Two songs isn’t much of a sample size to go by but so far, Sizzy Rocket is really impressing me. The rock-inspired hip-hop (or hip-hop inspired rock) from ‘I Wanna Rob’ is evident once again on ‘Pretty and Vacant’, with production courtesy of INFAMOUS (his pedigree alone suggests that Sizzy might be on to something).

I’m not sure if the intent is to make a bigger point but the underlying irony when Sizzy she sings “All I want is to be pretty and vacant, famous and naked” is unmistakable. Her vocals have a deliciously rebellious snarl with the rapid hi-hat timings contributing to the manic of her message. I’d really like a peek into her iTunes playlist to figure out where she draws her inspiration from. But the best part of the allure is not knowing and being terribly excited about her next release.

Written by Sizzy Rocket

Produced by INFAMOUS

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Great song-writing is so under-rated these days. My personal opinion is that the mainstream focus on production is so intense that the story-telling power of the sung word is now an after-thought. I love a good club banger -and always will- but for me, the music is a vehicle for the lyrical content. And instead of detracting from the content, it should complement and draw attention to its strongest qualities. Which is why this cover of ‘The Best Jewel Thief in the World’ is so amazing. There’s so much going on in the song: the hubris and pride in being a master of theft juxtaposed against the compunction to leave the criminal enterprise, driven by a (spiritual) sense of righteousness. The tiniest lyrical details give the song an anachronistic whimsy -“Masked and dressed in black, You scramble over rooftops”- that evokes an era and method of crime that our bullet-ridden realities now find foreign. The company of Torquil Campbell (of Stars fame), Mary Cassidy and Jon Lawless have managed to bottle the spirit of the lyrics perfectly in this cover. A paean to the virtue of less-is-more, they’ve conjured a dancing collection of plucked strings and vocal harmonies that manages to be wistful and playful at the same time. With the exception of Lewis Watson & Kimberly Anne’s cover of ‘The Peaks’ this might be one of the best covers I’ve heard in a long, long time. Written by Paddy McAloon (Prefab Sprout)
Performed by Torquil Campbell, Mary Cassidy & Jon Lawless
Artwork by Aaron Mohr

www.prefabsproutalbum.com
www.youarestars.com
www.marycassidyjonlawless.bandcamp.com

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Rae Morris is up there on my list of most anticipated albums of 2014. It’s a short list at the moment (shorter now that Bombay Bicycle Club’s album is out) but it consists also of Catfish and the Bottlemen and The Black Keys. ‘Do You Even Know EP’ out 6th May.
Pre-order on iTunes: http://smarturl.it/doyouevenknow

Like on Facebook: http://on.fb.me/SqvAnR
Follow on Twitter: http://bit.ly/QqtGnb
Follow on Instagram: @rae_morris
http://raemorris.co.uk

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Everything You Need to Know About Your Date Can Be Learned over Sushi

Hilarious.

foodandwine:

By Dan Ahdoot, FWx image

© Foodcollection.com / Alamy

Dating Tips from FWx

A sushi date is becoming my new litmus test for the women I go out with. There is no better predictor of how people will be in long-term relationships than how they act vis-à vis sushi. Mind you, I…

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Question: it’s Saturday morning and you’re slightly hungover. What sort of music can your grumpy and sensitive auditory receptors handle?

Answer: It doesn’t really matter because Jakwob’s just produced a new track with Laura Welsh and even if you have a sucking chest wound, it’s appropriate listening.

I’ve expressed on numerous occasions my admiration for Jakwob’s work. And Laura Welsh? One word: Undiscovered. If you haven’t heard it, you’re completely missing out.

Betrayal continues to showcase Welsh’s rich vocals but in a different way from Undiscovered. At the risk of being unfair to Ms. Welsh, Betrayal has a Florence & the Machine like quality to it (from the rumbling drums, the bells and the backup choir vocals) -which is my books is NOT an unfavorable comparison at all for the simple fact that Florence Welch is undeniably the real deal.

If her work to date is anything to go by, I’m really looking forward to what else Laura Welsh has to offer.

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This just hit Earmilk so it’s pretty much guaranteed some level of notoriety. What’s even more interesting is that Cara Salimando showed her some love on her Facebook feed. Now THAT got my attention.

As far as first impressions go, Sizzy Rocket’s definitely got mine. Powerful, in your face but still accessible. The production on this is especially noteworthy. It’s definitely got the hallmarks of a rock track but there’s more than a hint of hip-hop as well (watch out for the hi-hats in the chorus).

This is the right kind of fuel for rage.

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First of all, who evens remixes Beyonce? Isn’t it considered sacrilege in the industry to tamper with Bey’s material?

Secondly, I love Diplo. And by love, I mean I secretly wish he is my biological father. I wonder what kind of stuff he would play to me to make me fall asleep.

No offense to Beyonce, but ‘Drunk in Love’ was distinctly in the ‘meh’ category for me. The original was very pedestrian insofar as it was another entry into the world of trap crossing over into [insert genre of choice].

But this track is all Diplo and he just crushes it. Don’t even try to fight it.

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A little bit of everything.

A little bit of slow with a brilliant James Vincent McMorrow track that is entirely weather appropriate (if you live in New England) in its overwhelmingly beautiful somberness.

If Can’t Kill Us is any indication, The Glitch Mob’s new album will be more or less the same as the last album, Drink the Sea which isn’t a bad thing because Drink the Sea was filled with many moments of true bad-assery.

Trails and Ways have created a compact gem of breezy indie-pop with a remix of Wild Ones that doesn’t do too much but doesn’t just enough. Highlight: front-woman Danielle Sullivan’s voice is endlessly captivating.    

Rudimental could stake a strong claim for being UK’s 2013 breakout star and they deserve all the attention they’re currently receiving (especially because I appreciate their collaboration with really talented vocalists on the cusp of making it into the major leagues: Emeli Sande, Ella Eyre, Foxes, Angel Haze, etc.) But Cash Cash and Gazzo give Free a banging rework that is sure to stir dancefloors into a frenzy. Music doesn’t have to be all that complicated and in terms of mainstream, radio-friendly EDM (which seems to be the direction the genre is headed towards) I like what Cash Cash is doing, especially on the back of Take Me Home.

Trivia: Name a rising Chicago-born and Stanford-educated emcee that I’ve been lucky enough to see perform live. Answer: K.Flay. K.Flay’s original is probably one of her most vulnerable offerings and it doesn’t quite do it justice for me to over-analyze the lyrics. Suffice it to say, the song is about love. It also features a piano chord progression that acts as a core for the track. Dash Speaks does justice to the original by retaining the piano but his remix is also bewilderingly good. In the first verse, it sounds like additions are incremental -sharper snare and hi-hats. But as the track enters the bridge, a wonderful set of strings make an appearance which culminate in a strong arrangement over the chorus that sounds very similar to Aphex Twin’s Girl/Boy opening. And the vocals are a prelude to a wild and glorious drop that features a variety of vocal samples and cowbells. 

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Should just name this playlist: The whole world should listen exclusively to Swedish pop.

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