mixtape maestro (2.0)

If Kanye calls you out as having the potential to be the second G.O.A.T. (behind Eminem, of course), best believe when he calls upon you to bless one of his tracks, the “it” better be brought.

So with that said, it’s no surprise that Nicki Minaj would attempt to drop the best verse of her still young career on the much-talked-about Kanye & Friends posse cut joint “Monster” (from the newly announced upcoming West and Jay-Z EP, Watch The Throne); what is shocking, however, is that she would end up making the rest of her brow-raising trackmates (the song rounds together not only ‘Ye, Jigga and, in a laughably brief cameo, the BAWSE, but indie god Justin Vernon of Bon Iver is employed to play hook man) seem completely irrelevant.

Using West’s sludgy fuzz-bounce as her own personal playground, Minaj adopts like seven different voices and three different flow tempos to slice-and-dice those lesser than (“Let me get this straight/ Wait I’m the rookie?/ But my features and my shows ten times your pay?/ 50k for a verse, no album out!”) and teasingly flaunt her maybe-faux/ maybe-not bisexuality (“Besides ‘Ye, they can’t stand besides me/ I think me, you and Am should menage Friday”), in the end, bringing all kinds of truth to her early boast of “Watch the queen conquer”.

Sure, Kanye earns Runner-up Prize with his naughty-clever “sarcophagus”/ “esophagus”/ “swallow-ship” rhyme, but in her wildly animated contribution, Minaj easily steals the show, re-igniting hope that when her Pink Friday solo album does finally drop this November, it’ll feature more of this playfully raw side…

…and less of the questionable bubblegum tendencies that dominate second recent leak “Check It Out”, a will.i.am production/ duet that unnecessarily twists The Buggles’ early days of MTV hit “Video Killed The Radio Star” into a typical BEP electro-hop jam for the Top 40-loving teenybopper crowd (and will likely become one of the biggest, most inescapable, radio hits of the fall season).

Sigh, Minaj. You’re so promising, yet so frustrating.

Kanye West – Monster (feat. Rick Ross, Jay-Z, Nicki Minaj & Bon Iver)

Nicki Minaj & will.i.am – Check It Out

Portland, Oregon’s Moxie Black (rapper/ vocalist iLLAJ and producer Dekk) aren’t re-writing any rules as far as their post-808s & Heartbreak/ Rebirth/ The E.N.D. indie electro-hip-pop sound goes, but if one is searching for something new to soundtrack their final days of summer to, they’ll have plenty of addictive gems to choose from in the group’s new mixtape How Did This Happen?, an eleven track collection of hipster-hued, ride-friendly feel-good.

Early leak “So Much Better” reigns at the project’s finest. Based on a blog-baiting pairing of driving, new wave guitars and Auto-Tuned rap-singing, the track is insanely catchy, and quite amusing in it’s detailing of iLLAJ struggles to cope after seeing his ex-girlfriend enter the same club as him with a new dude on his arm (“I’m downing all the bottle/ Raging like full throttle/ And I never want to see her again”).

Check out the jam, alongside their remix of Phoenix’ “1901″ (re-titled “2901″), below; pick up the entirety of How Did This Happen? over at DJBooth.net.

Moxie Black – So Much Better

Moxie Black – 2901 (feat. Phoenix)

“Teqkilla” is one of those M.I.A. tracks that leave you feeling like you need to be under the influence of something to truly “get”. Yeah, that can describe most of Maya’s output, but usually we can find some element in her kooky, international music-informed art-pop patchworks to lovingly grasp onto while sober. In it’s twisted cacophony of synth blurts and bleets, dubstep-y tribal thump and chanted shout-outs to various alcoholic beverages, “Teqkilla”, /\/\ /\ Y /\‘s latest single, lacks that one magic ingredient to pull it all together and help transcend it from mad scientist studio experiment to off-kilter pop genius.

That is until this remix arrived, boasting a guest appearance from the one and only Nicki Minaj, one artist we’d strangely never thought of ever pairing M.I.A. with despite their similarities in mic…ahem, “animated-ness”. “It’s going d-d-d-d-d-down/ Everything slo-mo in the background”, launches Nicki at the beginning of a deliciously wacky verse inflected with that strange English-Jamaican accent she enjoys so much, instantly triggering wishes that she and Maya will hook up for an entire collaborative mixtape and vibe off each other’s respective eccentricity.

Hell, maybe with an added M.I.A. sixteen, “Massive Attack” would make some sort of sense.

/\/\ /\ Y /\ drops July 13th.

DL: “Teqkilla (Remix)” (alt)

Following weeks of heavy blog/ Twitter buzz in anticipation of his newest mixtape I Want You, Brooklyn rapper/ singer Theophilus London has further solidified his promise of being the next hipster hip hop sensation to likely break big (a la Kid Cudi and B.o.B) with the unleashing of the doper-than-dope full project on Thursday.

