Frank Ocean’s officially launched a Grand Theft Auto radio station and it’s solid

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Fans of Frank Ocean can now practice “Self Control” while cruising at 120 MPH or committing a number of virtual crimes. Unfortunately, that particular Ocean track’s not on his new virtual radio station, but, Ocean’s radio station on Grand Theft Auto V and GTA Online does boast a “Pretty Sweet” collection.

GTA’s Doomsday Heist update brought access to Ocean’s new station, which he’d only recently teased on his Tumblr. Los Santos 97.8 FM features six of Ocean’s songs, including “Provider,” “Ivy,” “Crack Rock,” “Chanel,” “Nights,” and “Pretty Sweet.”

The station’s hosted by Vegyn, Roof Access, and Federico Aliprandi, who also hosted Ocean’s Beats 1 show blonded RADIO, which debuted earlier this year.

Ocean’s new station candidly highlights his knack for the dance genre, bringing together a collection of heavy hitters from Aphex Twin, Burial, and more. Los Santos 97.8 FM is a marvelous cap on his year of savory surprises.


Tracklist:

Todd Rundgren, “International Feel”
Panda Bear, “Mr. Noah”
Frank Ocean, “Provider”
ScHoolboy Q, “Kno Ya Wrong” f. Lance Skiiiwalker
SWV, “Rain”
Joy Again, “On a Farm”
Frank Ocean, “Ivy”
Curtis Mayfield, “So In Love”
Marvin Gaye, “When Did You Stop Loving Me, When Did I Stop Loving You”
Les Ya Toupas Du Zaire “Je Ne Bois Pas Beaucoup”
Drexciya, “Andreaen Sand Dunes”
JAY-Z, “Dead Presidents II”
Frank Ocean, “Crack Rock”
M.C. Mack, “EZ Come EZ Go”
Aphex Twin, “IZ-US”
Burial, “Hiders”
Future, “Codeine Crazy”
Frank Ocean, “Chanel”
Lil Uzi Vert, “For Real”
Migos, “First 48”
Suspect, “Fbg”
Frank Ocean, “Nights”
Gunna, “YSL” f. Playboi Carti
Chief Keef, “Winnin” f. King Louie
Lil’ Sko, “Miss White Cocaine”
JME , “Man Dont Care” f. Giggs
(Sandy) Alex G, “Master”
Frank Ocean, “Pretty Sweet”

 

H/T: The Fader

Photo Credit: @FrankOcean/Tumblr

 

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GTA and Falcons connect on trapped out new collaboration ‘Buyaka’

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GTA have always kept to a strict “death to genres” code, and generally, they’ve been able to disguise their production style around a wide variety of different sonics. There’s no doubt however that the Miami exports have a strong penchant for trap music, and when they deliver, it tends to go hard –– case and point, their newest piece alongside Falcons and Stush, “Buyaka.” LA’s Falcons, UK-based rapper Stush, and GTA all found their first pairing on a remix of 2015’s “What We Tell Dem,” and now the group has rejoined on a brand new original product that weaves Stush’s dubby spits through a turbulent trap beat that impressively complements the three producers’ bombastic styles.

The new track, which found its debut earlier this year in Falcons’ Diplo & Friends mix, stacks up multi-layered percussion behind patois-laced versework before dropping into a knocking break with a punchy hook. Stush’s heavy rhyme format grinds over Falcons’ and GTA’s stomping beat, blurring the gaps between trap, dancehall and hip-hop. “Buyaka” comes with a fitting A-Trak cosign, landing by way of Falcons’ longtime home imprint, Fool’s Gold Records.

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Detroit Rapper Darnell Williams Teams Up With Elohim For New Single “Porno”

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Lyrical masterpieces over electronic infused bass lines are something we can all get behind. With the current state of hip-hip throwing us into this unavoidable world of “mumble rap” it has grown hard to find lyrical workings worth talking about. Over the weekend, Detroit based artist Darnell Williams, dropped a heater of a single with

The post Detroit Rapper Darnell Williams Teams Up With Elohim For New Single “Porno” appeared first on EDM Sauce.

How Superfly’s inaugural Lost Lake Festival put Phoenix on the map as the next big festival spot in the U.S.

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How Superfly’s inaugural Lost Lake Festival put Phoenix on the map as the next big festival spot in the U.S.

This fall, Superfly Presents, the masterminds behind North American festival giants Outside Lands and Bonnaroo set their scopes on a new, emerging entertainment market that they were banking on being the next big festival-hosting city in the United States: Phoenix, Arizona. While most picture Phoenix with a skewed vision of the “wild west,” Superfly was planting its flag in a burgeoning hub of vibrant art, food, local music, and tourism marketability as the home for their newest concept, Lost Lake Festival. The result was not only another overwhelmingly successful event for the organizers, but in turn, positioned Phoenix to strongly attract additional large scale events in coming years to coincide with the city’s exciting, growing social scene. If Phoenix wasn’t on the festival map before, Lost Lake unquestionably changed that notion. The inaugural Lost Lake didn’t just bring in an enticing lineup and top-tier liquor sponsors, the event was a masterfully curated three-day experience, from logistics to programming, that used the host city’s aesthetic as an intrinsic factor in the festival’s appeal.

