Representing two generations of game-changing hip hop production technique, DJ Shadow and Clams Casino recently caught up in New York City to tape an episode of the Talkhouse Music Podcast. They discussed their new records, Shadow’s Endtroducing..... remake, the ways that recording and sampling have changed over the years, and how it’s sometimes worth giving a great MC (like A$AP Rocky) a beat you were saving for your own record.
Matt Berninger (the National) and Conor Oberst (Bright Eyes, Desaparecidos) are two of rock’s heaviest-hitting lyricists. Turns out, they’re also huge fans of each other’s songs. The guys recently sat down to discuss all things songwriting (lyrics, finding melody, influences, “dick references,” embarrassment and so much more) for the Talkhouse Music Podcast. They break down songs from across their catalogues, such as the National’s “All the Wine,” “Fake Empire” and “Lemonworld,” and Conor’s “Lua,” “You Are Your Mother’s Child” and “Artifact #1.” They also discuss their favorite songwriters, giving a lot of love to Leonard Cohen.
6 track album
One of Annie Clark from St. Vincent’s favorite guitarists is Andy Gill from Gang of Four, among the most iconic bands of the post-punk era. And one of Andy Gill’s favorite guitarists is Annie Clark. So we figured we’d put them together for a little chat. They talked about guitars, soccer tricks, Sufjan Stevens, withholding tax, politics in rock music, and the relative merits of Dr. Feelgood and the Grateful Dead.
Today, contemporary pop music has fully incorporated acid house’s sonic range, if not its production method. Producers used it as a starting point for the sound of R&B and hip-hop in the new millennium—in 2000, Timbaland’s backing track for Aaliyah’s “Try Again” used a TB-303 for its bass line, inspiring countless producers to imitate the sound on other synthesizers and computers. For his part, Pierre sees something prophetic in the name that he and Earl Smith chose for their work: Phuture. “Twenty-six years later and acid is still going strong,” he said in 2011. “You can see the proof of this when platinum-selling groups and artists like LMFAO and Skrillex are putting ‘acid’ in their songs.”
It’s a music business truth that the past is never dead. From ABBA The Concert to Dread Zeppelin, cover bands and tribute acts reunite the broken up, and reenact the great performances of yesteryear again and again with uncanny fidelity. Are these bands just good, clean fun, or are they the eager to please equivalent of junk television?
Introducing the new compilation album and creative project inspired by the stunning landscape and culture of the West Pilbara region.
Where jazz has its standards, it feels that the (post)modern standards are songs we have ingrained in our memory to a point where we apprehend every bend and squeal, even if it is not performed.
It is interesting to think of these songs in association with algorithms and the choice of what is played and performed. Has nostalgia replaced originality or is all music copied as people like Chilly Gonzales demonstrate.
Here I am again reminded of a comment from William Gibson:
I have no idea what era of music we're even in, now. Do we still *do* that, eras of music?
— William Gibson (@GreatDismal) January 21, 2013
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