In line with previous heralded collections JAM! and This Charming Mixtape (the latter of which housed one of our favorite overall cuts from 2009, an infectious electro-rap re-haul of Whitney Houston’s “I Will Always Love You”), I Want You‘s display of slick, non-gangsta rhymes atop blog-baiting samples (musical references here include Ellie Goulding, Marvin Gaye, Stevie Wonder, Tweet, Discovery and Vampire Weekend) offers an endlessly fascinating (and quite groovalicious) ride that should easily keep people satisfied well into next year.

Grab the entire set here (if only so you can boast of being a fan before London was enjoying multiple entries on the Hot 100, a future that seems to be a given), or simply check out some of our highlights below: the “Giving Up The Gun”-bootleg “Give It Up Dad” and the new wave-ish delight “Sorry To Interrupt”.

DL: “Give It Up Dad” (alt)

DL: “Sorry To Interrupt” (alt)

It always feels like an amazing thing when Lady Gaga does a guest spot on somebody else’s song. For someone so calculated in her every career move and paparazzi pose, it just seems like she wouldn’t waste her time playing “hook girl”/ featured act on a track unless said song was on an extremely epic tip, a level that “Let Them Hoes Fight”, her new collaboration with “Baddest Bitch” Trina, comes nowhere close to reaching.

Produced by Jim Jonsin (who also helmed Trina’s biggest hit to date, the 2005 Kelly Rowland duet “Here We Go”), “Hoes” is Trina’s wholly unnecessary three-and-a-half-minute-long attempt at invading the electro-dance-rap scene, featuring her tossing her weave and slinging out un-funny disses (“He keep sending me these drinks/ Cause you lookin’ like his grandma”) at jealous females in the club giving her the stink-eye while 8-bit blips and bleeps and faux-eerie organ synths twinkle all around her.

Meanwhile Lady Gaga’s main contribution rests on a forgettable chorus that paints her as (gasp!!) a third-rate Ke$ha, which is a sad reality, especially considering this would’ve probably been a far more interesting ditty had the “Tik Tok” singer (with someone like Kid Sister replacing Trina) been involved instead.

Trina’s fifth album, Amazin’, drops in May.

DL: “Let Them Hoes Fight” (alt)

Call us losers, but since “Meet Me Halfway” started getting endless spins through our earbuds, we’ve been scouring the World Wide Web daily hoping to come across some amazing remix that’ll only deepen our undying adoration towards the Black Eyed Peas single.

There haven’t been many to emerge (which is strange, seeing as though “Boom Boom Pow” and “I Gotta Feeling” inspired what felt like a million revamps between them both), but we did come across a couple that earned at least a couple repeat listens:

Rokuro’s Tidy Club Mix:

Helmed by Japan’s DJ Rokuro, this one follows a relatively simple remixing formula, accenting the original track with some catchy synths while giving that vocoder-assisted bridge (the track’s best non-Fergie moment) a well-appreciated repeat spin.

DL: “Meet Me Halfway (Rokuro’s Tidy Club Mix)” (alt)

Anna & Ruby’s Intergalactic Booty-Shaker Remix:

This second (and sadly, MP3 link-less) one was created by the same girls who delivered that cutesy acoustic cover of Drake’s “Best I Ever Had”. And like that treat, this one is equally impressive in a lo-fi, “let’s throw something together during a sleepover” kind of way, replacing Fergie’s laborious wails with a surprisingly effective Cassie-like featherweight vocal while it’s beat bypasses state-of-the-art Y3K-aiming production complexity for a simple electro throb.

As if having every other form of entertainment be usurped by an obsession with everything vampire-related wasn’t enough, Timbaland looks to Twlight, True Blood, and the like as a major influence on “Morning After Dark”, the official first single from his Shock Value 2 album.

Part Anne Rice-inspired sex tale, but mostly a run-through of Timb’s usual bag o’ dizzying polyrhythmic tricks with the he say/ she say treatment that’s defined most of his popular output, “Morning After Dark” sees the mega-producer enjoying a “3P” of his own with pipsqueak-voiced duo Nelly Furtado and newcomer/ Mosley Music protogee SoShy playing bob and weave to the track’s restless drum shuffle and synth sprinklings.

Unfortunately, despite the trio’s best efforts to muster up some nocturnal heat amongst themselves, none of it really lands as anything all that especially exciting or even necessary (sort of like another A-list-affiliated SV2 album leak), but we’ll at least admit to it’s Euro-goth sizzle latching onto a competent club fizz, while the spiraling hook (where Tim tackles an interesting Bootsy Collins-esque yowl) eventually needles it’s way into your brain.

“Morning After Dark”:

As an added bonus, check out this house-y remix of “MAD” from the Serotonin Thieves: “Morning After Dark (Serotonin Thieves Remix)” (alt)

One recently revealed Timbaland-produced number that is worthwhile (without the aid of repeated listenings) is “Skycap”, a Mary J Blige-led number that was originally conceived for, and eventually denied placement on, her 2007 Growing Pains album. A foolish move, we might add, since having this amongst it’s tracklisting could of easily scored that set a second major hit beyond “Just Fine”.