Image: Jorgensen Photography

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Stellar inaugural lineup

Led by top-notch headliners that included Chance The Rapper, The Killers, and Major Lazer, Lost Lake delivered a well-rounded blend of talent that paired top electronic acts like Odesza and Big Gigantic with satisfying, multi-generational tastes of hip-hop from Lil Yachty to Ludacris. Folk rockettes HAIM performed one of the highlight sets of the weekend, along with a raucous showcase from Run The Jewels and a lesson in R&B excellence from The Roots. The lineup curation was designed to span the spectrum, from Huey Lewis and the News to A Tribe Called Red with so many genre-hopping performances in between. What’s more, local Phoenicians and Phoenix-bred acts like Playboy Manbaby, Kongos, and Bogan Via shared the stage with nationally touring acts including Tritonal, Danny Brown, and Crystal Castles, celebrating the city’s animated music and arts scenes, hopefully encouraging other large-scale festivals across the country to adopt similar programming practices.

Image: Quinsey Sablan

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Big on local programming

Beyond a phenomenal three-day lineup, Lost Lake applied heavy emphasis to balancing the inherent corporate sponsorships that come with a large-scale music event with locally sourced arts, attractions, and businesses tucked into their FOUND Marketplace. Lost Lake also incorporated interactive art installations across the festival grounds at Steele Indian School Park located in central downtown Phoenix. From pyrotechnic lilypads floating across the venue’s serene lake to paintings created by some of Phoenix’s top muralists sprinkled throughout the grounds, Lost Lake was a sight to behold. When fans weren’t busy enjoying life-sized LED playground equipment and backyard games, attendees could peruse local bar and restaurant options that lined the event’s concession areas, pushing Phoenix’s developing culinary culture to the masses.  Lost Lake honed in on the city’s local charm with complementary programming that immediately established Phoenix’s character as a major element to the new festival brand’s identity.

Image: Jeff Kravitz

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Perfect location, aced logisitics

Most large-scale festival events struggle with logistics planning, even beyond their infancy. None are immune to all production issues, however Lost Lake’s inaugural run proved to be incredibly calculated and organized, even as it ran directly anchored in the heart of Phoenix’s downtown district. No training wheels necessary. Public transit access ran without a hitch, and on-the-ground festival operations were aced. Attendees were well-informed and considerately directed by festival staff, and local infrastructure was more than adequately prepared to accommodate Superfly’s Arizona debut. On-site logistics were matched by a pristine venue, and Arizona’s mid-80’s autumn season proved to be a perfectly pleasant festival backdrop. Other events that have tried to stake their claim in Phoenix have suffered from incredibly poor planning, unsavory venue selections, and even worse weather, though Lost Lake managed to navigate Phoenix’s stereotypical “drawbacks” with near perfection. Trash and recycling receptacles dotted every free space at the festival, again encouraging similarly scaled events to take similar measures not only for the attendance experience, but also out of respect for the city and the venue alike. The result made a profound difference.

Image: Jorgensen Photography

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Keep your eyes on Phoenix

Superfly Presents has already established itself as one of the top names in the business, putting on some of the most sought-after events of the year in North America. Expanding their vision to include a largely untapped market in Phoenix proved to be a significantly successful move, and likely put Phoenix on the map in a major way. And while other dance-centric festival events have sprung up in Phoenix in recent years, like Goldrush Festival, Mad Decent Block Parties, and Decadence offshoots, Lost Lake brought an entirely different vibe to Phoenix that included a heavy appreciation for the city’s narrative and identity, and likely lit the beacon for other major cross-genre multi-day events to begin flocking to the Southwest too.

Image: Jorgensen Photography

How J Dilla used a sampler to make his mark on hip-hop history

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Arguably the two most pivotal moments in hip-hop history were the advent of the drum machine and the embrace of sampling, and over the course of hip-hop’s development, the movement’s most influential figures, from Dr. Dre to DJ Premier all commonly wielded both of these tools to make their mark on what is now unequivocally America’s most popular music. By the early 1990’s, fully customizable sampling machines like Akai’s MCP 3000 reigned supreme, and one legendary producer had an ability to use it that was head and shoulders above the rest: the late J Dilla.

Dilla’s MPC 3000 is now being honored in the National Museum of African American History in Washington, D.C.. His loose, intentionally imperfect drumming style is enshrined in hip-hop history and still largely inspires artists in various corners of the rap and hip-hop space today. In a new Vox feature that delves into the beloved beat maker’s distinctly renown style and equipment of choice, Dilla’s distinguished technique is described as “humanizing” in the way that he would circumvent his MPC’s quantization capabilities and manually place his beats with keen rhythmic improvisation.

Well worth the watch, the video dives into a revealing lesson in hip-hop and electronic production history behind the work of one iconic producer and his equally iconic piece of hardware.

