In preparation for the final Twilight Concert, Lauren Gutierrez interviews James King of Fitz and the Tantrums!
Cam’ron – Purple Haze – 2004
Purple Haze is the fourth studio album by Harlem rapper Cam’ron, member of the Diplomats. Listening to the album envelopes you in Cam’s mindset. The self proclaimed king of harlem guides you effortlessly through a world of drugs and misogyny with his infectious self assured tone. All Cam’ron knows is this life, and he shares both his experiences and views unashamedly. His callous regard of women is inescapable and while ugly, is just another reality of his world.
“Any girl I get, I totally open ’em
Brain and they legs,
cokin’ and dopin’ ’em”
Even scenes of violence are described with his characteristically bored attitude.
“Observe, cock, and spray
We hit you from a block away
Drinking saki on a Suzuki in Osaka Bay”
Cam’s cocky attitude knows no bounds. The man uses an opera singer to sing a hook that is little more than his name repeated over and over without a hint of irony and it works as delivered by his self described “1970’s Heron Flow.”.
“So I parked in a tow-away zone,
Chrome I don’t care;
that car a throwaway holmes.”
The features compliment Camron from the get go. Following the introduction brings Santana as the hype man whose energy on “More Gangster Music” acts as a appetizer that sets the stage for Cams smooth flow to take control.
“They say I walk around like I got a S on my chest
Tech on my left, gangstaz wit me ready to step.
I like a chick wit big breasts on her chest
Not flat lookin like somebody stepped on her chest”
Jim Jones on the west coast influenced track “The Dope Man” holds his own dropping killer lines and setting the tracks vibe with his unconventional hook.
“My momma always told me aim for the sky
So I, came out bangin and aiming at guys
It was, mainly slangin that ‘caine by the pies
And the, fiends was payin for dangerous high”
Down and out brings one of the only rappers able to go toe-to toe with Cam’s arrogance as Kanye backs up Cam’s claims of excellence. Unfortunately Kanye is only standing in to deliver the hook, essentially bowing down and allowing Cam to steal the show.
You got pets? Me too: mine are dead
Fox, minks, gators that’s necessary
Accessories, my closet’s a “Pet Sematary”
I get approached by animal activists
Each of the skits act as evidence to back up Cam’s grandiose claims as he deals with an angry rasta, a jealous chicken head, crackheads, and a mother with questionable decision making skills. In each instance an unfazed Cam handles the situation with the cool judgment of a machiavellian.
[Cam’ron:] Hey Yo Shorty Wuts Going On Wuts Popin’
[Girl:] oh shit wuts up killa wuts going on
[Cam’ron:] Hey Yo I’m trying to go out of town U tryin’ to go wit me
[Girl:] how long U goin’ 4
[Cam’ron:] look man that shit dont mader, wut U gonna do comin’ or not
[Girl:] well I got my kids killa wuts up wut about my kids
[Cam’ron:] Man fuck ur kids man U comin’ or not
[Girl:] Yea I’m comin’
[Cam’ron:] K get in bitch
[Girl:] Yeah they grandma can watch them
Purple Haze delivers a shot of testosterone that is sure to get your life on track. As a doctor, it is my professional opinion that all fans of Hip-hop give it a listen with the caveat that you be prepared for the side effects.
More Gangsta Music –
Down and Out –
Ever since their introduction to the EDM scene in a release alongside Statix and Eddie K, Astronaut has become a prominent face in house music. The duo, consisting of Ross Burr and Dan Goudie are from Bristol, UK, has since released through Monstercat and Disciple Records. They’ve collaborated with many different artists, from the likes of Eyes, Far Too Loud, and Black Tiger Sex Machine; even having released an entire EP (as the soundtrack for a game) with Barely Alive.
This mix features some of their best tracks. The mix starts with Pinball, their first track I ever heard, and I’d never heard a song like it. It’s like a track ripped straight from a game like Monkey Ball or Sonic Pinball.
Following that, we mix Witchcraft and Lunar from their most recent EP, “Dark Arts.” As the newest music to come out of the duo, it’s some of the dirtiest, grittiest, hardest house they’ve ever released. With beats and growls this heavy, one can begin to hear the influences of Barely Alive.
In the middle of the mix is the hardest track: Rockers. As a collab with Black Tiger Sex Machine, the two of them managed to create some of the hardest house in existence.
The last song of note is Astronaut’s remix of Collide by Hellberg featuring Splitbreed. This song was actually the song that made me follow them on SoundCloud, so this one holds a special place in my heart. I definitely wouldn’t have been able to forgive myself for not playing it.
Follow the link below to hear the mix:
Want to hear the mixes before they get posted to SoundCloud? Tune in to The EDM Underground 7-11pm!
MindBody&Beats is a local music production duo. Along with being featured in numerous music blogs and making some sick songs they are also University of Utah students.
Recently, K-UTE’s own Nick Ramos had the to sit down and talk with the duo, here is the exclusive interview.