Atop a hypnotic beat of lively percussion/ drums and what sounds like a swarm of evil goblin children chanting “I’m falling” while being flushed down a toilet (oh, how our imagination makes us giggle sometimes), Mary J starts off throwing down like she used to back in her pre-”No More Drama” days, as she looks back on a couple of old relationships gone sour (“The first love I let inside my life/ Had me afraid to fly/ Had my head in the clouds/ And meanwhile he let me crash…”).

But before you get a chance to seriously worry over (or celebrate, depending on your stance) the soul diva regressing back to a previous era of endless tear-stained, no-good-men-littered R&B melodrama, Blige is rescued from her depression by a knight in shining armor, one who isn’t easily scared off by all of her “baggage” and brings with him “a first class love” so great, she feels like she’s soaring through the clouds above. “I don’t even wanna land/ Got myself a helluva man,” she sings, an infectious joy just beaming off her every note.

We’ll never understand why this one was left on the cutting room floor.

DL: “Skycap” (alt)

Making it almost a week before it’s due date, Kid Cudi’s major label debut Man On The Moon: The End of Day has officially leaked to the ‘Net, and take it from us…after one quick run-through it unquestionably legitimizes all the anticipatory hype it’s frothed forth since “Day N Nite” first began it’s slow trickle into inescapable pop smash seemingly forever ago.

Of it’s many featured highlights sure to garner much play on iPod playlists and mix CDs well into the future (and by “many” we mean damn near the entire thing!!), Moon‘s “first favorite” to us (read: the first one to inspire some replay button action) would have to be the mid-album/ “Act III”-closing stunner “Enter Galactic (Love Connection Part 1)”.

“You’ve never done this before and that’s cool and all/ But I want you to try this with me,” intros Cudder here, an invitation to some babe to zoom away with him on an drugged-out erotic trip. Rocking a near-whispered conversational flow, the Kid titillates with requests “to kiss you on your space below your navel-ette, the place that you keep neat-so moist like a towelette” before urging girl to have “just one more stem” so they can keep their psychedelic sex-perience at it’s “highest” potency.

And what a trip it is thanks to beatmakers The Illphonics, an on-the-rise production duo who bring the journey to vivid life through a gently insistent electro-disco groove that’s giddily tickled with starry-eyed keyboards and so gripping in it’s comprehension of the sleek and futuristic, you could almost believe it to be a sex-jam construction that has somehow time-travelled it’s way back from the Star Trek age (and Jay thought he knew how the future would sound).

Sample the track below, but make sure to cop Man On The Moon when it truly arrives on September 15th (we know we will!!), if only cause the last thing we need is an amazing talent like Kid Cudi threatening to retire early (yet again) because the industry hasn’t figured out how to keep their product locked up tight.

DL: “Enter Galactic (Love Connection Part 1)” (alt)

Ever longed to pop-lock to Vampire Weekend?

Yeeeaaah, can’t say we have either. But that surely hasn’t stopped Winnie Cooper contributor Tristan Orchard from adding a little Breakin’ B-boy energy ‘neath the band’s sunny Vampire Weekend album track, “One (Blake’s Got A New Face)”.

Somehow, it kinda works…

DL: “One (Blake’s Got A New Face) (Hunk The Drunk Edit)” (alt)

Can you believe that “Boom Boom Pow” is currently celebrating it’s seventh week atop the Hot 100? That when the record books sum up the biggest single successes of 2009, this joint may actually be the one atop the heap? Now think about this frightening notion: we’re starting to get the feeling that it won’t be the last trip to the top of the Pops that the group makes this year, and even more scarier, we might not even mind the next record to possibly get there.

Recent album cut leakage “Imma Be” is basically a sequel to “Boom Boom Pow”, dipping into the same recipe of club-friendly electro-hop production and dumb-to-the-infinite-power dialogue that The E.N.D. lead single brought to the table, but while it took us a minute to come around to “BBP” (with it being played like twelve millions time a day, wasn’t like we really had a chance to escape it), on first listen, “Imma Be” is actually…not…that…bad.

Of course you have to mentally delete the accompanying lyrics (more silly gibberish about being “next level” and “futuristic”) and the “A Milli”-styled stutter hook scheme should have really been retired back when Beyonce adopted it, but when the passable marching band thump of the first halve suddenly transitions into a frenzied Euro-dance thingamajig mid-way through, “Imma Be” immediately morphs from an eye-rolling “why can’t they just disapear” to a brow-raising “I think I might need to hear this again!”.

If this turns out to be the second single, and not the rumored-to-be official “BBP” follow-up (and truly atrocious) “I Gotta Feeling” that’s also making the blog rounds right now, the Peas may actually have a stranglehold over the Summer just as they did in the Spring. This time with nary a complaint from us.