Kanye

Kanye West – ‘All Day (feat. Theophilus London, Allan Kingdom & Paul McCartney’

If you haven’t seen or at least heard about Kanye West‘s furious debuting of ‘All Day’ at the BRIT awards the other week then I’ll assume that you’ve just been too absorbed in watching Madonna‘s unfortunate fall to have noticed but the performance was fire, and not just because those two giant flamethrowers either.

This week saw the studio version of the track and while Kanye may not be yelling quite as much and isn’t accompanied by a daunting gang of grime’s hottest MCs behind him, we are treated to a completely new insane final minute of the song. After the bludgeoning swagger that West throws in your face for the first four minutes, things take an unexpected turn as we bump into new frequent Kanye collaborator Paul McCartney‘s ‘Two-Finger Chord & Whistle’ that has it’s own story before rampant distorted synths ambush McCartney and do battle until nothing remains. So Help Me God can’t come soon enough.

James Barlow @BassOddity

Toro Y Moi – ‘Buffalo’

Three Toro Y Moi albums in and Chaz Bundick still can’t escape the ‘chillwave’ label, even though the mini-genre faded, like the sunsets that inspired many of its artists, in 2011.
Like ’Empty Nesters’ before it, ‘Buffalo’ is decidedly not chillwave. The newest single from upcoming What For? has an en vogue funk-tinged bass line and smoky twilight synths which brings similar wavey summer vibes in a refreshing departure from previous jams. Everybody needs a little sunshine in their lives and Bundick is still bringing it, chillwave or not.

Nathan Butler @PeakFiDem

Action Bronson  – ‘Baby Blue (feat. Chance The Rapper)’

Action Bronson and Mark Ronson is a collaboration that nobody actually imagined happening, but it makes sense, given both artist penchant for throwback. In ‘Baby Blue’ Ronson, who burrows a little from Natalie Prass‘ intimately subtle ‘Bird Of Prey’, delivers a winning combination of bouncy piano, theatrical orchestration and victorious brass.

We’ve heard Bronson and Chicago’s most delightful goofball, Chance The Rapper, before on the perpetually irritating Acid Rap track ‘NaNa’, however, ‘Baby Blue’ proves that they make a formidable duo. Here Chance expels venom in a typically immature fashion, wishing paper cuts, stuck zippers and lost lottery tickets against an ex, while Bronson delivers a unforgettably nasal hook.

‘Baby Blue’ continues Bronson’s exemplary string of singles for his upcoming debut Mr Wonderful, which remains one of March’s most anticipated rap releases even in the face of potential records from Kanye West and Kendrick Lamar.

Connor Cass @connorcass

Cashmere Cat – ‘Adore (feat. Ariana Grande)’

Continuing his blazing ascent to stardom Norwegian producer Cashmere Cat has called in a favour from buddy Ariana Grande for bubbling smash ‘Adore’ and surprise, surprise, it’s a beauty.

The song recreates the magic from the pair’s last partnership on Grande’s ‘Be My Baby’ and in reality could have slotted in on her fantastically fun My Everything quite nicely. Cashmere definitely lets loose in this one more however as the gorgeous chorus explodes with lush layers of percussion and twinkling synths while Grande powerful voice continues to dazzle. Now two pop bangers out of two attempts, let’s hope this isn’t the last time we see this partnership together.

James Barlow @BassOddity

Doldrums – ‘Loops’

Canadian electronic music is a very powerful descriptor nowadays, you just have to look at some of the names (Grimes, Purity Ring, Majical Cloudz) birthed in the country for proof. Doldrums is another example of the genre’s healthy status in upper North America and ‘Loops’ proves why he’s a musical voice that deserves to be heard.

Montreal’s Doldrums, or rather Airick Woodhead, is vying for both club attention and experimental nerd’s intrigue on ‘Loops’. as a true chameleon in the electronic music world, he’s effective in both. The track melds thrilling, up-tempo bleeps with a lethargic vocal hook, underpinned by blaring synths and the panicked ghost of the beat, leading to a nocturnal banger that always stays on the right side of disjointed.

Connor Cass @connorcass

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