far from the standard jazz feel and sense. I mean, a jazz album has to be freely moving and fluid enough to know that half of it was pure improv but Sketches of Spain moves as if two brilliant composers entirely created it themselves. Naturally, this is not a complaint but merely, a point of observation but in other words, you’ll find many that love this album just as much and if not more than the aforementioned Davis album.

Regardless of where it stands in terms of styles of music, it’s gorgeously rendered through the lens of a creative genius that was hitting on all cylinders. The use of an orchestra is immense here with sounds of a tuba, bassoon and string bass all riding high on the album’s opening magic, “Concierto de Aranjuez” (Adagio),” [found below (one piece but split into two)], which was actually borrowed by Davis and Evans from Joaquín Rodrigo. While the second side consists of three exceptional pieces all written by Evans, it is the both of them that present an album that is just as memorable now, as it was fifty years ago.

I loved it when Davis answered, after being questioned on the album’s sounds and if they could even be considered jazz if not another style of music, “It’s music, and I like it.” – Bryan

Grand Valley State University New Music Ensemble – Terry Riley: In C

I probably need to start delving deeper into older music because mostly, I’ve been posting about ‘newer’ music that most people already know about and thus, the lack of traffic and comments – lame, I know. I hope to start that up…soon.

Anyway, I came across this terrific performance of Terry Riley’s minimalist classic, In C, by the Grand Valley State University New Music Ensemble. It was performed back in November and is now being released in joint work with the Wordless Music series. The goal of this series is to showcase just how similar contemporary and classical music and to prove that there are not much differences between the two. Their site lists various recordings, concerts and efforts where they’ve pushed the envelope and been very successful.

You can hear some of the music here; it’s a classical piece that features NYC producer/composer Dennis DeSantis as a DJ. The music consists of 53 short phrases (known as cells) that may be repeated and played as much as the instrumentalist likes. While each musician has complete control over what they play, they are encouraged to bring forth their ideas at different rates and times, while traditionally there is always one musician acting as ‘the pulse,’ or more rudimentary, as the tempo. While the piece begins on a C major chord, it is mostly heterophonic in demeanor as it is characterized by the variation of a single melodic line. That line, coming in the form of a few eighths notes, always shifts from tone to tone, instrument to instrument but it always exists as the main idea – though the polyphony might be taken to a new level simply because of the dissimilar ideas DeSantis brings to the table. It’s a fantastic piece and heralded as the first, significant, minimalist piece when it was initially introduced in 1965. – Bryan

Record Store Day

This past Saturday was the annual celebration of record store day, a day where vinyl lovers come together to their local record store to eat up sales, exclusive releases and much more. For the longest time, we’ve struggled with not having a reliable store to be able to visit frequently. Fortunately, for everyone, the people at All That Music have banded together to not only feature vinyl in a more prominent fashion but they’ve even extended the vinyl out onto the floor and for the first time, have new vinyl.

See, I always order my stuff online, either through a reliable place like Insound (who is very good about taking care of your vinyl, offering discounts and free goodies) or Amazon but I’ve always craved being able to rummage through stacks of records to find old and new finds. Nick had mentioned going down to the store but I honestly did not have much hope and I even kidded that they wouldn’t even have any of the exclusive record store day releases that bands/artists put out. Boy was I glad I was wrong!

The store was filled with customers, everything was 20% off and I got some really good stuff. Besides picking up my copy of Sharon Jones & the Dap-Kings’ newest, I picked up four 7” that are all wonderful. Here they are:

Julian Casablancas – 11th Dimension (Live from Electric Lady Studios for WXRP, New York) with Long Island Blues

This is a 7” that features a version of “11th Dimension” recorded at Electric Lady Studios. The song was the lead single off Casablancas’ solo debut from last year, Phrazes for the Young and it’s easily, just as strong on here. The other side is an unreleased song that finds him a bit more subdued but still, very effective.

Rodriguez – Inner City Blues/I’m Gonna Live till I Die

The veteran bluesman created this 7” in an awesome gatefold that was limited to only 1,500 copies (mine is numbered #83!) and on one side it features him doing a live version of “Inner City Blues” recorded on the streets of Paris, while the other is a cover of Sinatra’s “I’m Gonna Live Till I Die.” This was probably the most unique find and everything from the packaging to the performances are downright great.

Wilco – You Never Know b/w Unlikely Japan

I don’t think this 7” was a record store day exclusive but I was ecstatic to find it. “Unlikely Japan” was written during the Sky Blue Sky sessions and is a spin-off of “Impossible Germany.” Though rare, it’s also a terrific song that is a must for any Wilco fans. The other side, “You Never Know,” was the lead single off the band’s album from last year, Wilco (The Album). It’s the studio version but a nice fuller contrast to what’s on the other side.

Peter Gabriel and Stephin Merritt – The Book of Love & Not One of Us

This 7” was released on Peter Gabriel’s own Real World record label and it features the two songwriters writing songs for each other that the other then performs. “Not One of Us” is an upbeat, synth-driven song that was written by Gabriel and sung with vivid style by Merritt; the other side is “The Book of Love,” a lovely, string-laden song that is exceptional because of Merritt’s own personal style but sung in Gabriel’s soaring voice.