If you would like to check out more of MindBody&Beats stuff, take a look at their soundcloud,
This Saturday, December 12th Shwayze will be playing In The Venue. The duo composed of rapper Shwayze and Guitarist Cisco Adler sound like a toned down LMFAO with an acoustic guitar. Their music describes girls, summer days, and partying over relaxed beats with recent albums altering that same sound and making it poppier. Most known for the singles off their first album “Shwayze” namely the songs Buzzin’ and Polaroid. They’ve released several albums since then to varying degrees of success with variations of the same musical style. If you’re looking for a fun concert experience with some throwback songs come check them out Saturday. Grab a ticket here and I’ll see you there.
Here is Couple of their songs if your interested.
Over the past two weeks I have had the pleasure of listening to Digitonium, the latest album from the Brooklyn funk/soul collective Turkuaz. I had never heard before but now I am fan. Overall Digitonium is playful yet complex record featuring a whopping 24 tracks. Clocking in at seventy nine minutes total run time, it can seem to be bit of a behemoth, though this is not to discourage the average listener, as the songs are very digestable individually. Turkuaz’s Digitonium is a foot taping good time.
As previously stated Digitonium is unmistakably a concept album from cover to cover. Coming in one of my favorite album cases of the past few years. The album plays as if it were the soundtrack to a retro video game with songs that are equal parts infectious and driving in a similar fashion to the soundtracks of Mega Man, Castlevania and that ilk. Particularly I found Murder Face, European festivity nightmare, Digitonium, and King of Computer impossible to at least bob your head to. Songs flow into on another like as if they were to rivers merging, the changes in rhythms can be seamless at time and honestly it can be hard to discern if the song has changed or just switched up its melody. If you have the time, give this thing its seventy nine minutes in one straight run through, you will not regret it, but you will see the records flaws.
This album could use an editor. Not because it is just long, a work should never just be judged by length, unless we are talking about solely commercial success. Rather several of the tracks do not seem complete, well thought out, or even necessary. Mostly these are the smaller tracks that add transitions between songs, they carry no weight and disappointingly add little effect to the album, these small pieces of polish are what a good record to a great record and Digitonium does not do them. This complaint is mainly seen near the end of the album specifically in tracks such as The Time Has Come and Bermuda just leave so much to be desired in both the suspension and overall power, it seems as though they could have been left out and nothing would have been lost or gained. Similarly this problem is glimpsed at just briefly in the track Zynth where there just does not seem to be enough material to warrant its 5 minutes length.
Wholly, Digitonium is a fun album, it is groovy, bouncy, and has had me awkwardly breaking into dance all around campus. As whole it is a good album just could have used a couple more coats of polish. Individually Turkuaz has made some exciting funk songs, and it’s great to see another band giving its hand to an under indulged genre. I am giving this one an uplifting 9/10
The first thing you will realize about Tom the Lion’s sophomore album Sleep is that it’s a little old, in fact about a year, but with our massive stacks of music you have to start somewhere. The first thing you will realize however, while you listen to the London, England based indie rock band is their unique spacey sound, which makes feel as though your floating in mid-air while still providing a surprisingly big, powerful and at times emotionally charged feel to their music. Perhaps the closest main stream equivalent to Tom the Lion would be to arena rock bands such as the Killers and U2, though where these bands tend to lean towards bigger powerful wafts of uplifting synthesizer lead, distortion filled moments of pure awesome (I’m one of the like five people who actually enjoyed the “crappy” album U2 dropped on everybody who IPhone a couple years back). Tom the Lion prefers to keep things on a lower more mellow level allowing for some beautifully musical moments where everything seems to align itself perfectly, creating complete Zen of synthesizer rich indie music.
Yet, the record is not perfect. Specifically there is a lack of dynamic range. Sleep is an album that loves its sound and refuses to deviate from an admittedly winning formula. From the Silent Partner to Winter’s wool Tom the Lion is at their best when they are laying down a slow but grooving rhythm overlaid by a myriad of melodies and counter melodies provided by spacy synths, guitars, and keyboards. This leads to some very well developed courses, and I found myself sing along far more than once. Though I sat listening to this album I found it impossible to tell most of the songs apart, while some level this is enjoyable as it makes the album feel cohesive as whole. It does make looking at individual songs a bit bother, as while the hooks on tracks such as Ragdoll and Beholden are great, it can be hard to discern them apart once you get past the hooks. The one time the band does deviate from their formula, is in the track Oil Man which is interesting but ultimately falls flat in terms of giving any sort of substance besides deviation.
I am going to give this album a VERY solid seven out of ten. Tom the Lion, despite being a year old, proves to me I should learn their name with a fun and unique sound, and I look forward to seeing more or their stuff in our inbox. However this album just does not provide enough deviation and substance for me to truly appreciate their album. Though it is been a good entry point to a band who I hope will have long and exciting career.