Via: Vox

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Marshmello & Migos capture the collaborative essence of 2017 in new track ‘Danger’

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It was only a matter of time: Marshmello is now doing it for the culture.

In a year of continued growth for the producer, collaborating with some of music’s most sought-after acts — like Khalid and Selena Gomez — the helmeted producer has finally teamed up with hip-hop’s hottest group, Migos.

The resulting track “Danger” is a quintessential, nitty-gritty hip-hop track from Migos. It bolsters both delightful underlying brass instrumentation and a smooth bassline, leaning into Migos’ style wholeheartedly. And while it’s surely a departure from Marshmello’s more recent releases, it’s not entirely out of character for one of music’s most keen cameleons.

“Danger” is off the Netflix soundtrack for the original new movie Bright, which makes its worldwide release on the streaming giant December 22.

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Flitz&Suppe joins Tusken. for collaborative downtempo hip-hop album, ‘Nomads Void’

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Flitz&Suppe and Tusken.’s music is on an entirely different wavelength.

It should come as no surprise then that the latter group is named after the fictional Sand people’s language of the Star Wars universe. The artists internalized that nomadic inspiration into an exploratory downtempo hip-hop work named Nomads Void. The result is a celestial hip-hop collection that is an instrumental amalgamation sure to blast those who listen to a distant interplanetary domain.

Having joined forces on different projects in the past, Flitz&Suppe and tusken.’s Nomads Void is a soothing symbiosis of the two beatmakers’ M.O’s. Similar to the long-employed trip-hop styles of both the venerable Pretty Lights and EmancipatorNomads Void is an enthralling odyssey, complete with compelling drumline cadence, and raw, vintage cuts that can’t help but imbue a lo-fi-aesthetic that begs to come in peace.

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First Listen: Benzi delivers stacked 13th installment of his ‘Girl Trapz’ series

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Benzi heard the peoples’ cry, and so he delivered.

Los Angeles’ Benzi is, by all accounts, the peoples’ DJ. The BBC Radio 1 mainstay is legendary in DJ circles for creating some of the most head-turning and sought-after edits, mashups, and bootlegs out there. He graces fans with almost unlimited circulation of his endless catalog of personal crate gems, along with a handful of stacked mixes each year, with his Girl Trapz series in particular taking on a cult following among dance fans and your favorite DJs alike. Now, ahead of his return to the Diplo & Friends airwaves on December 30, the TWRK proponent is delivering volume 13 in his famed Girl Trapz mix series to hold fans, and possibly himself, over until then.

Patched together by exclusive cuts from Ookay, LH4L, WOLFE, and Benzi himself, the mix clocks in at just under an hour packing together over 30 tracks, including contributions from San Holo, What So Not’s latest, Troyboi, Lil Uzi Vert, Graves, Luca Lush, and Diplo. Knowing Benzi though, he’s got big things still up his sleeve primed for December 30. Until then, enjoy the latest Girl Trapz. 

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Bassnectar, Halsey, Arcade Fire top Okeechobee’s massive 2018 lineup

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2018’s festival circuit is already heating up, with Florida’s Okeechobee Music + Arts Festival dropping off a well-rounded lineup teeming with talent to jump start the spring season from March 1 – 4. Now, in its third year, Okeechobee is boasting perhaps its biggest lineup yet, led by Halsey, Arcade Fire, Travis Scott, with Bassnectar returning to pull double duty this year, slated for two headlining sets. Offering a more curated, hip-hop and rock inclusive alternative to Miami’s EDM festivities at Ultra around the same time, Okeechobee is bringing The Flaming Lips, Khalid, Zeds DeadGramatik and Illenium along for support among many others.

From Foster The People to Denzel Curry, Tycho to Big Gigantic, the four-day camping festival is aiming to satisfy a wide range of musical taste, along with top-notch programming including workshops, visual art installations and more. View the full lineup and purchase tickets here.

okeechobee-lineup-2018-flyer

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Frank Ocean unveils Cyber Monday physical exclusives for his ‘Endless’ album

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Frank Ocean has proven time and time again to be an avid fan and student of the musical experience. Presently, it seems he’d like for his fans to enjoy his music in any listening capacity they please. In that vein, Ocean has unveiled numerous physical editions of Endless, the visual album he released last year.

Available for just 24 hours, on November 27, Ocean’s launched a collection of Cyber Monday exclusives that include a remastering of the album on vinyl and CD, with the accompanying film also on sale on both DVD and VHS for the first time ever.

And while the newly remastered physical editions of the record offer fans the chance a top-notch listening experience with the record, fans of a more lo-fi aesthetic should enjoy the VHS, on sale for just $18.

Two double-sided posters are also part of the sale, which includes a never-before-seen photo of Ocean during the making of Endless.

ENDLESS-VINYL.jpg

ENDLESS--VHS-.jpg

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All of the products are on sale until midnight Eastern time on November 27.

The album can be purchased at blonded.co.

H/T: Dazed Digital

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