Sometimes, we don’t listen to chillwave electropop.
- BUDDY RICH — “West Side Story Medley” — as described by alex cheng
ceaseless, hypnotic groove
- OPERATION IVY — “Vulnerability” — as described by john murray
suburban childhood headbanging
- EAR PWR — “Sophie” – as described by ansh shukla
post 4chan kitsch
- SKRILLEX — “With You, Friends [Long Drive]” — as described by ned hardy
ultra in a cathedral
- DIE ANTWOORD- – “Fatty Boom Boom”– as described by katie zingheim
manic, twisted hyperactivity
- LUIS ENRIQUE — ¨Yo No Sé Mañana — as described by lawrence neil
nicaraguan pop salsa
- INFECTED MUSHROOM — “Becoming Insane” — as described by editor bojan srb
don’t be sober
- ANA TIJOUX — “1977” — as described by e.i.c. katharine schwab
drilling your feet soles
BUDDY RICH — “West Side Story Medley” — as described by alex cheng
I don’t really like musicals – I’m a heretic mostly excommunicated even from the church of Sondheim – but of course I love West Side Story. Come on, I have a heart. Here, Buddy Rich takes an all-time-great score and blows it sky high. Right out the gate, huge brass, and then in “Cool”, those growling, smooth tenor sax solos. And oh boy, the tight horns and saxaphones dance in and out like beautiful Puerto Rican girls at the neighborhood jump. Then the crowning jewel of the medley, the solo trombone on “Somewhere”, every note bursting at the seams with feeling, is one my favorite musical moments ever. Underneath it all, Buddy Rich’s ceaseless, hypnotic groove; he doesn’t take over, he gives over the spotlight when he should, but you never, ever forget he’s there, and at the end he explodes in a muscular display of genius.
OPERATION IVY — “Vulnerability” — as described by john murray
I don’t really listen to punk at all anymore, but you damn well better believe that I spent a good chunk of my childhood holed up in my suburban bedroom contemplating the various ills of the world while banging my head to this shit. (15 year old John can’t believe 22 year old John now listens to electronic indie hipster bullshit. 22 year old John thinks 15 year old John had some anger issues.)
EAR PWR – “Sophie” – as described by ansh shukla
It’s glitzy and glamorous. It’s enthusiastically kitsch. A friend invented the genre Barbie Rave to get at how it made her feel. Its lyrics basically foreshadow a post-Reddit/Tumblr/4chan Internet and – I’m convinced – PC Music’s rising star.
Also check out: “Cats Is People Too”, “Boys II Volcanoes”, and “Super Animal Bros. III”.
SKRILLEX — “With You, Friends [Long Drive]” — as described by ned hardy
Beautiful, aching, painful. Three words not typically associated with the musical stylings of Skrillex, the poster child of a million EDM-Bros® Dubstepping™ their way across the Florida panhandle. Yeah, maybe. But this is not that. I don’t know what this is. My brother and I listen to it when we drive up to New Hampshire to visit our grandmother. It’s beautiful. Six minutes of chopped vocals and warm keys slow-burning up to this gentle, stunning beat switch. It’s like ULTRA in a cathedral. It soars, softly. I cry, quietly. Skrillex, man. Skrillex.
DIE ANTWOORD– “Fatty Boom Boom”– as described by katie zingheim
I’m not usually a big fan of… whatever it is that we’re calling Die Antwoord’s music these days. Rave-rap, neo-electronic rock, really a collection of somewhat abrasive sounds that usually make me just feel vastly uncomfortable. But for some reason, this song hits a chord in me that nothing else does– manic, brave, and hyper-active, but a little bit twisted. I have no existing references for this music that tell me how to relate it to or how to dance to it, and that’s liberating. This isn’t a song you can hide behind or make excuses for, when you listen to it, when you dance to it, it demands you to be weird and ridiculous.
LUIS ENRIQUE — ¨Yo No Sé Mañana — as described by lawrence neil
Nicaraguan pop salsa is the new black, I think.
INFECTED MUSHROOM — “Becoming Insane” — as described by bojan srb
Learn from my mistakes, and don’t do goa parties sober.
ANA TIJOUX — “1977” — as described by e.i.c. katharine schwab
I never thought I’d be a fan of Chilean rap until a friend dragged me to Ana Tijoux’s concert at Mezzanine last week. Tijoux’s beats and forceful execution drilled down to the soles of my feet, and my shoddy Spanish didn’t impair my understanding of her daring, subversive, powerful words. I have no idea what “1977” is about, but I’m surrendering to, and dancing along with, Tijoux’s explosive defiance.