Every music blogger will feel the Maestro’s pain when it comes to the overly-packed in-box.
Filled to the brim with PR’s showcasing that “hot new indie artist” whose bandwagon you just HAVE to jump on early, “exclusive” remixes that have obviously been CC’d to damn near everyone else on the Hype Machine/ Elbo.ws circuit, the endless announcements of new mixtapes and video releases and numerous follow-up artist representatives stressing you out over whether you finally got a chance to listen to their respective act’s material, it’s almost impossible to get through all of it and live a normal person’s life too (Not to mention the fact that a majority of the music just really isn’t all that good).
So in an effort to lighten up the load a bit, check out this jumbo-sized post full of some noteworthy cuts that’s come the Maestro’s way in recent weeks:
Now this is how you do a remix!! The Constellations‘ original (from their Cee-Lo and Asher Roth-featured debut, Southern Gothic) was already a killer track thanks to it’s enjoyable mix of a Southern soul and rock strut with a little hoochie White girl rap sass. But the plastic-funk textures applied on this remix from UK dance remixer/producer Death Metal Disco Scene (Lily Allen, The Verve, Kylie Minogue) takes “Felicia”‘s greatness to a whole new level. Hotter than a firecracker, indeed!
The hook line “A diva is a female version of a hustler” still sounds dumb, but Detroit producer Slot-A makes that point moot with all the snazzy ’80′s decoration he pastes on the Beyonce banger.
In which Degrassi: The Next Generation actor-slash-singer/ rapper Drake cleverly embeds himself within Peter, Bjorn and John’s sublime 2006 break-up ode, resulting in eleventy-hundred bloggers suffering a collective stroke from excitement. (from Drake’s new mixtape, So Far Gone)
“This the type of shhh that make the haters stop talking,” drone-raps indie multi-talent Jake Troth through “Shush”‘s devious stomp and suspenseful guitar linger. And since Maestro doesn’t fall in line with that crowd, we’ll proudly go ahead and state that ears need to be firmly set on this one-to-watch in ’09. (from Troth’s upcoming Daydream Big mixtape)
It’s understandable why an artist would want to put out their sappiest stuff now, this being V-Day and all, but with drippy lyrics like “I can hear my heartbeat so carefully/ When I hear that sound it must know you’re around”, “Breathe” (from Brooklyn producer Jemex) edges into being a little too Velveeta-y. If only we could shake off the tenderness we feel inside every time it’s dreamy Prom Dance production smothers the ears, though…
…Ah wait, here’s the answer: “Check baby, check baby 1-2-3-4″!!!! Sigh…Macho-ness retrieved.
Following an odd slow intro in which Moses bemoans her lack of a husband and white picket fence, the underrated R&B cutie suddenly shrugs off her woes, puts on the instrumental to Snoop Dogg’s summery “Let’s Get Blown” and hits the streets in search for a one-weekend stand. (from Moses’ new album, Lionhearted: Young Hustla, Vol. III)
In which Chicago’s DJ Jem decides that the Ting Tings jam just doesn’t have enough beat sizzle for the jukin’ sect.
As a jump-off cut for second album Kunst, The Tings Tings could’ve easily simply Xerox’ed the irresistible funk-pop guitar grooves and ridiculously catchy cheerleader-esque hooks of their debut album’s singles/ advertisements for everything (“Great DJ”, “That’s Not My Name”, “Shut Up and Let Me Go”) and been totally fine. But nooooo, the UK duo just had to go and switch up for new single “Hands”, ditching the guitar for a sleek and synth-ed out disco frame, and concocting a chorus that doesn’t instantly jump off as something one will be obsessing over for the next six months.
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