Ikonika & Deer Tick

I'm pretty thrilled because over the last week, I’ve received my copies of the new ones by Jamie Lidell and Flying Lotus and each are fantastic. The latter is easily going to contend for the best electronic album of the year and will surely be one of the many highlights. But then again, it’s up to Starkey’s album to allow that and right now, Ear Drums and Black Holes is flat-out sick. It’s a beast of an album, check it out.

In other dubstep news (what a genre huh?) is Ikonika’s excellent album, Contact, Love, Want, Hate. She’s a lovely producer who has put together a winning debut for Hyperdub that is intensified by menacing synths and styles that resemble the jungle, reggae, and even computer game soundtracks. Check out “Millie” from the aforementioned album below. I’m being entirely honest when I say that it’s a golden age for electronic music when there is so much quality being released.



And before I get too electronic on you, Deer Tick is an honest amount of Americana-flavored rock that is influenced by everyone from Tom Petty to Sammy Davis Jr. I saw the end of their set at last year’s Austin City Limits Festival where the crowd was shocked to see them almost chased off the stage because they ran too long, as they jammed out to a cover of “La Bamba.” They’ve opted to stop by tomorrow at The Percolator where I’ll be at and after two stellar albums, they have a new one that’s already finished, The Black Dirt Sessions, and according to lead singer/songwriter, John McCauley “it should be out in May, hopefully.” – Bryan

Phoenix - It's Never Been Like That

If you're vaguely familiar with a band like Phoenix, then you’re well aware that their last album, Wolfgang Amadeus Phoenix, was a monster hit. Featuring massive hit singles and filled in with tremendous music that was both catchy and utterly fantastic, it was their ‘breakthrough.’ And they took it in stride, too, profusely thanking fans for coming out to see them as if they were a new band barely getting started.

Well before that album was their 2006 release, It’s Never Been Like That; an album that is equally just as good but often, overlooked and forgotten about. And it’s funny because it follows a very similar formula for success that Wolfgang Amadeus Phoenix took too. There are sweeping hits that get everyone to sing along, there are moments where the songs are terrific slices of pop and there are moments where they showcase their musicianship and craft building, flourishing music that is entirely instrumental. Check out the double-punch of “North” and “Sometimes in the Fall.” The former is a minimal, looping drive that carries you all the way until the clashing opening drums of the latter. But later on, you get lost in its tenderness and both are the kind of songs you bliss out too, allowing them to wash over you. – Bryan

The Internal Tulips

This is the new side-project for Planet Mu vets, Brad Laner and Alex Graham. While they’ve each made their living as pure electronic musicians, as The Internal Tulips they make music that can aptly be described as a mixture of The Beach Boys and The Beatles with a robust modern production.

Though the electronics are still there, they’re suited up with lush instrumentation and a substantial amount of depth. Not only is the music very dreamlike but it’s overall calm demeanor is only better fitted with an aesthetic that is all about concentrating on the intrigue of it all. The album is Mislead into a Field by a Deformed Deer and it’s a terrific release; below are the two of the videos created specifically to help promote album. – Bryan

Wolf Parade

The tenacious band from Canada has announced a follow-up to 2007’s sprawling At Mount Zoomer with a new album that is scheduled to be released sometime in late June/early July. Not only am I slanted towards the early July release but if Dan Boeckner feels it’s the ‘most fun’ he’s had making a Wolf Parade album then I can’t wait to hear it. And this is ripe news for me as I’ve taking the time to fully analyze and appreciate the aforementioned album. Not only is it diverse but I’ve finally come around to enjoying Spencer Krug’s twirling “California Dreamer” and well, I’ve always loved Boeckner’s “Fine Young Cannibals,” with its funky groove.

Their first album is Apologies to the Queen Mary and it’s been rightfully regarded as one of the best albums of the entire 2000s, let alone one of the best during the monster year that 2005 was. And that’s what so awesome: these two men work in a cycle, never ceasing to halt their determined methods. While Boeckner makes an album with Handsome Furs every other year and Krug does the same on his superior, Sunset Rubdown project, they meet back in the middle to concoct another album of sublime music.

The album’s title will be Expo 86 and I hope it’s a smash to all that hear it, including me. Here are a couple of songs – including one of the most beautiful songs of the entire last decade, “I’ll Believe in Anything” – I personally love from Wolf Parade. – Bryan

Happy Easter!/ Starkey

Happy Easter everyone!

I’ve got a few brief minutes before leaving to a family cookout and wanted to definitely share some awesome music. Lately, I’ve been really into Starkey’s new one, Ear Drums and Black Holes. The Philadelphia producer has created a varied blend of dubstep, hip-hop, street bass (as he likes to call it) all into one absolute beast of an album. It’s the kind of album you can get lost to in so many different ways and on headphones, it’s utter bliss. He’s an unfamiliar electronic musician that is not too well known outside his genre’s table but don’t be fooled, this is some of the best music I have heard the entire year.

Here are a couple of awesome videos I found to two of the songs on the album, “OK Luv” and “Stars,” with the latter featuring a gorgeous vocal by Anneka; the album is out in a couple of weeks and it’s on the outstanding Planet Mu label. – Bryan